The Voice is coming at you liiiiiive tonight! Finally! Listen, I enjoy The Voice, obviously, but don't you feel like we all age about 30 years each season? We've been through so much already and yet we have so far to go! We have a top 16 to whittle down to one season 22 champion. Tonight, the top 16 artists will all be performing in the hopes of making through to the top 13 when the results are announced tomorrow night. The two artists on each team at the top of the audience vote will automatically move forward, and each coach will then choose a third member from their team to save. The four remaining artists — one from each team — will then compete tomorrow night for the Instant Save to round out the Top 13. No one wants to perform under that kind of pressure, so the time to impress is now. Let's get into it. Omar Jose Cardona, "Livin' On a Prayer" by Bon Jovi Coach John Legend calls Omar "the golden voice" and a "favorite to win" this entire competition. For his first live performance, Omar sticks to exactly what's gotten him this far: huge '80s pop/rock ballads. The end of this performance is especially impressive — those high notes! — and the guy knows how to work the stage. Camila Cabello calls him "a rockstar" and his coach's review is simply that "so few people on the planet that can sing like you can," so, like, no big deal. There's no way Omar isn't making the Top 13. Kim Cruse, "I Never Loved a Man (The Way That I Love You)" by Aretha Franklin Kim Cruse has one of the best voices in the competition, hands down. She owns this classic Aretha song and knows exactly how to build up to something truly special. She gets all four coaches up on their feet. Legend is impressed, but not surprised. He loves how powerful Kim's vocals are but even in that power, she's making smart, "tasteful" choices. It never sounds overdone. "I love watching you execute your craft," he tells her. Sasha Hurtado, "Tiny Dancer" by Elton John Well, I would not want to follow Kim Cruse doing Aretha Franklin and Sasha's song choice isn't the most exciting, nor does it give her the "moment" she needs. You know things aren't going exactly in her favor when the two critiques, from Gwen Stefani and her coach Legend are more about her newfound confidence on stage than anything having to do with her actual vocals. This isn't her strongest performance and the competition on her team is stiff. Parijita Bastola, "I'll Never Love Again" by Lady Gaga Team Legend's 17-year-old pop/soul singer has been crushing it with big pop ballads, so it's no surprise she takes on one by Gaga here. It allows her to not only show off how well she emotes in her performances, but also remind us of the crazy amount of power she has. She just knows how to break hearts up there on stage — and we'll let her! Do it again, Parijita! She gets a standing ovation from all four coaches. Cabello calls her "masterful," while Legend tells her the performance "was so emotionally beautiful and honest." Kique, "As It Was" by Harry Styles Kique's song choice here isn't as bold as, say, "Hey Ya!" but his arrangement is compelling and it sets him apart from the original — it's got a cool rock vibe and it's much moodier. Legend applauds Kique for his confident, interesting choices. "You keep impressing me every time," he tells him. Kique's own coach is equally impressed: She's blown away by the way Kique knows exactly what will work for his voice even at such a young age. "I'm so into you!" she yells. Kevin Hawkins, "Skate" by Silk Sonic Kevin is Stefani's steal from the Knockouts, and while his vocal performance is a little jumbled, the man can perform. He commands the stage, engages the audience, and knows how to sell it. Blake Shelton loves seeing "the entertainer" come out at this point in the competition. Stefani tells Kevin that he's got everything he needs already — he can sing, he can dance, and yeah, the guy can perform. She loves seeing him "blossom" on stage tonight. Alyssa Witrado, "Angels Like You" by Miley Cyrus Alyssa impressed Stefani in the Blinds with her cover of "Don't Speak" and has become the team's young pop-alternative singer. She slows things down here for her first live performance and it exposes some of her weaknesses. The vocals aren't her best and a little more enunciation might help things. Cabello wishes that Alyssa was a little more emotionally connected to the song, but mama Stefani is nothing but proud of the way she executed a challenging performance. Justin Aaron, "Here and Now" by Luther Vandross Stefani's powerhouse vocalist taking on Luther? This feels right. Justin lays it down out there. His runs! His belting! All the coaches go wild by the end. Legend can see that Justin is growing with each round. Plus, he "flat out sang that song right now," Legend says, floored by how Justin was unafraid to take on a Luther Vandross song. Stefani had been waiting for this performance and tells Justin that it was "beyond [her] dreams." "You could do any song in the whole world," he's that good, his coach beams. Morgan Myles, "Let Him Fly" by Patty Griffin Morgan Myles had a rough Knockout round, but this performance feels like we're getting back to why Morgan made such a splash in the Blinds. It's Morgan and her guitar and a great storyteller's country song. Shelton is especially excited to see her back in this gear and tells her that her pitch was perfect and she "looks like a star." Her coach Cabello, too, is proud that her "truth teller" is back in top form. It was full of believable emotion which Cabello thinks is "really, really beautiful." Also, friends, that high note! Eric Who, "Rumor Has It" by Adele Eric Who is here for the drama in the very best way. He's a performer through and through — remember when he crawled across the stage? — and he continues as such with this new arrangement on an Adele hit. It's a punk rock anthem now, I guess! Legend loves that Eric is making these "confident, bold choices." "Welcome to the Eric Who show, baby!" coach Cabello shouts. She's a huge fan of his: "You just light my spirit on fire," she tells him. Kate Kalvach, "You're Still the One" by Shania Twain You can see Kate has some technical issues with her in-ear monitors, which would spell disaster for plenty of singers. Not for Kate! Her vocals sound great. When the coaches learn about the problem, they're all impressed she handled it as well as she did. Kate is a dark horse — she's got a great, sweet, pop voice and knows how to work an arrangement to her benefit. "Your voice is magical and angelic," Cabello tells her, summing it up pretty nicely. Devix, "Sex on Fire" by Kings of Leon This is a perfect song choice for Cabello's indie pop artist. It's got an edge and lets him show off both his great rock vocals and the way he effortlessly emotes. Legend loves the performance, and thinks Devix has a voice that is ready for radio right this very minute, but he does tell Devix to loosen up a little more. "I want you to unleash at another level," he advises. Devix's coach Cabello praises his smart artistic choices, which she says are "always tasteful." He's an artist who knows himself and Cabello finds that super appealing. Bryce Leatherwood, "I'm Gonna Be Somebody" by Travis Tritt Bryce is Shelton's tried and true country singer. He picks a Travis Tritt song, which is a great fit even if it's not the most surprising. Legend finds the whole performance convincing and was impressed with the passion Bryce infused into the song. Shelton, too, can't say enough about how authentic and authentically country Bryce is. "You're getting through this thing tomorrow, there's no question in my mind," he tells his artist. You heard it here first! Rowan Grace, "Hopelessly Devoted To You" by Olivia Newton-John Okay, this is a song choice! Rowan's a pop artist in the vein of Olivia Rodrigo and this song choice is unexpected and fun while also giving her room to have some big moments. It's not her best vocal, but it certainly feels like a choice made by someone with a lot of confidence. Shelton tells her that she just delivered "a solid performance of a classic song" and in doing so, she's propelled herself into the front of the line of this competition. Brayden Lape, "Buy Dirt" by Jordan Davis feat. Luke Bryan Brayden's always had a country-twang to him, but he's done well in this competition as a pop heartthrob type and those types of performances have felt a little more authentic than this one (especially after Bryce Leatherwood). Cabello's a big fan though, calling it her favorite performance of Brayden's this season. Shelton is impressed with how calm and collected Brayden was up there delivering that. I don't think he'll have any problem moving forward. bodie, "Glimpse of Us" by Joji I'm sorry, can we just send bodie all the way to the finals already? He's too good not to be there. He's a fresh breath of air on this show and tonight, he picks a song that shows how of-the-moment he is while also demonstrating his ability to pull off power vocals. It's very emotional! Stefani found it unexpected, and thinks his voice is so good that he could pretty much do any genre he wants. Shelton is blown away by bodie's talent and ability to really move the crowd. "I'll see you in the finale," he tells him. Exactly, my dude! Sign up for Entertainment Weekly's free daily newsletter to get breaking TV news, exclusive first looks, recaps, reviews, interviews with your favorite stars, and more. Related content: A rotating chair-full of judges search for the next great superstar singer on this NBC reality show.
Roland Live performers are constantly looking for new tools to add to their arsenal to help elevate the show that they can put on for their fans. And while it can be easy for vocalists, guitarists, and more to add flash to their performance, percussionists have usually left to their own devices at the back of the stage. But Roland's latest iteration of their popular SPD-SX drum pad, the SPD-SX Pro, arms drummers and percussionists with a suite of powerful tools that all come packaged in a small and durable sampling and performance pad. We got one of these pads to review, and after taking it on the road and using it extensively in the studio, we were super impressed by what we found. But we also had some gripes about it too. So let's dive into what we thought about this percussive powerhouse built for experimentation. Learn More About This Drum Pad While Supporting The Magnetic Team Through Out Partnership With Sweetwater Here. The newest interaction of Roland's ever-popular sampling pad, the SPD-RX Pro continues the legacy of the SPD-SX by creating a high-power sampling pack and performance device that blends the worlds of digital power and live-acoustic sounds. With nine high-sensitive surfaces to load samples, aesthetically amazing LED control diodes, and a sound engine that ensures unrivaled sonics, the Roland SPD-SX Pro is a one-stop shop to elevate your live performance needs. With an onboard memory of 32GB that you can use to convert and load quality audio samples, this has never been a better performance tool for percussionists. So whether you're a solo performer looking to trigger more complex patterns and loops or a band member looking to add other-worldly sounds to your acoustic kit, this workhorse device will see it done. Roland Every pro-grade drum pad will come packed with useful features, bells, whistles, and more. And to dive into a detailed explanation of all these in a single article would take days to write. And because I know you likely have music to make and bandmates to practice with, I will jump directly into my three favorite features that made Roland's drum pad stand out to me. I'm going to start this list of my favorite features off with something that might not seem the most glamorous to somebody window shopping for new gear but is a secret weapon for anyone thinking seriously about picking this drum pad up. That's right; this thing is built like a brick truck! It's heavy, durable, and made to be played live and loud in any performance setting. The pads can take a beating; the build can handle any wear and tear you throw at it, and just handling it for a brief moment will tell you this thing is built for life on the road. This is a godsend for any touring musician worried about their gear getting bumped and bruised while on the road. Rest assured, this thing can keep up with you, and I was impressed by the build quality of this sampling pad. The number of sounds that come packed into this thing is simply incredible. With 200 kit patches, 1,500+ factory-made preset sounds, import options, and sampling functionality, this thing ensures that you are never left without high-quality, precise sounds that fit the vibe and needs of your gig, performance, or studio work. Whether you're looking for iconic house music kits, acoustic replications, or ambient drum kits, this thing is sure to have them. During the handful of weekends I spent hammering away on this thing, I was never left without an excellent hit or tone that wasn't more than a few clicks away. Moreover, the SPD-SX Pro has a handful of onboard sample manipulation tools that enable you to sculpt and shape the factory sounds and samples you import. While this doesn't seem like much, it is a fantastic feature that Roland managed to seamlessly fit into the streamlined system that the SPD-SX Pro offers. The SPD-SX Pro is more than just a basic sampling and drum pad. It's a forward-thinking creative tool that opens up almost infinite possibilities to a percussionist on stage. Roland does seem to have thought of everything when designing this drum pad. A suite of onboard effects, a dedicated SPD-SX Pro app, and other features are all on hand to enable a drummer to reach new heights in their percussions. The robust FX ensemble even includes sidechain possibilities that have the potential to let the drummer add complex rhythms and exciting textures to an otherwise standard performance. And finally, a handful of features included in this drum kit make swapping sounds and kits on the fly a damn breeze. This makes it a reliable, fast, and efficient performance tool that allows drummers to quickly cycle through kits and sounds with only a few clicks and turns without ever having to stop or interrupt the set. After spending many hours experimenting and getting my hands dirty with this unit, I concluded that I had a few minor things to make a note of. These things are by no means deal breakers for those looking for the specifics of a pro-level drum pad; two things should be mentioned. The SPD-SX Pro's price is $1,199 as of writing this article, which is not cheap by any standards. And while its litany of features certainly makes it a justifiable price for what you're getting, the price point will still make it a tough sell to many amateur producers and weekend performers. But this is an easy sell for the artists, percussionists, and producers who have a bit of extra money and are looking for a durable and creative addition to their live performance kit. The SPD-SX Pro bills itself as a performance tool and studio device, but I found the former far more accurate. When it comes to studio gear, there are so many different drum pads. MIDI controllers, beat pads, and more on the market offer a lot more functionality for music production precisely than what the SPD-SX Pro has to offer. And while the SPD-SX Pro allows you to record, process, and sample your hits and percussion lines, I find these features to be far more powerful when bringing recordings and performances from your live gigs into the studio and your DAW than as a dedicated sampler. Again, this thing is a live-performance first device, and it does its job on that front immaculately well. All the other benefits and uses are practical but come second to the purpose of live performance. Learn More About This Drum Pad While Supporting The Magnetic Team Through Out Partnership With Sweetwater Here. Managing Editor at Magnetic Magazine – Former Marketing Manager at the Hyperbits Masterclass – Writer, Content Strategist, Music Producer, and Record Label Manager
AIR Music Tech: 7 new plug-ins in one go · Source: AIR Music Tech AIR Music Tech has released seven new plug-ins in one go: Hype, Solina, Odyssey, Mellotron, Electric, TubeSynth, and Bassline. If those names sound familiar, it’s not just because some of them emulate classic synths. Their sound engines were pulled straight from the newer AKAI MPCs and Force. The new virtual instruments make them available on macOS and Windows for the first time. AIR Music Tech is bringing seven instruments originally developed for the current AKAI MPC and Force series to the desktop platform. All of them are available as plug-ins and as stand-alone versions, so you can play them without a DAW using a USB or Bluetooth controller. AIR Music Tech says that the plug-ins are compatible with the MPC and Force versions, so exchanging presets shouldn’t be a problem. Hype Hybrid Synthesizer Without a doubt, the most interesting instrument among the new releases is Hype, a hybrid synth with four sound engines. In addition to FM synthesis and wavetables, Hype offers sample-based and virtual analog synthesis. It comes with 1500 presets and offers six macro controls for easy editing and control. Needless to say, Hype also includes a bunch of different effects. Solina is of course based on the iconic string machine and includes six instruments with independent controls. Odyssey was created in collaboration with WayOutWare and delivers the sounds of the ARP Odyssey. Mellotron offers six tape sets with classic Mellotron sounds such as flute, choir or strings. And Electric includes a selection of classic electric piano sounds like Rhodes, Wurlitzer, and an FM variant. TubeSynth is a VA synth with three oscillators, unison, ring modulation, two LFOs and a filter that’s an evolution of Vacuum Pro. It offers polyphonic glide, integrated effects and 300 presets. TubeSynth is a virtual analog synthesizer Bassline emulates the sounds of classic monophonic synths. According to AIR Music Tech, it uses an evolution of the Vacuum engine to emulate the warm sounds of the analog era. While most of these emulations have been done before by other manufacturers, the new plug-ins by AIR Music Tech focus on easy-to-use interfaces and quick results. On the whole, I’d say they’re definitely worth a look, especially if you already use their MPC and Force counterparts and would like to use those sounds in your DAW, as well. The new AIR Music Tech plug-ins run on macOS 10.10 or higher and Windows 7or higher. They’re available in VST, VST3, AU, AAX and stand-alone versions. The introductory prices range from €39.99 to €99.99. AIR says that the regular prices will be €49.99 to €124.99. By loading the video, you agree to YouTube’s privacy policy. Learn more Load video
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How do you like this post? Apple silicon compatible? Website still advising don’t upgrade yet for software Over a decade ago I used Pro Tools and Air’s plugins, and found them to be really good. May get the Mellotron VST as I’ve always loved the instrument. That choir, it never fails! Why must they stoop to catering to the lowest of the barely human, with all the kill-the-cashier-for-crack-money disco-duck music “demos” of the gear? It’s hard for me to take this dev seriously. Your email address will not be published.Required fields are marked *
· 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!
Bloomberg Daybreak Middle East. Live from Dubai, connecting Asian markets to the European opens. The show will focus on global macro issues with a middle eastern context, provide expert analysis of major market moving stories and speak with the biggest newsmakers in the region. Simulcast of Bloomberg Television I Love Wine transports you to the best winemaking regions of the world, where the people behind the grapes explain how the culture and the landscape have shaped their product. Dalio Warns of Consequences of ‘More Intense’ China-US Friction Americans Cash In Strong Dollars to Scoop Up Luxury London Homes What If the Fed Has to Take Rates Up to 6%? Australia Should Keep Tightening Policy to Cool Demand, IMF Says Uruguay Lifts Key Rate to 11.25%, Signals December Hike Estee Lauder to Buy Designer Brand Tom Ford in $2.8 Billion Deal Ty Gibbs Promoted to Replace Kyle Busch in JGR’s Cup Car Billionaire French Shipping Tycoon Expands Hunt for Media Assets Apple Prepares to Get Made-in-US Chips in Pivot From Asia IPhone Pro Output Estimates Cut by Morgan Stanley After Lockdown Trump Announces 2024 Presidential Run: Here’s What Happens Next Trump Steps Up Battle of Wills In Announcing 2024 Bid With GOP Starting to Doubt Him Musk Got $55 Billion Pay Deal to Ensure His ‘Tenacity’ for Tesla, Chair Says Steve Cohen’s Point72 Weighs Limit on Investor Redemptions Swift, Lizzo, Miranda Lambert React to Grammy Nominations Boston Bruins Hire Firm to Review Player Vetting Process Trump Reminds Republicans He’s Not Going Away What Prompted Xi Jinping’s Swift Turn From Zero to Hero? Walmart’s Doing Great. Its Customers, on the Other Hand … Google’s Moonshot Lab Is Now in the Strawberry-Counting Business How Apple Stores Went From Geek Paradise to Union Front Line A Sports Bar Builds a Loyal Clientele Showing Only Women’s Events Georgia’s Six-Week Abortion Ban Is Invalid, State Trial Court Rules Microsoft to Adopt New Sexual Harassment Policies After Gates, Misconduct Audit Pakistan’s Rehman Has No Plans for ‘Stylish’ Walkout at COP27 UK Could Have Slashed Gas Use With Higher Rates of Heat Pumps Taxi Fares Are Going Up 23% in New York City Texas Governor Abbott Raised $400,000 to Bus Migrants to Democratic Cities Metro Service to DC’s Dulles Airport Finally Arrives, 60 Years in the Making Before the Blowup, Wall Street Heavyweights Went to Bat for FTX Cathie Wood Buys the Dip in Bitcoin Fund as Discount Hits Record Berkshire Hathaway’s Charlie Munger Criticizes Crypto ‘Delusion’
James M. Shellow, one of Milwaukee’s most reputed criminal defense attorneys known for representing civil rights leaders as well as organized crime bosses over his more than 50-year career and who inspired an array of defense attorneys in the city and beyond, has died. He died on Oct. 29 at his Milwaukee home, from an illness with COVID-19, his daughter Jill Shellow said. He was 95. Shellow was a local legend who came to the legal profession later in life, but quickly rose in prominence as a formidable defense attorney in Milwaukee, one who would push boundaries and challenge others to think beyond the conventional and the status quo. “I saw him as a man that was the cutting edge on arguing constitutional law, on challenging the statutes that had been long accepted,” said E. Michael McCann, former Milwaukee County district attorney, whose office of prosecutors was often opposite Shellow in the courtroom. “He was a master of the technical.” One of Shellow’s early cases prompted the Wisconsin Supreme Court – in a “precedent shattering decision” – to modernize the test used by courts to determine a defendant’s sanity, the New York Times reported in 1966. Before, a defendant in Wisconsin was only considered insane if they did not know the difference between right and wrong. But Shellow argued in favor of a new test, under which a person may be considered insane if he is unable to control his conduct because of a mental disease. He was also well-known for his skills cross-examining witnesses, an ability that made him a sought-after criminal defense attorney not only in Wisconsin, but nationally, said longtime friend and colleague Dean Strang. Shellow was especially skilled at questioning forensic analysts in drug trials, a subject he even wrote a book about, “Cross-Examination of the Analyst in Drug Prosecutions.” He sought to undermine the testimony of drug analysts, by sowing doubt in their qualifications as “experts” and getting them to admit their lack of understanding of chemistry and other sciences underlying forensic drug analysis, Strang said. “You find that these people really aren’t experts,” Shellow told the Milwaukee Journal in 1979. Shellow once compared his style of cross examination to German warplanes and their terror-inducing sirens. “He had a withering style of cross-examining a witness,” Strang said. “It controlled the witness, and because of his verbal precision, it left the witness almost no room for evasion.” Other defense attorneys admired him for his “ferocious capacity for work,” at times sleeping only a few hours a day, and for his commitment to his clients, whom he didn’t want locked in “cages,” Strang said. Prosecutors respected his abilities and did well to “expect challenges that you wouldn’t find elsewhere,” McCann said. “Prepare for esoteric detail with Jim,” McCann said. “Jim’s skill was clearly the law, command of the law.” Despite his success, Shellow made time for other lawyers who sought his help and guidance, Strang said. He became a mentor to many younger lawyers, especially later in life when he held regular, informal meetings with lawyers called the “Shellow school” to discuss legal issues, formulate legal strategies for their cases and build camaraderie. “One of his favorite questions was ‘why?’ ” Strang said. “Why do they do this? Why is it done this way? Why does everyone think this way? … He had that brilliance and capacity for curiosity and asking questions.” He inspired dozens, if not hundreds of other lawyers, including those who worked at his firm, young proteges whom he took under his wing, pupils of his training sessions at the National Criminal Defense College, which he helped co-found – and even his two daughters. James Myers Shellow was born on Oct. 31, 1926 in Milwaukee, the older of two sons, to Henry and Sadie Shellow. The family of four lived in Shorewood. Henry worked as an accountant, and Sadie as a psychologist. From a young age, James developed a love of reading and literature, in part born of the stories Sadie would read to him and brother Robert before bedtime, Robert Shellow said in an interview. He was also gifted in mathematics and enjoyed working with chemistry sets as a young man, interests that he would later apply to his legal career, his younger brother said. During a brief stint in the Navy at the tail end of World War II, James trained to be a radar technician, his brother said. Then, he studied at the University of Chicago, where, in 1949, he met Gilda Bloom, a graduate student in psychology. They were married a year later. Following graduate school, James took a job working for a military airplane manufacturer, a career that ultimately left him unsatisfied, his brother said. He then went into accounting and worked with his dad, before ultimately enrolling in law school at Marquette University in 1958. “The law really clicked for him,” Robert said. “It gave him the freedom and the individuality and the stage on which to perform I suppose. He was a performative person, no question about it.” Soon, Gilda took an interest in the books James and his classmates were poring over together at night, and she followed him into law school. Together, they started a husband-and-wife law practice out of their home on North Lake Drive in Milwaukee, where they also raised their two daughters, Jill and Robin. The walls of their home were lined with shelves and shelves of law books, a home law library that was the envy of McCann, who lived not far from the Shellows. Jill Shellow remembers as a girl helping her parents by putting small pamphlets, called a “pocket part,” into the back of law books, with information on the most current law. She was not allowed on the library ladder except when supervised. “Dinner-time conversation was about cases and issues and strategies for as long as I can remember,” Jill said. Both she and younger sister Robin went on to become criminal defense lawyers, too, something that Jill regarded as something of a pre-determined, genetic inevitability. Robin practiced in Milwaukee until she died last year, at times working alongside her dad. She took a particular interest in defending children involved in the criminal justice system. More:Robin Shellow, a lawyer who championed juvenile defendants and victims of police misconduct, has died Jill is an attorney in New York City. James and Gilda Shellow eventually moved into an office on Mason Street in downtown Milwaukee. James cut his teeth as a lawyer in the 1960s, a decade marked by civil unrest over the Vietnam War and the struggle for racial justice. It was also that decade when the U.S. Supreme Court, led by Chief Justice Earl Warren, vastly expanded civil rights, including for criminal defendants by guaranteeing the right to free counsel and the right to remain silent, among other protections. “Jim was right there, right in the thick of it,” McCann said. Early in his career, Shellow represented Father James Groppi, one of the leaders of Milwaukee’s fair housing marches, and Michael Cullen, one of the Milwaukee 14 who stole draft records from the city’s selective service office and set them on fire, along with other anti-war protesters and civil rights activists. As leaders of the National Association of Criminal Defense Lawyers, Shellow and attorney Albert Krieger also traveled to South Dakota in the 1970s to organize the legal defense for members of the American Indian Movement charged in the occupation of Wounded Knee. Jill remembers nights when civil rights leaders would meet at their home to talk or strategize. She and younger sister Robin, already asleep, would be woken up and allowed to sit and listen to the meeting, before being ushered back to bed. Shellow also defended clients accused of more ignoble crimes, including Milwaukee’s one-time organized crime boss, Frank Balistrieri. He also represented people accused of all manner of other crimes, including homicide, drug offenses and other felonies. Outside of his work in law, Shellow had a taste for expensive and antique cars, brother Robert said. “I was both a beneficiary and a victim of that interest,” said Robert, who had some experience in mechanics and was sometimes called upon to fix a car. One of Shellow’s most beloved cars, Robert said, was a Riley classic that he bought from a seller in England and had driven to his home in France. Robert said the car had nothing but trouble all the way there, and that getting parts for it was a “nightmare.” Even into his later years, as his work was winding down, Shellow was still generous with his advice, some of his mentees said. Anthony Cotton, the attorney who represented Morgan Geyser in the Slender Man case, said Shellow was “instrumental” in helping him work through the issues in the case. Cotton ultimately succeeded in arguing an insanity defense for Geyser, one of two 12-year-old girls involved in the stabbing of a classmate to please the fictional character Slender Man. Shellow never quite seemed his age, Cotton said, even though he “smoked like a chimney” for most of his life and was in his 80s by the time Cotton met him through Shellow school. “The guy never looked tired, and then you’d get home and you’d have emails coming in throughout the night” from him with ideas, he said. “It was like pure, intellectual excitement.” It was that work ethic that will live on in the people he most influenced. “The best thing I can do to keep his memory alive is to represent people who are most hated in our society,” said Jill. “The best I can do to carry on his legacy is to keep working.” James Shellow is survived by his brother, Robert, his daughter Jill and one grandson, Aaron Shellow-Lavine. He was preceded in death by his wife, Gilda, and his daughter Robin. Our subscribers make this reporting possible. Please consider supporting local journalism by subscribing to the Journal Sentinel at jsonline.com/deal. DOWNLOAD THE APP: Get the latest news, sports and more This article originally appeared on Milwaukee Journal Sentinel: Lawyer James Shellow who defended many from Groppi to Balistrieri died Due to EU data protection laws, we (Yahoo), our vendors and our partners need your consent to set cookies on your device and collect data about how you use Yahoo products and services. Yahoo uses the data to better understand your interests, provide relevant experiences, and personalised advertisements on Yahoo products (and in some cases, partner products). Learn more about our data uses and your choices here.
Creating dub delay in your DAW. · Source: Soundtoys Dub delay is a style of effect that has evolved throughout its use in modern music. The PA system amplifiers and mic mixers of the 1950s and 1960s began to be designed with onboard echo and reverb effects, so it became a standard for vocals and other instruments in Jamaican reggae, dub, and rocksteady soul recordings. As dub Soundsystem culture grew, the use of these effects become more widespread. Dub delay has since been produced with analogue and digital delay and echo units, from rack gear to guitar pedals. It has become a signature effect with application in many musical styles and also as a sound design tool. From the pleasing washed-out ambiance created when combined with tonal instruments like vocals, guitars, and keyboards to surreal sounding groove-based passages with drum patterns. Creating dub delay using software can be challenging, so we’ll check out some plugins and different approaches. You can even create decent dub delay effects with your stock DAWdelay and echo plug-ins. All it takes is the right EQ settings. However, some delay plug-ins have HP and LP filters, saturation, or overdrive built in. This gives you the tonal control needed to shape the affected sound. Swiss audio software company, Togu Audio Line creates a range of plugins based on vintage hardware. Although the TAL Dub X isn’t an emulation of one delay unit in particular, it provides just the right set of parameters for creating almost any type of delay effect. Its simple, modular design has 2 gain stages, with the ability to drive the input level to produce saturation. The 24db/octave LP filter can be set to pre or post delay, which is useful for tone-shaping. This is especially handy when working with rhythms, as you can accentuate specific parts of the pattern using the filter and LFO. The TAL Dub X delay plugin. Pros: Cons: One vintage tape delay plugin to rule them all. Soundtoys are some of the most widely used software plug-ins around, with excellent recreations like the EchoBoy and EchoBoy Jr. With an Ampex modeled tape sound and a wide range of vintage emulations to choose from, Echoboy offers effortless creative control. Each section of the plugin is designed for detail and depth, making the range of applications you can find for this delicious delay endless. However, you don’t need a plugin this elaborate simply to create dub delays, so it’s a pity that EchoBoy Jr. isn’t sold separately. The EchoBoy vintage echo plugin from Soundtoys. Pros: Cons: Soundtoys EchoBoy Download Another sworn-by industry tool, the Waves H-Delay is used across many musical styles, especially on vocals. For a software plugin, it sounds incredibly natural and warm, and the selection of parameters allows you to quickly shape the sound to fit your track. Useful features like the LoFi switch add character and the knob that links the HP and LP filters is wild when combined with automation. All the controls seem to affect the sound in such a musical way so it’s hard to miss when using H-Delay. Watch the feedback control when using it though, as it’s quite a sensitive beast. Waves H-Delay. Pros: Cons: Waves H-Series Download For years, the Dubstation plugin from AudioDamage has been the go-to echo plugin for electronic music producers and many other music styles too. This simple bucket brigade style delay allows you to recreate classic dub delay effects without too much learning curve. The stripped-down interface makes the user more inclined to dive into automation and sound sculpting, while the loop function is extremely useful for creating rhythms without the feedback going out of control. The less-is-more approach might not be for everyone, but it’s certainly closer to the experience of using hardware delay pedals. Dubstation 2 is a bucket brigade style delay from Audio Damage. Pros: Cons: Although many software emulations of the famous Roland Space Echo exist, the Audiothing Outer Space is one of the better ones. Outer Space brings the spectacular green machine to your DAW with a good deal of additional parameters. For starters, it gets the basics right and can reproduce the outlandish delay sounds you’d want from a Space Echo unit. The difference is this plugin expands from the niche appeal of the original and becomes a more comprehensive delay tool. Once you understand the interface, you can shape and create most delay sounds as you would on any high-end delay plugin. Outer Space is an emulation of the vintage Roland RE-201 Space Echo Pros: Cons: IK Multimedia T-RackS Space Delay Download FabFilter Timeless 3 Download Although effects such as echo, delay, and spring reverb were used on guitar for decades, it was when these were applied to vocals that dub delay became more stylistically defined. The subtle but highly recognizable vocal echo used on classics by Sister Nancy and Max Romeo has created a timeless organic feel, sampled and recreated on countless subsequent records. Jamaican Soundsystem culture grew with the likes of King Tubby, Scientist, Mad Professor, and Lee “Scratch” Perry, and many followed this legacy in their production workflow – seeking to use the mixing desk as an instrument. The warehouse movement in Berlin for one, identified closely with this sentiment as artists like Basic Channel began what is known as Dub Techno today. Lee “Scratch” Perry at Black Ark Studios Dub delay also evolved from being a genre-defining effect into a production tool, like many others. The repetitive mechanical feel creates the illusion of ambiance which has been harnessed by some of our favourite artists and producers, especially in dance music. In the 90s, dub delay was used extensively in trip-hop music, while electronic pioneers like Kruder & Dorfmeister turned it into an art form that others like Thievery Corporation could follow. When combined with great songwriting, the dream-like quality works wonders on the rhythm track of LCD SoundSystem‘s Oh Baby, or the intro of Barrel Of A Gun by Depeche Mode and also in a modern pop context. Recreating any hardware effect is always a challenge, particularly with something as organic as dub delay. The key is having the right tools for your purpose and developing an understanding of the capabilities and limitations. This could start with the delay plugin native to your DAW and expand as your obsession grows. Korg nanoKONTROL 2 black Behringer X-Touch Mini Novation Launch Control XL MK2 Videos: By loading the video, you agree to YouTube’s privacy policy. Learn more Load video
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· 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!
Last week, many investors were left with egg on their faces after FTX’s valuation went from $32 billion to zero in a New York minute. VCs were left wondering, “What the hell happened?” And they’re still wondering, “Wait — did I do something wrong? Is it me?” Why yes, actually, it is you. People are led to believe that, for the most part, investors are clear-eyed, data-driven people who carefully explore the financial underpinnings of the companies they invest in. There is little room for emotions like jealousy or the fear of missing out (FOMO). Of course not. And these people investing billions of dollars surely have their eye on the ball, right? Well, not exactly. In a surprisingly honest tweet today, former SoftBank COO Marcelo Claure, who stepped down in late January after a reported battle over pay, had this to say about the FTX fiasco: I have been reflecting personally on the whole FTX fiasco and it taught me one more time that we should NEVER invest because of FOMO and we should always 100% understand what we are investing in. I totally failed here on both. — Marcelo Claure (@marceloclaure) November 12, 2022
This is from the same guy whose former firm also invested significant money in WeWork, another spectacular example of poor judgment on the part of investors. Steve Jobs once said, “Everything around you that you call life was made up by people that were no smarter than you.” At the time, Jobs was talking about building products, but evidently, this also applies to the people funding the startup ecosystem.
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 Reportsvolume 12, Article number: 19477 (2022) Cite this article 79 Accesses 1 Altmetric Metrics details We develop a novel milli-scale mixer (tilted-wings mixing unit, TWM unit) based on the design for additive manufacturing (DfAM). The proposed tilted-wings mixer has basically designed to have three separate wings that split and combine fluids in order to mix together effectively. Its structure is simple for easy fabrication: two major design parameters of angle among three wings and connecting angle between tilted-unit, which are optimized using the computational fluid dynamics (CFD) analysis. From the CFD analysis, we obtain the best-combined mixing module from analyses of various combinations of TWM units for a highly effective mixing ratio. The mixing ratio of three combined units reaches near 100%, which is validated by the experiment and analysis. We believe that the proposed milli-scale mixer can be utilized in diverse chemical continuous mixers and reactors for minimizing of use of chemicals that can pollute the environment. Mixing fluids is an important process in chemical engineering1,2, food engineering3, electronics, mining4, and others. Until now, lots of studies have been conducted to improve the efficiency of the mixing ratio with diverse mixer designs3,4. As the advancement of various industrial fields and environmental issues are raised, the mixing process of chemicals requires high performance as well as low pollution and safety2,3,4,5,6,7. For example, PPO (polyphenylene oxide), is one of the key materials for fifth-generation (5G) communication antennas with good electrical performance, low dielectric loss, and small change in dielectric performance with a wide range of frequencies. However, when PPO is mixed using a batch-type mixer, which is generally adopted in chemical plants due to low production cost, there is a risk of explosion, and it is difficult to obtain a high yield of mixture8. To solve the limitations of the batch-type mixers, many research works have been reported on continuous mixers owing to high mixing performance, safety, ease of control, scalability, and low pollutant generation compared to the characteristics of the batch-type mixers9,10. A continuous mixer has some process conditions such as Reynolds number (Re), fluid type, and amount of fluid flow. Based on the mixing conditions, diverse continuous mixers have been proposed; chaotic mixer11, triply periodic minimal surface (TPMS) mixer12, horizontal and vertical weaving (HVW) mixer13, and Kenics14. Especially, lattice-structure based mixer (LSM) has received a lot of attention due to its high mixing efficiency compared to its length. It usually consists of complex intersecting bars or rods (normally ten or more), and the fluid mixes together as it passes through a lattice structure. Therefore, the designed shape and structure of the LSM affect the mixing performance. The conceptual design of the LSM was firstly proposed by Sulzer in the 1960s, where several bars inside the mixer perform Baker’s split and recombination to perform the mixing of fluids15. The LSM can be designed to have a wide range of Re from tens to thousands of fluid flows by change of the number and dimension of bars to control the mixing ratio. Since the first development of the LSM, increasing the mixing ratio and broadening the scope of application has been the main focus of many researchers. Arimond et al. performed a mixing analysis in the field of passive mixers using a Kenics-type mixer16, and Fradette et al. conducted a flow analysis for a lattice-based mixer17. Pianko-Oprych et al. performed a mixing analysis for two-phase flow and showed the effect of a mixer structure using computational fluid dynamics (CFD)18, and Li et al. studied the flow analysis of non-Newtonian liquids to broaden the applications of the LSM19,20. Rauline et al. compared the performance of several mixers using CFD analysis21, and Zalc et al. elucidated the principle of mixing in the LSM by velocity distribution22. Heniche et al.23 and Liu et al.24 studied the mixing ratio of the LSM according to the shape of a unit structure. Ghanem et al. summarized previous studies and compiled the shape characteristics, mixing principles, and application fields of the LSM25. Hirschberg et al. performed a shape change to reduce the pressure build-up of the LSM26, and Shahbazi et al. attempted to optimize the shape of the LSMs using a genetic algorithm27. However, despite the high performance of the LSM, there are many small-scale rods intersecting inside the LSM, making it difficult to fabricate it23,24. To solve the manufacturing issue, we utilize the additive manufacturing (AM) process to make a highly performance mixer, and CFD analysis is used to optimize design parameters in liquid-to-liquid mixing. With the recent advances of additive manufacturing (AM) process technology28,29,30,31,32, many researchers focusing on AM process in a static mixer. However, many researchers designed simple shapes like a channel-combined mixer unit with Y-shape or split-recombine channel32,33. Also, the widely utilized LSM-type mixer designed considering AM process is not popular34,35. Therefore, in this work, we newly design the LSM with a simpler shape and higher performance in the mixing of the same viscous fluid using the mixer for a commercial small tube (6.35 mm). It is basically a unit structure consisting of three inclined wings for effective splitting and combining. In order to validate the proposed mixer, we have conducted experiments and compared the experimental and analysis results. For visualization, a fluid (the type of paint) with relatively high viscosity (3000 mPa s) was used in the experiment, but it is also in the laminar flow region. In this work, the whole processes were described from concept design of the mixer to design optimization, DfAM process, and test results using the fabricated one. The contents of this paper are as follows; “Design of tilted-wing continuous mixer (TWM)”. Concept design and validation of mixing unit considering AM process; “Optimization of the TWM-FWM module”. Design variables selection and optimization of suggested mixing module; “Experiments and discussion”. Specimen fabrication using AM and validation CFD results. In this study, the mixing performance of the mixer was evaluated using CFD. The multiple physical phenomena such as laminar flow, wall flow, turbulence, and mixing should be considered for the CFD model of the mixing process. Especially, to evaluate the mixing ratio of a mixer, it is necessary to trace the volume fraction of each fluid. Flow-3D (Flow Science Inc., USA), which specializes in the volume of fraction (VOF) analysis32,33, was therefore used to perform mixing analyses. The analysis was performed based on Eq. (1) which is the equations for continuative equation of incompressible fluid; and Eq. (2) which means momentum conservation equation of incompressible fluid considering turbulence fluids; and Eq. (3), which describes two-phase flow; and Eq. (4), which expresses the VOF technique. In these equations, (overrightarrow{mathrm{v}}) is the average velocity, (mathrm{P}) is the pressure, (uprho) is the density of the fluid, (mathrm{g}) is the gravitational acceleration, (upmu) is the viscous coefficient, (mathrm{f}) is the volume fraction, (overrightarrow{{mathrm{v}}_{1}}) is the velocity of fluid 1, (overrightarrow{{mathrm{v}}_{2}}) is the velocity of fluid 2, and (overline{overrightarrow{mathrm{v}}overrightarrow{mathrm{v}}}) is the turbulent stress. (mathrm{f}) always has a value between 0 and 1. (mathrm{f}=0) means that no fluid exists in an area, and (mathrm{f}=1) indicates that a fluid exists in an entire area. Despite of the Re of the mixer targeted in this paper is 625, which is in the range of laminar flow, local turbulent flow can occur due to internal structure. Therefore, (mathrm{k}-upomega) turbulence model was adopted36,37. As shown in Fig. 1a, The channel geometry of the analysis model was Y-shaped with two inlets and one outlet. And the diameters of the inlet parts were 1/8 in. (3.18 mm), and outlet part was 1/4 in. (6.35 mm), and the angle between the two inlets was 90°. In this channel, a basic model having three flat wings mixer (FWM) module was placed at the channel. The thickness and total length of the inserted mixing structure are 0.5 mm, and 12 mm each, and the width of the three flat wings is equally 1/12 in. (2.12 mm) is in the scale of milli-scale. As depicted in the FWM mixing module of Fig. 1a, arranged two units (mixing units ⓐ, ⓑ) are placed in pairs, and each unit is rotated at an angle of 90°. The rotation between each unit serves to enhance the mixing performance27,32. Analysis condition of mixing. (a) Boundary conditions and geometries of the mixing analysis. The basic analysis model consisted of two inlets (each diameter of 3.18 mm) and 1 outlet (diameter of 6.25 mm) with a flat-wings mixing module (FWM module) placed and (b) results of mesh convergency according to various mesh condition at point α shown in (a); convergence condition is the mesh number of more than 5 × 105. The boundary conditions for the mixed analysis were shown in Fig. 1a, the outflow pressure (which means continuative boundary in FLOW-3D) at the outlet was selected, and neglected friction of the wall. The analysis model has a z-direction gravitational acceleration. Considering the size of the mixing model, the analysis area was set to 8 × 20 × 40 mm (x × y × z-direction). The wall was assumed to be in non-slip condition, and the effects of heat transfer and surface roughness were ignored. The size of the analysis area in the z-direction was appropriately changed according to the number of mixing units. To verify the mesh quality, an analysis was conducted under various mesh conditions based on the above analysis conditions. It was assumed that both mixed fluids (Fluid 1, 2) had the material properties of water (viscosity and density of 1000 kg/m3 and 1 mPa s, respectively, therefore has excellent compatibility) and surface tension is ignored. And the flow rate of each inlet was 0.1 L/min. Therefore, the flow of channel a Re of 668 which is a region of laminar flow. As shown in Fig. 1b, it was confirmed that at the same point α at Fig. 1a (outlet) converged at a mesh number of 5 × 105 or more in steady-state. Therefore, a mesh size of 5 × 105 was selected to take the analysis time into account. A general milli-scale continuous passive mixer achieves mixing by folding and stretching fluids by splitting and recombination them. This is known as the Baker folding process38. Likewise, due to the geometry of the FWM, split and recombination of the flow occur to achieve mixing (Fig. 2a). In two-fluid mixing, with fluid passing the FWM, the mixing pattern according to CFD in the cross-section of the channel is shown at ①, ②, ③, and ④ in Fig. 2a26,27,32,34. The color of the section means mixing volume fraction, which is the ratio of the volume occupied by each fluid and the volume of the unit mesh. Mixing mechanism and shape of mixing unit. (a) Mixing mechanism for FWM unit and cross-section; the color contour of the section shows a mixing volume fraction. Baker’s folding process (split and recombination) is performed due to the turbulence caused by wings of mixing unit, and (b) cocrison of mixing performance of FWM unit and tilted wing unit (TWM unit), which has ({theta }_{T}) (degree between tilted-wings) for increasing recombination function to enhance mixing performance. During parallel two-fluid passing of the first FWM unit, section ① shows fluid-1 passes the center wing and section ② displays that fluid-1 flows from the center wing parts to the side wing section and generates a vortex. Contrary to fluid-1 and fluid-2 flows in the opposite direction (from the side wing to the center wing) as depicted in LSM26,27,32,39. This is two rotating vortices cause split fluid and create folding based on two folding axes in Fig. 2a and recombine during rotation. Likewise, while the mixture passes through the second FWM, the split and recombination of the mixture occur by generating four folding axes17,25,27,32. Considering the mixing mechanism described above, the mixing performance of the FWM unit can be improved by rotating the side wings, as shown in the tilted wing mixer (TWM) unit in Fig. 2b. In this work, a mixer with tilted side wings is called a TWM to distinguish from FWM, the positioning angle between two tilted-wings is θT. The tilted-wing induces a flow in the transverse direction and strengthens the recombination function. To confirm the mixing mechanism of the TWM unit, the flow patterns of the basic types of FWM units and TWM units were compared. Figure 3 shows the velocity distribution at the FWM unit and TWM unit sections. In sections A–A′, for the TWM unit, a higher velocity transverse directional flow occurs in front of the tilted-wing. As shown in Fig. 3, this induces about 47% widening of the high-velocity area in the TWM unit compared with the FWM unit at the center of the channel in the section-B′. And this large central high-velocity area means that the TWM unit can reinforce the mixing of fluids by increasing the recombination of fluids through transverse directional flow. Velocity distribution of the FWM unit and the TWM unit; by comparing each section ② of the FWM unit and the TWM unit, a high-velocity area appears in the middle part of the TWM unit (47% larger than that of the FWM unit). It means the TWM unit has a higher recombination function than the FWM unit. To verify the effect of the TWM on the design of the mixing module, the mixing performance of it should be evaluated quantitatively. Especially, as mentioned above, the FWM module paired two FWM units which have 90° between each unit. Therefore, mixing the performance of the paired modules of the FWM and TWM units are required. The mixing performance can be evaluated by quantification using the standard deviation of the mixing volume fraction (({upsigma }_{mathrm{VF}})) in Eq. (5)38,39. The volume fraction can be referred to as the concentration of each fluid. Therefore, ({upsigma }_{mathrm{VF}}) means standard deviation of concentration, which is directly related to mixing performance. This means that ({upsigma }_{mathrm{VF}}) can be used as an index to quantify mixing performance. The process of calculating ({upsigma }_{mathrm{VF}}) is as follows. In Eq. (5), ({mathrm{N}}_{mathrm{t}}) is the number of measurement points (nodes), ({mathrm{C}}_{mathrm{i}}) is the volume fraction of Fluid 1 at the i-th point, and ({mathrm{C}}_{mathrm{mean}}) is the average of the volume fraction of all points. The closer ({upsigma }_{mathrm{VF}}) is to 0, the better the mixing performance is because each fluid is present in a similar proportion to the unit volume. Considering the FWM unit and TWM unit, there are four combinations: FWM-TWM (combined module with the FTM unit at the front and TWM unit at the back), TWM-FWM, FWM-FWM, and TWM-TWM. The ({upsigma }_{mathrm{VF}}) of each combination at the outlet part is listed in Table 1. Based on Table 1, two observations can be made. First, when the TWM unit is placed in front, the mixing ratio increases (compare section⑤ of FWM-FWM and TWM-FWM), and when TWM is placed at the back, the mixing ratio decreases (compare Section⑤ of FWM-FWM and FWM-TWM). This is because the TWM unit enhances the recombination of fluids rather than the splitting of fluids. Second, the mixing ratio of the TWM unit decreases immediately after mixing, but it improves at a certain distance away from the mixer (compare section④ of FWM-FWM, TWM-TWM, and section⑤ of FWM-FWM, TWM-TWM). This is evidence that the flow in the transverse direction occurs because of the TWM unit. To verify the mechanism and design of the mixing structure, the mixing patterns of FWM-TWM and TWM-FWM were compared, as shown in Fig. 4. In Fig. 4, the color of the transparent part where the streamline appears indicates the flow velocity, and the red area in the cross-sections of Fig. 4 indicates the area fully occupied by fluid 1, and the blue area indicates the area fully occupied by fluid 2. If the red and blue areas are mixed, the yellow or green area increases. The values stated below for each cross-section represent the evaluated ({upsigma }_{mathrm{VF}}) for each cross-section. As mentioned above, compared to the FWM unit, the TWM unit increases the flow of the transverse directional and the high-velocity area, which improves the mixing performance. However, as shown in Fig. 4, right behind the TWM unit, a “weak-zone” is formed. In this area, mixing is not performed well because momentum is not transmitted. This weak-zone can also be confirmed by the fact that the streamline hardly appears immediately after the TWM unit (“Dilute Streamline” in Fig. 4). Therefore, the FWM-TWM module, which is a TWM unit, is placed at the rear, and the mixing performance is lower than that in the FWM-FWM module. However, the TWM-FWM module has a better mixing ratio than the FWM-FWM module, which means that the FTM unit placed at the rear removes the weak-zone of the TWM unit. In other words, although the TWM unit increases the mixing performance in a certain area, there is a limit to the improvement because a weak-zone is partially generated behind the TWM unit. However, the FWM unit behind the TWM unit removes the weak-zone. This is why the best mixing performance is achieved with the TWM-FWM module. Accordingly, the TWM-FWM module was selected as the optimum combination of the mixing module. The shape of the TWM-FWM module is optimized in “Optimization of the TWM-FWM module”. Streamlines and mixing performance of FWM-TWM (combination of with FWM unit at the front and TWM unit at the back) module and TWM-FWM module; transverse direction flow occurs in the TWM unit. Therefore, by placing the TWM unit at the rear, the mixing performance increases by 16% in the mixer with the TWM-FWM module. The design variables for the TWM-FWM module including the TWM were as follows: firstly, the angle between the wing parts of the TWM unit (θT), secondly, the width ratio of the side wing (α), and half-width of the center wing (β) of the FWM unit and TWM unit (width ratio). Then, the mixing ratio according to the number of modules was evaluated for the optimized TWM-FWM module. As explained in “Design of tilted-wing continuous mixer (TWM)”, the θT leads to the generation of momentum in the transverse direction, but a weak-zone is also generated. It is, therefore, necessary to simultaneously generate an appropriate weak-zone that can sufficiently distribute flow to the FWM unit and high momentum in the transverse direction through an appropriate θT for a high mixing ratio to be realized. As a result, an analysis of the TWM-FWM module with various θT revealed that ({upsigma }_{mathrm{VF}}) was 0.0804 for θT at approximately 115°, showing the minimum mixing ratio (see Fig. 5a). This is about 21.6% higher than the 0.1025 of the simple FWM-FWM. In Fig. 5a, when θT is larger than 115°, momentum in the transverse direction is hardly generated. Therefore, the region showing a high-velocity distribution decrease at θT of 150°. Accordingly, the effect of improving the mixing ratio of the TWM unit is reduced, and ({upsigma }_{mathrm{VF}}) is reduced to 0.0967 at θT of 150°. This is an improvement of 5% compared to the mixing ratio FWM-FWM, but it is 16%p lower than the optimal result. (a) Mixing performance according to θT; As θT is away from 115°, a small area of high-velocity distribution occurs, and (b) streamline according to variation of θT; as θT decrease, weak-zone is increased (at θT = 60°). In the contrast, if θT is smaller than 115°, the weak-zone increases excessively that cannot be equalized through the FWM unit, and the mixing ratio decreases. Therefore, in Fig. 5b, the streamline at the point where θT is 60°, streamline hardly occurs (dilute streamline) owing to the small θT of the TWM unit. In the case of mixing ratio θT at 60° is 0.0826, which is 19% higher than FWM-FWM, but it is 2.6% p lower than the optimal result. In addition, the mixing ratio responds more sensitively to changes in θT when θT is large than when θT is low compared to 115°. This suggests that the decrease in mixing performance in the case of θT smaller than the optimal value is from the failure of the remove the weak-zone through the FWM unit. The α/β is the width ratio of the side wing (α) to the half-width of the middle wing (β) based on the cross-section projected on the flow path. Because α/β affects the mixing ratio, to select an appropriate α/β, the mixing ratio was evaluated according to the α/β as Fig. 6a. In Fig. 6a, TWM unit has θT of 115° as designed in “Angle θT of TWM-FWM module”. As shown in Fig. 6a, the mixing ratio is the best when α/β of both the FWM unit and TWM unit is 1.4, and the mixing ratio decreases when α/β departs from 1.4. As the area of the wing portion increases (when α/β increases), the flow rate past the center wing decrease. This can also be confirmed by the appearance of a small high-speed region at the high α/β point (α/β of 3.1) in Fig. 6a. Moreover, in the case of the TWM unit, large α/β increase the weak-zone excessively. This can be confirmed in Fig. 6b, where the streamline at α/β is 3.1, and the streamline hardly occurs (dilute streamline) owing to the high α/β. Mixing performance according to the ratio of α/β; as the α/β is par from 1.4, a small area with a high-velocity distribution is generated; (b) streamlines according to the ratio of α/β. As the α/β increases, the size of weak-zone also increases (at α/β = 3.1). Therefore, basically decreases in mixing ratio, in this case, is due to reducing the splitting function due to unbalanced flow in the center and the side wing. This is why the TWM unit is more sensitive to α/β than the FWM unit (when the α/β increases by 0.1 (from 1.4 to 1.5), the ({upsigma }_{mathrm{VF}}) of the FWM unit increases by 0.001 (from 0.0804 to 0.0814), while that of the TWM unit increases by 0.0018 more (from 0.0804 to 0.0822)). In the case of small α/β, a similar effect is observed. As the area of the wing portion decreases (when α/β decreases), the flow rate past the side wing decrease, splitting function also decrease. However, a decrease of α/β generates a small weak-zone, a decrease in α/β is less pronounced for mixing ratio than an increase. Generally, the mixer consists of several arranged mixing modules25,26,27,39. Therefore, the arrangement number of the commercial mixing module is selected in consideration of manufacturability and maintenance. However, because AM is used, unlike for the existing mixer, the number of mixing modules does not affect manufacturability in the TWM-FWM module, as long as the build size of the equipment allows it. However, since it is important to select the appropriate number of mixers in terms of maintenance and repair, the mixing performance according to the number of mixing modules was analyzed in Fig. 7 based on the optimal case in “Optimization of the TWM-FWM module” (θT is 115° and the width ratio (α/β) is 1.4). Mixing performance according to the number of optimized TWM-FWM modules; as the number of TWM-FWM modules increases, ({sigma }_{VF}) decreases exponentially. When the TWM-FWM module number is three, ({sigma }_{VF}) decreases by 98.19%. As shown in Fig. 7, ({upsigma }_{mathrm{VF}}) of the pipe when the mixing module was not installed was 0.328, and when one TWM-FWM module was installed, ({upsigma }_{mathrm{VF}}) was reduced by 75.5%. As the number of TWM-FWM module increased, the ({upsigma }_{mathrm{VF}}) decreased. When four TWM-FWM modules were installed, ({upsigma }_{mathrm{VF}}) was 0.00168, a reduction of 99.5%, and when six TWM-FWM modules were arranged, ({upsigma }_{mathrm{VF}}) was 0.000136, which was a 99.96% reduction. This implies that the mixing ratio according to the number of TWM-FWM modules can be expressed as an exponential function like LSMs25,26,27,39. Therefore, it is possible to estimate the mixing ratio based on the number of mixing modules with one mixing module. To fabricate the proposed TWM-FWM geometry, a shape change was performed so that AM could be used. Two points should be considered for AM40,41. First, all parts should be connected by volume, not by surface or edge contacts. Unconnected parts can cause manufacturing problems, such as peeling and collapse during the AM. In addition, to achieve a high-ratio mixer, each mixing unit needs to be connected to maintain a constant angle. This increases the need for all the structures to be connected. Second, supports should be minimized40,41. The supports are a structure that is printed together with a part during AM to prevent structural collapse and increase heat dissipation. However, supports negatively affect the product, such as by reducing the surface roughness of the product and impairing aesthetics. Moreover, because the size of the suggested mixing structure is on the milli-scale, there is a risk that the specimen can be damaged during the process of removing the supports. The shape design was, therefore, changed as shown in Fig. 8a. In Fig. 8a, the edge and surface contact parts of each TWM and FWM are connected, and the FWM unit and TWM unit are connected to a linked structure. The additive manufactured TWM-FWM (AMed TWM-FWM) which is modified through this process can be manufactured without supports if it assumes an appropriate position. The AMed TWM-FWM was printed using a selective vat photopolymerization type equipment (Z-rapid, China, SLA300) and an “ABS-like” material. As shown in Fig. 8b, all parts of specimen are well printed and the fabricated thickness was in a range of 0.48–0.51 mm. Compared with their design thickness of 0.5 mm, a dimensional error reaches within about 4%. In addition, the designed length of the TWM-FWM unit was 12 mm, which is the same as the design. Therefore, it can be confirmed that the designed shape and the specimen are printed properly with no significant difference. (a) Design modification for additive manufacturing. Linking structures between units are added, (b) the design geometry and the fabricated specimens of additive manufactured TWM-FWM (AMed TWM-FWM). Mixing experiments were conducted using the printed mixer specimens, as shown in Fig. 9a. This experimental system consisted of two intelligent pumps (FLOM, Japan, UI-22, two fluids, a Y-shaped nipple, a camera (Cannon, Japan, EOS 20D), and a controller (PC). The printed specimen was inserted into a transparent Teflon tube so that a streamline of the wall-flow during mixing could be observed. The fluids used in the experiment were oil paints of two colors (blue and yellow) that had a density and viscosity of 1000 kg/m3 and 3000 mPa s. The streamlines appearing during the mixing process were visualized and photographed. With intelligent pumps, each fluid flowed at a flow rate of 2 ml/min, and mixing was performed using a mixer installed inside. After a re-analysis was performed considering the experimental conditions, they were verified by comparing them in Fig. 9b. (a) Experimental setup for mixing visualization; consisted of two pumps, mixing module in the transparent Teflon pipe, monitoring camera, and controller, and (b) comparing of numerical analysis results and experiment; four feature points (α-inlet, β,γ-mixer module, δ-outlet) show similar patterns in numerical analysis and experimental results. Figure 9b shows the distribution of the concentration of the fluid. The red parts are areas where the concentration of fluid-1 is 100%, and the blue parts are areas where the concentration of fluid-2 is 100%. In Fig. 9b, at the entrance of the mixer, the part where the flow is bent owing to the TWM unit (α) shows the same pattern in both the numerical analysis and experiment. In the mixing area, where AMed TWM-FWM is inserted in the tube (β, γ), the streamline pattern matches well. In particular, a weak-zone and poor mixing can be observed in the β part. Finally, if we consider the region after the FWM unit where the flow is not mixed, as that region is extended (δ), it can be concluded that the analysis and the experiment are consistent well. Because it is difficult to implement mixing using turbulence in a small pipe that has several mm diameters, the mixer design in this paper did not consider the flow of the turbulent flow region. However, in general, mixing performance is improved when turbulence occurs, so it is thought that a discussion of the laminar flow region will suffice. In addition, the design strategy presented in this paper is meaningful in that it can be applied without significant changes to the existing mixer design and effectively improves the mixing performance by considering design for additive manufacturing. In this study, the design was performed based on the most basic FWM structure, a structure with three bars, but this mixer design concept can be applied to the shape of an existing mixer with a larger number of bars by tilting the outside bar. Therefore, by combining the mixer design, it will be possible to design a mixer suitable for various environments such as flow with higher Re. However, when two fluids with significantly different viscosities are mixed, the strength of the flow in the transverse direction may change as the mixing pattern changes. Accordingly, in the case of mixing fluids with different viscosities, optimization of design parameters should be proceeded. A simple-shaped high-efficiency milli-scale continuous mixer (named TWM) was developed with an additive manufacturing (AM) based design. The novel mixing unit has three intersecting tilted-wings which can increase the mixing ratio by enhancement of split and recombination. By combination of FWM and TWM unit, we optimized the best mixing module (TWM front – FWM back). The mixing mechanism and performance of the combined mixer were elucidated using CFD analyses and experiments. During mixing in the TWM, there are high and low flow velocity zones, and the distribution of flow velocity is changed in the FWM, so the mixing ratio is rapidly increased through the combination of two units. By optimizing the TWM-FWM module considering design parameters like the width ratio of a wing and the positioning angle between two units (({theta }_{T})), the mixing efficiency increased by about 21% compared to the FWM module only. The suggested TWM-FWM module was fabricated using the AM process and evaluated the performance experimentally. Local mixing states were compared, and the results showed a good agreement between CFD analysis and experiment. 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Research Institute of Machinery and Technology, Pusan National University, Geumjeong-Gu, Busan, 46241, Korea Seoung-Ho Baek Advanced Joining and Additive Manufacturing R&D Department, Korea Institute of Industrial Technology, Siheung, 15014, Korea Jung-Ho Yang, Cheol-Woo Ha & Son Yong G&I Solution Co. Ltd, Siheung, 14922, Korea Patrick Y. Shim School of Mechanical Engineering, Pusan National University, Busan, 46241, Korea Sang-Hu Park You can also search for this author in PubMedGoogle Scholar You can also search for this author in PubMedGoogle Scholar You can also search for this author in PubMedGoogle Scholar You can also search for this author in PubMedGoogle Scholar You can also search for this author in PubMedGoogle Scholar You can also search for this author in PubMedGoogle Scholar S.-H.B. contributed on writing an initial version of manuscript, J.-H.Y. and C.-W.H. have performed FE analyses, P.Y.S. and S.Y. managed this project, S.-H.P. reviewed and modified the manuscript. Correspondence to Sang-Hu Park. 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 Baek, SH., Yang, JH., Ha, CW. et al. Design and evaluation of additive manufactured highly efficient inclined-wing type continuous mixer. Sci Rep12, 19477 (2022). https://doi.org/10.1038/s41598-022-23809-2 Download citation Received: Accepted: Published: DOI: https://doi.org/10.1038/s41598-022-23809-2 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.
By Jeff Bleiler The University Record Jonathan Smith knew he was ready for musical theater’s biggest stage. He just had to make sure others did, and his keen ear and a triangle are partly to thank for getting him there. Eleven years ago, Smith, a recent graduate of the University of Michigan and The Juilliard School, started bartending in New York to make money and grow personal connections. He learned bicoastal freelance percussionist Michael Englander also studied at U-M and was in the waning months of a Broadway production of “Sister Act.” Smith reached out to Englander to see if he could come watch him perform, and Englander agreed. “He told me in 2011, he was really impressed with one of the comments I made, and it was about his triangle playing,” said Smith, percussion program manager at U-M. “It seems a little silly to a non-percussionist, but to a classically trained percussionist, you can sound really bad on a triangle. Anyone can play it, but to make it sound right takes a lot of skill. “He said to me, ‘That one comment, when you told me my triangle playing was of caliber, that’s when I said, “This kid knows what he’s talking about.”’” Three years later that “kid” would occasionally take Englander’s seat amid a massive setup of dozens of percussion instruments to play the challenging musical score to “Aladdin” on Broadway — musical theater’s biggest stage. Preparing for such a daunting undertaking — especially for a perfectionist like Smith — was a lengthy process. “Aladdin” was being developed in Toronto before making its Broadway debut in 2014, so Smith drove from the Ann Arbor apartment he and his wife shared to watch Englander perform the “book” for the show. Knowing he would eventually be Englander’s sub once the musical hit Broadway, Smith crammed into a 200-square-foot extra room in the apartment the entire percussion ensemble needed to do the show. Using an audio recording of the show as his accompaniment, he spent every day, twice a day, for the next three months in that room performing the entire 2½-hour show. “I would practice it just like Mike plays it, not like I would play it,” Smith said. “This was my first shot at doing it, and it needed to be done right. … There’s no room for mistakes. You don’t get to play it wrong. Every show has to be perfect, especially a 1990s Disney movie that everyone knows. “You can’t play the theme song to ‘A Whole New World’ wrong. Even a 6-year-old kid would say, ‘That doesn’t sound right.’” At the same time he was preparing to play on Broadway, Smith was pursuing his Doctor of Musical Arts degree at U-M. But he was eager to make a name for himself so the prospect of being a sub for a Broadway show was enticing. After practicing and perfecting the nuances of a story set in the musical style of the Middle East and mastering the many forms of percussion it takes to create the proper sound, Smith’s debut arrived not long after the show premiered. Because the shows are nightly and the musicians are highly skilled, there are no rehearsals once a production starts — a prospect Smith said was “kind of terrifying” for his first time. Smith arrived in New York a couple days before he was to perform to watch Englander play before the mentor turned over the setup to the understudy. The morning of his show, Smith stood among the five stations of various instruments he would bang, shake or strike over 2½ hours. He played through the score, took a break for lunch, played through it again and then calmed his nerves until the curtain rose. The percussionist is separated from the other orchestra members, surrounded by plexiglass, and listens through headphones and watches five video monitors for the source of time since the conductor is out of view. “It’s like this crane picks you up and drops you in the cage, ‘Ready, play,’ and then 2½ hours later you’re done,” he said. “You have to tell yourself, ‘Are you prepared? Yes. Do you know the show? I do. Have you had a rehearsal with them yet to have a good feel? No. All right, well, here it is.’ “It was like slow motion but fast forward at the same time. But it went well.” The first people he texted letting them know he had performed his first show were his parents, both longtime and accomplished musicians in the Lansing area. His father is a pianist, his mother is a singer, and they are both musical directors. Smith started out playing the trumpet as a youth, but his band director who was a percussionist helped move him to drums in sixth grade. By the time he got to Haslett High School, he was studying music with Jon Weber, the drumline instructor at Michigan State University, who encouraged him to explore all forms of classical percussion. While playing in the Detroit Civic Youth Ensemble and being mentored by a U-M student, he received a call from Michael Udow, now retired professor emeritus of music, who helped inform his decision to attend U-M. “When I got to the university, the scope of possibilities changed,” he said. “I was fortunate to perform concerts with local symphony orchestras like Ann Arbor, Lansing and Jackson. Being at U-M continued to provide many opportunities to do musical theater, classical performances, and other various performance gigs. “What makes the student experience at the University of Michigan so unique is having the opportunity to do everything.” The exposure to so many percussion instruments — including those in “Aladdin” — helped make Smith the perfect fit for his current position at U-M as percussion program manager. He oversees the scheduling, care and security of one of the largest and finest inventories of percussion instruments in the country — everything ranging from large timpani sets to the felt that holds a cymbal on its stand. The job, plus a growing family that includes two young children, and being a member of the percussion section with the Toledo Symphony Orchestra since 2016, makes it challenging for Smith to get to New York, but he remains a part of the production as the only designated sub. “Aladdin” is still running on Broadway, and Smith said he performed close to 200 times since 2014, but he has not been back since after the birth of his second child and the COVID-19 pandemic. But the experience of performing a show based on a movie that came out the year he turned 5 continues to resonate. “I grew up watching (‘Aladdin’), so to have the opportunity to play that show is really cool, and it’s good music,” he said. “But things change. I have a family. My priority isn’t necessarily running to New York as often to play shows these days. “I’m most interested in doing the job well, getting the work done but then getting home to the family.” Please read our comment guidelines. 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