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Local events and things to do in Fort Pierce, FL. Find sporting events, conferences, attractions and more, or promote your own event.

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Lucius DuBose Obituary (2022) – Nashville, TN  Legacy.com
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Master Pages on Mac with these tips and tricks.
Pages is basically Mac's equivalent to Microsoft Word. While you can also use Word on your Mac, the Pages app offers a lot of benefits you might want to take advantage of.
If you're just starting out with Pages, here are some of the best tips to master the app on your Mac.
The Pages toolbar at the top of the app is filled with useful tools and features to help you work faster and be more productive. However, if you don't like the default toolbar, you can easily change it to have your favorite features. Here's how:
Your Mac will open a new menu with a bunch of jiggling icons, and you'll see your toolbar is jilling too. All you need to do is drag any item you want into your toolbar and drop it there. You can also drag any item on your toolbar and move it wherever you want.
Once you finish customizing your toolbar, click Done in the bottom right corner of the window. And, if you don't like the final result, you can drag the default toolbar located at the bottom of the window to your current toolbar to reset it.
If you're working on a big project, or doing some school home work, viewing your word count on Pages every now and then might be helpful. By default, Pages won't show you how many words you've written, but you can change that by following these steps:
You'll see the word count right at the bottom of the app. If you want to know the specific word count of a paragraph or sentence, all you need to do is highlight it, and you'll see the word count for that particular section.
Also, if you find your word count distracting, you can follow the same steps and click Hide Word Count, or use your Mac's keyboard shortcuts and press Shift + Command + W.
Even if you use your Mac's built-in security features, you might still want to add an extra layer of protection to your Pages documents. Fortunately, you can easily password-protect your files like this:
And that's it. You'll need to enter your password the next time you open your file. Also, if you use Touch ID on your Mac, you can select Open with Touch ID, so you don't have to enter your password every time you want to check your documents.
Using auto-correction on Pages is a great way to make sure you're writing properly. Moreover, you can customize this feature to work exactly how you need it. All you need to do is follow these steps:
While there are many reasons why Pages is better than Microsoft Word, most people will still prefer the latter. Fortunately, there's a way for you to save all the work you do on Pages as a Word document in just a few steps.
And that's it. Your Mac will save the document in the folder you selected as a Word file. If you need to, you can use these same steps to save your file as a PDF or an EPUB file.
​​​​​​​
One of the coolest features Pages has to offer is the ability to track the changes you make to your files. Not only that, but you can also review and reject changes if you need to. Here's how:
If you don't need to track your changes anymore, you can follow the same steps and select Turn off tracking.
If you plan to save a lot of documents, it's best to reduce their file size, so you don't fill your Mac's storage immediately. This is how you do it:
Remember that you can only use this feature if your documents have images. Also, keep in mind that this will create a reduced copy of your document, so make sure you identify it properly, so you don't mix your documents up.
Now it's your turn. As you can see, the Pages app on Mac is a powerful tool for work and school, and there are many things you can do with it. Of course, the app has a lot more to offer, so try Pages and use the best tips that work for you.
With over 10 years of experience, Sergio Velasquez is a freelance writer and the Entertainment section editor at MUO. His love for all things tech started when he bought his first iPod Shuffle many years ago. Since then, he’s been writing about video games, Apple, Kindle, and any new tech he finds interesting. His work has been featured on websites like iDropNews, iDownloadBlog, and PocketGamer.

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2022 has been an exceptional year for the music industry and is finally coming to a conclusion. Companies all across the world have begun offering their consumers some tempting discounts as the festival season approaches, and the music industry is no exception. Black Friday and Cyber Monday, the most anticipated shopping days of the year, arrive in the final week of November, but some businesses have already begun their Black Friday bargains. On Plugins, Sample Packs, Courses, Presets, and other music production tools, there are a tonne of discounts and freebies available. In music production, it’s crucial to stay current with the newest products available, but it’s also crucial to regularly replenish your sound library. selecting a few from the large list of ongoing black Friday deals, we have prepared the best early Black Friday deals on sample packs.
 
 
Ghosthack has some amazing sample packs and every year during November they have tons of interesting deals and new products rolled out on a weekly basis. Our top picks from the Ghosthack store are:
A stunning and exceptional vocal collection of over 900 acapellas, ad-libs, phrases, vocal loops, and one-word songs performed by 7 international professional male and female vocalists.
Over 13,000+ samples including 24 sample libraries for every electronic music genre.
A total of 36 GB of royalty-free cinematic sounds bundled in 4 thematic sound packs. 60 construction and dramatic kits contain full STEM-separated music tracks accompanied by a ton of premium sound effects and loops.
 
Sample Sound has come to the sample packs space recently and has made a noticeable presence in this market thanks to the premium quality of sounds they provide for electronic music producers. They have numerous options to choose from along with some great artist – series sample packs as well. If you are lacking the punch in your drums or grooviness in the rhythm, their sample packs might have some good options for you. Best packs:
The End Year Bundle contains 13 minimal, tech house and techno sample pack at a special price of 35£. Inside you’ll find a selection of Samplesound’s best seller packs!
It consists of five perfectly produced tracks and contains all the necessary midi files and synth presets, as well as processed and dry sounds.
Unique and exclusive Techno sound designed to create amazing rhythmic grooves combined with the most powerful electronic percussion. Sounds inspired by current techno artists such as Oscar Mulero, Tensal, and Reeko, among others.
Riemann has some of the best techno samples when it comes to drums. Groovy, crisp and tight is what majority of the producers describe their samples.
 
300+ Professionally produced vocal samples including long and short phrases, drones, spoken words, whispers, effects, and more.
All Online Courses, All Samples & Preset Packs, MIDIs, Bonuses ever released on PML are included within this bundle
100+ Professionally Crafted Serum Presets, 100+ MIDI Files and 100+ WAV Files (One for each preset, 100% Royalty-Free) inspired sound of artists like Massano, Innellea, Cassian, Fideles, Yubik, Boris Brejcha, Koman, Bodzin, Tinlicker, Ben Bohmer and labels such as Afterlife and Radikon.
3 Full Online Courses and a Premium Selection of Sound Packs, Sample Packs, and Preset Packs.
480+ Samples including 290+ One Shots and Organic Sound and 185+ handcrafted loops. You also get 60 professionally made Diva Presets.
 
W.A. Production is known for its budget-friendly yet effective sounds & plugins in the music industry. Their easy-to-use plugins make them perfect for producers who are looking for a quick fix to their sounds. They have started off with their massive Black Friday campaign as part of which you can grab some of their best-selling plugins for a meager price.
 
Monosounds Studio is a great new platform for music producers to find essential tools for music production. They have plenty of sounds, courses and instruments to serve every sub genre of music. During their Black Friday sale they have slashed the prices on all their products and you can claim any product for just $10. Our top picks are:
 
Black Octopus is a renowned name when it comes to Bass music. Like every year they have some exciting deals on sample packs this black Friday. Our top picks from the sale are:
 
Another solid name when it comes to sample pack curators. Some exciting deals running on sample packs from Production Master this Black Friday:
 
 
Read the next article: The Best Early Black Friday Deals on Plugins for music production
Image Credit: Production Music Live
 
 
 
Hemant has been actively involved in the dance music industry with over 2 years of experience. Currently working as a Project Manager and heading the We Rave You Tech division. Get in touch via email or Instagram
[email protected]

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Performances feature Denny Breau, Sean Mencher, Gary Richardson, Peter Albert and Hugh Bowden
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Some of Maine’s finest guitar pickers are getting together on stage at 6 p.m. on Sunday, Nov. 20, at St. Lawrence Arts in Portland.
Denny Breau
Breau is a triple threat: a consummate picker, evocative songwriter, and a singer with a voice that is warm and inviting but completely unpretentious — much like the singer himself, according to Lucky Clark, Kennebec Journal.
Breau’s family is music royalty in the state — his parents were country music singers who recorded for RCA Victor and his late brother Lenny was a renowned jazz guitarist. Denny himself started performing in his teens and was inducted into the Maine Country Music Hall of Fame in 2004. His rhythmically flawless and dazzlingly clear style allows him to do amazing and stunning things with a six-string guitar. He mixes genres with ease — folk, Delta blues, country and jazz — “creating a totally accessible musical mélange that captivates as it entertains,” according to Clark.
Sean Mencher
Mencher is, hands down, one of the finest guitarists ever to call Maine home, Chris Busby wrote in The Bollard in his review of Mencher’s latest album.

With his style, a mix of Merle Travis and Scotty Moore with some jazz thrown in for good measure, and with his sure taste he gained a well-deserved reputation on the scene. He also played with Wayne Hancock and Dig Wayne (Buzz and the Flyers) and with his deep knowledge of Rockabilly and other related genres, he also produced bands like Croonin’ Kurt, the Gin Palace Jesters, the Starline Rhythm Boys and the Twilite Ranchers.
Gary Richardson
Richardson resides in Portland. He does music production and  composition for national, regional and local TV, radio and documentaries. He started playing guitar in 1966 at age 11 then professionally at age 12. He plays solo, in bands and as a studio musician on other artists projects. He also arranges and produces singer /songwriters. Richardson has traveled extensively providing music for retreats and workshops.
Peter Albert
Peter Albert, a lifelong resident of Maine, is an accomplished musician with over 30 years of experience as a solo guitarist. Starting in the 60s playing covers by the Beatles, the Stones, the Byrds, and Dylan and gradually finding his way to the blues, he put together his first blues band in 1969 called Homemade Blues. “There was a lot of spontaneity in that band, every night was a jam, we were the only band around at the time that just went up on stage and let the music take over.” It was in the early seventies when Albert heard a friend play classical guitar “I was completely in awe, having been totally ear taught, seeing this structured, disciplined way made me realize how limited my knowledge was.” For the next 10 years he tuned out practically everything else and focused on the classical guitar. “I still took gigs with bands here and there but my heart was in the classical style.” He studied classical guitar with John McLaren and the late Walter Spaulding (University of Maine) and also participated in a master class given by Cuban virtuoso guitarist Rey de la Torre.
Eventually, Albert expanded the classical technique he had learned to the steel string acoustic, giving him a method of staying creative by writing his own instrumental compositions. Other important influences include John Fahey, Leo Kottke, Adrian Legg, Michael Hedges, Kenny Burrell, Pat Martino, Julian Bream, Ravi Shankar. He performs live throughout Maine, New Hampshire, and Massachusetts, and has opened many shows for national acts.
Hugh Bowdon
As a youth in rural Maine, Hugh Bowden taught himself to play the guitar after becoming captivated by the music of legendary guitarist Chet Atkins. Bowden, who now lives in Ellsworth, has performed widely throughout Maine and beyond for several decades, both as a solo fingerstyle guitarist and singer and as a member of several small musical groups, in various styles of music. In recent years, he has concentrated primarily on instrumental jazz and while creating a substantial library of his own musical compositions, both vocal and instrumental.
Tickets are $22 advance/$26 door. For tickets and more information, visit stlawrencearts.org.
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By Broccoli and Joe Zimmer on Tue, Nov 15, 2022 at 8:00 am
Welcome to a new column about Detroit’s music scene. Got a tip? Hit us up at [email protected]!
Tiny Jag releases new EP: Detroit’s resident alt-pop baddie Tiny Jag has released seven new songs on her new EP WANE, released in partnership with the Assemble Sound collective. Jag gives her fans multiple flows for any mood, with each song fitting in anthemic lines that you’ll find yourself repeating after just a few listens. Strong rock-rap hooks executive produced by Kaleb Waterman, with additional production from the Assemble’s in-house roster, are the cherry on top and give the entire EP a grunge vibe without sounding stale. If you’re a fan on the no-fucks-given mentality of Rico Nasty, the maximalist pop aesthetic of MIA, or Maya Angelou references, Tiny Jag is serving all that and more. Let WANE be the soundtrack to your next Hot Girl Walk™ (or smoke session, since winter is coming).
Jon Dixon drops vocal-driven EP: As the bandleader and keyboardist for the ever-evolving Timeline (the Underground Resistance live band), and also training under Detroit’s “Godfather of Jazz” Marcus Belgrave, Jon Dixon pushes the “hi tech jazz” sound forward in a way only he can. With his newest EP Vocal Sessions Vol. 1, featuring smooth vocals from deep house stalwart L’Renee and local songwriter Kenny Watson, Dixon reaches new heights. It’s jazz-house of the highest order, with the signature keyboard lines he’s known for, plus remixes for listeners who want to go even deeper. Recently, Dixon has become well-established in the local record bins with his own label 4evr 4wrd, not to mention an extended set at Charivari this past summer, and most recently a feature on Theo Parrish’s already legendary DJ-Kicks compilation. With all this momentum, it will be interesting to hear what future vocal sessions come out of the Jon Dixon camp.
Interdimensional Transmissions teams up with Paxahau at Tangent Gallery: It’s a bit surprising that Paxahau, the organization that runs Movement electronic music festival, and Interdimensional Transmissions, one of the leading names in the psychedelic reaches of dance music, have never officially collaborated before. If you’ve ever been to IT’s No Way Back party, it is by far one of the best after-parties during Movement weekend, and we can only hope to have such high standards for the upcoming show at Tangent Gallery on Nov. 26. The lineup features some heavy-hitters such as DJ Stingray and Kevin Saunderson, but perhaps the most impressive part of the lineup is the up-and-coming talent, including AK, Ke Thu, Father Dukes, and Fusegrade, just to name a few. Really though, everyone on the lineup is worth a mention, and with three stages of music going all night long, this could be one of the biggest dance music events of this year.
Danny Brown’s Bruiser Thanksgiving returns: If you’re familiar with Detroit’s art-rap antihero Danny Brown, it’s pretty safe to say that he seems like the type of guy that can throw a great party, despite his relatively recent self-described “uncle phase” characterized by more traditional hairstyles and his signature front tooth being fixed. Brown is back to host the ninth year of Bruiser Thanksgiving on Wednesday, Nov. 23 at the Russell Industrial Center. The lineup has yet to be announced, but with past performers including Lil B, Joey Bada$$, JPEGMAFIA, Zack Fox, Sada Baby, and more, the surprise will almost surely be worth the wait. Expect a mini-festival of sorts, curated by an artist who has carved his own lane locally and internationally through avant-garde rap, the Bruiser imprint, and his countless other ventures and interests. Danny Brown’s sets are always a riotous time for longtime fans and newcomers alike, so expect the chaotic energy that you’ve come to know and love to be front and center at this annual homage to his hometown.
Coming soon: Metro Times Daily newsletter. We’ll send you a handful of interesting Detroit stories every morning. Subscribe now to not miss a thing.

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INDIANAPOLIS — Welcome to the best weather day of the week and the warmest, too. That’s not saying much with “highs” this afternoon only in the lower 40s — a good 10 degrees below the daily average high for mid-November.
However, it certainly is a nice recovery from the cold start in the teens and 20s. Sunshine today is in advance of the next wintry system that’s still on target to arrive Tuesday morning. While the more impactful snow with this system is more likely to be positioned farther to our west-northwest, the timing of arrival between 5-7 a.m. mean central Indiana roads will be wet to locally slushy during the commute Tuesday.
We’re expecting snow amounts to range from a coating to locally 2 inches. That’s not terribly heavy, but again, it’s terribly timed. Like Saturday, most roads will be wet, but bridges/overpasses are fair game to become slick before temperatures get above freezing later in the morning and early afternoon.
During that time, the snow and system will be weakening and pivoting to the north. In its wake, we expect light snow and drizzle to linger into Tuesday evening.
But we’re just getting started on snow chances this week, with the likelihood of additional snow showers and heavier snow bursts emerging at times between Tuesday night into Friday. This occurs in response upper air disturbances traversing the region and even colder air that arrives Friday into the weekend.
Expect localized accumulation during that time, which precedes our coldest daytime highs since mid-March. We’re forecasting wind chills of 5-10 degrees Friday morning and “highs” only in the mid-20s, which is colder than the average “low” for this time of year.
Chilly air continues into the weekend, but long-range guidance shows a brightening sky Sunday into early next week.
RELATED: Leaf-cycling: Experts say it’s the best way to take care of your lawn this fall
RELATED: Pat Sullivan: Winterizing your home’s exterior
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Boot Kickin’ Mayhem November 14, 2022
Travis Tritt issued a statement with fans, giving an update on the injury that forced him to cancel the remaining dates of the ‘Can’t Miss Tour’ with Chris Janson.
The “T-R-O-U-B-L-E” singer took to social media on Saturday (Nov. 12) to update fan fans on his knee injury.
“Update: An MRI this week revealed that I do have a torn meniscus in my left knee as I’d suspected,” Tritt wrote on Twitter. “I plan to return to the road to play my remaining 2022 shows from December 1 thru December 10. My knee surgery will take place in mid December.”
Tritt also clarified and confirmed that she will be “good to go way before” his tour dates in July of 2023.
Update: An MRI this week revealed that I do have a torn meniscus in my left knee as I’d suspected. I plan to return to the road to play my remaining 2022 shows from December 1 thru December 10. My knee surgery will take place in mid December.
— Travis Tritt (@Travistritt) November 12, 2022

Tritt took to social media to share the unfortunate news of his tour cancellation with fans on Tuesday, November 1.
“I have been experiencing severe pain in my left knee for the past few weeks due to a possible torn meniscus,” Tritt wrote. ”With short bits of rest between shows, I had hoped that the pain would eventually subside and I could complete all of my remaining dates in November, including all the dates on the current ‘Can’t Miss Tour’ with Chris Janson and War Hippies.”
He went on to explain that the pain he is currently enduring is unbearable and he can no longer tour until he recovers from the injury.
“Unfortunately, the pain has become impossible to ignore and I will not be able to do any further shows in November,” Tritt continued. ”Refunds for these shows will be available at point of ticket purchase. I appreciate everyone’s understanding and I hope to return to the road as soon as possible.”
According to Tritt, the list of dates canceled include:
11/3 Greensboro, NC
11/4 Florence, SC
11/5 Richmond, VA
11/11 Tupelo, MS
11/12 Choctaw, MS
11/18 Pensacola, FL
11/19 Atlanta, GA
The news comes after the artists were forced to cancel their Estero, Florida concert due to the aftermath of Hurricane Ian. Additionally, Tritt and Janson recently announced the cancellation of their Nov. 10th concert in Anderson, South Carolina, citing “reasons beyond our control.”
While Janson has yet to comment on the cancellation of the tour, several venues have alerted fans of the news via social media.
The artists announced the co-headlining trek earlier this year after teaming up to release the song “Things You Can’t Live Without.” The duet appears on Janson’s latest album, All In, which was released in April.
“I’m really looking forward to the ‘Can’t Miss Tour’ with Chris this Fall. Our high-energy performances complement each other so well. Audiences are going to be thoroughly entertained,” Tritt shared upon the announcement of the tour.

Janson added, “Excited to be out touring with one of my favorites. It’s gonna be a rowdy fall, and I’m looking forward to it!”
On working with Tritt in the studio, Janson told Country Now that “Things You Can’t Live Without” came out better than he could have imagined.
“He absolutely crushed it, just like I knew he would,” he shared. “It’s one of my favorite collaborations to date.”
In addition to working with Tritt, the pair also formed a bond outside of the studio. “Travis is a great guy and turned out to be a really good friend,” he added.
Janson is scheduled to take the stage in Nashville at the Grand Ole Opry on November 1 and December 11.
According to Tritt’s official website, the “T-R-O-U-B-L-E” singer’s next scheduled tour date will take place on Thursday, December 1 in Abilene, Texas at Wylie PAC.
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Record labels are circling around Bradford's bassline scene, but rising MC Marky B is staying independent. He speaks to Will Pritchard about his upbringing, releasing emotions through music, and turning down the majors
Along with textiles, Seabrooks crisps, and David Hockney, bassline is one of Bradford’s best exports. For plenty of people in Yorkshire, it’s simply referred to as “MC music.” For 21-year-old Marky B, it’s everything.
Born Mark Baldwin, he packs a style both slick and typical, but mixes bolshy boasts with an acute vulnerability — pulling birds in one line, then back at school, struggling with his words in the next. He’s part of a loose scene that connects the post-industrial towns and cities that pepper South and West Yorkshire — Sheffield, Huddersfield, Leeds, Bradford — and revolves around dirtbikes, dingers, skunk, and pingers.
The music is fast, and MCs are at the forefront, skipping over organ stabs, skittish snares, and skidding around feminine coos and romantic aphorisms. It’s Yamahas and kitchen sink dramas, small-time grafters and weekend-long afters
Marky grew up in a care home, before moving out aged 16, left to fend for himself. “When I was younger, I had a lot of anger towards my situation,” he says, “But now, as I’ve got older, I sort of thank it, because I probably wouldn’t do what I do or know what I know if it wasn’t for that.” He scratched a living putting up fences and trimming hedges, running his own fledgling landscaping business (and selling bits of weed on the side). Long days were followed by lonely evenings. A combination of teenage boredom and latent anger led him to music. “Where I grew up, that’s what everyone wanted to do,” he says.
He’d rip beats from YouTube, run them through his phone using BandLab’s free production software, then chuck a duvet over his head and lay verses with the microphone on his headphones. “Most of my tunes people listen to now were recorded on my headphones, on my phone,” he says. “When I tell people, they don’t believe me. But I was getting better results on BandLab than going to a studio and paying 40 pound an hour.” Less rags to riches, then, more duvet to dreams.
Read this next: Bad Boy Chiller Crew: The rowdy Bradford rappers taking

He’d put new tracks out every week, building a steady following in the North West and riding in the wake of jackin’ house’s 2020s resurgence. Doubters only spurred him on. As his profile on the scene grew, and the producers whose beats he’d been nicking started noticing, arguments followed. He professionalised his approach: working with a loose network of producers, booking studio time, mixing and mastering his tracks properly. Streaming money was reinvested into studio time and slicker videos. Since January, music has been Marky B’s full-time job.
“When I first started making music, it was a good way to release my emotions, that’s why I got into it, it was a good way to channel things,” he says. “The big change for me was starting to earn money off it. I didn’t realise how much money was in it. I want other people to know that you can do what I’ve done, you don’t need these big deals and big recording studios. You don’t need it. If you’ve got a dream, you can do it,” he goes on, channelling some old-fashioned Yorkshire frugality into a hopeful message
Since its mutation out of the four-to-the-floor garage scene of the late-1990s, bassline has been treated as something of a curio by those outside of the North. The odd chart foray, or that fact that ‘Heartbroken’ is nailed on for a play everywhere from weddings to bar mitzvahs these days, hasn’t done much to shake snooty southern perceptions. While the success of fellow Bradfordians Bad Boy Chiller Crew has opened doors and record label cheque books, it remains to be seen whether minds have broadened with them.
Read this next: Listen to a playlist of Bad Boy Chiller Crew’s favourite bassline bangers

But Marky B, with an entrepreneurial eye for detail, notes the capital is where most of his streams are coming from now. The scene’s instrumental-led side has boomed in recent years too, packing out festival tents summer-to-summer. In May, Marky played at Evian Christ’s Trance Party in Corsica Studios, the same place BBCC made their London debut in 2019. “I walked in and I thought, ‘What on earth is this?’” he says, laughing. “I thought, ‘This just isn’t my scene whatsoever.’” He almost walked out. “But I went on, did my thing, and everyone loved it. It was crazy.”
Meanwhile, A&Rs are placing bets on the next big thing to come out of Bradford. Marky’s had offers from Sony and NQ (“I turned them all down. They just want my money, y’know what I mean?”), and is currently working his way out of a distribution deal with Amuse. His sights are firmly set on independence — leaving the majors to parachute drill rappers onto organ house beats. He cites Central Cee as an act who’s managed to navigate the industry’s new economy to his own end, and the likes of Tom Zanetti and Silky who’ve built their own mini empires before signing. Time and talent are on his side. He’s teaching himself to produce so he can foster a new generation when it comes around. “This music’s not gonna die out any time soon,” he says. Not if Marky B has anything to do with it anyway.
Will Pritchard is a freelance writer, follow him on Twitter
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Mercedes-Benz has introduced Apple Music’s Spatial Audio to its EQ-badged electric cars and S-Class as well. The German luxury car brand, along with the US tech giant, has revealed that Apple Music with Spatial Audio will come fully integrated through the MBUX infotainment system in the Mercedes-Benz cars like Maybach S-Class, EQS, EQS SUV, EQE, EQE SUV, and the standard S-Class as well.
(In pics: Mercedes-AMG EQE SUV breaks cover)
These cars come equipped with the MBUX touchscreen infotainment system that offers a high-end 4D sound experience to the occupants. This sound system comprises a total of 31 speakers, which include six 3D speakers on the roof, four near-ear speakers in the front seats, an 18.5-litre subwoofer, eight sound transducers, and two amplifiers. This sound system comes with 1,750 watts of power.
The automaker claimed that the Mercedes-Benz owners who have already subscribed to Apple Music would gain immediate access to a growing array of songs available in Spatial Audio. Speaking about the collaboration, Apple’s Vice Preside of Apple Music and Beats, Oliver Schusser, said that sound quality is an incredibly important element to Apple Music, which is why Apple is excited to work with Mercedes to make the Spatial Audio natively available in the car. “Sound quality is incredibly important to Apple Music which is why we are so excited to be working with Mercedes to make Spatial Audio on Apple Music available natively in the car for the first time,” he said.
He also said that Spatial Audio would revolutionize the way artists create and fans listen to music. “It’s an experience that is impossible to explain in words; you have to hear it for yourself to appreciate it. Together with Mercedes, we now have even more opportunities to bring wholly immersive music to our subscribers all over the world,” Schusser added.
Markus Schäfer, a member of the board of management of Mercedes-Benz Group AG, said that the automaker aims to provide a benchmark music experience to its customers, which would be unparalleled in the industry. “We are proud that our vehicles will be the first-ever non-Apple devices to natively feature immersive Spatial Audio with Dolby Atmos. This seamless experience shows how in-car entertainment can reach exciting new levels by perfectly integrating hardware and software,” he further added.
Copyright © 2022 HT Auto

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Techno purist Elias Landberg’s fourth Skudge album displays a master craftsman at work. Danny Turner dives in
Initially a duo, Elias Landberg’s now solo project Skudge arrived in 2011 with the economical techno LP, Phantom. 
Following Gustaf Wallnerström’s departure, Landberg widened his sound palette on the flawless, cerebral-sounding album Balancing Point and 2020’s equally intricate yet more house-oriented Time Tracks.
An in-demand DJ, oft found residing at techno hubs such as Fabric and Berghain, Landberg has kept a low profile while continuing to release music on his own Skudge Records. His refusal to compromise couldn’t be more apparent on his latest Skudge album, Soundworks, where sparse yet adrenal techno merges past and future with uncanny precision.
Did Sweden have a buoyant techno scene when you were growing up?
“The legal scene, if you can call it that, was very small, and the ‘rave police’ closed down a lot of the clubs because of a problem with drugs. The parties were great and there were lots of them. The best club in Stockholm back then was called Docklands, which was open from 10pm to 10am but they closed it down in early 2000. It’s still called Docklands, but they rebuilt it and people are now living in that building instead. When we started Skudge, there was a club called 2.35:1 at Berns in Stockholm where most of the DJs and artists were playing. That was great too, but now it’s become more commercial.”
Did you start making music before the birth of the minimal techno sound?
“I’ve been making music since 1997, if not longer because I played drums when I was a child and was in a grunge/punk band. I have pretty broad tastes, but when I listen to music it’s mostly ’90s hip-hop and I get a lot of influences from that because I like the sounds and the gritty, lo-fi production. I also like a lot of ’90s techno, like Mr. G, G-Man, Jeff Mills and Robert Hood – all the obvious ones. But I don’t see Skudge as minimal techno, it’s somewhere between techno and house.”
How has Skudge Records evolved?
“When we started Skudge Records we didn’t take things that seriously. We sent out demos but always got negative replies from labels who wanted to change this and that. A lot of them said no to our biggest hit Convolution, which was a big miss for them because we’ve re-pressed that release at least three times.”  Skudge was initially a duo, of course. Was going solo a freeing experience?
“Skudge has been my solo production project since 2013. Phantom was the only album that Gustaf and I made together, but we didn’t need to compromise because we had exactly the same tastes. He’s ten years younger than me and wanted to do something else with his life rather than trying to live off making music. I haven’t thought about whether that was a positive thing because we worked very well together, but of course it’s easier to work on your own.”
What were you using to produce tracks with in those early days?
“Back then we were 80% in the box. It’s kind of funny because everybody thought we were only using hardware – and even wrote about that. I can understand why, but we didn’t even have a 909. If you know what you’re doing, you can make software sound like hardware. We’d just put stuff through a Roland RE-501 Chorus Echo and a Studer reel-to-reel tape machine, although I sold that two years ago and replaced it with analogue mixing gear.”
Are you motivated more by the emotion of the music or the creative puzzle that is putting a track together?
“I need a vibe to come from the music I’m making otherwise I put it aside and start something new. I don’t know what the rules are when it comes to making techno because I’ve created my own sample library using the same sounds since 2010. Every release has a lot of the same noises, but people might not hear that. Basically, I take out the sounds from previous tracks, change and re-use them because I want Skudge to sound like me. I’m not the sort of person that will look for a kick drum for ten hours because I already have a kick drum that I’m happy with so I’ll just use that on all the tracks but maybe EQ it differently.”Is the latest Skudge album, Soundworks, mostly oriented towards clubs?
“The music is mostly made for the clubs, but I’ve started to make so-called ‘tracks’ using loopy beats. I mostly make music for myself, then at some point in the process I’ll start to think about who is listening to it because I want the tracks to sound good in a club environment. Some tracks can take two months to complete but one track, called November, took me three years.”
That sounds like a torturous process?
“The track was working because I had the melody but I just didn’t have the drums. I’m very picky and you have to be when you release everything on vinyl. Once you’ve released it, it’s out there and part of your catalogue, so I need to be 100% satisfied before I send it to the pressing plant. It’s not so much about the song itself but mixing, because I always have two to five versions of every track.”
The music’s spacious and fairly mid-tempo, so there’s no hiding place for your production aesthetic…
“That’s true, but I also have way more sounds going on in those tracks than people might think. If you listen to a track, you might think it’s working with five sounds but I’m typically using 20 channels on a project. I’m always layering sounds and there are a lot of subtle sounds hidden in the mix.”Is repetition important to your sound because you want people to stay locked into the emotion of the track?
“I always want to make the perfect loop that can go on for two or three minutes before you get bored of it, which is very difficult. For me it’s about adding funk to a track, which is all about how the drums and the bass play together. Most tracks start with a loop before I begin adding sounds and then a melody comes through. It’s hard to explain, but I want the sounds to talk to each other and the drums and the bass need to be 100% before I add any melodies.”
Where are you deriving your bass sounds from?
“Like I said, the music needs to sound funky somehow so every track tends to have three or four different bass sounds working together. For example, I might use a sub bass, a more percussive bass and a stabby bass all talking to each other and then you add the kick drum, of course. As the kick drum is also a bass, the trick is to make sure the frequencies don’t collide, which is all part of the mixing process. The basses are mostly samples I’ve created from my synths over the years. I have the 101 of course, but I’ve created my own sample libraries using synths like the Buchla Easel and Moog Minitaur. I basically recorded sounds from those devices and sold them.” 
That sounds quite an economical way to create your own sample libraries…
“Or you can borrow synths for free from your friends and create a huge, super-cool library that nobody else can have. I think that’s a good tip [laughs].”
Have you moved away from a mostly software setup?
“Now, it’s probably 50/50, but if I’m doing a remix then I’ll work in the box a lot more because I’m taking stems from the original track. It’s funny though because when I’m making a remix I mostly tend to make a completely new track. I need to feel something from the sounds they’re sending, so I might end up just using just one stem – or maybe no sound at all. Ultimately, I want the remixes to sound like Skudge.”Have you ever had a bad reaction to a remix that bears no relation to the original track?
“Most of the time artists want it to sound like a Skudge track with a touch of their track, but that changes from artist to artist. One sent me my Convolution track and asked me to make something that sounded just like that, but I asked why they would want their remix to sound like such an old track. If I was lazy I could just take their stems, put them in Logic and put my kick drum on it, but having my own sound is important to me and I don’t want a track I’ve remixed to sound like anyone else.”
What can you tell us about the SKUDGE-O-NINE interface that’s sitting atop your Roland TR-909?
“It’s a breakout modification box for the 909 that allows you to control the pitch on the hi-hats and the decay on the kick drum. It also has an overdrive so you can distort the kick. A friend of mine who is really talented at modding things built it for me but there are only two of them. I’m not that technical so I don’t understand the procedure behind how it’s actually made but it’s a well-known modification that you can Google. 
The RE-501 is the last machine I would sell
“Most of the people modding 909s destroy the case and mod the panel, but I didn’t want to do that because if the 909 is destroyed I can’t sell it. It’s mainly used for live work because we do a lot improvisation and I have another 909 in the studio that’s not modified because I can always change the sounds in the computer if I need to.”
Why has the Roland RE-501 Chorus Echo been such an important tool for you?
“Because I love the grittiness of it and I use the spring reverb on every track and the tape delay on almost every track. The RE-501 is the last machine I would sell. If you use a software synth and record it through that it makes it sound more alive. Basically, when you record any sound through something analogue it’s going to be a little more wobbly and out of tune. It’s definitely been a good investment.”You mentioned it’s really down to how you process sound. Analogue or digital, the same result is achievable…
“If you want to sound less digital you can get faster results with analogue, but if you buy a new analogue synth it can also sound digital because it’s newly made and doesn’t have the grittiness of a vintage synth. In fact, some new analogue synths sound even more digital than soft synths. These days, most people that make techno are using software and there are so many software brands making great tools that getting an analogue sound in the box is easier than it’s ever been.”
What route would you recommend beginners take?
“Well I’ve gotten so many emails from people who have sent demos to my label saying they’ve only been using hardware. For me, it doesn’t matter – it’s not like I’m going to release a track because it’s made only using hardware – it also needs to sound good. For me, it’s better to learn software first and then use hardware, but these days it feels like a lot of people are doing the opposite – they buy a lot of hardware but the music sounds like the machines they’re using rather than themselves. 
You need to put in the hours and the love for what you’re doing, and you have to believe in yourself
“Like everything, you need to put in the hours and the love for what you’re doing and you have to believe in yourself. That might take years. Sadly, I feel a lot of artists these days make some music and a year later want to have their first release, but if it takes time to find who you are as a person then it will naturally take time to find yourself as a musician too.”
Is the Pearl Syncussion SY-1 one of your secret weapons? The synth sounds amazing.
“I don’t have it anymore, sadly. It’s a percussive drum synth, so you can make bass sounds and cool drums with it, but there are a lot of clones that sound more or less like the original these days. I didn’t use it much for my Skudge productions, but I’ve used it on a lot of side projects like Splice and my house project, KEL.”
What else is essential to the Skudge sound?
“I’d say my Prophet-5. The sounds I get out of it are, more or less, the sounds that I have in my head. It’s good for stabs, basses, lo-fi pads and strings, so it’s very versatile. It’s also very expensive, but thankfully there are software versions that sound similar.”How do you approach the mixdown?
“I try to mix as much as possible while making the tracks, then I’ll polish the track on the final mix and cut away any frequencies, for example if the hi-hat or resonance on the stab is too loud. Everything needs to be 100% before it’s pressed because if the hi-hat’s too loud it can distort on the vinyl and the mastering engineer isn’t a magician. They can do a lot, but mastering for vinyl is a completely different process to digital.”
How much of your mixing process is graphical?
“It’s a mostly non-graphical procedure, but I need to look at the screen because obviously you don’t want any sounds to peak. At the same time, it also needs to sound good so I trust my ears and use a lot of outboard EQs and compressors for mixing. I’m addicted to outboard digital reverbs like the Ensoniq DP4 and the Eventide H-3000 Ultra Harmoniser. I also have two Lexicons and a Klark Teknik reverb.”
Do you ever share any of your sampled sounds?
“I mostly record my own sounds but I did record some for Swedish synth manufacturer Elektron. If you buy their Model: Samples sequencer/sampler you’ll get some Skudge sounds with that. I basically recorded about 300 sounds for them, they picked out a few that they wanted to use and I got to keep the rest for myself.”
Is it harder to be original in 2022?
“It’s way easier to become a producer now because you have unlimited tools and the computers are way more stable. When I started out in 1997 using Emagic’s Logic, the memory was so much less and the hard drive smaller so you needed to problem-solve. I only had a small amount of hardware and yet somehow those tracks sound better than ones made in the box today [laughs].” 
The new Skudge album, Soundworks, is out now on Skudge Records. (opens in new tab)
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By Emmy Ulmschneider 
Master Gardeners 
A few Monarchs are still drifting by, I am starting to see fall migrant birds, the leaves on my Mexican Buckeye are starting to turn and the okra is definitely hoping for warmer temperatures. Fall is maybe defiantly in the air.
We have previously written about fall tasks to prepare for winter vegetable gardening: tinyurl.com/2fmb8dsv. But what other fall jobs are there?
Gardening ties you to the outside and to the natural flow of the seasons because you notice and follow what your plants are doing, how they are producing and how the weather affects them. In short you are tied to the environment around you. Just as October is the perfect time to sow wildflower seeds, November is the perfect time to prepare for the winter.
First off and foremost, is mulch! Mulch is a layer of non-living materials covering the soil surface around plants, it can be organic (think wood chips or leaves) or inorganic like rock or permeable plastic.
I could wax poetic about the MANY benefits to mulch, but here are my tops five, ok nine:
And as everything else in gardening there are good and bad practices. Here are some good mulching practices:
I have inorganic mulch only on places I do not grow anything. I use all the organic material I produce as a mulch. The litter from my chicken coop goes out on my eating gardens where it breaks down and releases that all important nitrogen.
Originally, I covered all of my beds with layers of newspaper and bark mulch to inhibit weeds. That has long since broken down and now my mulch of choice is the tree leaves that blow into my yard from my neighbors. This free mulch breaks down over the year, provides a warm winter home for many soil creatures and is critical for the moths and beetles that I want in my yard.
So, leave the leaves, save money, and create a healthier habitat in your yard.
For more information, call the AgriLife office at 498-4071 in Odessa or at 686-4700 in Midland or visit aggie-horticulture.tamu.edu or westtexasgardening.org.

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WITH a musical Samoan father and a watchful Polish mother, Koebi Faumui and his siblings were destined to be musicians.
Not necessarily for a day job, because although all were trained in music, big sister Kashia took environmental studies in business management and older brother Salale is doing a psychology degree. 
But 20-year-old Koebi, now in his second year studying jazz guitar with Greg Stott and music production with Ken Lampl at the ANU School of Music, is well and truly on his way to becoming a professional musician. 
Only eight when he started recording with his siblings The Faumuis, he has already recorded 10 original albums and five covers. 
Father and manager Garry Faumui, manager of the Booyah Group, which uses music to strengthen social bonds, says his aim has been to pass on to his children “enduring stuff”, while their mother has been “the critic… she tells us when we suck”.
Koebi, Garry says, is the only one of his musical children who expressed an interest in stepping out on his own. 
When I catch up with him, he’s brimming with excitement about the musical colleagues he’s been able to assemble for his new EP launch at ANU Kambri in early December, including Citizen Kay, Lucy Sugarman, Seanzsound, and members of the group Archie. “These are people whose music I respect,” he says. “It’s my dream.”
His new EP, called “Something New”, is a culmination of originals written over the past year, but he’s released a couple of teaser singles in recent months – “Good People”, a song with a universal message and “I Know Better”, which “felt like it encompassed my life in the last couple of years”. 
“I wouldn’t like to get stuck in one category, but maybe what I do is pop indie,” he says.
His efforts to make a quieter departure from the kind of sound he used to do, he suspects, may be attributed to his studies with “awesome teachers” Greg Stott, Eric Ajaye and John Mackey. 
“Being at university has helped me develop some vocabulary, and also some maturity. I feel I know a lot about jazz now,” he says. 
Koebi’s musical inclination is quite eclectic, as the line-up of rock, rap, hip-hop, folk, electronic and reggae on December 3 will show. 
He has produced and helped write a song about mental health with eight local rappers and produced a track with a group of indigenous year 5 students.
“The songs that mean the most to me are the ones where I go deep, but the funny thing is that they often come easily,” he says.
“They can come in 30 minutes.
“I want to get some more meaning into my lyrics, to question things, to be quite reflective.”
He suspects that his Seventh-day Adventist upbringing may have had some influence, both in the content of his songs, but also the discipline he discovered in his childhood. 
“You have a great deal of self-control when you know you’re not like the rest of the people,” he says. 
“I am thankful for my days in church; that upbringing gives you hope to sing and hope to play better.”
“Something New”, ANU Kambri, 7pm, December 3.
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Ian Meikle, editor
DEFYING gravity is a byword for singer Lisa Richards. Not only is “Waiting to Fly” the title of her eighth album, but its launch later this month will be a musical celebration of “taking flight” with her own songs and stories.
Michael Dahlenburg is one of Australia’s foremost cellists, but there are more strings to his bow and he’s also co-artistic director of the 37-year-old Australian String Quartet, about to perform in Canberra.
HELEN MUSA scans all things arts in and around Canberra in this week’s “Arts in the City” column.
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Vivek Lal, M.D.
Photography: Steve WoodTwo factors contribute to the lung disease bronchopulmonary dysplasia, or BPD, in extremely premature infants — the high oxygen concentrations that premature infants need to aid their breathing and a microbial dysbiosis in the lungs after birth.
Charitharth Vivek Lal, M.D., and University of Alabama at Birmingham colleagues have previously shown that a microbiome is present in the lungs shortly after extremely low birthweight infants are born. They also showed that development of severe BPD in those infants was associated with a microbial dysbiosis characterized by both an increased relative abundance of class Gammaproteobacteria, which includes bacteria like E. coli and Pseudomonas, and a decreased phylum Firmicutes, which includes Lactobacillus species.
Now, in an effort to move from correlation to causality, they report two firsts: a humanized mouse model of a lung microbiome transplant, and demonstration of the use of a live biotherapeutic product in a preclinical model of chronic lung disease.
The UAB researchers found that experimental microbial dysbiosis in this model induces a redox imbalance and damages the lungs of neonatal mice, and they showed that the lung damage can be ameliorated using a live biotherapeutic mixture of three Lactobacillus species of bacteria.
The mechanisms linking pulmonary microbial dysbiosis to worsening lung injury are unknown; but it has been known that the Nrf2 transcription factor in lung cells controls genes that act to regulate oxidative stress responses, which can modulate the lung injury caused by high oxygen concentrations.
So Lal and colleagues tested the hypothesis that the presence of airway dysbiosis would attenuate the Nrf2-dependent antioxidant function and cause a more severe form of BPD. 
Much of the research used a novel series of a UAB humanized gnotobiotic mouse model. In the model, germfree mouse pups were inoculated one day after birth and then subjected to normal oxygen concentrations, called normoxia, or high oxygen concentrations, called hyperoxia, from postnatal days three to 14.
In their study published in the American Journal of Respiratory Cell and Molecular Biology, UAB researchers report five key findings.
First, tracheal aspirates from extremely premature human infants with severe BPD — who also were shown to have an overabundance of Gammaproteobacteria — had increased levels of proteobacterial endotoxin and decreased lactobacilli species, as compared with aspirates from age-matched non-BPD infants.
Next, in the humanized germfree mouse model, inoculating the pups with aspirates from the BPD-infants increased hyperoxia-induced lung injury, as compared with mice inoculated with aspirates from age-matched non-BPD infants.
Third, the researchers inoculated a representative Gammaproteobacteria, E. coli, into germfree mouse pups or mouse pups with intact microbiomes. This produced more severe disease in both models, and it altered the Nrf2-regulated antioxidant responses in the germfree hyperoxia mice. 
Fourth, they found that augmenting colonization of the mouse lungs with the potentially beneficial Lactobacilli-based live biotherapeutic product, or LBP, reduced lung injury during hyperoxia in both wildtype mice and mice that lack the Nrf2 gene. In the wildtype mice, the expression of two antioxidant genes regulated by Nrf2 was increased, an intriguing finding that suggested the heightened antioxidant response might be at least partially exerted by Lactobacillus via the Nrf2 pathway.
To test this, the researchers lastly found that human bronchial epithelial cells exposed to the Lactobacillus probiotic blend showed a time-dependent and dose-dependent increase in the expression of two Nrf2 pathway antioxidant genes, HMOX1 and NQO1.
“Our results are most consistent with a model where an insufficiently protective microbiome profile results in a weak Nrf2-mediated lung antioxidant defense,” Lal said. “The Lactobacillus-based LBP appears to be an inducer of Nrf2 pathway antioxidant activity and may be sufficient to provide a protective effect. Furthermore, our in vitro experiments suggest that this may result from a direct interaction between the LBP and the bronchial epithelium.”
This suggests the risk of developing severe BPD might be modifiable by using an appropriate LBP.
“Chronic lung illnesses are complex, and targeted novel therapeutic approaches are warranted,” Lal said. “We have developed specific LBP products exclusively licensed and commercialized through our university spinoff company, Alveolus Bio, Inc.”
Lal is an associate professor in the UAB Department of Pediatrics, Division of Neonatology, and also is the director of Clinical Innovation at the Marnix E. Heersink Institute for Biomedical Innovation and the director of the Pulmonary Microbiome Lab at UAB. The LBP used in the study was a gift from Alveolus Bio, a Cambridge, Massachusetts- and Birmingham, Alabama-based company founded by Lal to develop United States Food and Drug Administration-approved biotherapeutics for lung diseases, including BPD, chronic obstructive pulmonary disease, or COPD, viral illnesses, idiopathic pulmonary fibrosis and pulmonary arterial hypertension. Lal holds the patents for the LBP. Amit Gaggar, M.D., a co-author on the study, is an endowed professor in the UAB Department of Medicine, Division of Pulmonary, Allergy and Critical Care Medicine. Gaggar is also chief medical officer of Alveolus Bio.
Co-authors with Lal and Gaggar in the study, “Microbial induced redox imbalance in the neonatal lung is ameliorated by live biotherapeutics,” are Amelia E. Freeman, Kent A. Willis, Luhua Qiao, Ahmed S. Abdelgawad, Brian Halloran, Gabriel Rezonzew and Namasivayam Ambalavanan, UAB Department of Pediatrics, Division of Neonatology; Zoha Nizami and Nancy Wenger, the UAB Marnix E. Heersink School of Medicine; and Trent E. Tipple, University of Oklahoma Health Sciences Center, Oklahoma City.
Support came in part from National Institutes of Health grants HL141652, HL151907 and HL119280.

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Home  /  Newsroom  /  2022  /  Last live-fly day of Exercise Poggio Dart 2022
Nov 14 2022
RAMSTEIN, Germany – On November 10, 2022, Brigadier General David Morpurgo, DACCC Deputy Commander, hosted an Allied Air Command delegation on the last day of Poggio Dart 2022 (PODA 22) at the Deployable Air Command and Control Centre (DACCC), Poggio Renatico, Italy.
Deputy Commander, Allied Air Command, Air Marshal Stringer, joined by Major General Ercolani, Chief of Staff and Brigadier General Gulmezoglu, Deputy Chief of Staff Plans had the chance to meet with Major General Gabellini, Poggio Renatico’s Base Commander and Head of the Italian JFAC.
The visit was designed to coincide with the last live-fly day of Exercise Poggio Dart 2022 (PODA 22) in order to provide an excellent opportunity for the DACCC Executive Team to demonstrate both, the capabilities and expertise, within the DACCC team. The DACCC Leadership Team was able to demonstrate the NATO Air Command and Control System (ACCS), a system to enhance the interoperability from the operational planning phase through to the tactical execution. PODA 22 provides the platform to improve knowledge and enhance professionalism on ACCS in a complex multi-layered environment.
“PODA22 was a unique training opportunity that provided a mix of synthetic and live flying missions whilst simultaneously exercising JFAC functions, TAC C2 and tactical units. This setting required carefully tailored events and exposes the Combat Operations Division Team to realistic battlespace dynamics that can only emerge from the interaction of multiple layers of NATO Air Power,” stated Major Augusto Figueiredo from the Deployable Air Operation Centre.
NATO personnel, provided dynamic training opportunities for aircrew to train-to-fight, controlled the participating Eurofighters, F-4s, F-16s, F-35s and Tornados. This also delivered an opportunity for the fighter controllers of the Deployable Air Control Centre, Recognized Air Picture Production Centre and Sensor Fusion Post (DARS) to qualify. “PODA-22 had provided the best end-to-end training in the history of DARS. It had provided a high-ambition multi-national air exercise providing high quality training to all participants,” said the DARS Senior Operations Officer.
The high tempo exercise and the deployment of one of DACCC’s mobile radar to Cervia Airbase, assures the readiness of the Alliance’s deployable air command centre that can execute its mission where needed within NATO’s concept to Defend and Deter. The continued development of the next generation of Air Command and Control capability has and will contributed to the continued assurance of the safety of Allies and Partners at NATO’s Eastern flank.
Story by Allied Air Command Public Affairs Office
HQ Allied Air Command
Flugplatz Ramstein
66877 Ramstein-Miesenbach
Germany

[email protected]
Public Affairs Office
Building/Gebäude 313
66877 Ramstein-Miesenbach
Germany
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