Minimal Audio Morph EQ · Source: Minimal Audio
Minimal Audio has released Morph EQ. The “Expressive EQ Designer” plug-in lets you go wild with drawable morph paths, macro controls, and extensive stereo effects. If you’re into creative equalization and filtering with plenty of movement, Morph EQ could be right up your alley.
Minimal Audio first introduced itself with the fantastic Rift Multi-FX plug-in, which blew our minds with an abundance of modulation, movement, and good ideas. And the developer’s latest release Morph EQ looks no less innovative and creative.
At its core, Morph EQ is an equalizer plug-in with a choice of seven different filter types, which you can mix and match as you see fit. Each individual filter can operate in mono, stereo, or mid-side modes, which opens up the door to many creative stereo effects. You can also arrange the filters in serial and parallel configurations. Like most modern EQ plug-ins, Morph EQ also offers a built-in spectrum analyzer that shows you what’s going on.
Custom morph paths
However, the real fun begins when you dive into Morph EQ’s extensive morphing and real-time control features. The Morph feature allows you to draw your own custom morphing paths, which you can then navigate with a single knob. Moreover, the plug-in offers built-in macro control over all parameters, including morphing, filter cutoff, and stereo movement. Along with an Adaptive Q mode for analog-inspired resonances, this lets you create real-time effects that go well beyond basic equalization.
If you’re like me, you’ve probably already got more EQs than you can keep track of. However, Minimal Audio Morph EQ looks like a plug-in you don’t want to miss if you’re into creative equalization and filtering. It comes with more than 100 presets, which you can use as a starting point for your own experiments.
Morph EQ
Minimal Audio Morph EQ is now available for USD 49.
The plug-in runs on macOS 10.9 or higher and Windows 10 or higher. It’s available in AU, VST, VST3, and AAX formats (64 bit).
By loading the video, you agree to YouTube’s privacy policy.
Learn more
Load video
How do you like this post?
Your email address will not be published.
· beautiful keyboard, but the new form of synthesis doesn’t sound groundbreaking, quite cheesy actually if we’re to judge by these examples
· I’m using mine as a second voice ( via MIDI ) to my Medusa in a live drone setup, and let me tell you, it really complements the Medusa. It’s so much fun tweaking both whilst a set of notes are held,…
· The sound in the video ist not particularly impressive. No reason to believe this is anything more than a $2 condenser capsule in trendy colored plastic housings.. There are numerous superior quality…
Minimal Audio Morph EQ is a morphing EQ that'll make your head spin – gearnews.com
Wireless earplug apps are vulnerable to hacks – The Hindu
To enjoy additional benefits
CONNECT WITH US
November 15, 2022 03:09 pm | Updated 03:09 pm IST
COMMents
SHARE
READ LATER
Image used for representation purpose | Photo Credit: KSL
Apps that let users connect their smartphones or laptops to wireless earplugs can record conversations, and are vulnerable to hacks.
(For insights on emerging themes at the intersection of technology, business and policy, subscribe to our tech newsletter Today’s Cache.)
They “can record conversations,” Shubho Pramanik, SVP at Applied Cloud Computing told The Hindu. Through a process called bluebugging, a hacker can make and listen to calls, read and send messages, and modify or steal your contacts, he explained.
Users must give these apps sensitive permissions like microphone access only if it is required. Apps linked to these commonly called true wireless stereo (TWS) earplugs can listen to what you say even if you have not given them permissions while installing and connecting to the devices, he added.
Mr. Pramanik also stated that smartphones are more vulnerable to this type of hacking as most users leave their Bluetooth on in public places. Even the most secure smartphones like iPhones are vulnerable to these attacks.
“Any app with access to Bluetooth could record your conversations with Siri and audio from the iOS keyboard dictation feature when using AirPods or Beats headsets,” Guilherme Rambo, an app developer, wrote in his blog last month.
This can happen even without the app requesting microphone access permission and without the app leaving any trace that it was listening to the microphone, he added.
He reported this to Apple. The iPhone maker fixed the vulnerability through iOS 16.1 and iPadOS 16 updates.
“An app may be able to record audio using a pair of connected AirPods,” Apple acknowledged on its support page while releasing the fixes to the issue.
Turning off Bluetooth and disconnecting paired Bluetooth devices when not in use, updating the device’s system software to the latest version, limiting use of public Wi-Fi, and using VPN as an additional security measure are some ways to enhance the security of TWS devices, said Mr. Pramanik.
COMMents
SHARE
technology (general) / gadgets (general) / cyber crime
BACK TO TOP
Comments have to be in English, and in full sentences. They cannot be abusive or personal. Please abide by our community guidelines for posting your comments.
We have migrated to a new commenting platform. If you are already a registered user of The Hindu and logged in, you may continue to engage with our articles. If you do not have an account please register and login to post comments. Users can access their older comments by logging into their accounts on Vuukle.
Soundtoys sale: get 75% off until July 24, 2022 – gearnews.com
· Source: Soundtoys
The new Soundtoys sale sees the renowned developer take as much as 75% off 6 of its popular effects plug-ins. The Electronic Music Production Week deals are available until July 24, 2022, from Soundtoys and our affiliate partner Thomann *. Here’s more about the sale and Soundtoys effects below:
Soundtoys effects are among the most prolific ones in the music production game. They are used in hobby projects and large studio facilities alike. Chances are your favorite producers are using some of the Soundtoys stuff regardless of genre. That’s because these effects are partly developed by former Eventide personnel with all the expertise and product quality you’d expect from anyone with such ties. Thus, the effects sound great and offer incredible creative potential.
Granted, Soundtoys has been resting on the laurels of the version 5 bundle for quite a while now. But it’s also done very well at maintaining its effects in terms of both sound quality and relevance. I still consider Soundtoys 5 and its other effects an essential purchase, especially when yearly sales occur. EchoBoy, FilterFreak, Decapitator, and that cooky distortion plug-in whose name I can’t remember are always good choices for their given task.
Additionally, the Effects Rack plug-in lets you stack those bad boys up in a modern and efficient way. So there’s that – grab some of these effects and if there’s still room left for more Soundtoys products, know that owning any of the developer’s products makes you eligible for further discounts down the road.
The following Soundtoys plug-ins are included in the sale:
Soundtoys Little AlterBoy Download
Soundtoys Crystallizer Download
Soundtoys Tremolator Download
Soundtoys FilterFreak Download
Soundtoys PrimalTap Download
Soundtoys Effekt Rack Download
The promotion is active until July 24, 2022. Soundtoys plug-ins work under macOS 10.10+ (with native M1 support) and Windows 7+ in 64-bit AU, VST, and AAX formats. A free iLok account is required for authorization. Demo versions, PDF manuals, and video tutorials can be found on the developer’s website.
By loading the video, you agree to YouTube’s privacy policy.
Learn more
Load video
By loading the video, you agree to YouTube’s privacy policy.
Learn more
Load video
* This article contains affiliate links to help us fund Gearnews. If you buy something through these links, we will receive a commission. Don’t worry, the price for you always stays the same. Thank you for your support!
How do you like this post?
Your email address will not be published.
· I’m using mine as a second voice ( via MIDI ) to my Medusa in a live drone setup, and let me tell you, it really complements the Medusa. It’s so much fun tweaking both whilst a set of notes are held,…
· The sound in the video ist not particularly impressive. No reason to believe this is anything more than a $2 condenser capsule in trendy colored plastic housings.. There are numerous superior quality…
· I agree, I am largely a Strat guy, regardless of who’s name is on the headstock. I have three Fender starts and two I built, as well as an Ibanez, a Martin and I recently purchased Harley Benton …
How to watch Marshall vs. Tennessee Tech: TV channel, NCAAB live stream info, start time – CBS Sports
Play Now
Football Pick’em
Play Now
College Football Pick’em
Waiver Wire
U.S. Soccer Podcast
Tennessee Tech @ Marshall
Current Records: Tennessee Tech 1-1; Marshall 0-1
The Tennessee Tech Golden Eagles have quite the challenge ahead of them as they’re expected to be blown off the court. They will square off against the Marshall Thundering Herd on the road at 7 p.m. ET on Monday at Henderson Center. The Golden Eagles are looking to tack on another W to their 12-game streak on the road.
Tennessee Tech took their game at home last Thursday with ease, bagging an 82-48 victory over the Tennessee Wesleyan Bulldogs.
Meanwhile, Marshall was just a bucket short of a win last week and fell 83-82 to the Queens University Royals.
Tennessee Tech is now 1-1 while Marshall sits at 0-1. Two last-season numbers to keep in mind before tip-off: Tennessee Tech has allowed their opponents an average of 12 steals per game, the 356th most in college basketball. But the Thundering Herd enter the matchup with 6.8 steals per game on average, good for 19th best in college basketball. In other words, the Golden Eagles will need to work extra hard to take care of the ball.
The Thundering Herd are a big 16.5-point favorite against the Golden Eagles, according to the latest college basketball odds.
Over/Under: -110
See college basketball picks for every single game, including this one, from SportsLine’s advanced computer model. Get picks now.
This is the first time these teams have played each other within the last seven years.
© 2004-2022 CBS Interactive. All Rights Reserved.
CBS Sports is a registered trademark of CBS Broadcasting Inc. Commissioner.com is a registered trademark of CBS Interactive Inc.
Images by Getty Images and US Presswire
Phil Spencer really wants you to know that native Call of Duty will stay on PlayStation – The Verge
By Nilay Patel / @reckless
Phil Spencer, CEO of Microsoft Gaming, is in charge of Xbox and all the game studios that Microsoft has acquired over the years, like Mojang Studios, the makers of Minecraft, and ZeniMax, which makes The Elder Scrolls and Fallout among others.
Phil came to talk to us hours before the European Commission announced an in-depth investigation into Microsoft’s proposed $68.7 billion acquisition of Activision Blizzard, which makes the enormous Call of Duty series as well as Candy Crush on phones.
So I had the chance to ask Phil: will he make the concessions that regulators want in order to close this deal? And is the deal really just about Call of Duty or something else? Is Microsoft committed to keeping Call of Duty available on PlayStation?
Phil’s a candid guy. He’s been on Decoder before. I always enjoy talking to him, and this was a fun one.
The following transcript has been lightly edited for clarity.
Phil Spencer, you are the CEO of Microsoft Gaming. Welcome to Decoder.
Thanks for having me. It’s great to be here.
My list of questions is a mile long, so I’m just telling you right now that you will have to talk fast.
I’m known for long answers. That’s my strategy. It’s my delay tactic. No, I’m happy to hit it. Let’s go.
There is a lot going on. The last time you were on the show was 2020, as one of our very first guests. At that time, you were the executive vice president of gaming at Microsoft. Now, you are the CEO of Microsoft Gaming, which is a big change. You have a new organization under you, so congratulations. What is the difference between being the executive vice president of Gaming and the CEO of Microsoft Gaming?
I would say the day-to-day job is mostly the same. I think it’s really about a recognition inside of Microsoft that we run gaming in a different way than some of the other divisions. We are our own business — we have our own marketing team and our own P&L, for those who care about that.
That’s the show. I care about that a lot. Okay, so you have your own P&L.
Yes, we run it end to end. There are other CEOs. Ryan Roslansky, who runs LinkedIn at Microsoft, is also a CEO. It’s really just a recognition of the way that we structure gaming inside of the company. I would just say it’s an honor to be a part of it and to lead the team.
As you know, we talk a lot about decisions on the show. How did that decision get made? Did you have to sit down and write a memo? Were you like, “All right, I have to convince Satya [Nadella, Microsoft CEO] to make me the CEO of Microsoft Gaming”? Was it a committee decision? How did it work?
It was all Satya’s decision. It wasn’t something that I had pushed for. It was a decision that my boss just let me know about one day as we were going through our discussions with the board about the Activision acquisition, our future ambitions in gaming, and where we’re going. I don’t know what his process was behind the scenes to make that happen, but no, it wasn’t a situation where I put a proposition across the table. It was something that was brought down from upon high.
Well, next time Satya is on the show, we will ask him about that. I’m very curious, because that’s one of those decisions no one ever gets insight into. You mentioned the Activision acquisition. We’re obviously going to talk about that a bunch. Microsoft is restructuring itself, there is now a division called Microsoft Gaming, and you are the CEO. That was tied to acquiring this gigantic company. Does this work if you don’t acquire Activision Blizzard? Are you still the CEO of Microsoft Gaming? Do you have to give it back if the deal doesn’t go through?
I don’t think so. I didn’t see that in the paperwork — well, there was no paperwork, to be clear. I think it sticks with me. I do think it’s a recognition of what our ambition is in the gaming space, and I think we’re kind of over that hump a little bit.
Early on in my tenure at Microsoft, people would ask, “Is Microsoft really serious about being in the gaming business?” I think we’re kind of past that.
I will say, early on in my tenure at Microsoft, most podcasts I went on would ask questions like, “Is Microsoft really serious about being in the gaming business? Are you in it for the long run? What are your motivations?” In a nice way, I think we’re kind of past that. Most of the discussions are about what our ambition is, what we’re trying to do, and what our worldview is on the gaming business. That’s just up to all the work that the teams have done and the progress that we have made. I think it’s a fantastic recognition of what the org has been about over the last six, seven, eight years.
I think that’s a positive case. That does seem to be the shape of it from what I’ve heard from other executives in Microsoft. “This is a real business, not a hobby. It’s not something that we accidented into.” The flip side of that is as you make it more independent, as it becomes Microsoft Gaming with a CEO, it’s also easier to pull out even farther. It’s the first step towards pulling it out of the core of Microsoft. You could spin out, you could do all kinds of things once it’s more independent. Is that a potential future here? Or is it just that you need more independence from LinkedIn and Azure or whatever else?
I wouldn’t say it’s the first step. I never really think about Xbox outside of Microsoft. I don’t think the gaming business has ever been more integrated into what Microsoft all-up is about. We’re the largest consumer business in the company. That wasn’t always true, but with the progress that we’ve made as gaming overall has continued to grow, it’s a consumer category where Microsoft has relevance. We have brands, we have customers, which is the most important thing, and we have teams, which are critically important as well.
A lot of our big tech competitors have made forays into gaming, and they might have their own consumer businesses where Microsoft doesn’t have a lot of success or even capability, but gaming is a space where Microsoft has decades of experience. I really see this as recognition from the company that gaming is a place we’re going to continue to invest, make progress, and have a perspective on where this industry is going that’s shaped by our discussions with unique partners and creators. We’re in it for the long run. My title isn’t honestly something I think about much. I still kind of consider myself a software development engineer, which is where I was when I started.
That’s dangerous for the CEO. Be careful.
No, I enjoy building products. I spend most of my time in the office going to studios and talking about the games and products we’re building. It’s kind of where my heart is, and frankly, where my capability is. I’m not a master of business and I’m not a master of strategy, but I do love this category of video games. It’s something I’ve done for an awfully long time. It’s what I love doing.
Have you changed the structure of how the games division works now that it’s more independent and you’re the CEO?
Listen to Decoder, a show hosted by The Verge’s Nilay Patel about big ideas — and other problems. Subscribe here!
I would say the biggest move we made around the same time was with the marketing team, which had sat more centrally inside of the company. It was moved into the gaming business and led by Jerret West. I can’t say that there was anything broken about Jerret sitting in the central marketing team inside of Microsoft. But I do think in terms of the charter, some of the customers we engage with know that Xbox is part of Microsoft. Frankly, there’s also a contingent of our customers that don’t know that, and that’s okay. People play video games on consoles, on PCs, or on their phones, and there are brands associated with those things.
That was the only structural move that we made at the time. The company has always given, at least to me in this role, a lot of autonomy in thinking about the decisions that we need to make, how we approach our customers, and the things we do that might be slightly different than what the rest of the company does. That’s been energizing for the team, to feel like they have both the authority and the responsibility to engage with our customers and creators in the way that we need to.
Last time you were on the show, I asked you the classic Decoder question about how you make decisions. You went through the CEOs that you worked for and how they influenced your decision-making process. Now you are the CEO. Has the way you’ve made decisions changed? Have you focused it down? How do you make decisions?
The thing that year in and year out remains to be true, especially in the entertainment and gaming business, is the only grader of your decision that matters is your customer. We are definitely in a want-to-do activity, not a have-to-do activity. We are entertainment. We’re kind of an at-will activity. When people decide to spend their most precious resources — which are obviously their time and their finances — in gaming, and they choose to play a game with us on our platform or one of our first-party games, that is the thing that sits at the center of every decision that we make as a team. “What would our customers think?”
We don’t always get it right. The decisions and things we have tried to do that haven’t landed exactly right are ingrained and chiseled in my brain. The reception we get from our customers and our fans sits front and center in the decisions that we make. That force in our decision-making only goes up, meaning the longer I sit in this job, the more expectation there is that decisions would become more rote and easier based on this body of knowledge — but the space that we sit in is dynamically changing. It is really front and center that we’re making sure we’re listening to the point of views from customers, fans, influencers, and creators in the things that we do as a platform.
There is a tension there that I really want to pull on. In the entertainment business, you said it’s want-to-do, not have-to-do. The games industry, the entertainment industry, is moving from being this hits-driven business where every product lives or dies and makes millions of dollars or doesn’t, to these recurring-revenue models of subscription. We have obviously seen it with television, and we have definitely seen it with music. The last time you and I spoke, we talked about game streaming and game subscriptions a lot.
That is in a very middle state. It hasn’t happened yet, and you are now facing down the holiday quarter. You just made some big decisions. You delayed some big games that were supposed to come out for the holiday, Starfield and Redfall. Those would have been the hits. Talk through making that decision to delay the hits. Then I want to talk about this shift in the industry from being an “all hits all the time” model to this more recurring-revenue subscription model.
I think positioning it as a decision might be slightly wrong, at least for me. It isn’t really a decision to move a game after spending the team’s effort over multiple years just to get to a point where you know you’re not going to deliver the game you want on the date that was promised. Now, it is at some level, because I have shipped games too early. We have experienced shipping games too early.
In hindsight, when you look at a game like Starfield, it’s taken so long and so much investment in new IP from the team. The decision to give the team the time to build the game that they feel they should be building is just the right thing to do. There are financial implications to those decisions. Weighing what is going to happen, whether it’s platform growth, subscriber growth, or frankly, the revenue that you generate when a new game launches, those are business decisions. You definitely have to weigh the outcome of those decisions.
For any game, but definitely for our games Starfield and Redfall — which are our first big Xbox games with ZeniMax coming into the team — I just wanted to make sure those teams felt they had all the support they could get from Xbox, and to maybe feel some of the benefit of being part of a larger organization that has other revenue streams and other helpful things going on. In the end, I believe the quality of the games will be better and customers will find the experience to be more interesting, which will hopefully feel like the right decision in hindsight.
Walk me through how the decision was made. Did those teams come to you? Did you look at the work? How long did it take to make that decision?
This is maybe where some of my experience in the industry comes to play. I know both Todd [Howard, Starfield game director] and Harvey [Smith, director of Arkane Studios] well, and we had a discussion about where those games are.
I’ll focus on Starfield with Todd — he and I have an honest discussion going on, starting from the day the deal closed on the purchase of ZeniMax. “Where are we with the game? What are the risks that we see?” We have some internal teams at Xbox, like our advanced technology group, ATG, which we can deploy to help teams look at where they are with tech challenges and production challenges.
As somebody who has seen a few county fairs here, I might get some gut instinct about where we are, just by the way the teams are talking about their game and where we are in playing builds. One of the things I have learned is that you want teams to feel like they own their dates. They deliver better when they feel like they own their own destiny with their games, so you wait for the real signal from the creative and production teams. It’s an ongoing discussion about where we are. It’s not like one day, all of a sudden, somebody comes in and says, “Okay, our date is going to have to move.” We track and understand the weighted risk on everything that is going on. It’s a fundamental part of the job that [Head of Microsoft Studios] Matt Booty and [CEO, ZeniMax Media] Jamie Leder do in running our first-party studio organizations.
That’s the hits business. “We have to have a hit. We’re going to move the date, because it’s not ready. There’s going to be some risk to, I don’t know, holiday revenue for Microsoft Games.” Then there’s the other side, which is, “Man, it would be really cool if everyone just paid us $15 a month all of the time,” and the games come out and everyone’s happy. That base of revenue is recurring and is a little more stable than hits and console generations. Is that the move? That seems like where you have been building for a long time, but it’s harder to get there than maybe anyone anticipated.
“We don’t have this vision of everybody paying us $15 a month.”
We don’t have this vision of everybody paying us $15 a month. We think the subscription is an interesting business model for certain kinds of games and for certain customers. I really see it as diversifying how people build their library of games or how creators reach the customers they want to reach with the content that they build. It will always be part of the business, in my view. I think people buying and owning their games will be an important part of the business for years and years to come.
Free-to-play games with post-sale monetization, add-ons, and battle passes that those teams have figured out will be a significant, probably majority of the business for a decade plus. Subscription will augment that. Really, that’s the extent of it. We are not building towards a world where subscription is in any way dominant or predominant on our platform. We think for certain customers in certain markets with certain economic livelihoods, where they are managing their cash flows, subscriptions can be very valuable.
But having our customers choose the way they decide to play and how they play is really fundamental when going back to how we make decisions. It’s why you don’t see us doing exclusive games in the subscription or trying to drive people away from purchasing games. We love it when people purchase their games. It’s fantastic. We also like it when people subscribe. The thing that we’re really looking at is if we can just get more people to play more games and make it easy for every player who wants to play.
To be fair, I heard that line at the beginning of the streaming transition in music, very famously from Steve Jobs, actually. “People like to own their music,” is a thing that he used to run around saying all the time. We heard it from the movie industry, and now I feel like we’re hearing it from the games industry. Is that just the point on the curve that you’re at? One day five years from now, are we just going to wake up and it’s all going to be streaming and/or subscriptions? Is this a permanent state of affairs?
No.
“Games are fundamentally different… Games have a business model unto themselves.”
Games are fundamentally different — and we play, so we know this. Games have a business model unto themselves. Songs don’t. If you want access to the song, the decision is, “Do I pay for the whole album, do I pay for the track, or do I subscribe?” If you think of almost any game in the market today, it has a business model unto itself that should be sustainable and profitable for the creator of the content. That’s not true of movies, that’s not true of music, and that’s not true of books. I think games are just fundamentally different that way.
That’s why free-to-play is such a big model in video games, because if you can get people to play and you can compel them to continue to play, you can build a business around that. Obviously, there’s a massive amount of free-to-play games across all platforms right now that we could look at as an example of that. To use that extreme, free-to-play and a subscription is a little bit of an anomaly. “Why would I ever pay a subscription to play a free-to-play game?” Now we’ll do some things around perks and other things to maybe make it feel like you’re a special part of that free-to-play community if you’re a subscriber, but in the end, free-to-play is a great way of finding millions and millions of customers who will forever exist in video games.
I remember the time when people thought free-to-play was blasphemy. “How can you let people play for free?” Then people figured out, “Hey, this can actually work.” I think that is the fundamental difference. I’m definitely not smarter than people who did music subscriptions or video subscriptions. I just think the fundamentals of gaming are different, so subscriptions will be part of the solution but not the only solution.
The fact that you can shop in a video game and you probably shouldn’t shop during a movie —
Or while listening to a song.
It might be under-remarked upon in general when people talk about it. Are you still selling the Xbox consoles, the Series S and Series X, as fast as you can make them?
Series S you can find in the market, which I think is a good thing. We have inventory on shelves, ready for the holiday season. It’s something we have been building towards. X is still a little more difficult to find. I mean, obviously our goal would be that you would have great weeks on hand. In this job, I’ve learned about how much inventory retailers have. You want to have those products on the shelf so when customers spend their time to find your consoles, whether they’re doing it in person or online, they can find your consoles.
X will be difficult to find, especially through the holiday, but I feel good about S. I think it’s a positive that it’s available in the market for families who want to come in and maybe add a video game console to their household.
Are you seeing the demand for the consoles slow down as the economy is doing whatever it’s doing?
We are clearly in the entertainment space. We are not food, we are not shelter. As families are going through economic constriction and managing their cash flow, we are one of the activities that at some point has to fall out of the question, “What am I going to pay for this month?” And that’s right. If we just think about the world’s economic situation, as people are managing energy costs and with the other things that are happening, I think it’s natural that could have an impact on anything that’s not a must-have opportunity.
Games have tended to be a little more resilient and weather these times better than some other segments, because we’re good value for the dollar. Just think about the games or consoles that you already own. You have the ability to sit down and play as a family, to give your family things to do, and there is also the expense-per-hour-entertained. That’s not a ratio we track, but maybe some families are thinking about that. We absolutely have our eyes on what’s going on in the world economic situation. We understand what video games are and that at some point families might have to make decisions away from video games. We’re not really seeing that yet. There is a little bit of slow down in certain spots, but overall, gaming activity seems to continue to be strong.
Well, you said certain spots. Is it worse in Europe? Europe seems to be where it’s hitting the hardest right now, economically.
I think what we’re seeing as we’re doing some research is that people are valuing… This sounds like an ad, but you asked the question, so I’ll just go here.
That’s why we’re here.
You’re not here for an ad. The fact that we do have an S console that is less expensive than our X console is helpful to families. The fact that we do have a subscription means I don’t have to pay $70 for every one of my video games, and I can build my library in a different way. Again, I apologize for it sounding like an Xbox ad, but it is what we have. We are definitely hearing from customers that those things are valuable ways to manage their flow.
So are games coming out on both platforms, though I know there’s another side of that that certain people dislike. If I have a PS4 and I want to play God of War, I’m going to be able to do that without going out and spending $500 on a new console. People should play God of War. It’s great. That is our industry recognizing where our customers are, providing them value where they are, and providing them benefits if they do want to go buy a new console to see great games on new hardware. That is also an advantage.
I wouldn’t say it’s geographic where we’re hearing things. Different families in different situations are valuing choice and the option to play where they are instead of having to buy new hardware, which is definitely a benefit for many people.
We have heard that the chip shortage is actually slowing down, especially in GPUs — GPU supply is there. Is that true for you as well? Is that what you’re experiencing as you try to have inventory for the holiday season?
We are seeing supply strengthen for us, and demand has not really weakened. All along, while we focused a lot on the supply chain during those first two years of the console generation for us, demand has never been higher for us on Xbox. If we go back to the original Xbox, Xbox 360 and Xbox One, we’re selling more consoles than we have ever sold at this point in a generation.
A lot of the discussion, because of COVID-19 and other things, has been on global supply chain and supply. Clearly, if we had more supply, we could meet more demand. I would say our stock situation has been driven as much by demand as it has been supply. That demand doesn’t really seem to be slowing down much. The fact that we’re starting to see more supply come in is why I said you’re still going to see X vacate the shelves pretty quickly. We are definitely seeing supply ease up. I suspect as we get into 2023, touch wood, you will see consoles on the shelf when you walk in the store.
All right. This brings me to the $68 billion gorilla in the room, which is the Activision acquisition. Regulators around the world are looking at it. The reason I think this is a segue to it is because you’re saying, “We’re selling all the Xboxes we can make. There’s more demand for Xboxes than ever before in our history.” As regulators look at the deal, Microsoft is arguing to European regulators, “Hey, we need this to even compete.” The quote is, “Xbox is the last place in console, where it’s seventh place in PC,” — this is a quote from Microsoft — “and nowhere in mobile game distribution globally. So we have to be able to buy Activision to even be competitive.”
At the same time, you’re on this show saying, “There’s more demand for Xbox than ever. We have this amazing suite of products that can meet people at all of their price points and economic conditions.” How do I reconcile those two things?
Well, on console, I think you could admit that both can be true. We can be in third place and have more demand than we’ve ever had. That’s completely possible, because I think the other console manufacturers are also seeing more demand than they’ve ever had. I don’t think anybody needs that quote from us to understand how irrelevant we are at mobile. Right? Anybody who picks up their phone and decides to play a game would see that on their own. For PC as well — our trials and tribulations over the last five, six years in PC gaming are well-documented, and we continue to work at it. I love the work that the Xbox app team and our PC studio have been doing, but it takes time. I think one is just an accurate snapshot of where we are.
In terms of the Activision opportunity — I keep saying this over and over, and it is true — it definitely starts with a view that people want to play games on every device that they have. In a funny way, the smallest screen that we play on is actually the biggest screen when you think about the install base in a phone.
Mobile is a place where if we don’t gain relevancy as a gaming brand, over time the business will become untenable.
That’s just a place where if we don’t gain relevancy as a gaming brand, over time the business will become untenable. We’re not alone in seeing this; this is true for any of us. If you’re not able to find customers on phones, or on any screen that somebody wants to play on, then you really are going to get segmented to a niche part of gaming where running a global business will become very challenging.
Let me push on that a little bit. Draw that out. So you’re saying if you don’t initiate customers on their iPhones or their Androids and they’re not playing there, then eventually the Xbox becomes a niche part of gaming that is not globally sustainable?
Well, let’s just start with console all-up, and maybe this is vocabulary but it’s how I think about it. Let’s say the gaming industry right now is $200 billion, and maybe growing by 9 or 10 percent. That is probably a 2021 number, but let’s just use that. If console as a business is flat, and PC is basically flat, yet it’s still growing at 9 or 10 percent, that means all of the growth is happening in mobile.
This has been true if anybody looks at the numbers for five or six years; all of the growth in gaming has actually come on mobile phones. As a percent of the overall gaming business, console business is shrinking, because the overall business is growing while console stays relatively flat, as does PC.
Then when you look at the largest gaming companies out there, Tencent being the biggest gaming company in the world, so much of their revenue comes from mobile. They put their business success that they have earned through their work into the market, acquiring other studios at a very fast rate. It puts a lot of us out there, who are maybe traditionally segmented to one screen and one device, in a position of, “Okay, if you play this out over 10 years, if console itself will not grow, PC will grow in certain years and not others, and mobile will continue to grow, how do you continue to run the business and stay competitive with others that are out there acquiring talent and building new business models, new distribution, and new franchises?” It’s critical that if you’re trying to run an at-scale global gaming business, you meet your customers where they want to play, and mobile is more and more that place.
Now, in addition to that, there’s also creative capability around social, casual free-to-play on mobile. I also think our studio organizations need to be great at building many different kinds of games that many different kinds of players play. Not to downplay the great success that we’ve had over the years with the games that we love to build, but in running a business like Xbox, you need to be globally relevant to anybody who wants to go play.
“Candy Crush makes more than Activision and Blizzard.”
I’m looking at the Activision Blizzard numbers. They are structured pretty independently. There’s Activision, there’s Blizzard, and then there’s King, which is the division that makes Candy Crush. I just saw their earnings. King makes more than Activision and Blizzard. Candy Crush makes more than Activision and Blizzard.
Are you surprised by that?
I’m not. I think our listeners are probably going to be surprised by that.
But that’s not new.
You’re buying the Candy Crush company. People think about it as Call of Duty or whatever, but you’re buying Candy Crush.
Absolutely. In addition, the number that’s not in the Candy Crush/King number is Call of Duty: Mobile and Diablo mobile, which are big franchises that exist in that Activision and Blizzard bucket that are also major players on phones. Yes, the idea that Activision is all about Call of Duty on console is a construct that might get created by our console competitor and maybe some players out there.
You mean Sony, by the way. You don’t mean Nintendo. You mean Sony.
I haven’t heard Nintendo sending in any complaints about the deal. If you look at the totality of what Activision/Blizzard/King does, where their customers come from, and where they make money, the stats that you put out are not new. This has been many, many years.
It’s the same reason that Take-Two looks at Zynga and says, “Okay, we have to build out our mobile capability.” I would say Activision/Blizzard/King did a better job of doing that earlier, and definitely better than we did. They are now in a position where they have great PC franchises, great console franchises, and great mobile franchises.
The real differentiation that Activision adds for us is their mobile capability.
The real differentiation that they add for us is their mobile capability.
I was looking at some reporting yesterday to prepare for this interview. It sounds like the Activision side of this deal is saying, “Just do whatever the regulators want and close this deal so we can get paid out and go away.” The regulators are saying, “We want to impose all these conditions on you.” Most notably, Sony is making a lot of noise about Call of Duty and how long it will stay on the PlayStation. Are you prepared to make the concessions that regulators might want to close the deal?
I have not sat down with a regulator where they have proposed any regulations. I think what people are purporting to report in the press about what’s happening is maybe more rumor and hearsay. I have said, specific to Call of Duty on PlayStation and Switch — because I would love to see them on both, and I don’t want to make this about just one of our console competitors — that it’s something that we want to do. It’s in our models when we think about how this plays out over time. The financials of Activision is that Call of Duty would stay on PlayStation. We are definitely open to discussions with either Sony or regulators about making sure that that continues to happen in a way that they want to see.
I will say, for things like Minecraft — which is my kind of go-to example, because I think we’ve run Minecraft the way that we would run Call of Duty if we were to close this deal — we don’t have a multi-year deal with Sony or Nintendo to put it on those platforms. There seems to be some notion that you have to have some long-term structure in order to continue to support those other platforms. We support Minecraft on those platforms because of how people should analyze this deal, which is about customers.
When I think about where we are in Activision/Blizzard/King and the regulatory work, I think we should be analyzing whether we are going to harm players. Is there a world where players have less choice in the market, or is there some kind of blocking that we do? We are committed to continuing to ship Call of Duty on PlayStation. People are worried about that. We are committed to putting these games in Game Pass, which gives people more options in how they want to go play these games. Nobody has presented to me a case that shows how Game Pass is bad for customers.
From the value of a customer, I have a ton of confidence in how a regulator, or anybody else, looks at this deal and says, “Okay, I have a point of view on how this deal impacts the real important constituents, which are the players.” I don’t think the regulatory view on this deal should be about how we compete with one of our competitors. Almost by definition, there is give and take in market share and other things when we’re competing with other companies. In terms of players, I look at whether we can bring benefit to the players in the gaming market through this deal. I think we can.
You have walked into a major philosophical debate in competition law that we do not have enough time to fully explore. The question there, and the difference between the United States and Europe, is that the United States looks at consumer welfare and Europe looks at the amount of competition in the market. In the United States, the Lina Khan version of the FTC is trying to make the change and say, “Actually measuring competition is better because it has downstream effects on consumers.” Do you see that split? Does it come to you from your legal teams that, “Hey, here’s the US standard, here’s the European standard, and here’s the strategy we have to pursue, because either one of these regulatory regimes could block this deal.”
Anybody who has looked at my resume understands that I’m a guy who wrote code coming out of college and I play a lot of video games. I’m not a lawyer.
You’re just an unfrozen caveman.
That’s right.
Sure. I buy it. You’re the CEO of Microsoft Gaming. I know that you have lawyers.
No, we have lawyers. I will have discussions with them about approaches. I always come back to, “How does this impact our players, our customers, and even customers on other platforms?”
“We’re committing, and I’ll do it publicly. We are going to ship games on PlayStation if that is where the focus is.”
We’re committing, and I’ll do it publicly. We are going to ship games on PlayStation if that is where the focus is. We’re the third-place player in console, and I don’t think anybody can argue that we’re not. We have been third since we started, just in terms of global install base — and that’s like 20-plus years.
I understand a view on how this might impact competitors and I welcome the conversations that any of the regulators are having with other gaming companies. I think it’s a valuable process, and I think we should end up in phase two in whatever that means in all of this. It’s a big deal, and it’s an important category. I understand the discussions that we’re having, and I think they are valuable and useful in terms of the public discourse around video games and acquisitions. No harm there at all. In fact, I enjoy the conversations.
In terms of the impact that we have on competition, I want to be more competitive in gaming, not less competitive. At some level that will mean you have an impact on the other players that are ahead of you in the race. I think that’s almost the definition of competition.
You mentioned not having a contract or a deal for Minecraft. We do have some reporting. Our own reporter, Tom Warren, had it that you promised Sony three years of Call of Duty. Sony said that’s not good enough. You recently have a quote that says, “You will have Call of Duty on PlayStation for as long as there is a PlayStation.” Which is a great quote by the way, because of the implied threat that it contains. I appreciated that.
It’s true. You’re like, “One day there won’t be a PlayStation. I’m coming for you.” I appreciated that about it. Have you made that promise to Sony, that you will ship Call of Duty on PlayStation as long as there is a PlayStation?
I mean, when I’m standing out publicly saying it, I would assume anybody at Sony would see that.
Well, they can’t hold you to that. I mean, they can’t take you to court because you said it. I mean, saying that to me in my show, it’d be great if they filed a lawsuit based on Decoder. That’s a huge win for me, but you have to write it down for them.
No, you don’t. That’s what I’m saying. I support Minecraft. I support the players on PlayStation who want to play our games like Minecraft. We don’t expand Minecraft Dungeons and Minecraft Legends out of any contract we have with Sony, but the contract we have with our customers. That is what’s important.
I understand in the optics of this deal that we might want to make — and I’m totally open to doing this — a contractual commitment to Sony for some number of years that says, “Okay, we’re going to continue to ship Call of Duty on PlayStation.” I’m totally open to that. No issue at all. This idea that we’re going to write a contract that says “forever” doesn’t make sense to any lawyer. There is obviously a business relationship between the royalty exchanges and other things. You’re not going to give up any ability to do what you need to do and the flexibility with the business in the future.
When I’m saying things like, “As long as there is a PlayStation,” there was no implied threat at all. I hope there’s a PlayStation forever. I do. I think PlayStation and Nintendo are great for the gaming industry. Hopefully I have been consistent in saying that. All I mean is that at some point you have to have the ability to run your business, and not just the console business. It’s not about pulling the rug out from underneath the PlayStation 7’s legs at some point, like, “Haha, you just didn’t write the contract long enough!”
There’s no contract that could be written that says “forever.” Our model is we want to be where players are, especially with franchises the size of Minecraft and Call of Duty. I think our Minecraft history is coming up on eight, nine years and it shows in practice how we will support our customers. That’s what I want to do with Call of Duty.
This idea that we would write a contract that says the word “forever” in it is a little bit silly, but to make a longer-term commitment that Sony and regulators would be comfortable with, I have no issue with at all. I do think there’s going to be a time horizon, just like anybody writing a contract would suggest there should be and will be, but it has nothing to do with any kind of “strategery” there. We think Call of Duty will be on PlayStation as long as players want to play Call of Duty on PlayStation. That’s not a competitive threat against PlayStation. That’s just a kind of pragmatic way of looking at it.
This brings me back to game streaming, because that is one way you could get Call of Duty on PlayStation.
“Native Call of Duty on PlayStation, not linked to them having to carry Game Pass or streaming… There’s nothing behind my back.”
Native Call of Duty on PlayStation, not linked to them having to carry Game Pass or streaming. If they want a streaming version of Call of Duty, we could do that as well, just like we do on our own consoles. There’s nothing behind my back. Call of Duty: Modern Warfare 2 is doing great on PlayStation and on Xbox — so will the next game, and the next, and the next. Native on the platform, not having to subscribe to Game Pass. Sony does not have to take Game Pass on their platform to make that happen. There’s nothing hidden. We want to continue to ship Call of Duty on PlayStation without any kind of weird, “Aha! I figured out the gotcha.”
I wasn’t even coming at it that way. I’m glad that you interpreted it that way. I wasn’t even going there.
No, it’s fine. I understand some people’s concerns on this and I’m just trying to be as clear as I can be.
Yeah, someone has sent you the digest of angry tweets about this. I can tell that you’re ready to fight with the people online.
I’m not fighting.
The last time you were on in 2020, we did talk a lot about game streaming and all the places you could put a viable game streaming app. One of them was obviously competitor consoles. That’s a pretty interesting way to do it. You said within a year that, “We’ll have a streaming stick, we’ll just do it and you can plug it into TVs.”
We didn’t do it.
You didn’t do it. Recently you said you were, “years away” from this idea. What happened there?
The console we built, that now people have seen…
Keystone.
Keystone. It was more expensive than we wanted it to be when we actually built it out with the hardware that we had inside. We decided to focus that team’s effort on delivering the smart TV streaming app. It was really just a direction, “Okay, we’re going to focus our effort on our partnership with Samsung and where that app might continue to show up in different places over time.” With Keystone, we’re still focused on it and watching when we can get the right cost.
When you have Series S at $299 — and during the holidays you might see some price promotions — and you obviously have Series X higher, I think in order for a streaming-only box to make sense, the price delta to S has to be pretty significant. I want to be able to include a controller in it when we go do that. It was really just about whether we could build the right product at the right price, or if we couldn’t, how could we focus the team’s effort? We decided to go do the TV app with Samsung, and we’re really happy with the results there.
What’s the right price?
I don’t want to announce pricing specifically, but I think you have to be somewhere around $129, $99 for that to make sense in my view. We just weren’t there with a controller. I love the effort. The reason it’s on my shelf is because the team rolled up their sleeves and in nine months they built that thing. A bunch of us took it home and it worked. It worked really, really well.
When you are building new products, it’s always about, do you have the right design? Do you have the right user interface? Do you have the right customer proposition? That customer proposition includes the price, and I think all of us knew that we were a little out of position on price.
Was the price too high because of the processor or the controller inside? You keep mentioning Samsung TVs. They are not processing powerhouses. Everyone who’s ever used a smart TV knows these things are underpowered out the gate and they feel even more underpowered over time.
This is why we will get there. It’s different when you have your own power source. Not to go into the hardware design, but if this thing is standalone, it’s not living on the power source and the integrated circuits that are already in the TV. You have to do everything bespoke. We made some decisions to make it easy. When it is turned on, it looks like an Xbox with the user interface and everything works. Some of the silicon choices we were making at the time of designing just didn’t let us hit the price point that we wanted.
I love when teams go off; it was kind of like our back-compat team back in the day. I applaud when teams go off and take a crazy mission of, “We’re going to build a streaming console and all try it at home, and the experience will be really good.” I love when teams take risks and deliver. I think it’s fantastic.
Here’s one of the things you’re going to run into in that kind of market. Obviously Samsung has a smart TV platform. They’re pretty dominant, and they sell a lot of TVs. That is a good way to address the customers. If you want to ship that app at scale, you have to build a Roku version, a Google TV version, a webOS version, an Apple version, et cetera. Is that the plan? You’re going to build versions for all these different app stores?
What we did on our tech roadmap, people might have remembered that we started with an app for our streaming when we were early in testing on iOS and Android. We fairly early switched over to building a PWA, a progressive web app, and were available in any kind of Chromium-based web browser.
It gives us a lot of flexibility in terms of where it shows up when you have a PWA in your arsenal and you are accessible via URL on Chromium. As we look at device expansion and where our services might end up, some of it we have nothing to do with it. We’re like, “Hey, if you have a good web browser, you can pin this URL and the experience is pretty good.”
Certain mobile phones won’t let us do that, but there are certain platforms out there where that is an option. The PWA gives us a lot of flexibility, so that we don’t have to port a native app to every one of those ecosystems like you’re talking about. That is kind of where our focus is right now for expansion — on our PWA app experience and on the URL experience. Maybe at some point we’ll get to building more bespoke apps where we need to, but we’re getting pretty good expansion just focusing on URL and PWA.
PWAs are really interesting progressive web apps that load in the browser. One of the reasons you have a PWA is because Apple wouldn’t let you put game streaming in the app store, as it famously came out. There is the Epic Games lawsuit, and Microsoft is supporting Epic’s appeal of that lawsuit. You talked a lot about having to expand in mobile, right? This is why you’re buying Activision — to get that big foothold in mobile. Is Apple still the blocker there?
Well, we also can’t monetize on Android. If you tried any of the games that are in the subscription that have a business model, we have to monetize outside of the app experience for those. Which for some users is no issue, but for other users it is. So I don’t think it’s just one of the duopoly. It’s not just Apple in the mobile space; I think Google constricts it as well.
It’s discoverability, because I think we probably both say these app stores aren’t just about deploying bits, but they are where you go to find things. Anybody who has an iPhone right now can go and type Fortnite in the app store and see what shows up. You don’t get a link to xbox.com/play/Fortnite, I’ll tell you that. You get a link to some things that aren’t Fortnite that are trying to fool you into thinking they are Fortnite, because people use these app stores as discovery.
It’s about discovery of things that you want to play, easy access to those things, deployment, and, in the end, monetization, so that the creators can actually build a business. Mobile is a place that we are really challenged. You’re absolutely right. I think in order to help break that, we need some regulatory help there. Also, having a real footprint with players engaged every day in games that we build can help cross-promote to other things that we’re doing on phones, and can really help us with discoverability. It’s a high-beta bet that you’re actually going to build any kind of monetization on mobile phones outside of Apple and Google today. I like those kinds of bets, and it’s a significant underpinning to our strategic analysis of why Activision/Blizzard/King is interesting for us.
Do you think that products like the Logitech cloud-streaming handheld, the Steam Deck, and other cloud-streaming handhelds provide leverage against Apple?
“Just look at what Apple did to Fortnite, one of the biggest games in the world. When the suit came up against Epic, they just threw the game out of the store.”
No. I mean, I love those devices. I’m traveling right now. I’m in New York City and I have my Logitech with me. I’m playing in the hotel room, and it’s great. But I mean, just look at what Apple did to Fortnite, one of the biggest games in the world. When the suit came up against Epic, they just threw the game out of the store.
Could you imagine a console deciding that, whether it’s us or Sony and Nintendo? “Oh we’re going to just throw one of the biggest games on the platform out of the store.” I mean, our relationship with creators is much more linked to our joint success. It just shows the market power that these companies have on the largest screen — which is the small screen, the phone — that they can just throw big games out. I don’t think Apple or Google feel threatened by Logitech G Cloud, the Razer device, or Steam Deck. I just think that’s a different market.
So we just saw Google shut down Stadia. That was their big bet into game streaming. They made a lot of noise. I don’t know what they were doing, it’s Google, they launch things and shut them down all the time. From your perspective, trying to build a streaming product, having Xbox, seeing a huge competitor come in and then leave, what did you take away from that? What did you learn from that?
I always learn when other teams are building new games, new genres, and new business models. I have a lot of friends that worked on Stadia and were there at the beginning of it. I love the technology investment that they made. I thought they did a good job building out a cloud platform, and the hardware that they had was strong.
To me, I thought the extra step that they could have added would’ve been some form of content subscription. When I thought about a customer base — because we were obviously going through similar math at the same time on how we should go to market — to have the predominant way your business model runs around a streaming subscription be built around the purchase of games early on in the introduction of a new technology… I don’t know if I’m right or wrong, but our view was that’s not how we should start. We should start with something that has a lower marginal cost for a customer. Meaning, “Okay, I paid $10, $15, so I can stream some games. Then I can test to see whether it works for me.”
Also, we added it to console and to PC, so we gave people options in the devices where they already love playing video games. If you don’t want to wait for that game to download on console, just play from the cloud, or you can try to figure it out and make these things available on PC. Not to make it something against console or PC, but to embrace where people love to go play, to extend and give them more options, including the business model of how a customer builds their library.
It’s always easy to say this in hindsight, so I’m not saying I’m smarter than anybody who works there, but to us that was the extra step that you needed to take in order to get people to at least try and stick to the streaming service. We’re seeing that now that we’ve had over 20 million people use xCloud. There are certain markets where a majority of our customers are playing on the cloud on Xbox, and we think it’s great that we can offer that option to people.
One thing I’ve heard about Google’s plans for Stadia is they are going to white-label it. They actually now have this ability to say, “Okay, we can run a game engine in the cloud and stream it to you wherever you are.” That’s going to be great for the future of VR. You don’t need all the processing power in the headset and you can make it way thinner and lighter. “We can stream the game engine that is running the metaverse to you. It’s a good thing we built this technology.” Do you see that same opportunity for what you are building with xCloud?
This has nothing to do with us being in or not being in VR. I would say specific to VR, latency frame rate is so critical to comfort for players. We have definitely learned that over the years. I’m not sure I would start with a proposition that my cloud streaming platform was great in that space. I’m not saying it can’t get there eventually.
But giving creators the option of delivering a game instantly to players, whether they are watching YouTube, Twitch, TikTok, or whatever, or as a way of distributing demos or builds to get feedback — I think there is real use for a cloud infrastructure that can allow creators to distribute gameplay to their customers almost instantly. Not to the exclusion of people downloading and playing the games, but as just another option for them. Absolutely, I see that, and I think what Google has built will find real application there. No doubt about that.
Mark Zuckerberg has felt a lot of the same pressures you’re describing from Apple and Google. They are in control of his business and his monetization, and he has just burned money on metaverse devices. I have a Quest Pro and a Quest 2. Quest 2 is actually a pretty good game console, if you think about it as a game console.
Yeah.
As an appliance, it’s a great product. You were recently quoted in The Wall Street Journal as saying, “The metaverse is a bad video game.”
That’s not exactly what I said.
On the margin, that’s what you said. Microsoft just made a big deal with Meta to put Office, Xbox, and all this stuff in Microsoft’s version of metaverse. Where do you see those things colliding? Is it just another bet that Microsoft is making, that you, the CEO of Microsoft Games, are participating in? Or is it, “Oh boy, video game worlds are going to suddenly render all of reality for us. I’d better start inching closer to it.”
“What I meant to say is that we’re early on in metaverse.”
I’m going to start quickly on my quote, because I think what I meant to say is that we’re early on in metaverse. This idea that immersive 3D interaction between players, employees, or customers can be more interesting than 2D interaction has been proven in video games. We have seen it. Most video games today are 3D, and people love getting together in communal games and playing. I think there is a future there. The worlds that people are building today can be a little more imaginative in what they look like, and they can use some of the best tools that are available to video game developers to make those spaces more interesting. I think we’ll get there.
In terms of the interaction with the rest of the company, I’ve used the Quest Pro, and I think it’s a really great piece of hardware. I think Quest 2 is also fantastic. If people ask me today what’s in the market like, “Hey, I’m really interested in VR, what should I get?” I would tell people to get a Quest 2. I love the fact that Sony continues to invest in VR. I think as a games industry, we should always be trying to evolve our creative palette. That doesn’t mean we all have to do exactly the same thing. But as an industry, games have always been one of the early adopters of new technology and new interaction models. I think VR, AR, metaverse is one of those things for us to have a foothold in and to learn.
For us, in terms of the interaction on Quest Pro specifically, that is more of a Microsoft thing than an Xbox thing. Meta had asked, “Hey, we have this PWA architecture and xCloud works, so is it cool if we show it?” They have the Bluetooth binding so the controller works, and we love people playing Xbox games on any screen that they want to play on. We were happy to support them in doing that.
Given the price point and the enterprise focus of that device, It’s a little different than where Microsoft is. I don’t think it’s the last time that you will see something on Xbox show up in a VR or AR space. We have teams that build great VR games. Think about Flight Simulator and the work that some of the Bethesda teams have done. I like to continue to learn and push on things.
We’re focused on our Xbox mission, and we have been pretty deliberate about expanding from console to PC to mobile. VR/AR is not a big focus for us in gaming right now, but it is something that we’ll constantly learn about and track on where other players are.
It seems like the whole tech industry is in a period of retrenchment. We have seen that some companies are starting to do layoffs and that some companies are starting to do hiring freezes. You are headed into a holiday quarter. Even in the games industry, Google said, “You know what? We can’t just keep throwing money at Stadia. We have to walk away from this.” You are saying, “All right, maybe we have to take a pause on this streaming stuff until we hit our price points.” Your last earnings, the Game Pass numbers, were not where you thought they were going to be. It just seems like we are in a big period of retrenchment, waiting for things to break and calm down. How do you see leading Microsoft Games through this period, where it seems like a bunch of things we thought were going to change actually didn’t change as much as we thought they were, and it’s time to focus?
It’s a really thoughtful question and something I think about a lot in my position. I want to run an organization and a product that has a commitment to our customers. We want to have a long-term vision that succeeds from a business perspective, because that means that their experience on Xbox will continue. Same thing for the teams that are working on Xbox and their investment and their own time and energy in the things that we build. I take running a successful business as a very serious part of the job. We’re doing that today. We run a profitable business in Xbox. I love the different ventures that we have doing xCloud, Game Pass, PC app, and mobile.
I think all of that is important to build a long-term business strategy that leads to business success that means customers can bet that Xbox will be here today, it’ll be here tomorrow, and it’ll be here into the future. And that the teams that are working here can understand that they work in a stable place that is a long-term commitment from Microsoft.
I think there is nothing more fundamental to my job than building out a stable business strategy, a people strategy with the people that work on the team, and ensuring that the business strategy leads to financial success, so that we can continue to invest in this category.
Well, Phil, it’s always a pleasure to talk to you. Thank you so much for joining us on Decoder.
Yeah, thanks for having me. It was great.
A podcast from The Verge about big ideas and other problems.
/ Sign up for Verge Deals to get deals on products we’ve tested sent to your inbox daily.
The Verge is a vox media network
© 2022 Vox Media, LLC. All Rights Reserved
'Hamilton' music director hosts master class for students – University of Miami: News@theU
Best known for his groundbreaking work on Broadway productions “Hamilton,” “In the Heights,” “Wicked,” and “Dear Evan Hansen,” renowned arranger, orchestrator, composer, and music director Alex Lacamoire’s work has redefined the sound of Broadway.
Last Friday, hundreds of students from the University of Miami Frost School of Music got a front-row seat to listen to the award-winning insights of the musician during a master class at the Maurice Gusman Concert Hall.
As a music director and orchestrator, Lacamoire is a four-time Grammy winner, three-time Tony winner, and Emmy award winner for his work. In 2018, he and his “Hamilton” colleagues—including Broadway innovator, Lin-Manuel Miranda—were the recipients of a joint Kennedy Center Honor as trailblazing creators for their work on the American musical phenomenon that broke ground in the theater world. “Hamilton” earned 16 Tony nominations in 2016, the most for a single show in Broadway history.
Lacamoire came to the University to discuss his approach to creating an experimental style of hip-hop and pop music for Broadway, shared his stories and experience as a music director, and offered advice to students looking to break into the industry. The session opened with a panel discussion, which, along with Lacamoire, included Frost School assistant professors Daniel Strange, Raina Murnak, Jeffrey Buchman, and lecturer Laura Sherman.
During the conversation, Lacamoire discussed the origin of his passion for music at a young age and his deep ties to South Florida. Lacamoire, a Cuban American, moved to Miami from Los Angeles in 1984 at 9 years old, and he attended the New World School of the Arts as a teenager.
“My memories at the time are just being so consumed by music in a way that was bordering on obsession. I will say that I think that is what always fueled me. It was just this belief that music was what I was meant to do,” he said.
In addition to his credits on Broadway hit shows, Lacamoire’s recent endeavors as a musical maestro include the motion pictures “The Greatest Showman” and “Vivo.” He also recently was tapped to work as the musical supervisor of a Broadway revival of the production, “Sweeny Todd: The Demon Barber of Fleet Street.”
During the panel, he recalled the first time he saw the musical as a teenager—a 1990 Frost School production of the show at the Gusman Concert Hall.
The panelists asked Lacamoire for his foresight on the direction of Broadway’s musical sound, noting that his compositions have been revolutionary to the landscape of musical theater and his approach to the use of rhythm in his arrangements.
“I think all of us would agree, you have been part of really redefining the sound of what Broadway could be,” Buchman said during the discussion. “I think for so many of us, and these young musicians here, you have created an environment where, I believe and they now believe, that the new sounds they hear can find a place [on Broadway]. And they do not have to fit into an existing model. They can redefine the model.”
Lacamoire went on to share personal anecdotes from his career, including his time spent as a music director on “Wicked” alongside Sherman, who was a harpist for the original Broadway production.
She pointed out how Lacamoire’s attention to rhythm, feeling a beat, and use of knowledge of different genres of music, fused with a classical music approach, is important for students to understand as they create and perform their own music, something she encourages them to do in the classroom.
“Not only is he known as being a brilliant and diverse musician, but what you might not know is he is also one of the most positive, kindest, and most considerate people in the business,” Sherman said. “[He] and Lin-Manuel just raise the bar for being kind to others.”
Before welcoming student performers to the stage, Lacamoire gave students a glimpse into his creative and collaborative process. He highlighted his relationship with Miranda, with whom he has worked on major projects including “In the Heights,” “Hamilton,” and most recently, “Vivo.” 
“When I’m working with Lin-Manuel, there’s a level of trust there,” he said. He went on to recount a time during the rehearsal process of “Hamilton” when the director, Thomas Kail, advised Lacamoire to revisit a song in the show he had orchestrated. Lacamoire noted to the audience that trusting his collaborators, and their process, allows him to perfect the output of his music.
“If you trust your collaborators, just know they have the interest of the show in mind. They have a bigger picture. If something isn’t hitting the bullseye, just be careful when you’re going to dig in your heels and say, ‘No, no, no—this is my song, and this is how I wrote it, and this is how it’s going to be,’ ” he said.
“In theater, and in the world that I work in—whether it’s theater or film—that kind of malleability is so important,” he added. “To be able to write a song, rewrite the lyrics, rewrite the cut, or scrap the song entirely and write a new one, you have to trust that you’re going to be able to come up with something else that is going to suit the moment better, something else that is going to feel more ‘right’ for the moment.”
Following the panel discussion, four Frost School students—Daniel Fiamengo, Sydney Altbacker, Chad Nelson, and Zoe Argabright—performed a variety of musical pieces for Lacamoire.
Altbacker, a senior studying music theory composition, performed an original song she wrote, accompanied by her classmate, Robert Grande, a junior studying music engineering, on the piano.
“It felt really great,” she said. “I write for myself to release myself. Being able to share it with someone who understands the craft so intimately and does so much work in the field was so incredible.”
Nelson, a senior studying music business, performed an original rap song he wrote. He said he uses his songwriting to overcome hardships in life. He began journaling at a young age. His writing translated into poetry and eventually songwriting, which he performed during the master class.
“[Lacamoire]’s done so many incredible things. It’s extremely humbling to be here and have this opportunity,” Nelson said. “Being able to see his collaborations and how he’s been able to take rap and hip-hop and tie it into musicals and Broadway really shows how limitless the opportunities are for any musician to be able to translate what they make to fit into any sector of the industry.”
Lacamoire gave the students high marks. “I know it’s a very nerve-wracking thing to get up in front of anyone and perform anything, particularly original music. I know how vulnerable a place that is and to put yourself out there in the world like that. I was very impressed with all that you did, all that you sang, and all you created,” he told them.
To conclude the event, he returned to the stage for a question-and-answer opportunity with the students. One by one, attendees got to ask him about how he uses music as a voice for change, the role he plays in the final engineering and mastering of his musical pieces, and how to prepare themselves for life after college.
Regan Pilgrim, a second-year master’s student in French horn performance, has been following Lacamoire’s career since 2016 when she discovered “Hamilton.” The musician from Texas left the event inspired.
“It was so cool to see him interact with our faculty and students, and the advice that he gave us is so invaluable,” she said.
Copyright: 2022 University of Miami. All Rights Reserved. Emergency Information Privacy Statement & Legal Notices Title IX & Gender Equity Website Feedback
Pentiment Review: A Master Of Its Craft – TheGamer
An incredible generation-spanning historical adventure.
In 16th century Bavaria, artist Andreas Maler is working in the scriptorium of Kiersau Abbey, a monastery near the sleepy rural village of Tassing. Along with a small group of monks, some of whom are so old they can barely hold a brush, he illustrates historical and religious manuscripts for wealthy clients—including Baron Lorenz Rothvogel, an important patron of the abbey. When the monks are busy praying, the abbot lets Maler work on his masterpiece: the next step in his journey towards becoming a master artist. But his career is put on hold when tragedy strikes and his peaceful life is thrown into turmoil. The baron is brutally, bloodily murdered, setting in motion a story that spans decades.
Maler's friend, an elderly monk named Piero, is found next to the victim's body holding a bloody knife—which is enough evidence to convince the abbot that the old man is the culprit. This is the 1500s, remember: there's not exactly a high burden of proof here. But Maler knows his friend is innocent and takes it upon himself to solve the crime. In a few days the archdeacon will arrive in Tassing to deliver the final judgement, giving Maler limited time to discover the truth and point an accusing finger at someone. Critically, however, whoever he points it at will be summarily executed—so he better be right. It's a strong premise, but Pentiment is more than just an early modern L.A. Noire.
It's a simple game, at least mechanically. You walk around, you talk to people, and you occasionally partake in small, fun minigames. There isn't much else to it. But you're free to wander the abbey, Tassing, and the surrounding countryside at your own pace. Some decisions and activities will make several in-game hours pass, which is important to consider with the archdeacon galloping rapidly towards the village. But you'll always be warned if what you're about to do will eat into your time. Otherwise you can spend as long as you like exploring the town, getting to know the locals, having long, interesting conversations with them, and finding clues that could help you find the baron's killer.
While Pentiment may be simplistic compared to other Obsidian games, its branching storyline, which takes place across 25 years, is anything but. This is a supremely rich, reactive, and impressively pliant interactive narrative, with certain decisions affecting the world and characters in dramatic and occasionally shocking ways. It's a game where you really have to think about what you say and do, where the consequences of your actions might not be immediately felt, but could surprise you—positively or negatively—an entire generation later. There are a few critical points the story will always hit no matter what, but outside of those it's your lump of clay to squish and mould.
Cleverly (and perhaps controversially for some), the identity of the murderer, and that of someone behind another crime Andreas gets involved in later in the game, are never confirmed. There's no canonical culprit on Obsidian's side, meaning you simply have to live with your decision. Pentiment isn't a claustral police procedural where you gather all the suspects in the chapterhouse and lay out the killer's ingenious plan like a 16th century Poirot. Dig deep enough and you'll find compelling motives, circumstantial evidence, and other things that might point to a certain person. But there's no forensic evidence to back them up. Ultimately, it's down to instinct—and people won't forget who you accuse.
While Pentiment is not strictly an RPG, it does offer plenty of opportunities for role-playing. Maler is, in some ways, a fixed character. But you can also make some choices about his past that impact the narrative in a lot of minor, and some major, ways. My Andreas spent his wanderjahr, or wandering years, in Italy, and as a result can speak Italian, a little Greek, and can reference cultural touchstones from the region. I also decided he was a hedonist, making him socially adept and well-versed in all the enjoyable vices the Holy Roman Empire has to offer. I mean, he is an artist after all. This trait opens up some of the game's funniest dialogue, usually at the expense of disapproving nuns, priests, and monks.
My Andreas also studied medicine at university, learning about the human body, death, and illness. This came in handy for establishing the gruesome particulars of the baron's death. Additionally, he has an understanding of the night sky, constellations, heavenly bodies, animals, plants, healing herbs, and my personal favourite, the occult. Alchemy, necromancy, magic rituals, ancient rites—you name it and he's studied it, albeit from a purely academic perspective. The last thing you want to be caught doing in the 1500s is actually dabbling in black magic and witchcraft. These traits combined to create a character that felt unique to me, and your version of him will likely be very different to mine.
Between acts, the game takes you inside Maler's dreams, where he speaks with historical figures including Greek philosopher Socrates, legendary Christian patriarch Prester John, and Saint Grobian, the patron saint of crude and vulgar people. On occasion, when presented with a potentially impactful choice in the waking world, these characters will act as advisors. Socrates may suggest a tactful, philosophical approach (as philosophers are wont to do), while the mischievous Grobian will encourage you to give into your basest, most selfish urges. A neat narrative trick, but a little underused. As the game went on there seemed to be fewer of these amusing moral interventions.
But what really makes Pentiment special is Tassing itself. You spend the whole game here building relationships with the villagers, learning local customs, uncovering thousands of years of history, and becoming a familiar, trusted face around town. You'll make a few enemies too—especially when you start getting people executed. There's a lot of talking in the game, which is entirely text-based, but with a memorable cast of colourful, quirky, nuanced, flawed, and beautifully written characters. I never once resented having to speak to anyone, even if it meant slowing the story down. Quite the contrary: I was eager to tease every morsel of dialogue I could out of these fascinating people.
Tassing feels like a real, functioning community, not just a movie set filled with actors. The more time I spent there, and the closer I got to the villagers, the more like home it began to feel. Through Andreas I learned about old grudges, forbidden romances, dark secrets, hopes, dreams, and fears. Some games struggle to make me care about a single character, but Pentiment had me deeply invested in an entire village. I fell in love with these people, which made any moments in the story that jeopardised their livelihoods, health, or happiness almost unbearable. Life is tough in the 16th century, particularly for the hard-working peasants who make up the majority of Tassing's population.
This is an incredibly moving game, with a story that hits some powerful emotional beats. It floored me several times, and I haven't stopped thinking about certain scenes, or its remarkably poignant ending, since I first rolled the credits a few days ago. When I finished it, which took just short of 17 hours, I had that lost, shattered feeling you get when you finally finish an amazing book. Pentiment sets itself up as a straightforward murder mystery, but it's a very human story about finding your place in the world, how the choices we make can echo through the ages, the lies we tell ourselves, and each other, to make life easier, and how much we're willing to risk for our convictions.
That all sounds pretty heavy, but it's a surprisingly warm, funny game too. One of the coolest things Pentiment does is humanise its historical setting. When you see period depictions of life hundreds of years ago, it's so disconnected from our current reality that it can be difficult to place yourself there. But by populating Tassing with regular, everyday people with relatable flaws, insecurities, passions, and eccentricities—and cracking a few jokes—Obsidian effortlessly draws you into this richly painted corner of the distant past. The laws, beliefs, and traditions of 16th century Bavaria might be wildly different from the times we live in now, but us human beings have always had a sense of humour.
As for aspects of the game's painstakingly researched historical setting that are harder to grasp, Pentiment helps you out with a brilliantly useful glossary system. Certain words, names, places, and phrases will be underlined in dialogue, letting you click on them and pull up a short, clearly written explanation of what they mean. This is another way the game makes its setting approachable, and when I finished it I knew a hell of a lot more about this time period than I did going in. It's also led to some extracurricular reading, and many hours spent on Wikipedia diving more deeply into some of the topics covered. This is a game you can really lose yourself in, and I gladly let that happen.
Fittingly for a game starring an artist, Pentiment is also stunning to look at. Its most inspired visual touch is undoubtedly its use of typography. When you speak to someone, the style their dialogue is presented in reveals something about their social standing, education, background, or personality. Monks, nuns, and other religious types speak in an elaborate gothic script that recalls the intricate illuminated manuscripts produced at the scriptorium. Peasant dialogue is loosely scribbled in a modest cursive. When a printer speaks, a row of printing blocks is lined up and stamps their dialogue all at once in a neat serif font—complete with imperfections where the press hasn't spread the ink evenly.
When a line of text is written, the wet ink glistens momentarily before drying and sinking into the parchment. If a character is upset, ink will splash on the page creating a sense of their frustration or anger. Important religious terms like God and Jesus Christ are filled in last, in red ink. If someone speaks in a foreign tongue, and Andreas understands it, their words will be rubbed out and scrawled over in English. It's utterly inspired, and Obsidian has a lot of fun with this dynamic, lively typography—especially in the final act, although I can't say any more than that. However, if you find these fonts too tricky to read you can switch to a more legible (but not as visually striking) alternative.
The game itself is just as pretty to look at, with a vivid art style based on the distinctive illustrations seen in manuscripts from the era. It's like the pages of some old, beautiful book come to life—and features some wonderfully expressive animation too. There are so many nice little details, like the baker's daughter watching her mother kneading dough and trying to copy her, or a purring cat wrapping itself around Andreas's legs as he scratches it behind the ears. Tassing is wonderfully realised as well, and I loved seeing it change with the seasons. Pentiment is an incredible artistic achievement, and it's great to see a big studio like Obsidian taking a gamble on something so idiosyncratic.
It's a magnificent thing, and this story will be lingering in my thoughts for quite some time. Pentiment takes Obsidian's expertise in branching narratives, role-playing, and building evocative worlds, then packages it all up in an exciting and unique way. I was devastated when it was over, and I'm still not over that ending. But now I'm looking forward to playing it all over again, this time with another Andreas. Maybe one who speaks Latin, studied law, and spent his wandering years in Switzerland. There are some bad choices and disastrous consequences I'd like to avoid this time too. That's the beauty of being an artist: you can always scrape the parchment clean and start again.
Score: 5/5
A PC review code was supplied by the publisher.
Andy Kelly is a Features Editor at TheGamer. He loves detective games, anything with a good story, weird indie stuff, and Alien: Isolation.
Fatal stabbing audio played in Qld court | The Recorder | Port Pirie, SA – The Recorder
Confronting audio of the moment a woman fatally stabbed her abusive husband has been played in a Brisbane court.
“I hope you f***ing die, dog,” Jean Louise Herholdt can be heard yelling moments before plunging a knife into Sean Murray’s back.
However, Herholdt stabbed her husband in anger soon after being bashed and did not intend to kill Mr Murray, the Brisbane Supreme Court heard.
Herholdt, 30, was initially charged with murder after Mr Murray died from a single knife wound to the back at their home north of Brisbane in August 2020.
Herholdt had been in a violent relationship with Mr Murray for years and planned to escape, the court heard.
She had put money aside in a nest egg hidden at the Murrumba Downs residence for a life away from Mr Murray, defence barrister Andrew Hoare said.
However, Mr Murray discovered the cash that morning and took it, sparking an emotion-charged argument that was captured on the home’s CCTV camera audio.
Two five-minute recordings were played after Justice Peter Davis warned the public gallery of its confronting content.
The initial audio featured a violent exchange.
A man can be heard saying “stop, stop please” while others scream.
The second recording included the moment Mr Murray was stabbed in the lungs, dying soon afterwards.
The wound was 15cm deep.
“Please, I need an ambulance,” Mr Murray can be heard saying.
In between the two recordings Mr Murray had assaulted Herholdt in their front yard and dragged her back inside, the court heard.
Neighbours had witnessed Mr Murray’s violence and called police.
Herholdt became enraged as Mr Murray tried to “create a facade of calm” before officers arrived, the court heard.
She can be heard hurling abuse at him, telling him she hopes he dies and at one stage grabs the knife.
Herholdt continues to yell at her husband and demands he return the money after stabbing him before realising the enormity of her actions.
Herholdt – a trained nurse – asks others to “hurry up” and call a paramedic, telling them to apply pressure to the wound as a man can be heard groaning.
Herholdt pleads with Mr Murray to stop moving in a bid to stem the blood flow, saying “I love you, baby” and “you know I’m going to jail for this”.
“Given the emotionally charged state of the situation that is graphically depicted by the recordings I wouldn’t be taking lack of remorse from that really,” Justice Davis said.
Herholdt had endured childhood trauma before being subjected to years of abuse from Mr Murray but did not intend to kill him, Mr Hoare said.
“My client had been subjected to financial constraints for years and isolated from her family and isolated from her friends (by Mr Murray),” he said.
Herholdt’s family and friends – including her parents – were in court on Tuesday when she pleaded guilty to manslaughter.
Justice Davis will sentence Herholdt – who has been in custody for 27 months – at a date to be fixed.
1800 RESPECT (1800 737 732)
Lifeline 13 11 14
Australian Associated Press
Advertisement
Sign up for our newsletter to stay up to date.
We care about the protection of your data. Read our Privacy Policy.
Advertisement
Ayleen Valentine Signs With The Azoff Company's Giant Music Label – CelebrityAccess – CelebrityAccess ENCORE
Find tour dates and live music events for all your favorite bands and artists in your city! Get concert tickets, news and more!
LOS ANGELES (CelebrityAccess) — Up-and-coming singer and producer Ayleen Valentine has signed with The Azoff Company’s Giant Music Label ahead of a tour with Riz La Vie, planned for 2023.
Earlier this year, the 21-year-old Valentine released her debut EP, ‘tonight i don’t exist,’ and followed it up with the release of a new music video for her self-produced single, “Next Life.”
“I made this song last year after moving to LA, I didn’t know it at the time, but it was helping me work out some feelings that I was never able to put into words or be vulnerable about,” Valentine shares about the track. “Essentially, it’s about losing interest in life and wanting to move on to the next one because you might find happiness somewhere else.”
A native of Florida, Valentine recently dropped out of Berklee College of Music, where she had a full ride for music production, to pursue a music career in Los Angeles.
Her upcoming tour with Riz La Vie kicks off on February 9th at the Rebel Lounge in Phoenix, AZ, with dates across the U.S. and Canada.
<iframe width=”740″ height=”426″ src=”https://www.youtube.com/embed/Drc9e_AMMUU” title=”YouTube video player” frameborder=”0″ allow=”accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture” allowfullscreen></iframe>
Get The Best Industry News, Data, Insider Commentary And More, Delivered Right To Your Inbox.
New Artist Signings
Hamond – Maxx Lesnick & Spencer Pinson (Worldwide except UK & Europe)
Real Lies – Jule Konrad
Indigo Sparke – James Alderman & Owain Evans (UK & Europe)
Earthless – Joe Price
Kate Davis – Alisa Preisler
Sons Of – Jim Romeo
SPEED – Josh Stern
A Broke Design – Scott Eames
Dombresky – Eric Vogel, James Hadid, John Scholz & Tyler Goldberg
Everette – Craig Dunn & Nicole Lewis
Sara Evans – Craig Dunn & Nicole Lewis
Travis Mendes – Ashley Page
Halsey
Katie Pearlman
Kito
Madeline Merlo
Joy Williams
Zindzi and The Zillionaires
CIVIC
Jess Glynne
Tay B
Sam Smith, Kim Petras
David Guetta, Bebe Rexha
Harry Styles
Bizarrap, Quevedo
Manuel Turizo
Bad Bunny
Bad Bunny, Chencho Corleone
CelebrityAccess provides unparalleled, detailed information on over 50,000 Entertainers, Speakers, Celebrities, and their representatives, as well as, hundreds of thousands of records for venues, agents and managers
ADVERTISE WITH US • ENTERTAINMENT MARKETING
PRIVACY POLICY • TERMS OF USE • ABOUT
Copyright 2022 CelebrityAccess. All Rights Reserved.
Get the best and latest industry news, data, new artist signings, insider commentary and more, delivered right to your inbox!
Do not show this pop-up again
The best algorithmic reverb plug-ins of 2022 – gearnews.com
The best algorithmic reverb plug-ins of 2022 · Source: Omar Rodriguez, Unsplash // Gearnews
You can never own too many algorithmic reverb plug-ins! That’s why today we have a selection of the current best plug-ins in this category. Among the selection are some classics, a brand new plug-in, and a sound design monster! To get you started, we have a tip for every tool, so you can get more out of it. What are your favorites? Which reverb plug-in do you take to your desert island? Let us know in the comments!
One reverb is not the same as the next one in music production. There are a variety of reverb categories. For instance, spring reverbs, aptly named because the reverberation is created by running an audio signal through an actual spring, are often found in guitar amps. Especially since the resurgence of the canny eighties drum sound in many of today’s productions, plate reverbs with their metallic sound quality have been increasingly popular.
Then there are a number of different room reverbs which can create a small room impression, like a recording booth or a bath room with short decay times. In some plug-ins you can also find a dedicated chamber category. Here you can find room sizes with decay times that are a bit longer, like ball rooms or bigger recording rooms. And then there are the churches, stadiums, and arenas you find in the hall category with decay times of fifteen seconds or even more!
Since not everyone has the opportunity to record in a church or arena, digital algorithmic reverbs, long before any plug-in solution, have been the choice to create a big hall sound. The two most famous examples are Lexicon 480L and Bricasti M7. These two rack effects created the reverb effect based on internal algorithms. Both excelled at their job so much that you can hear them in practically every big album production of the late eighties and early nineties.
As close as algorithmic reverbs came to the real thing, they never really fooled anyone. Reverb was just too complicated to create artificially. Until convolution reverbs came along. These powerful plug-ins with many gigabytes of libraries attached to them create the reverb effect based on so-called impulse responses (IRs). To put it into simple terms, IRs are created by recording a single loud clap or a sine sweep in the room you want to use as a reverb, basically as an acoustic imprint of the room. With a procedure called “de-convolve” the raw, reverb-less clap or sine sweep is then removed from the recording. What is left is the impulse response. There are a number of free and commercial plug-ins for convolution reverb with Audioease Altiverb 7 or EastWest Spaces II being among the most popular ones.
Just shy of one month old and already on a list! Baby Audio Crystalline is one of the best-sounding reverb plug-ins. Not only that, but it also boasts innovative features like synchronized pre-delay and decay times. In addition, a dedicated “gate” parameter quickly turns Crystalline into the gated reverb machine that you need for that eighties snare sound. Also, that shimmer knob makes Crystalline sparkle.
Tip: If you are looking to use Crystalline for sound design, take a close look at “Freeze”. Once activated, it holds tiny snippets of reverbed audio in Crystalline’s buffer. You can create beautiful, flickering soundscapes with that.
Product not found!
AI algorithms have arrived in algorithmic reverbs! Not only does Sonible’s smart:reverb bring a very well-sounding reverb algorithm to the table. In addition, the plug-in’s AI algorithm analyses the input signal and adapts decay time and density automatically. If you’d rather do the work manually, you can set up every parameter like pre-delay, decay time, or density yourself.
Tip: smart:reverb has a couple of options included that are useful for sound design. With “Infinity” you can create endless reverb tails and ghostly vocal effects with the click of a button!
Sonible smart:reverb Download
No single picture of a mixing desk in a studio in the eighties or nineties is complete without the little white LARC remote on top of it. It remotely controlled the immensely popular Lexicon 480L. The 480L can be found on countless records in the eighties and nineties. It was famous for its “plate”-setting. With the LX480, Relab has made the algorithmic reverb into a plug-in. The “Essentials” edition may just have four modes, but these four come awfully close to the original hardware.
Tip: If the reverb from the LX480 ever sounds too harsh, make use of the integrated low-pass filter to tame the higher frequency.
Product not found!
Blackhole by Eventide is almost a modern classic among algorithmic reverbs. This effect is not about realistic room effects, but dark, brooding, endless reverb tails from another planet. The plug-in became so popular at one point that Eventide put out a hardware pedal version of it. Blackhole’s algorithm is based on those included in the famous DSP4000 and H8000. It does not get much darker and alien-like than with this plug-in.
Tip: Use the “Hotswitch” to quickly change between two sets of settings of all the parameters. Because of the sudden switch the reverb rail becomes highly unstable. Any piano of guitar loop will turn in to lo-fi hip hop material immediately.
Eventide Blackhole Download
Sonox’s Oxford Suite is closing in on a decade in age, which in plug-in terms is making it almost vintage material. Nonetheless, Oxford Reverb is still among the best sounding algorithmic reverb plug-ins on the market. Additionally, the detail and flexibility of Oxford Reverb‘s parameters are almost unmatched. For instance, you can separately set and influence early reflections and the tail. With over 120 presets, you also have reverbs for just about any occasion.
Tip: Remove unwanted bass frequencies of the input signal with “LF Roll-Off”. Too much reverb on bass can make a track sound overly muddy. With this parameter you activate and set a dedicated high-pass filter.
Sonnox Oxford Reverb Native Download
By loading the video, you agree to YouTube’s privacy policy.
Learn more
Load video
By loading the video, you agree to YouTube’s privacy policy.
Learn more
Load video
By loading the video, you agree to YouTube’s privacy policy.
Learn more
Load video
By loading the video, you agree to YouTube’s privacy policy.
Learn more
Load video
By loading the video, you agree to YouTube’s privacy policy.
Learn more
Load video
Note: This article contains affiliate links that help us fund our site. Don’t worry: the price for you always stays the same! If you buy something through these links, we will receive a small commission. Thank you for your support!
Originally published on Gearnews.de by Julian Schmauch.
How do you like this post?
These seem to be more about sponsored reverbs or providers rather than “the best”. Notably missing are Reverb Foundry Tai Chi and, even more so, Liquidsonics Cinematic Rooms (Pro). Also missing are the revered Lexicon Native reverbs, and the popular ValhallaDSP reverbs.
this👆
The Bricasti hasn’t been around that long.
I tried Baby Audio Crystalline, and it reminded me so much of Logic Pro’s ChromaVerb that I started doing side by side comparisons to see if ChromaVerb could do what Crystalline could. And for my purposes, they overlap 1:1. And I find the ChromaVerb interface to be more straightforward.
Blackhole is the best by far and on offer at PluginBoutique for $29.99 (No, I don’t work for them, just sharing).
Your email address will not be published.
· I’m using mine as a second voice ( via MIDI ) to my Medusa in a live drone setup, and let me tell you, it really complements the Medusa. It’s so much fun tweaking both whilst a set of notes are held,…
· The sound in the video ist not particularly impressive. No reason to believe this is anything more than a $2 condenser capsule in trendy colored plastic housings.. There are numerous superior quality…
· I agree, I am largely a Strat guy, regardless of who’s name is on the headstock. I have three Fender starts and two I built, as well as an Ibanez, a Martin and I recently purchased Harley Benton …
🌱 DHS Honors Employees + City Hall Update + Honeymoon Island Artist – Patch
Hello all. I’m here with your fresh copy of the Dunedin Daily, filled with all the community news you need to know right now. Including updates on…
But first, today’s weather:
Warmer with clouds and sun. High: 82 Low: 72.
Here’s to the great local businesses who sponsor this newsletter. Check out what they can do for you:
Want to see your business featured in this spot? Click here to get started.
Here are the top stories in Dunedin today:
Dunedin Daily Pic of the Day:
Want to see your Dunedin photo here? Submit it to [email protected] for consideration! Please confirm in the email that you own the rights to the photo, and that Patch has permission to republish it.
Today in Dunedin:
From my notebook:
More from our sponsors — thanks for supporting local news!
Events:
Now you’re in the loop and ready to start this Tuesday off right. I’ll see you back in your inbox tomorrow with a new update!
Get more local news delivered straight to your inbox. Sign up for free Patch newsletters and alerts.
Rare Velvet Underground Master Tapes from Famous Album Discovered at The Warhol – Pittsburgh Magazine
Sections
Extras
Social Media
THE FAMOUS BANANA DESIGNED BY ANDY WARHOL FOR THE COVER OF THE VELVET UNDERGROUND DURING THE ARTS & FOODS EXIBITION CURATED BY GERMANO CELANT ON SEPTEMBER 13, 2015 | PHOTO SHUTTERSTOCK
Rare master tapes from the Velvet Underground’s debut album “The Velvet Underground & Nico” have been discovered at The Andy Warhol Museum.
The museum announced that while processing Warhol’s archive, the nine initial tracks were discovered and digitized. They’ll be premiered in an exhibition at the museum in 2023.
“You’re hearing the album as the band originally intended,” said Matt Gray, manager of archives at The Warhol, in a press release. “The track listing alone is a retelling of the album; the quality of sound is remarkable; it gives you a new perspective.”
Warhol was the band’s manager from 1965-1967. In that short amount of time, he incorporated the group into his mixed-media/performance art shows called the Exploding Plastic Inevitable, giving them notoriety, added the singer Nico to the band, and produced their first album, “The Velvet Underground & Nico.” Warhol also provided the album’s famous cover artwork, a print of a banana.
While the album itself peaked at 171 on the Billboard charts, it’s since been considered one of the greatest albums of all time and a major influence on numerous musicians.
According to the museum, the recently discovered monophonic reel-to-reel ¼” tapes feature alternate versions and mixes of the nine tracks released in 1967; MGM/Verve Records remixed and re-recorded the tracks before their release. Warhol kept the original master tapes, but they were lost until now.
“Although an acetate version, which was made from these master tapes, was released for the 45th anniversary of the album, it is of a different sonic quality, given the generation loss inherent in an analog copy,” according to the museum.
© 2022 Pittsburgh Magazine.
A 'little angel' helps a Milwaukee man in need of a wheelchair – News 13 Orlando
Get the best experience and stay connected to your community with our Spectrum News app. Learn More
Continue in Browser
Get hyperlocal forecasts, radar and weather alerts.
Please enter a valid zipcode.
Save
MILWAUKEE — Jaquawn Gaston is always on the move. Recently, a Spectrum News 1 viewer was moved by him.
Whether it’s the music studio, the mall or just downtown Milwaukee, Gaston said he loves to go out. Gaston has cerebral palsy and relies on his electric wheelchair to get around.
The 24-year-old is unable to walk because he has cerebral palsy; he relied on an electric wheelchair to get around. At the beginning of October, his wheelchair broke down; he said he wasn’t able to purchase a new one and the repair would have taken months.
Gaston was given a manual wheelchair and is unable to get around without assistance. As a result, he said he’s been confined to his bedroom.
He said he found a silver-lining: His music.
Gaston used his time in his room to work on his passion for rapping. He said he’s already release an album and multiple music videos.
“I don’t mean to brag or sound silly, but I don’t think they’re ready for me when I get my wheels back,” said Gaston. “It’s pedal to the metal for sure.”
Turns out, he’s getting his wheels back much sooner than he thought would ever be possible.
Jim Cherubini saw Gaston’s story on Spectrum News 1 and saud he knew he had to use his resources to do something.
Cherubini owns a medical equipment company out of Mequon, Wis. and had a similar chair to Gaston’s broken electric wheelchair. Cherubini gave it to the young musician in need.
Cherubini said he’s given away equipment before. He said he tries to help people out when he can, but isn’t able to do so all of the time.
“We’re a small family business,” Cherubini explained “We can’t do this for everybody but every once in a while I can pony up and help someone like Jaquawn. He seems like a nice guy.”
After assessing Gaston’s chair, Cherubini even decided to take it back to his shop to ensure it was a comfortable fit. In a few days this good deed may just get Gaston out of his bedroom.
“This is some game changing stuff,” said Gaston. “I’m so grateful for you coming out and helping me.”
Gaston said he’s thanking his lucky stars above. He said he knows someone is always watching over him: His mom.
“Losing my mom was the toughest thing I ever had to deal with in my life,” said Gaston.
He said he believes his mom sent him an angel — Cherubini — to help when he needed it most. Ironically, Cherubini means “little angel” in Italian.
Wide Shot: Chris Rock's Netflix flex. What your favorite songs are worth – Los Angeles Times
Welcome to the Wide Shot, a newsletter about the business of entertainment. Sign up here to get it in your inbox.
I made a joke on Twitter not too long ago that Chris Rock isn’t hosting the Oscars because he’s going to be too busy selling out stand-up shows until the end of time. Rock is playing the post-slap public relations game expertly, with the latest example being this deal to headline Netflix’s first live-streamed comedy event, expected to air in early 2023. The funniest thing Netflix could do would be to schedule the show for the week of the Academy Awards. It would be an interesting ratings contest, if nothing else.
In the business of entertainment, Walt Disney Co. is showing Disney+’s “Andor” on its traditional TV channels, Dave Chappelle did “Saturday Night Live” and “Black Panther: Wakanda Forever” hit its box office targets. On with the newsletter…
The market for music catalogs isn’t dead. It’s just getting more hipster cred.
Yesterday we reported that BMG — the music company owned by German conglomerate Bertelsmann — has acquired the song catalog and other rights from the estate of Harry Nilsson, the influential singer-songwriter known for tunes including “Everybody’s Talkin’” and “Coconut.”
Even if you don’t know the name, you probably know the music. An L.A. transplant and Beatles associate, Nilsson’s melodic pop has been featured in iconic films and shows like “Midnight Cowboy,” “Reservoir Dogs,” “Russian Doll” and “Goodfellas.” He recorded his share of successful albums (1971’s “Nilsson Schmilsson” and 1972’s “Son of Schmilsson”) and composed soundtracks to movies including “Popeye.” The hard-drinking Nilsson died of heart failure in 1994 at age 52, leaving his family with a messy financial situation.
BMG isn’t really doing so many of the blockbuster deals that generated headlines during the last couple years, though it did score pacts with ZZ Top and John Legend by teaming up with private equity giant KKR. On its own, the company has closed more than 30 deals this year, with more to come, mostly of the relatively obscure or unlikely variety. Think John Lee Hooker, E-40 and Gucci Mane or Five Finger Death Punch, rather than the artists dominating classic rock radio playlists.
The idea is often to bring more attention to these artists through books, film projects, special events and stage productions, the way BMG put together a series of initiatives to highlight the bluesy Peter Green era of Fleetwood Mac. “There’s a large number of absolutely fascinating, culture-defining artists that don’t get that attention, and that’s attractive for us,” BMG Chief Executive Hartwig Masuch told me at the company’s Los Angeles offices last week. “There’s a bigger upside there than in going in the direction where everybody goes.”
Roughly a year ago, it seemed as if every musician with a giant Baby Boomer fanbase was selling his or her song catalog at a mind-blowing valuation. Bruce Springsteen’s publishing and masters sold to Sony Music for $500 million. David Bowie’s rights went to Warner Chappell Music for $250 million.
The gold rush was fueled by easy credit, a streaming-fueled music business recovery and a desire among aging artists to secure financial stability for their heirs. The era of unlimited access to songs, brought on by subscription services like Spotify and Apple Music, proved that people primarily prefer to listen to older music — the stuff of their youth — rather than seek out trendy new artists. That was probably true before Spotify, but streaming gave artists and record companies a way to monetize the repeated consumption of the classics.
The market has cooled thanks to the uncertain economic climate, and the industry is fielding fewer blockbuster deals as of late. Seriously, how many $100-million catalogs remain unclaimed? Not many.
Some of those who are still looking for a buyer are struggling to secure a sale at the price they want, as Bloomberg discussed this week. In the specific case of Pink Floyd, it might help if the key band members could stand each other and if Roger Waters wasn’t so busy dabbling in bizarre geopolitics. After all, Phil Collins and Genesis managed to fetch $300 million for their catalog in September (Peter Gabriel songs not included).
BMG’s deal with Nilsson’s estate shows that there are still deals to be made, especially if buyers are willing to lower their sights and work with more artists who are not household names. The company increased its investments by 40% this year, spending more than $500 million on music rights during the last 18 months. For BMG, which is not in the business of creating new hits for the Billboard charts, it makes sense to quietly establish a portfolio of rights from smaller catalogs. Put that lime in the coconut and drink it up.
— Capt. Hollywood: The ex-LAPD boss who tipped off CBS to Les Moonves assault claim. The actions of former Cmdr. Cory Palka, a 34-year veteran of the LAPD who mingled with celebrities, are under scrutiny, write Richard Winton and Meg James.
— How ‘Wakanda Forever’ producer Nate Moore pushed for Black heroes in the MCU. I profiled the 12-year Marvel Studios vet who helped get Falcon and Black Panther to the big screen.
— How Netflix sells the dream of royalty to ‘Bridgerton’ fans. Netflix has thrown more than 800 balls inspired by its popular show. For fans, it’s their chance to reimagine themselves as characters on the show, writes Wendy Lee.
— Another twist in the ‘Rust’ legal saga. Alec Baldwin sues the armorer, weapons supplier, assistant director and prop master of the movie “Rust.”
— ICYMI. MSNBC’s election coverage finishes ahead of CNN’s for the first time. Budd Friedman, founder of the Improv comedy club, dies at 90. Explaining Hollywood: How to become a composer for film and TV. Why music supervisors are clashing with Netflix.
It was a week of highs and lows for the Walt Disney Co.
Let’s start with the good news. “Black Panther: Wakanda Forever” is a huge hit at the box office, with a global opening weekend of $330 million in ticket sales. That includes more than $180 million from the U.S. and Canada, marking the second biggest domestic debut of the year, coming in behind the $187 million launch of Marvel’s “Doctor Strange in the Multiverse of Madness.”
This movie had to carry a huge load, serving as an emotional tribute to the late Chadwick Boseman while also telling an epic story and serving the corporate needs of the rest of the franchise by setting up a Disney+ spinoff. With an “A” CinemaScore from audiences, this film has a good chance of reaching $1 billion globally, even without China. Those looking for evidence of Marvel fatigue will have a hard time finding it here.
Now, the bad news.
Disney revealed that its direct-to-consumer business — including streaming services Disney+, Hulu and ESPN+ — lost $1.5 billion in the fourth quarter and $4 billion for the full fiscal year.
Chief Executive Bob Chapek framed the numbers as representing the peak of streaming losses for the company, with Disney+ still on track for profitability sometime in 2024, provided the economy doesn’t experience a major downturn. That’s a big “if.” The deficit hurt Disney’s bottom line, and investors sent the stock tumbling.
Disney is not alone, of course. We’ve written extensively about the direct-to-consumer business’ wave of red ink. Warner Bros. Discovery’s stock hit a new low the week after it posted heavy streaming losses while promising fiscal responsibility as a corrective to what David Zaslav sees as an era of profligate investment.
Still, you’ll find no shortage of defenses for the streaming business burning billions of dollars. After all, Disney+ added 12.1 million subscribers during the quarter, bringing its total to 164 million, so at least it has that going for it. Streaming services are hemorrhaging cash, but that’s a short-term sacrifice to keep companies like Disney relevant for the coming decades, bulls say.
Maybe so, but that’s of little comfort for those whose jobs are now on the line thanks to the industry’s big gamble. Chapek on Friday acknowledged what he’d hinted at during the earnings call: Cost-cutting is coming, and that means a hiring freeze and layoffs.
— What it’s like working for Elon Musk. (L.A. Times)
— Steven Spielberg gets personal. (New York Times)
— How Sarah Aubrey is taking Warner Bros. Discovery I.P. to HBO Max. (Variety)
— The flat era of fashion. (Dirt)
— How FTX’s Sam Bankman-Fried went from crypto golden boy to villain (Wall Street Journal)
— For church leaders, ditching Kanye West is not that simple. (L.A. Times)
This week’s production chart, featuring data from FilmLA.
One of the underappreciated things about Disney+ is its library of excellent documentaries from National Geographic, including “Free Solo” and “The Rescue.” I missed the critically acclaimed “Fire of Love,” about a French couple that hunted volcanos, when it was in theaters, but it’s available for streaming now. Here’s Justin Chang’s July review, which has one of the silliest pun headlines in recent memory. I mean that as a compliment, Justin.
Inside the business of entertainment
The Wide Shot brings you news, analysis and insights on everything from streaming wars to production — and what it all means for the future.
You may occasionally receive promotional content from the Los Angeles Times.
Follow Us
Ryan Faughnder is a film business reporter for the Los Angeles Times’ Company Town and the host of the entertainment business newsletter The Wide Shot. Faughnder writes about Hollywood studios, including Walt Disney Co., and has covered such major stories as the Sony hack. An alumnus of USC’s Annenberg School and UC Santa Barbara, he previously wrote for the Los Angeles Business Journal and Bloomberg News.
Company Town
Subscribe for unlimited access
Follow Us
Open pollution routing problem of logistics distribution in medical union based on differential search algorithm | Scientific Reports – Nature.com
Thank you for visiting nature.com. You are using a browser version with limited support for CSS. To obtain the best experience, we recommend you use a more up to date browser (or turn off compatibility mode in Internet Explorer). In the meantime, to ensure continued support, we are displaying the site without styles and JavaScript.
Advertisement
Scientific Reports volume 12, Article number: 19472 (2022)
47
1
Metrics details
Medical care is a guarantee of people’s daily life. Improving healthcare contributes to people’s well-being. However, healthcare resources are characterized by uneven distribution. Financially well-off areas will have higher quality health care resources. Most of the medical resources are concentrated in public general hospitals, however, primary care institutions can hardly meet the growing needs of people. To solve this problem, Medical Union achieves efficient deployment of resources by integrating various medical institutions in the same area. In the process of logistics integration of the medical union, the scale of logistics distribution expands accordingly. Transportation vehicles have high operating costs and produce greenhouse gases in the process of distribution. The optimization of the driving path of logistics distribution vehicles can reduce the operating cost, fuel consumption and carbon emission. To solve this kind of decentralized and complex vehicle routing problem, this paper proposes a pollution routing problem model considering electrical vehicle usage, customer’s soft time window expectation, open path and carbon cost. A modified Differential Search Algorithm with the comprehensive learning strategy and dynamic Cauchy variation strategy is advanced to solve the problem. Results show that the improved algorithm has good solving performance, and verifies the rationality of the proposed model, which will help to reduce carbon emissions and save the logistics and operating costs of medical devices.
Medical services are necessary to ensure a healthy life for people. However, the quantity and quality of medical resources available to people in different regions are not always the same, due to the different financial situations in different regions. In China, high-quality medical resources are concentrated in large public hospitals, but primary care institutions in communities cannot meet the demand for medical care. As a result, the medical union have been proposed to address the uneven layout of medical resources.
The sharing and deployment of supplies is a topic worth examining in a medical resource sharing program. Especially during the pandemic, large amounts of testing supplies are urgently needed in areas where cases have been identified. Since the medical union is trans-regional and scattered in distribution, some problems arise from gradual implementation of integrated management. To be specific, as logistics materials are more extensively distributed, massive fossil fuel has to be consumed to guarantee supply of those trans-regionally transported cargo. Carbon emission resulting from the process is affected by both cargo quantity and transportation routing. Therefore, optimized routing for logistics vehicles can not only bring down various distribution costs but also reduce fuel oil consumption and carbon emission.
Out of the consideration, how to plan a vehicle routing that can both save energy and reduce emission so as to cut down medical union operating costs has become a focus of much attention. It can be considered as a Vehicle Routing Problem (VRP). The VRP was first proposed by Dantzig and Ramser1 to find the best route for the vehicles and minimize general costs. However, in addition to the regular transportation costs, the level of tolerance of healthcare professionals for delayed delivery has to be considered in the medical setting. The soft time window constraint should be taken into account in the VRP.
In this study, the Mixed Vehicles Open Pollution Routing Problem with Time Window (TWMOPRP) is advanced. It takes into account such factors as EV, soft time window, open routing and carbon emission cost. TWMOPRP aims to minimize general cost while cutting down carbon emission, which is an NP-hard problem. What’s more, a modified Differential Search Algorithm (MDSA), a kind of swarm intelligent optimization algorithm, is proposed to solve the TWMOPRP. For the characteristics of the VRP problem, MDSA introduces two strategies. The results of simulation experiments showed that the TWMOPRP is in line with the reality and MDSA has a satisfactory solving performance.
Resource consolidation is a hot topic in healthcare today, especially at a time when local government budgets are limited. A tiered approach allows for the optimal allocation of resources at all levels of health and maximizes the use of medical resources2. The horizontal and vertical integration models are based on different forms of health care resource delivery. The horizontal integration model is the further integration of health care resources, while the vertical integration model is a combination of different levels and types of health care resources3.
There are a lot of studies about the integration of medical resource. According to Kodner and Spreeuwenberg4, health care resource integration is a partnership between the medical and health care sectors that needs to be achieved through the development of a mode for financing, service delivery, management, and medical capacity. While Vondeling5 defines health care resource integration as the planning, management, and delivery of a tightly integrated and coordinated set of systems to individual consumers through a range of organizations, collaborative professionals, and informal health care workers. Nowadays, a gradual shift occurred in the goal and focus of medical resource integration. The value chain is integrated by health as the goal, and the service process is structured in patient-centered.
The medical union breaks the original technical and administrative barriers through different levels and types of medical institutions, and finally integrates medical resources such as people, finance, materials and information into a common interest6. Therefore, the implementation of the construction of medical union is an important way to optimize the integration of medical resources. The study of medical union can provide some reference for the improvement of the theoretical system and the decision of governmental system innovation.
As people are increasingly concerned about global climate change, researchers begin to consider greenhouse gases arising from oil-fueled vehicles in driving when examining traditional VRP and attempting to minimize cost while cutting down carbon emission. Based on VRP, Bektas and Laporte7 proposed Pollution Routing Problem (PRP), discussing the effect of the different influencing factors on carbon emission.
From then on, an increasing number of variables are incorporated into modeling so that the model could be as close to practical conditions as possible. Franceschetti et al.8 built a time-related PRP model and offered emission-reducing suggestions for solving speed limit issue in traffic jams. To find trade-offs between fuel consumption and driver times, Demir et al.9 proposed a bi-objective variant of the PRP and validated that significant reductions in carbon emissions can be achieved without major compromises in driving time. Furthermore, Koc et al.10 explored the impact of the heterogeneous fleet of vehicles on transportation costs and carbon emissions.
In 1981, the first study of the Open VRP was conducted by Schrage11. Open VRP means vehicles do not return to their original yard immediately after delivery. Various algorithms were proposed to solve the problem. Tarantilis et al.12 tried threshold accepting approach and found it is effective for fleet planning in real-life. Branch-and-cut algorithm also accepted to the problem and can provided a useful lower bound for large instances13. Fleszar et al.14 used a variable neighborhood search algorithm and obtained good performances in sixteen standard benchmark problem instances. What’s more, meta-heuristic algorithms, such as particle swarm optimization15, tabu search16 and ant colony optimization17, were also proven to be an effective and robust solution methods. What’s more, Hosseinabadi et al.18 proposed the OVRP_GELS and found it show a good performance than other existing algorithms.
Though having included fuel oil consumption or carbon emission based on VRP, previous studies on PRP are largely limited to gas vehicle (GV) in modeling. Few of them involve increasingly popular electric vehicle (EV). In recent years, the government has offered strong support for EVs. Lower after-subsidy retail price has attracted logistics enterprises to purchase EVs to carry out logistics business. Moreover, less environment pollution of EVs also satisfies “saving cost and reducing emission” demand put forward by supervisory authorities.
In the VRP study on EV, Liao et al.19 established an EV-VRP model involving carbon transaction cost to discuss difference in carbon emission between GV and EV. Schneider et al.20 considered the impact of the use of recharging stations on the routing problem. While Keskin and Çatay21 built the mathematical model for the electric VRP and found that the partial recharges can improve the solutions. Abdallah and Adel22 investigated the effect of variable speed on the VRP problem and argued that variable speed can solve the limitation of time window or distance. Therefore, each of the above-mentioned factors is also considered in the modeling of this paper.
Differential Search Algorithm (DSA)23 was proposed by Civicioglu to solve the conversion problem from geocentric right-angle coordinates to geodetic coordinates. It is a sort of swarm intelligence algorithm that simulates Brownian movement-like migrating activity in biotic communities. The previous study validated that DSA could be applied to global optimizing problems with better solving accuracy and convergence speed than many classical algorithms24.
Moreover, some researchers have applied DSA to solve some practical problems. Gui et al.25 proposed a hybrid differential search algorithm (HDSA) to optimize the medical image alignment problem and compared the effectiveness with the standard algorithm. Chu et al.26 advanced a new model of cross-training with learning and forgetting effects, and presented an adaptive DSA to solve the problem of worker assignment across multiple units. Ma et al.27 built a dynamic resource allocation model based on cost optimization and SLA constraints and designed an improved DSA to accurately predict the load. Al-Fakih et al.28 presented an improved binary DSA for QSAR classification of multiple series of antibacterial compounds with Candida albicans inhibitors. DSA can be found to be used effectively in various fields, which also confirms its applicability and validity.
To improve the DSA for various problems, researchers proposed some new strategies to improve search capabilities and combined different techniques to avoid premature convergence. Liu29 proposed four search schemes to speed up the convergence by searching the new space of the global optimization problem. To improve the convergence speed and solution quality, Guha30 introduced a learning method based on proposed opposition. Chen et al.31 used a Latin hypercube sampling method for initialization and combined DSA with simplex methods for search. Furthermore, the low-frequency oscillation problem was solved by combining the search direction based on random permutation of the original population with DSA32. By introducing different search strategies helps to improve the performance of algorithm on different problems33, so two strategies for DSA are considered and their effectiveness is experimentally confirmed in this paper.
Defined on a directed graph G = {N, A}, TWMOPRP is composed of a set of nodes N = {0, 1, 2, …, n} and a set of inter-nodal arcs A. Among the nodes, node 0 indicates distribution center. Suppose a logistics distribution company owns several EVs and GVs which both have a capacity of Q. Due to shorter range per charge, EV cannot completely substitute GV. Therefore, logistics companies prefer the combination of GV and EV in the short run. The client set N0 = N{0} is composed of n clients, each of which i ∈ N0 has demand qi and soft distribution time window [ai, bi]. Distribution outside time window would impair both parties’ actual benefits and thus incur matching penalty cost. GV is a source of carbon emission in driving. In consideration of the possible release of carbon emission policy by central government, carbon emission cost may be converted to carbon cost. By comparison, EV has no such expenditure. In case of open routing, after completing a distribution task, vehicles won’t return to the original distribution center but head to the nearest distribution center to start a new task or take a break. Based on traditional PRP, TWMOPRP takes into account more factors related to logistics distribution process so that the model could be better applied to actual application.
TWMOPRP is preconditioned on the following hypotheses:
Since the model considers only a small period of time that starts with departure from distribution center and ends with completion of distribution, only one distribution center is designed.
Such information as client demand and distribution time window remains known and constant during distribution.
Each client can only be accessed once and optimal distribution time window is known. Distribution vehicle should strive to complete the distribution within the time window specified by client, and the client also accepts the distribution outside the time window.
Logistics company owns a certain number of GVs and EVs that could meet distribution demand.
Vehicle runs at a constant average speed, there is no slope to be considered along the distribution route and there is no unexpected situation that could affect distribution efficiency such as traffic jam.
Cargo loaded on vehicle along the trip could not exceed maximum capacity, but the vehicle could run on full load.
EV departs from distribution center with full charge and electricity consumed during cargo handling at client site is negligible. No charging or power switching is conducted during distribution trip.
Table 1 details the variables and parameters involved in the TWMOPRP model proposed in this paper.
where Eq. (1) is an objective function that is made up of four items, namely vehicle transportation cost, carbon cost, driver salary and time window penalty cost. Equations (2)–(9) are constraints. Equations (2) and (3) mean each client is and can only be accessed once. Equation (4) means vehicle keeps same freight volume when accessing client. Equations (5)–(7) are to make sure max vehicle load is always above client demand during transportation. Equation (8) is to figure out the time span from accessing no. i client to reaching no. j client of the vehicle. Equation (9) is a decision variable. When (x_{ijk}^{C} = 1), the no. k GV will depart from client i to j. If the value is 0, it does not move.
In this paper, integrated fuel emission model proposed by Barth et al.34 is employed to determine fuel oil consumption rate FR (unit: g/s) of GV. The model is demonstrated using the following formula:
where Pt indicates engine traction power, Pa indicates additional engine power demand which is usually supposed to be 0.
Suppose GV runs along arc (i, j) with a distance of di,j, vehicle runs at an average speed of vi,j, carbon price is T Yuan/kg, the carbon emission cost on this trip will be:
TWMOPRP model takes into account the scenario of introducing EV into cargo transportation. Different from GV, EV is set with lowest electric quantity threshold in the model. When vehicle’s actual electric quantity is lower than this threshold, it should go to nearest distribution center for charging or replacing. Thus, in assigning distribution tasks, the model takes into consideration the power consumption of EV so that EV has residual power higher than safety threshold after completing single task. TWMOPRP model is shown below:
where Eq. (13) is an objective function, Eqs. (14)–(25) are constraints. Equations (14) and (15) represent each client is and can only be accessed once and is to be served by one vehicle model. According to Eq. (20), EV departs from distribution center with full power. In Eq. (21), when shifting from client i to j, EV consumes power for driving purposes only. Equation (22) means EV doesn’t consume power when serving client i. Equation (23) constrains the lowest power consumed for driving vehicle. Equation (25) is a decision variable. When (x_{ijk}^{E} = 1), the no. k EV will depart from client i to j. If the value is 0, it does not move.
Because EV uses electricity exclusively, they do not produce direct carbon emissions while driving. Considering that it is still dominated by thermal power generation in China, the carbon emissions generated during power generation should be taken into account in the carbon emissions of EV. Suppose it runs along arc (i, j) with a distance of di,j and the electricity emission factor is e, the carbon cost on this trip will be:
DSA simulates the spontaneous migratory process of biotic communities in natural world to obtain richer resources. Adopting two steps “look for optimal location and midway temporary stay”, it aims to find the optimal habitat. In DSA, Xi (i = 1, 2, …, N) indicates no. i biological organism, xi,j(j = 1,2,…,D) indicates location of no. i biological organism on no. j dimension, and several bio-organisms could form a Superorganism. According to the algorithm, N indicates number of bio-organisms within the space, while D indicates dimension of actual problem. DSA works in the following process:
In the first place, several bio-organisms are randomly initialized in terms of their locations on all dimensions:
where rand() is a random number within [0,1] range. Those bio-organisms could form a superorganism. After being initialized, Superorganism = [Xi] = [xi,j] would be generated with a new habitat based on:
where donor indicates the new direction after random change of original individual sequence with following definition donor = [Xrandom_shuffling(i)]; Scale indicates movement step size generated with one gamma random inventor as defined below:
Finally, the bio-organism would evaluate whether the new location is more fertile than the original one so that it could choose forwarding to a new habitat or keeping still according to a Greedy Policy in Eq. (30). With changing locations of bio-organisms, superorganism gradually approach global optimal location until the algorithm’s terminal condition is met.
Employing Brownian movement-like search strategy, traditional DSA has higher randomness and thus wider algorithm search scope. However, it also makes it hard for the algorithm to achieve convergence in later stage. Out of this consideration, in this paper, two strategies are introduced to improve DSA’s solving capacity.
Liang et al.35 proposed Comprehensive Learning Strategy that could modify Particle Swarm Optimization Algorithm by updating speed based on historical optimal data of other particles. The strategy could maintain colonial diversity and avoid being caught in local optimal. In this paper, Comprehensive Learning Strategy is introduced into DSA to learn after individual historical optimal or other’s historical optimal with probability choice. MDSA generates new habitat using:
where fi = [fi(1), fi(2), …, fi(D)] indicates the object available to be learnt by no. i bio-organism, pbestfi indicates a set of learning objects with established order. On each dimension, it could be itself or other bio-organisms, which are decided by probability value Pr. Pseudocode of Comprehensive Learning Strategy is demonstrated in Algorithm 1 in which fit() indicates fitness of habitat, whereas randi() indicates a random integer generated from uniform discrete distribution.
Yao and Liu36 came up with a sort of evolutionary strategy based on Cauchy Mutation to strengthen colonial diversity of algorithm and get rid of local optimal, but it has common search performance when implemented in local small neighborhood. To cope with this problem, in this paper a dynamic Cauchy mutation strategy is suggested to speed up the convergence of algorithm in the later stage. The strategy is defined as below:
where (X_{g,d}^{t}) is the optimal fitness value, cauchy(δ) is a random number generated with Cauchy distribution function with ratio parameter δ being 1, and α indicates step size in search by algorithm as defined below:
where t indicates the present number of iterations and T indicates the general number of iterations.
The aforesaid two improvement strategies are applied to traditional DSA algorithm in order to prevent hard convergence and local optimal solution of algorithm. MDSA proposed in this paper has the following solving process (Fig. 1).
Schematic diagram of MDSA algorithm.
To verify the effectiveness of TWMOPRP model and MDSA algorithm proposed in this paper, we have generated three different sizes of simulation data with Solomon example, as well as their demand and time windows in random. They have 10, 30, and 50 simulated clients. Distribution center is supposed to be located at the center of a 80 × 80 km rectangle and all clients are to be within the distribution range. Assume that all the vehicles start their delivery tasks from 8:00 a.m. and the moment is recorded as zero minute. The detail of clients and the parameters used can be found in the supplementary file S1.
To validate the performance of MDSA, three other algorithms, ABC, AMBSO and CLPSO, are selected to conduct a comparative analysis. ABC37 is an optimization algorithm with a swarm as the base population, which has a fast convergence rate and a strong ability to get rid of local optimal solutions. AMBSO38 is the improved version of the brainstorm optimization algorithm, another swarm intelligence algorithm inspired by the human problem-solving process, with two complementary strategies. While CPLSO35 is the modified edition of Particle Swarm Optimization algorithm with comprehensive learning strategy.
Those algorithms are set to work on a colony of 100 and for 1,000 iterations at most in solving TWMOPRP. The other parameters use the recommended values from the original literatures. The experiments are implemented on Matlab 2016b. Each experiment is repeated 30 times and the average value was used as the final result. The results of the comparison are shown in Table 2.
It is not difficult to find that MDSA stands out in all indicators when compared with the other three algorithms. Its total cost in problem solving is about 11% lower, its carbon emission is about 30% lower and its solving process is about 26% faster than others. Figure 2 illustrates convergence of all algorithms in solving TWMOPRP, according to which MDSA is the quickest in search and best in solution quality. Findings suggest MDSA is suitable for solving complicated VRP.
Comparison of algorithms in convergence.
To explore the effect of EV, vehicle running speed, carbon price and driver salary on carbon emission arising from logistics distribution, this paper employs MDSA to solve GV-only PRP model and mixed TWMOPRP model, respectively. Each solving process is repeated 30 times and average value of each indicator is taken as the final result in analysis. Experimental findings are listed below.
Effect of vehicle model in use.
Since EV faces several unfavorable constraints such as limited battery capacity and charging in use, whether GV should be entirely replaced with EV still needs further discussion. The results of the effect of various vehicles are shown in Table 3.
When EV is introduced, both total cost and time window cost decline slightly, and carbon emission decreases more significantly. The carbon emission directly resulting from EV is lower, so the carbon cost from single distribution is also lower. EV could help bring down total carbon emission in logistics and meet the demand of saving energy and reducing emission when being used in freight distribution. In addition, it could also indirectly cut down operating cost of the medical union.
Effect of vehicle speed.
A study by Bektas and Laporte7 indicates speed of distributing vehicle could affect its carbon emission when there is time window limit. Furthermore, vehicle speed could also affect distribution cost and customer satisfaction. Therefore, it is critical to choose a proper speed during distribution. The results of the effect of various speeds are shown in Table 4.
The table above makes it clear that, when vehicle runs at 40 km/h, highest level of carbon emission as affected by driver salary and distribution is witnessed. As speed keeps rising, all indicators are found to rise first and then fall. They appear to be better when vehicle speed is 60 km/h. Figure 3 shows the carbon emission arising from vehicles running at various speeds. As shown in the figure, over high or low speed brings in more carbon emissions. For this reason, when vehicle runs at a proper speed during the trip, it could meet the requirements of energy saving and emission reduction. In further study, the effect of limited speed on distributing routing plan due to traffic jams and so on may be examined when carbon emission is taken into account.
Effect of various speeds on carbon emission.
Effect of carbon price.
Carbon price is a decisive factor in affecting carbon emission cost as thus total distribution cost of medical union. Reasonable setting of carbon price is conducive in guiding logistics companies to offer distribution services with low carbon emission means. Nevertheless, the external effect of carbon price varies with its specific levels. In this paper, an analysis of the effect of carbon price on all indicators is performed. Corresponding findings are listed as below. The results of the effect of various carbon prices are shown in Table 5.
When carbon price is raised, carbon emission decreases significantly, but other costs such as time window and driver rise slowly. It is infeasible to raise carbon price alone, because it may cause an increase in several other costs of enterprises as well as logistics distribution costs of the medical union. In the meanwhile, levying carbon emission cost is to guide companies to use EV in executing distribution tasks. However, EV use in freight transportation is still met with some inconveniences. Excessive EV using may undermine satisfaction with the medical union as well as the distribution company’s production efficiency. As a result, the government is suggested setting a reasonable carbon price that benefits all involved parties based on the status quo of local logistics industry and EV industry so that logistics industry could be encouraged to save energy and reduce emissions.
Effect of driver salary.
Driver is a major participant in logistics distribution tasks. Change in labor cost may cause logistics distribution companies to change their operating decisions. In this paper, we tentatively discuss the correlation between driver’s hourly salaries and carbon emissions. The results of the effect of various salaries are shown in Table 6.
We can easily discover that raising driver’s hourly salary could increase total distribution cost and carbon emission as well. The reason is that over-high labor cost makes logistics distribution companies more willing to use GV featuring longer mileage and more flexible energy supply in distribution. In the logistics distribution process, the medical union should take into account as many key indirect factors as possible, such as labor cost and tax, so that indirect costs arising from logistics distribution integration could be raised and medical union’s benefits could be maximized.
In this paper, Open VRP for medical supplies distribution in the context of medical union is discussed. Considering that the procurement of materials in medical institutions are preceded by medical services, a certain degree of delay in distribution is acceptable, but it causes problems for the material managers. Therefore, a soft time window constraint is taken into the TWMOPRP. In addition, with the growing call for “Net Zero”, the logistics industry, as an industry that generates large amounts of carbon emissions, should take the lead in reducing greenhouse gas emissions.
On one hand, TWMOPRP introduces a penalty term for the cost of carbon emissions in order to reduce them when solving for a suitable route. On the other hand, considering the use of electric vehicles can also reduce direct carbon emissions and improve service satisfaction. After combining the above factors, the experimental results show that TWMOPRP has a strong rationality and is more in line with the realistic situation.
To solve TWMOPRP, this paper introduces a comprehensive learning strategy and a dynamic Cauchy Mutation-based evolutionary strategy based on DSA, and proposes MDSA. These two strategies enhance the search capability of DSA and accelerate the convergence speed. Experimental results show that MDSA has better solution performance for TWMOPRP than other similar algorithms, and the convergence speed is reduced by about 26%.
On the results of the MDSA solution, this study further analyzed the four influencing factors, and the following conclusions were obtained. The using of EV, maintaining 60 km/h speeds and lower driver hourly salaries help reduce cost and carbon emissions. Setting a reasonable price for carbon emissions will help to reduce carbon emissions without putting a large burden on logistics companies.
In further studies, more factors of EVs should be considered into TWMOPRP, such as the time and speed of charging. In addition, Open VRP for a single yard is a simplified model, which is closer to the actual situation if multiple yards are considered. To get reasonable solutions, more strategies can be taken into consideration to improve the performance of DSA.
The datasets used during the current study are available in the supplementary file and from the corresponding author on reasonable request.
Dantzig, G. B. & Ramser, J. H. The truck dispatching problem. Manage. Sci. 6, 80–91 (1959).
Article MathSciNet MATH Google Scholar
Zhong, K., Chen, L., Cheng, S., Chen, H. & Long, F. The efficiency of primary health care institutions in the Counties of Hunan province, China: Data from 2009 to 2017. Int. J. Environ. Res. Public Health 17, 1781 (2020).
Article PubMed Central Google Scholar
Cao, Y. & Cao, C. The intelligent monitoring method for bidirectional referral information resource in hospital based on big data. Int. J. Inf. Syst. Change Manage. 12, 3–16 (2020).
Google Scholar
Kodner, D. L. & Spreeuwenberg, C. Integrated care: Meaning, logic, applications, and implications–a discussion paper. Int. J. Integr. Care 2 (2002).
Vondeling, H. Economic evaluation of integrated care: an introduction. Int. J. Integr. Care 4 (2004).
Cheng, S. et al. The patient safety culture scale for chinese primary health care institutions: Development, validity and reliability. J. Patient Saf. 17, 114 (2021).
Article PubMed Google Scholar
Bektaş, T. & Laporte, G. The pollution-routing problem. Transp. Res. Part B Methodol. 45, 1232–1250 (2011).
Article Google Scholar
Franceschetti, A., Honhon, D., Van Woensel, T., Bektaş, T. & Laporte, G. The time-dependent pollution-routing problem. Transp. Res. Part B Methodol. 56, 265–293 (2013).
Article Google Scholar
Demir, E., Bektaş, T. & Laporte, G. The bi-objective pollution-routing problem. Eur. J. Oper. Res. 232, 464–478 (2014).
Article MathSciNet MATH Google Scholar
Koç, Ç., Bektaş, T., Jabali, O. & Laporte, G. The fleet size and mix pollution-routing problem. Transp. Res. Part B Methodol. 70, 239–254 (2014).
Article MATH Google Scholar
Schrage, L. Formulation and structure of more complex/realistic routing and scheduling problems. Networks 11, 229–232 (1981).
Article Google Scholar
Tarantilis, C. D., Ioannou, G., Kiranoudis, C. T. & Prastacos, G. P. A threshold accepting approach to the open vehicle routing problem. RAIRO-Oper. Res. 38, 345–360 (2004).
Article MathSciNet MATH Google Scholar
Letchford, A. N., Lysgaard, J. & Eglese, R. W. A branch-and-cut algorithm for the capacitated open vehicle routing problem. J. Oper. Res. Soc. 58, 1642–1651 (2007).
Article MATH Google Scholar
Fleszar, K., Osman, I. H. & Hindi, K. S. A variable neighbourhood search algorithm for the open vehicle routing problem. Eur. J. Oper. Res. 195, 803–809 (2009).
Article MATH Google Scholar
MirHassani, S. & Abolghasemi, N. A particle swarm optimization algorithm for open vehicle routing problem. Expert Syst. Appl. 38, 11547–11551 (2011).
Article Google Scholar
Brandão, J. A tabu search algorithm for the open vehicle routing problem. Eur. J. Oper. Res. 157, 552–564 (2004).
Article MathSciNet MATH Google Scholar
Li, X., Tian, P. & Leung, S. C. An ant colony optimization metaheuristic hybridized with tabu search for open vehicle routing problems. J. Oper. Res. Soc. 60, 1012–1025 (2009).
Article MATH Google Scholar
Hosseinabadi, A. A. R., Vahidi, J., Balas, V. E. & Mirkamali, S. S. OVRP_GELS: Solving open vehicle routing problem using the gravitational emulation local search algorithm. Neural Comput. Appl. 29, 955–968 (2018).
Article Google Scholar
Liao, W., Liu, L. & Fu, J. A comparative study on the routing problem of electric and fuel vehicles considering carbon trading. Int. J. Environ. Res. Public Health 16, 3120 (2019).
Article PubMed Central Google Scholar
Schneider, M., Stenger, A. & Goeke, D. The electric vehicle-routing problem with time windows and recharging stations. Transp. Sci. 48, 500–520 (2014).
Article Google Scholar
Keskin, M. & Çatay, B. Partial recharge strategies for the electric vehicle routing problem with time windows. Transp. Res. Part C Emerg. Technol. 65, 111–127 (2016).
Article Google Scholar
Abdallah, K. S. & Adel, Y. Electric Vehicles Routing Problem With Variable Speed And Time Windows. In International Conference on Industry, Engineering & Management Systems. 55–65 (2020).
Civicioglu, P. Transforming geocentric cartesian coordinates to geodetic coordinates by using differential search algorithm. Comput. Geosci. 46, 229–247 (2012).
Article ADS Google Scholar
Chu, X. et al. Adaptive differential search algorithm with multi-strategies for global optimization problems. Neural Comput. Appl. 31, 8423–8440 (2019).
Article Google Scholar
Gui, P. et al. Cross-cumulative residual entropy-based medical image registration via hybrid differential search algorithm. Int. J. Imaging Syst. Technol. 29, 701–710 (2019).
Article Google Scholar
Chu, X. et al. Worker assignment with learning-forgetting effect in cellular manufacturing system using adaptive memetic differential search algorithm. Comput. Ind. Eng. 136, 381–396 (2019).
Article Google Scholar
Ma, A., Gao, Y., Huang, L. & Zhang, B. Improved differential search algorithm based dynamic resource allocation approach for cloud application. Neural Comput. Appl. 31, 3431–3442 (2019).
Article Google Scholar
Al-Fakih, A., Algamal, Z., Lee, M., Aziz, M. & Ali, H. QSAR classification model for diverse series of antifungal agents based on improved binary differential search algorithm. SAR QSAR Environ. Res. 30, 131–143 (2019).
Article CAS PubMed Google Scholar
Liu, B. Composite differential search algorithm. J. Appl. Math. 2014 (2014).
Guha, D., Roy, P. K. & Banerjee, S. Quasi-oppositional differential search algorithm applied to load frequency control. Eng. Sci. Technol. Int. J. 19, 1635–1654 (2016).
Google Scholar
Chen, G.-Z., Wang, J.-Q. & Li, R.-Z. Parameter identification of the 2-chlorophenol oxidation model using improved differential search algorithm. J. Chem. 2015 (2015).
Islam, N. N., Hannan, M., Shareef, H. & Mohamad, A. Bijective differential search algorithm for robust design of damping controller in multimachine power system. In Applied Mechanics and Materials. 424–428 (2015).
Chu, X. et al. Learning–interaction–diversification framework for swarm intelligence optimizers: A unified perspective. Neural Comput. Appl. 32, 1789–1809 (2020).
Article Google Scholar
Barth, M., Younglove, T. & Scora, G. Development of a heavy-duty diesel modal emissions and fuel consumption model. UC Berkeley: California Partners for Advanced Transportation Technology (2005).
Liang, J. J., Qin, A. K., Suganthan, P. N. & Baskar, S. Comprehensive learning particle swarm optimizer for global optimization of multimodal functions. IEEE Trans. Evol. Comput. 10, 281–295 (2006).
Article Google Scholar
Yao, X. & Liu, Y. Fast evolution strategies. In International Conference on Evolutionary Programming. 149–161 (1997).
Karaboga, D. & Basturk, B. A powerful and efficient algorithm for numerical function optimization: Artificial bee colony (ABC) algorithm. J. Global Optim. 39, 459–471 (2007).
Article MathSciNet MATH Google Scholar
Chu, X., Chen, J., Cai, F., Li, L. & Qin, Q. Adaptive brainstorm optimisation with multiple strategies. Meme. Comput. 10, 383–396 (2018).
Article Google Scholar
Download references
This work was partially supported by the National Natural Science Foundation of China (Grant No. 71971142), the Natural Science Foundation of Guangdong Province (No. 2022A1515010278, 2021A1515110595 and 2016A030310067), the Science and Technology Innovation Commission of Shenzhen(Grant No. JCYJ20220530151209022), the National Institute of Hospital Administration(Grant No.YLZLXZ22G020), and the Shenzhen Science and Technology Program(Grant No. ZDSYS20210623092001003).
Wuhan University, Wuhan, China
Xiaoxiao Quan & Lina Shangguan
Shenzhen Second People’s Hospital (The First Affiliated Hospital of Shenzhen University), Shenzhen, China
Xiaoxiao Quan
College of Management, Shenzhen University, Shenzhen, China
Yongsheng Pang, Jiansheng Chen & Xianghua Chu
You can also search for this author in PubMed Google Scholar
You can also search for this author in PubMed Google Scholar
You can also search for this author in PubMed Google Scholar
You can also search for this author in PubMed Google Scholar
You can also search for this author in PubMed Google Scholar
X.X.Q.: paper concept, drafting and final approval. Y.S.P.: acquisition of data, data analysis and final approval. J.S.C.: acquisition of data and final approval. X.H.C. and L.N.S.G: paper concept, design and final approval.
Correspondence to Xianghua Chu or Lina Shangguan.
The authors declare no competing interests.
Springer Nature remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.
Open Access This article is licensed under a Creative Commons Attribution 4.0 International License, which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence, and indicate if changes were made. The images or other third party material in this article are included in the article’s Creative Commons licence, unless indicated otherwise in a credit line to the material. If material is not included in the article’s Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. To view a copy of this licence, visit http://creativecommons.org/licenses/by/4.0/.
Reprints and Permissions
Quan, X., Pang, Y., Chen, J. et al. Open pollution routing problem of logistics distribution in medical union based on differential search algorithm. Sci Rep 12, 19472 (2022). https://doi.org/10.1038/s41598-022-23387-3
Download citation
Received:
Accepted:
Published:
DOI: https://doi.org/10.1038/s41598-022-23387-3
Anyone you share the following link with will be able to read this content:
Sorry, a shareable link is not currently available for this article.
Provided by the Springer Nature SharedIt content-sharing initiative
By submitting a comment you agree to abide by our Terms and Community Guidelines. If you find something abusive or that does not comply with our terms or guidelines please flag it as inappropriate.
Advertisement
© 2022 Springer Nature Limited
Sign up for the Nature Briefing newsletter — what matters in science, free to your inbox daily.
Are plug-in manufacturers running out of ideas? – gearnews.com
Are plug-in manufacturers running out of ideas? · Source: Unsplash / Amin Asbaghipour
Any DAW user has pondered the question at some stage: How much room is there still for innovation? The world of effects plug-ins and virtual instruments has become overloaded with choices. So many are emulations of classic hardware, and very few provide features that aren’t covered by your DAW’s native plug-in suite. Are plug-in manufacturers running out of ideas?
A new broom sweeps clean, as the saying goes. Without a doubt, this applies in the case of software plug-ins. As soon as they became a feasible solution for signal processing and sound generation, there wasn’t a studio that didn’t jump at the idea.
Over the course of the 1990s, we saw personal computers developing at a rapid rate. From clunky auxiliary tools, they became the center of the modern studio. Multimedia workstations with graphics and audio capabilities became more accessible and affordable than ever before.
Meanwhile, alongside the IT boom, established audio manufacturers like Steinberg and Emagic expanded sequencer software into DAW systems capable of processing both MIDI and audio. Plug-in interface standards such as VST paved the way for so many virtual instruments and effects across the various platforms.
If we look at how music is produced today, there isn’t a studio that doesn’t run DAW software in one form or another. Working outside of a DAW has become something of a retro novelty.
Although conversations surrounding sound quality when working in the box were common initially, things have moved on. It’s no longer surprising to encounter productions made completely on software, either in the studio or at home.
As music software evolved, so did its emulation capabilities along with hard disk recording. Plug-ins had new purposes, but also a new market. The technical innovation behind software democratized music production tools for good.
Not only are plug-ins more affordable, but they are more accessible to beginners which means a far wider global user base.
The plug-in market certainly never stagnates. Manufacturers constantly release new plug-ins and update older ones, so it sure keeps us busy. On top of this, there are new manufacturers coming out all the time with their own takes on design. Trends seem to repeat themselves in an endless cycle, and the market becomes increasingly saturated as a result.
Today’s EQ plug-ins have achieved the perfect balance of function and usability
New and groundbreaking ideas are not easy to come by. EQ plug-ins, for example, seem to become more homogenized by the minute. The interfaces show a true balance of function and usability, which is hard to improve on. In addition, effects and synthesizers struggle to display much in terms of innovation because most of the concepts have been exhausted by now.
FabFilter Pro-Q 3
However, there is still room for growth and new ideas, for a few reasons. As technology advances, the processing power available becomes even greater. Having new CPUs on the market means plug-ins have expanded capabilities. The result is software with more complex algorithms, which for example, can produce more detailed analogue emulation.
At the moment, the incorporation of AI and machine learning functionality is becoming increasingly popular within software interface design. This allows processing functionality, especially in the backend, that could not be fathomed only a few years ago.
One thing that can work against plug-in developers, is the incessant rate at which new processors and operating systems are released on the market. So many formats have become obsolete as a result, and this is likely to continue.
At the moment, we are experiencing the migration from Intel to Apple silicon processors which requires compatibility. This leads to plug-ins becoming redundant legacy software without support in most cases. To add to this inconvenience, the new plug-in versions often require new licenses which adds to the overall cost of upgrading your system.
The only silver lining is some manufacturers like Audio Damage have made their entire legacy plug-in catalogue available for free. This is certainly a bonus for legacy OS users.
Plug-ins like Waves Nx put you in virtual studio environments via headphones
Progress is not only evident in processors, but in other areas too. Multi-channel and immersive audio formats are good examples of this. Acoustic calibration tools for speakers and headphones, as well as room emulation plug-ins, are constantly being released. Recently, this has brought multi-channel support to the already saturated effects plug-in market.
Waves Nx Germano Studios New York
Rather than becoming more versatile, we are seeing plug-ins become more specialized. Plug-ins that perform a specific technical function like noise reduction have improved drastically. Here, trends within popular music affect developments. The desire to get “that sound” becomes the driving force behind tools for sidechaining or vocal pitching.
Eventide SplitEQ combines frequency and transient processing
Sometimes innovation happens in the form of an amalgamation of older concepts. This often results in a “one-knob” interface design. Here, you can control a series of processes to varying degrees, with a single knob.
We can also see the expansion of more detailed interfaces, as within a multi-band distortion plug-in where each individual parameter can be precisely controlled. In the future, there is great potential for hybrid plug-in designs.
Eventide SplitEQ
Never forget that UI design and programming is a very diverse art form. There isn’t a right or wrong way to produce the results you need in your music, only the way that works for you.
Some software is more focused on the sonic potential, while other developers put the visual interface first. Most often it is the unique approach of the user that brings notable results. There is no guarantee that a new plug-in will sound better, so ensure you try before you buy.
We can often put technological developments under a microscope of scrutiny, ignoring the bigger picture. Almost every part of modern art and consumer culture is made up of regurgitated ideas, and everyone still flocks to the next Batman movie. With the lens of subjectivity, you can find what works for your ideal process.
So what are your thoughts on the matter? Is there stagnation in the development of plug-ins, or do you think plenty of new things happening right now? Which plug-ins have surprised you lately?
Note: This article contains affiliate links that help us fund our site. Don’t worry: the price for you always stays the same! If you buy something through these links, we will receive a small commission. Thank you for your support!
Originally published on Gearnews.de by Dirk.
How do you like this post?
IMHO there is a gap for virtual instruments, like maybe some1 can sample the actual guitar Hendeix played and put it into a vst or, sample the sound of som1 playing a gong underwater, its just that making a vst rquires code and NI is too expensive, come up with a way to make vsts easy and cheap and then the party will kick off. WYSIWYG.
I don’t think it’s so much stagnation.
I think it’s a glut of talented musician / coders making all sorts of plug ins all of the time.
We’re spoilt for choice and have countless options for everything.
This, together with ever present social media and the constant need for new content, make everything seem mundane because we’re so used to it by now.
I love reading about new gear and getting excited about new possibilities (Midi 2.0, I’m talking to you), but sometimes it’s all too much.
I think that environment can breed perceivable stagnation.
Sorry to rant.
Just have fun making noise 😁
Totally agree with you
I love plug-ins, and have probably spent about 4 or 5 grand on them over the last 10 years or so since mostly moving over to VST’s.
The one thing I don’t like about them – even though I do understand why their authors need to protect their IP from piracy – is online acknowledgement and ‘hand-shaking’ to unlock the software. What’s going to happen in, say 20 years time if the authors have long since retired / gone bust / can’t be bothered anymore / headed to that great big studio in the sky? We’ll no longer be able to reactivate our virtual instruments and effects…and these things are hardly only supposed to be used for a year or two; like hardware instruments, we expect them to last.
We are therefore essentially ‘hiring’ such plug-ins without realising it, but only for the duration in which they will be supported – after which time, they are gone forever. Or we’ll be forced to find virus-infected hacked versions of the instruments we once paid for.
Hardware synths, drum machines and effects processors I bought 35 years ago, are mostly still working – and can be repaired or replaced if they fail. Yet I doubt the same can be said for many of the most popular VSTs in 15 years from now, let alone 35.
Hardware is definitely a better investment than software (unless you buy disposable behringer rubbish – quality is the key here), both in the short and longer term. There are cost and practical space constraints with hardware that also tend to limit the amount of spending (ish) and focus the creative mind, whereas plugins are rather crack-like in their instant gratification and lack of longevity.
Even the MS-1 etc. now experienced a noticeable raise in price compared to what they went for initially and after two years ago..
I was interested in a Wing sicne it was unveiled, and recently checked prices again. Guess what… if you can find a used one, 2800 EUR seems to be it.
I won’t comment on that “disposable” part.
“What’s going to happen in, say 20 years time if the authors have long since retired / gone bust / can’t be bothered anymore / headed to that great big studio in the sky? We’ll no longer be able to reactivate our virtual instruments and effects…and these things are hardly only supposed to be used for a year or two; like hardware instruments, we expect them to last.”
I disagree. I started using software instruments around 15 years ago and which of those am I still using? None. Software technology moves on in just the same way that all technology does.
Indeed, recently I rediscovered a previously-unfinished Logic project from about 12 years ago, which I had carelessly not bounced an audio demo for (probably because I thought I would finish it at the time!) and, for a bit of fun, had the compulsion to finish now.
While the Logic project game me the structure, tempo changes, etc, successive versions of Logic, changes of Mac, updated software instruments and my changing uses and preferences for plug-ins meant that none of the original instruments and effects were on my current Mac. All I had to go on was the names of the sounds, which I had handily saved as the region names.
It was actually a really fascinating few days spent recreating it to as close to the original as I could.
Honestly, I think most of us are about as likely to be using the same plug-ins in 20 years time that we’re using now as we are going to be using the same watch / phone / TV, etc.
Some amazing new stuff out there: example Split EQ and Gullfoss. Slate VSX (while many things like it) is an absolute huge game changer.
I still grab a classic emulation now and then if the concensus is that it represents another step up in emulation. but other then that I ignore most of them.
Iteration is also a thing. For instance, if drum superior 4 comes out I will buy it day one. Guitar modeling continues to improves too.
But yes waaaay too much bloat. I see many of these companies disappearing over the next 5 years.
Your email address will not be published.
· I just wanted to say I love my pulse. 0 problems in my 2-3 year run with it so far.
· The Behringer ‘synthtribe’ editor tool SHOULD be a great idea, but, for myself, and some others it has been a major pain. Mainly in that once you have gone through the igmarole of clearing old …
· USynth Drive is very cool. I plunked around on it for just a few minutes today, and found it immediately inspiring. Thank you!

