GLITCHED was created by taking everything we love and putting it into one place. It has a little something for everyone be it your favourite comic book,what to binge on Netflix this weekend,or your favourite games and tech. The idea that one can love all the cool things is not hard to comprehend,you just need to find a place for it. That place is GLITCHED.. A Monster Hunter mobile game is officially in development from Capcom and Tencent internal studio Timi, which is best known for developing Call of Duty Mobile. The companies announced recently that the title will still deliver the same experience from the Monster Hunter series while offering players a new and unique way to play the game on mobile devices. At over 650 million downloads worldwide, Call of Duty Mobile is one of the most successful mobile games of all time. Timi, the studio responsible for its development, will be handling this new Monster Hunter mobile game endeavour with Capcom. In 2020, Timi was named the world’s largest developer at the time after it reportedly generated more than $10 billion. The Monster Hunter series is Capcom’s second largest franchise of all time, with 88 million units sold in total. It trails behind the Resident Evil franchise which has sold over 131 million units combined, though it’s ahead of the Street Fighter franchise which has sold 49 million units in third place. To date, 2018’s Monster Hunter World remains Capcom’s best-selling video game of all time, selling 18.5 million units across consoles and PC. Details are still scarce about the Monster Hunter mobile game, though it will surely find plenty of success in Asia where the franchise still thrives. Despite lower global sales numbers for the portable Monster Hunter entries, like Monster Hunter 4 and Monster Hunter Generations, it managed to become top-selling games in countries like Japan where they were played on Nintendo 3DS, Nintendo Switch and other platforms. The Monster Hunter series’ formula is built on a loop of fighting and slaying monsters, using their resources to make gear, rinse and repeat. Hopefully the shortcomings of mobile games – such as microtransactions or paywalls – don’t impact the title too drastically as it will go against the core gameplay loop that the series is already well-known for.
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GLITCHED was created by taking everything we love and putting into one place. It contains a little something for everyone be it your favourite comic book, what to binge on Netflix this weekend, or your annual first-person shooter. The idea that one can love all the cool things is not hard to comprehend, you just need to find a place for it. That place is GLITCHED..
The Ram brand and singer-songwriter, guitarist, and record producer Chris Stapleton have collaborated once again to create a one-of-a-kind Ram “Traveller” truck designed specifically by the 8-time Grammy-winning artist in collaboration with the Ram Design Studio team in Auburn Hills, Michigan. Built on the Ram 2500, the Ram “Traveller” honors the deep-rooted collaborations between Ram and Stapleton which includes the 2016 Ram Nation concert and instrument donation for students at Stapleton’s former high school in Paintsville, Kentucky, the multi-year campaign anchored by Stapleton’s custom rendition of “I’m a Ram,” and the Country Music Hall of Fame and Museum’s current exhibit, Chris Stapleton: Since 1978, presented by Ram Trucks. “Our relationship with Chris Stapleton is special because he is not just a partner, we consider him to be a friend. He represents our shared values of hard work, determination, and perseverance,” said Mike Koval Jr., Ram CEO. “Our journey with Chris throughout his career is something we are extremely proud of and to see this Ram Truck collaboration come to fruition is an endeavor we will cherish for a long time.” Working with the Ram Design Studio team, the “Traveller” features custom exterior and interior design cues that nod to the late 1970s (D-Series) and 1980s (first-gen Ram) pickups combined with the modern cues of today’s lineup. On the exterior, styling cues stem strongly from a Stapleton favorite, the rare 1979 Dodge D-150 Palomino Edition, evoking the essence of the iconic vehicle and updated with a contemporary and modernized design. The Palomino-inspired exterior colors Linen Cream, Radar Red, Bison Brown, and Cashmere have been modernized to complement today’s finishes. In addition, the iconic striped graphics featured on the Palomino are adapted to fit the more sculptural 2022 Ram 2500. Retro-inspired “Turbo Fin” 18-inch wheels set the aesthetic tone of the truck blending the nostalgic classic 80’s appearance and updating the style with a fully painted, deep-dished machined-faced wheel with a bright chrome center cap. Influenced by the classic Ram 1980s badge fonts, the “Traveller” badging merges the past and the present to create a distinct look. Finishing the exterior is a multi-faceted, three-dimensional Ram hood ornament added to achieve a vintage, yet modern-day appearance. The interior of the Ram “Traveller” truck features numerous personal design details, unique colors, textures, and materials that pay homage to Stapleton’s musical career journey while representing his individual style. These details also serve a practical purpose for his everyday lifestyle. A custom, monochromatic Bison Brown color is featured throughout the entire interior palette with a pop of color integrated into the headrests of buffalo plaid flannel material, an identical material as the jacket worn by Stapleton on the cover of his debut album, Traveller. Walnut Burl wood appears throughout the cabin along with tailored cloth-wrapped seats, speaker grilles that draw inspiration from guitar amps, and a custom front-row bench seat. Completing the design is a customized Chris Stapleton signature inlaid into the wood of the instrument panel as another personal touch. Aligned with the current exhibit ‘Chris Stapleton: Since 1978’ at the Country Music Hall of Fame and Museum, the Ram “Traveller” truck was revealed at the Nashville museum yesterday. Chris Stapleton: Since 1978, presented by Ram Trucks, highlights Stapleton’s contributions to American cultural history. The exhibit runs through May 2023 and chronicles the course of Stapleton’s multi-faceted musical career, from his Kentucky roots and success as a Nashville songwriter to his rise to stardom as one of music’s most powerful and unique voices. This latest partnership coincides with the official release of Stapleton’s recording of “I’m a Ram” next Friday, Nov. 11th. In addition to streaming everywhere for the first time, a limited-edition 7-inch featuring the song as well as a special alternate live version of the classic Al Green tune will be available exclusively at Indie retail. Chris Stapleton’s one-of-a-kind 2022 Ram 2500 Traveller Crew Cab 4×4 Image Gallery: This slideshow requires JavaScript. Join the discussion → Loading new replies… I need my sunglasses to look at this truck. Way too much chrome. The grill is very generic and has no distinctive qualities. They found a way to ruin the good looks of the Classic body style. Reply Like Join the full discussion at the →
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: 19132 (2022) Cite this article 88 Accesses 2 Altmetric Metrics details We have investigated the pinning potential of high-quality single crystals of superconducting material CaKFe4As4 having high critical current density and very high upper critical field using both magnetization relaxation measurements and frequency-dependent AC susceptibility. Preliminary studies of the superconducting transition and of the isothermal magnetization loops confirmed the high quality of the samples, while temperature dependence of the AC susceptibility in high magnetic fields show absolutely no dependence on the cooling conditions, hence, no magnetic history. From magnetization relaxation measurements were extracted the values of the normalized pinning potential U*, which reveals a clear crossover between elastic creep and plastic creep. The extremely high values of U*, up to 1200 K around the temperature of 20 K lead to a nearly zero value of the probability of thermally-activated flux jumps at temperatures of interest for high-field applications. The values of the creep exponents in the two creep regimes resulted from the analysis of the magnetization relaxation data are in complete agreement with theoretical models. Pinning potentials were also estimated, near the critical temperature, from AC susceptibility measurements, their values being close to those resulted (at the same temperature and DC field) from the magnetization relaxation data. The discovery of iron-based superconductors (IBS) La(O1−xFex)FeAs, (x = 0.05–0.12)1 with a critical temperature Tc = 26 K, with unique superconducting mechanism and potential of use in various applications led to a world-wide effort in the discovery and comprehensive studies of this new class of superconducting materials. Up to now there are literally thousands of possible chemical compositions and doping levels of various IBS, of different types of crystalline structure. Among those different types of IBSs reported in the literature, 1111-type REFeAsO1−x (RE being a rare-earth element) has the highest critical temperature of 55 K2. Another type, namely 11-type Fe(Se, Te), have relatively low Tc (10–20 K depending on composition), but is promising as thin film, having a high critical current density Jc in very high magnetic field (over 104 A/cm2 in fields larger than 10 T)3. Lately, superconductors based on AEFe2As2 (AE being alkali-earth metal Ca, Sr, Ba) parent compound, the so-called 122 system, became the most popular materials for both physical explorations and wire applications because of their Tc as high as 38 K4, very high upper critical fields µ0Hc2 (> 70 T)5,6 and low anisotropies γ (< 2)6, attracting substantial attention in comparison with other IBSs that have been reported in the literature. Superconductivity in AEFe2As2 is primarily induced by alkali metal (A = Na, K, Rb, Cs) substitution at AE sites. The structure’s crystallographic space group (I4/mmm) is not changed by this A substitution because AE and A randomly occupy crystallographically equivalent sites. Thus, (AE1−xAx)Fe2As2 (also noted as (AE,A)Fe2As2) are solid solutions between AEFe2As2 and AFe2As2 compounds with the same structural type. It was found that, if there is a large difference in the ionic Δr radii of AE and A, such solid solutions are not possible. More recently, a new type of IBSs has been reported7, having a new structure, abbreviated as AEA1144, namely CaAFe4As4 (A = K, Rb, Cs) and SrAFe4As4 (A = Rb, Cs). In these cases, because A does not mix with AE due to the large Δr, AEA1144 crystallizes through alternate stacking of the AE and A layers across the Fe2As2 layer, changing the space group from I4/mmm to P/4 mmm, the compounds being superconductors with Tc values between 31 and 36 K. The most studied compound in this new type of IBS is CaKFe4As4 (CaK1144) due to its excellent superconducting properties. The fabrication of high-quality single crystals of CaK1144 by high-temperature solution growth out of FeAs flux8 paved the way for a large number of studies of fundamental properties of this new material. It was proved that CaK1144 is a multi-gap (multi-component) superconductor using several techniques: muon spin relaxation (µSR)9, inelastic neutron scattering10, µSR and angle-resolved photoemission spectroscopy (ARPES)11, London penetration depth and tunneling conductance12,75As nuclear magnetic resonance (NMR)13. The results of the above-mentioned experiments are consistent with a two-gap s + s− wave model. It is interesting that CaK1144 does not undergo any magnetic or structural transition8, unlike many other IBSs, and, having a mean free path of the carriers six times larger than the coherence length, this system is in the clean limit. More recently it was shown that the temperature dependence of the upper critical field can be well described by a two-band model in the clean limit with band-coupling parameters favoring intraband over interband interactions14. However, the band structure of CaK1144 is not that simple. A recent study on the anisotropy of the London penetration depth λL, measured with a microwave-coplanar-resonator technique that allowed to de-convolute the anisotropic contributions λL,ab and λL,c, compared the resulted anisotropy parameter γL = λL,c/λL,ab, and its temperature dependence with theoretical results of ab-initio density-functional-theory (DFT)15. DFT calculations show that the Fermi surface consists of five bands centered around Γ with a hole character and three bands centered around M with an electron character. Furthermore, the behavior of the band-resolved density-of-states (DOS) supports the choice to employ a three-component model. From the point of view of potential applications, the behavior of the critical current density, and the structure and type of defects that act as effective pinning centres in high magnetic fields are of paramount importance. Various kinds of defect structures have been observed as conductance modulation and topographic features by scanning tunneling microscopy (STM)16, and effects of artificial defects (chemically-induced by Ni substitution or irradiation-induced using 3.5 MeV protons) on the intrinsic anisotropy determined by the previously-mentioned15 microwave-coplanar-resonator technique. For high-density polycrystalline samples obtained via a mechanochemically assisted synthesis route, magnetic hysteresis loops and subsequent analysis showed the presence of strong point pinning centers17, with values of critical current density that can be further improved by manipulating the fabrication process. For high-quality CaK1144 single crystals, critical current densities have been determined from DC magnetic hysteresis loops. The most important result is that Jc for magnetic fields parallel with ab-planes, Jc//ab, is significantly larger than Jc for fields parallel with the c-axis, Jc//c18,19,20. Also, it was found a local maximum in Jc//ab at fields around 1 T and a non-monotonic temperature variation of Jc//ab at high fields19,20. Transmission electron microscopy (TEM) studies showed the presence of a high-density of planar defects consisting of nanoscale intergrowth of CaFe2As2 layers, with an average separation of 50 nm, and they were suggested as dominant pinning centers for vortices along the ab-plane, and contributing to the enhanced Jc//ab at around 1 T20. More recently, high-resolution scanning TEM coupled with electron energy loss spectroscopy demonstrated that these planar defects consist of one- or two-layer KFe2As2 step network, which is spread over the periodically ordered KFe2As2 and of CaFe2As2 monolayers, while the dark contrast regions observed via conventional STEM are local strain distributions which originate from the substitution of Ca by K in a unit cell21. It was found that such CaFe2As2 and KFe2As2 intergrowth can also be thicker, and they can induce different types of pinning centers. Apart from their dimensionality, pinning centers can be either δTc-type, meaning a local change in the critical temperature, or δl-type, meaning a local change in the mean free path of the carriers. From studies of AC susceptibility and dynamic relaxation22 it was shown that the thick CaFe2As2 intercalations (non-superconducting) act like weak Josephson junctions. In the same study it was shown that the thin CaFe2As2 intercalations are superconducting (with a lower Tc) due to charge transfer from the CaKFe4As4 matrix, and they induced both types of pinning centers. In low magnetic fields both types of pinning centers are effective, while at fields higher than 3 T the δl pinning centers are dominant. In the same time, monolayer KFe2As2 intercalations are normal phase, thus creating single-vortex, very strong δTc pinning centers. Up until now, the strength of the various types of pinning centers mentioned above, which are responsible for the excellent properties of this new material in terms of critical current density and very steep irreversibility line (crucial for high-field applications) were studied as bulk pinning force from DC magnetic hysteresis loops (e.g., see Ref.20). In this work, we investigate the pinning potential of the nanoscale defects (pinning centers) in CaK1144 single crystals from magnetic relaxation measurements and frequency-dependent AC susceptibility studies. CaKFe4As4 single crystals were synthesized via the self-flux method using FeAs, the preparation being described in detail in19. The single crystals used in this study are thin square discs, having the typical dimensions a ≈ 1.2 mm, b ≈ 1.2 mm and c ≈ 0.04 mm. Standard (zero-field cooling, ZFC) DC magnetic hysteresis curves and the magnetization relaxation were registered with a commercial Quantum Design Magnetic Property Measurement System (MPMS). Well below Tc and above the field for the first full vortex penetration (in increasing H), or at any H in decreasing field, the irreversible magnetic moment is identified with the measured moment m. AC susceptibility studies were performed using a commercial Quantum Design Physical Property Measurement System (PPMS), with frequencies up to 10 kHz and AC field amplitudes up to 16 Oe. In all the experiments reported here, the applied field (both DC and AC) is parallel to the c-axis (perpendicular to the largest plane a–b) of the single crystal. It is now well established that the use of DC magnetic relaxation measurements can provide very useful information regarding the type of vortex creep (elastic or plastic), the pinning potential (activation energy), and the vortex creep exponent p in the current density J dependence of the pinning potential23. The vortex exponent has well established theoretical values for various collective (elastic) vortex creep regimes24: 1/7 in the single vortex collective creep domain, 3/2 or 5/223 in the case of the creep of small vortex bundles, and 7/9 for large vortex bundles. In a disordered vortex phase the creep process involves plastic vortex deformations, and p is negative (p = − 0.5 for dislocation-mediated plastic creep)25. The lower limit for p is − 1 (in the linear Anderson-Kim model26), whereas the upper one indicated by the elastic manifold theory in the small vortex bundle creep regime is 2.523. The DC magnetic relaxation results (at relatively long time t) are well described in terms of thermally activated flux creep23. After the application of a DC external magnetic field H, with the parameterization of the pinning potential U introduced in Ref.27 and the general vortex creep relation28, the U[J(t), T] dependence is expressed as where Uc(T) is a characteristic pinning energy, Jc0(T) is the creep-free critical current density, and t0 is the macroscopic time scale for creep (~ 10−6– 1 s), varying weakly with J(t)23. As mentioned above, the vortex creep exponent p (mainly depending on the J/Jc0 range and H) is positive in the case of a collective (elastic) vortex creep regime, and negative for plastic creep regime. The fit of the magnetization relaxation curves mirr(t) ∝J(t) using Eq. (1) implies four parameters, and may lead to p values well outside the theoretically accepted interval, especially when the relaxation at short t is included, due to the uncertainty related to the initial mirr in the vortex creep process. The analysis is simplified by determining a normalized relaxation rate S = − dln(|mirr|)/dln(t) = − dln(J)/dln(t) and the corresponding normalized pinning potential U* = T/S29. In the low-T domain, where the temperature variation of the pinning potential is weak, the main role of the thermal energy is to change the probed J/Jc0 interval30, and, consequently, one can take J or T as an explicit variable in Eq. (1). At constant H and T, when the overall J relaxation is not pronounced, p and t0 can be considered constant (with a good approximation), leading to With the above relations, one obtains U* = Uc + pTln(t/t0). For a fixed, moderate, window time for averaging tw, ln(t/t0) ~ ln(tw/t0) ~ constant, resulting in where Uc for collective (elastic) pinning is lower than the characteristic pinning energy for plastic pinning (when the pinning structure accommodates vortices). Obviously, a sign changing of p is clearly revealed using Eq. (3), rather than the temperature variation of the normalized relaxation rate S(T) = T/[Uc + pTln(tw/t0)]. The creep exponent can be accurately determined from magnetic relaxation measurements and Eq. (2), with the assumption that ln(Uc) and ln(Jc0) are weakly temperature dependent, which is true for a relatively large T interval at fixed DC fields31. Another method of determining the pinning potential in superconducting materials is by using frequency-dependent AC susceptibility measurements as function of AC amplitude, at fixed temperatures and fixed DC fields, the method being first employed for BaZrO3-doped YBa2Cu3Ox (YBCO) superconducting thin films32, and later on for various YBCO films with nanoengineered pinning centers having different pinning architecture33. In brief, frequency-dependent critical current density was estimated from the out-of-phase (imaginary) AC susceptibility χ” response as function of the AC field amplitude hac, at fixed temperatures T and fixed applied DC magnetic fields HDC. At a given temperature, for several HDC, χ”(hac) dependence may show a peak in the experimental window of our measurements, its position h* representing the AC field of full penetration of the perturbation in the center of the sample, which can be correlated with the critical current density of the specimen34. In the case of our CaK1144 single crystal, the experimental window for the method to work was very close to the critical temperature, due to the exceptionally high critical current density at lower temperatures and very steep irreversibility line. Since the thickness c of the crystal, 0.04 mm, is much smaller than the other two dimensions, we have used the Brandt approach on the magnetic flux penetration35 which relates the critical current density to the position of the maximum h* in the χ”(hac) dependence as where α ≈ 0.9 is a coefficient that depends slightly on the geometry, with h* in Oe, c in cm, and Jc in A/cm2, Bradt’s original choice of units being more practical that the International System. The exact frequency (time) dependence of the critical current density (or, in the case of arbitrary geometries, of the field for full penetration h*) depends on the models of pinning involved, more precisely on the predicted dependence of the pinning potential U on the probing current (which is proportional to hac). The Anderson-Kim model26 assumes that flux creep occurs due to thermally-activated jumps of isolated bundles of flux lines between two adjacent pinning centers, the jump being correlated for a bundle of vortices of volume Vc (correlated volume) due to the interaction between vortices, and there is a linear dependence of the pinning potential on the current density. Another well-established model is the Larkin–Ovchinnikov collective weak pinning model23 which considers the cooperative aspects of vortex dynamics in which the formation of the vortex lattice will be a result of a competition between the vortex-vortex interaction which tends to place a vortex on a lattice point of a periodic hexagonal/triangular lattice (Abrikosov lattice) and the vortex-pinning center interaction which tends to place a vortex on the local minimum of the pinning potential. In this model is predicted a power-law dependence of the pinning potential on the current density. In the case of various YBCO films32,33 a model predicting a logarithmic dependence of the pinning potential36 proved to be more suitable. Similar CaKFe4As4 single crystals as the ones used for this study (grown by the same group in Tsukuba using the same procedure) have been thoroughly investigated using high-resolution microscopy, as well as magnetometry for estimation of critical current density19,20,21. Here we performed a limited set of measurements, presented in Fig. 1, to assess the quality of the single crystals, before embarking on the main subject of the work, namely the pinning potential. Temperature dependence of the magnetization in applied DC fields of 1 and 10 mT (a); magnetization hysteresis loops at several temperatures between 5 and 35 K, step 5 K (b); temperature dependence of the in-phase susceptibility response in a DC field of 5 T, measured with an AC field with amplitude of 10 Oe and frequency of 447 Hz, in the three cooling procedures (c); temperature dependence of the out-of-phase susceptibility response response in a DC field of 5 T, measured with an AC field with amplitude of 10 Oe and frequency of 447 Hz, in the three cooling procedures (d). Figure 1a shows the temperature dependence of the magnetic response, in small DC magnetic fields (1 and 10 mT), in zero-field-cooling conditions (cooling the sample in zero field, apply the magnetic field, and measure during warming-up the sample). It can be seen a very sharp superconducting transition, with a critical temperature Tc of about 35.8 K. Figure 1b presents DC magnetic hysteresis loops for DC fields between − 7 T and 7 T applied perpendicular to the a–b plane of the sample (the largest two dimensions, each about 1.2 mm), for temperatures between 5 and 35 K, as indicated in the graph. The loops look very similar to those presented in Ref.19 for single crystals grown using the same procedure. A complimentary analysis of the quality of the material in addition to those already presented in the literature is shown in Fig. 1c and d, where are presented the in-phase and, respectively, the out-of-phase components of the complex AC susceptibility response as function of temperature, using an AC field excitation with a frequency of 447 Hz and amplitude of 10 Oe, in a high DC applied field of 5 T. The measurements were taken using all three cooling regimes: zero-field-cooling (ZFC), field-cooling (FC) with measurement performed during cooling the sample in the applied field, and field-cooling during warming up (FCW) which means cooling the sample in the applied DC field and performing the measurement during the subsequent warming up. As can be seen in the figure, there are practically no differences between the three regimes, suggesting a very good quality superconducting single crystals with very robust superconducting properties, with absolutely no magnetic history effects, unlike many other single crystals of iron-based systems. As described in the section dealing with experimental and methods, magnetic relaxation measurements were performed after ZFC in 1, 3, and 5 T, at several fixed temperatures, for a time window tw = 2700 s. For data analysis, first 100 s were ignored due to the well-known rearrangement of flux lines after the application of the field. Figure 2a presents an example of such magnetization relaxation measurement, for the applied field of 1 T. Figure 2b presents several examples of magnetization relaxation curves in a double-logarithmic plot. As described in the previous section, for samples with relevant pinning, if the time window is not too large (which is our case), the data in the double logarithmic plot can be very well approximated by a straight line, the absolute value of its slope being the normalized relaxation rate S = − dln(|m|)/dln(t), often noted in literature as S* = − Δln(|m|)/Δln(t) to stress the independence of normalized relaxation rate on time, if the time window tw is not too large, but is large in comparison with the macroscopic time for flux creep (~ 10−6–1 s). In other words, we considered that in the time-frame of our measurements (t1 = 100 s < t < tw = 2700 s), the slope is constant in time, and it can be seen that the data in Fig. 2b are indeed well described by straight lines. On the other hand, it can be clearly seen that the change in time (at a fixed temperature) of |m|∝J is much smaller that the change due to the variation of temperature, a fact that we will use later on. Magnetization relaxation measurements after zero-field-cooling (ZFC) in 1 T, at various temperatures between 4 and 34 K, step 2 K, excluding initial data for t < 100 s due to magnetic flux lines rearrangement (a); double logarithmic plot of selected (for clarity) magnetic relaxation data. Straight lines provide the slopes of the dln(|m|)/dln(t), averaged up to tw = 2700 s, from which the (dimensionless) normalized relaxation rate S = − dln(|m|)/dln(t) can be determined (b). Using the procedure described in Fig. 2b we have estimated the values of S at various temperatures, in the three applied DC fields, which are shown in Fig. 3a, while the temperature dependence of the normalized pinning potential U* = T/S is shown in Fig. 3b. Please note that due to instrument limitation we have not been able to measure the magnetization relaxation in 3 T for temperatures higher than 27 K. Temperature dependence of the normalized relaxation rate S = − dln(|m|)/dln(t) (a); and of the normalized pinning potential U* = T/S (b). As can be seen in Fig. 3b the temperature dependence of the normalized pinning potential has a maximum that separates the elastic creep at lower temperatures from plastic creep at higher temperatures, situated between 28 K in 1 T and 20 K in 5 T, which is very important in respect with practical applications in high magnetic fields at liquid hydrogen temperatures (20 K) in the future hydrogen economy. Another important issue is the very high values of U*, up to 1200 K at peak position. Considering that the vortex creep is in principle a thermally-activated Arrhenius process, the probability of a thermally-activated flux jump (flux creep) out of the potential well associated with the pinning centers is inversely-proportional to the exponential of U*/T (U* in K, kB = 1), which, for 5 T at 20 K (where U* ≈ 1200 K), is exp (− 1200/20) = exp (− 60) ≈ 9 × 10–27, an extremely low value. For the lower values of U* (between 200 and 400 K at lowest temperature of 4 K, liquid helium temperature, the above-mentioned probabilities are exp (− 200/4) = exp (-25) ≈ 10–11, and, respectively, exp (-400/4) = exp (− 100) ≈ 4 × 10–44. With these values, we can confidently assume that in CaK1144, at temperatures of practical interest, the dissipation due to thermally-activated flux jump (flux creep) is negligible. Even at higher temperatures, in the plastic creep regime (which, anyway, is not intended for power applications) such probabilities are small, e.g., for U* ≈ 200 K at T ≈ 32 K, we have exp (-200/32) = exp (− 6.25) ≈ 2 × 10–3. When a large current is passed through the superconductor in an applied magnetic field, Lorentz force, which is proportional to the vector product between the magnetic field and the electric current, induces flux movement. It is clear that this is the case for high-field applications, and, consequently, the dependence of the pinning potential due to variation of current (at given applied fields) is very important. Equation (2), which represents the pinning potential at fixed temperature and magnetic field as function of the current density J∝|m|, allows the estimation of the creep exponent p. In our analysis we take into account the fact that, for small tw, the time dependence of |m| is negligible in comparison with the dependence of |m| on temperature, as can be seen in Fig. 2a and b. Therefore, in estimating the creep exponents, we will consider a Jav(T,H) ∝|mav| (T,H) averaged over our time window, |mav|= (|m|(t=t1=100 s) +|m|(t=tw=2700 s))/2. Making use of the experimental data for each temperature and field and of Eq. (2) rewritten as ln(U*) = p[ln(1/|mirr|) + const], the plot ln(U*) versus ln(1/|mav|) = ln(1/Jav), shown in Fig. 4, provides the needed information regarding the dependence of the normalized vortex creep activation energy (pinning potential) on the current density, in various DC magnetic fields. Please note the relationship between the experimental points in Fig. 3b, U*(T), and in Fig. 4, ln(U*) vs. ln(1/|mav|): for each DC field, each of the points in Fig. 4 counted from small to large ln(1/|mav|), i.e., from left to right, correspond to the temperatures in U*(T) plot counted from the smallest to the largest. Figure 4 also reveals a crossover between elastic creep (left-hand side of the graph) and plastic creep (right-hand side). As can be seen from Eq. (2), the slopes in Fig. 4 where ln(U*) vs ln(1/|mav|) dependence is linear represent the vortex creep exponent p, which is positive for elastic creep and negative for plastic creep (− 0.35 in 1 T, − 0.54 in 5 T, in good agreement with theoretical predictions p = − 0.5 for dislocation-mediated plastic creep). Dependence of the normalized pinning potential U* on the inverse of irreversible magnetization averaged over tw, in double logarithmic plot, for the three DC magnetic fields indicated in the figure. The slopes of the straight lines in the figure represent the vortex creep exponent p in Eq. (2), positive values indicating elastic creep, while negative values indicating plastic creep. The values of the vortex creep exponents in the elastic creep regime are also in striking agreement with theoretical predictions: in 1 T p = 1.47 is practically 3/2 as predicted by the elastic creep of small vortex bundles, while in higher fields, 3 and 5 T, p values of 2.58 and, respectively, 2.84 are comparable with the theoretical prediction from the elastic manifold theory in the small vortex bundle creep regime p = 5/2. As briefly described in the experimental and method section, another technique of estimating the pinning potential, applicable in the case of thin superconducting samples with fields perpendicular to the largest area, implies setting constant temperatures and DC magnetic fields, and measuring the dependence of the out-of-phase susceptibility as function of the amplitude of the AC excitation field, for several frequencies of the AC field. One example of such measurement is presented in Fig. 5, for a fixed temperature of 35 K, DC field 1.25 T, and AC frequencies indicated in the figure. As mentioned in the method section, due to the very large critical current density in CaK1144, and to the equipment limitation regarding the maximum available hac (16 Oe), with this method we had to probe a region in which critical current density is small enough to ensure that the corresponding h* (see Eq. (4)) will not exceed 16 Oe, so we could obtain the desired results only very close to the critical temperature, in the plastic creep regime. As can be seen in Fig. 5, the position of the maximum (h*) in the χ”(hac) dependence shifts towards higher values with increasing frequency. Dependence of the out-of-phase susceptibility on the AC field amplitude, at 35 K and in DC field of 1.25 T, for various AC field frequencies, as indicated in the figure. By using Eq. (4), from the h* we estimated the critical current densities at various frequencies (where a maximum in χ”(hac) could be found), at 35 K, and in several DC applied fields. Figure 6a shows the dependence of Jc (in logarithmic scale) on ln(f0/f), where f0 is a macroscopic attempt frequency of about 106 Hz. The shape of the experimental dependence Jc (in logarithmic scale) vs ln(f0/f) gives indication on the suitability of various models of pinning33: a downward curvature indicates an Anderson-Kim model of pinning26, an upward curvature indicates collective pinning model23, while a straight line (as is the case of our data) indicates the suitability of a logarithmic dependence of the pinning potential on the current density36. As was demonstrated in33, for the latter case, the slope b of the straight lines in Fig. 6a allows the estimation of pinning potentials for each DC applied field, namely U0 = kBT(1 + 1/b). The resulted values of U0, in K (kB = 1) are shown in Fig. 6b, for each DC field. Frequency dependence of the critical current density, calculated from the susceptibility measurements using Brand’s formula, at 35 K, in the DC fields indicated in the figure, in double-logarithmic plot. The slopes b of the linear fits allows to estimate the values of the pinning potential U0 (a); DC field dependence of the pinning potential, in K (kB = 1). Full line represent a power-law fit ({U}_{0}propto {H}_{DC}^{-{alpha}}), with α ≈ 0.8 resulting from the fitting procedure (b). Although there are only four experimental points, the U0 vs HDC behavior can be fitted by the power law ({U}_{0}({H}_{DC})propto {H}_{DC}^{-alpha }), where α ≈ 0.80, consistent with both collective pinning and Zeldov model due to the large number of vortices present in the sample at given temperature and DC fields. Comparing the two methods, we have estimated the normalized pinning potential from DC magnetization relaxation measurements in a large temperature range, between 4 K and critical temperature, sweeping elastic creep, plastic creep, and the crossover between the two regimes, while in the case of frequency-dependent AC susceptibility measurements, the very high critical current density of this superconducting material allowed us to probe the vortex dynamics only in the plastic creep regime, very close to the critical temperature. However, extrapolating U*(T) dependence from magnetization relaxation in Fig. 3b for HDC = 1 T towards T = 35 K, one can estimate U*(35 K, 1 T) to be between 200 and 250 K, and a closer look at Fig. 6b will show a value from AC susceptibility at the same temperature and DC field, U0 (35 K, 1 T) ≈ 210 K, which is quite striking considering the much different timescale of the two types of measurements, 103 s, and, respectively, 10–3 s. The most likely explanation of this fact is that, very close to Tc, the viscosity of the plastic vortex matter is very small (practically becomes a vortex liquid), and the timescale of the low viscosity plastic creep is less important. In conclusion, we have investigated high-quality single crystals of the highly performant superconducting material CaKFe4As4 using isothermal DC magnetization, DC magnetization relaxation and frequency-dependent AC susceptibility. Critical temperature, the shape of the superconducting transition, and the shape of isothermal magnetization loops are similar to those previously reported in the literature on similar single crystals grown in the same laboratory. Temperature dependence of the AC susceptibility in high DC magnetic fields revealed absolutely no difference due to the magnetic history, measurements done in zero-field-cooling, field-cooling, and, respectively, field-cooling and warming up give the same results. From magnetization relaxation measurements were extracted the values of the normalized pinning potential U*, and its temperature dependence show a clear crossover between elastic creep and plastic creep. The extremely high values of U*, up to 1200 K around the temperature of 20 K lead to a nearly zero value of the probability of thermally-activated flux jumps (flux creep) at temperatures of interest for high-field applications. The values of the creep exponents in the two creep regimes were also estimated, their values being in complete agreement with theoretical models. Using frequency-dependent AC susceptibility at a fixed temperature (close to the critical temperature) and DC fields we have estimated the AC excitation field of full penetration, the frequency-dependent critical current density and the field-dependent pinning potential U0. 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Optical and electrical enhancement of flux creep in YBa2Cu3O7-x epitaxial films. Phys. Rev. Lett.62, 3093–3096. https://doi.org/10.1038/2071238d0 (1989). ArticleADSCASPubMed Google Scholar Download references Work supported by the European Regional Development Fund, POC Project P_37_697 (28/01.09.2016), by the Core Program PN19-030101 funded by the Romanian Ministry of Research, Innovation and Digitization, by CNR-SPIN Salerno, Italy, by the EU COST Action CA19108 Hi-SCALE and by JSPS KAKENHI, Japan, Project No. JP19H05823. The fee for open access publication was supported from the project 35PFE/2021, funded by the Romanian Ministry of Research, Innovation and Digitization. National Institute of Materials Physics, 405A Atomistilor Str., 077125, Magurele, Romania A. M. Ionescu, I. Ivan, D. N. Crisan & A. Crisan Department of Physics “E.R. Caianiello”, University of Salerno, Via Giovanni Paolo II, 132, 84084Fisciano, Italy A. Galluzzi & M. Polichetti Research Institute for Advanced Electronics and Photonics, National Institute of Advanced Industrial Science and Technology (AIST), 1-1-1 Umezono, Tsukuba, Ibaraki, 305-8568, Japan S. Ishida, A. Iyo & H. Eisaki 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 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 A.M.I., I.I., and D.N.C. performed the DC magnetic measurements and carried out the analysis of magnetization relaxation. A.G. and M. P. performed the AC susceptibility measurements and analyzed the data, S.I., A.I. and H.E. fabricated the samples, and A.C. developed the concept and wrote the paper with contributions of all authors. Correspondence to A. Crisan. 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 Ionescu, A.M., Ivan, I., Crisan, D.N. et al. Pinning potential in highly performant CaKFe4As4 superconductor from DC magnetic relaxation and AC multi-frequency susceptibility studies. Sci Rep12, 19132 (2022). https://doi.org/10.1038/s41598-022-23879-2 Download citation Received: Accepted: Published: DOI: https://doi.org/10.1038/s41598-022-23879-2 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.
The Cornell Daily Sun (https://cornellsun.com/2022/11/09/cornell-researcher-builds-groundbreaking-machine-learning-toolkit-for-bioacoustics/) Courtesy of the NOAA A recent breakthrough has been made in bio-acoustic deep learning techniques — a method for automated detection of animal sounds — at Cornell’s K. Lisa Yang Center for Conservation Bioacoustics. Dr. Shyam Madhusudhana, a postdoctoral researcher in the Lab of Ornithology, built a toolkit enabling bio-acousticians to create complex audio recognition models with just a few lines of code. The toolkit, Koogu, was used in a recent study that bested marine analysts in the detection of blue whale D-calls. Blue whale D-calls are calls of varying frequency that are produced by male and female whales, unlike the well-known whale song which is produced only by males. While whale songs are often predictable and easily recognizable, D-calls are erratic and produced less repetitively. However, while blue whale D-calls are more difficult to identify, monitoring their presence allows for a much better understanding of their migration patterns and acoustic behaviors. Acoustic monitoring has long been pursued as a viable method of recording rare species which lack sufficient visual data. In recent years, machine learning algorithms have demonstrated promising results in analyzing acoustic monitoring data. In the marine biome, where visual surveys are hardly feasible, this method becomes all the more relevant in the effort to track the movement and habits of different aquatic species. This is where Koogu comes in. “As long as someone has their own annotated data set [of acoustic monitoring], they could take Koogu and build a model of their own,” Madhusudhana said. This methodology was adopted by a team of researchers at the Australian Antarctic Division, led by Brian Miller. The researchers used Koogu to build an automated detection model for their study of blue whale calls. Their study, which was co-authored by Madhusudhana, is titled “Deep learning algorithm outperforms experienced human observer at detection of blue whale calls: a double-observer analysis”. It found that human experts detected 70 percent of the D-calls whereas the model detected 90 percent of the whale calls accurately. The model’s rate of detection was also considerably faster than the marine analysts, lacking the fatigue factor associated with human analysis. The study is only the first instance where Koogu has been used effectively. However, according to Madhusudhana, Koogu is far from limited to only detecting marine auditory data. “Koogu isn’t a toolkit just for whale calls – [it is] just a convenient way to build machine learning solutions – anything from whales to birds as well as insects,” Madhusudhana said. Koogu has the potential to be an impactful tool in the bioacoustics field. While there has been significant development in the machine learning domain, most of the development in the acoustics domain relates to human speech. Madhusudhana said Koogu bridges the gap between the two. “If you’re looking at a visual representation of audio – like a spectrogram – you could treat it as an image and apply image classification techniques on it,” Madhusudhana said. Koogu transforms acoustic data into a form that visual classification machine learning models can use. Madhusudhana ensured that most of the model was left configurable. Any bio-acoustic expert could vary the parameters and then modify how the audio is transformed to images. Following this, the images are classified using an image classification model. “If you try to develop a neural network-based solution for bioacoustics, there are probably a few hundred lines of code needed. What I’ve done is [enabled you to] call three or four functions and you’re done,” Madhusudhana said. The goal was for bio-acousticians and other researchers to be able to use their own data and domain knowledge and combine it with Koogu’s functionality to efficiently analyze sounds. Koogu’s unique relevance lies in its audio-to-image conversion process. As Madhusudhana explains, every sound is turned into a colored map to easily distinguish one audio signal from the other. When compressing this into an image for image classification, there is significant data loss that occurs. Koogu avoids this data loss, greatly increasing accuracy. This advantage is especially apparent in audio recordings with low or moderate intensity. Such recordings make blue whale calls harder to detect – especially in the case of human experts. The open-source toolkit for universal audio recognition has significantly streamlined the process of automated acoustic recognition. But whale acoustic monitoring is just one part of the equation, according to Madhusudhana. “Our goal is to conserve biodiversity across species – that was Koogu’s goal – [to] have something very generic that everyone across the world can use.”
If games can just predict player input and operate on their own, are they truly interactive? Very few of the students were experts in both microbiome biology and data science — many came from one specialty and learned through their teammates and the event mentors about the others.
Bobby Lopez and Kristen Anderson-Lopez, co-writers of the songs featured in “Frozen,” “Coco” and “WandaVision,” discussed their careers in the theater and entertainment world in Stoeckel Hall on Friday. Tobias Liu1:21 am, Nov 08, 2022 Contributing Reporter
Tobias Liu, Contributing Photographer Academy Award and Grammy-winning composers and lyricists Bobby Lopez ’97 and Kristen Anderson-Lopez came to Yale on Friday to discuss their careers in the theater and entertainment world. Best known for co-writing the songs featured in “Frozen,” “Frozen II,” “Coco” and “WandaVision,” the couple won Academy Awards for Best Original Song for “Let It Go” from “Frozen” and “Remember Me” from “Coco,” as well as two Grammy Awards for their work on “Frozen.” “[Lopez and Anderson-Lopez] talk about the breadth of their education and how it has worked to give them a certain kind of curiosity, discipline and, ultimately in their case, skill,” said professor Dan Egan, the coordinator of the Shen Curriculum and host of the event. “It’s an extraordinary use of the Yale education, and that’s certainly what the [Shen Curriculum] master classes are here to do.” The discussion was the first master class of this semester’s Shen Curriculum for Musical Theater’s Fridays @ Five, a series of master classes and discussions that bring in guest artists from a cross-section of industry professionals. The Shen Curriculum is a co-curricular program administered by the Department of Music and cross-listed with Theater and Performance Studies and David Geffen School of Drama. The program offers a range of accredited musical theater courses that examine American musical theater. “The idea of the Shen Curriculum is to bridge the idea of liberal arts study of musical theater as a cultural entity and the professional world,” Egan said. “Yale is not a vocational school, so the master class series seeks to bring in folks like Bobby and Kristen Anderson-Lopez to be exemplaries of what we can do with this education.” Lopez, who graduated from Yale College with a Bachelor of Arts in English in 1997, is one of 17 people who have received the highest honor in entertainment: an Emmy, a Grammy, an Oscar and a Tony Award, colloquially referred to as an EGOT. He is also known for co-creating “The Book of Mormon” and “Avenue Q.” For the first half of the program, the couple recounted their entrance into songwriting and talked about their writing and collaborating processes from the front of a classroom in Stoeckel Hall. The couple then opened the conversation to a question and answer session with the audience, which was followed by a reception, where the Lopez couple talked individually with Yale students. “I did a presentation on Bobby and Kristen Anderson-Lopez in middle school band — I was obsessed with [“Frozen” and their songs] — so it’s incredible to now have this opportunity to be inspired by them and to see how down to earth they are,” said Ellie Norman ’23. In the middle of the program, Egan played “For the First Time in Forever” from “Frozen” for the attendees, allowing the couple to analyze their decision-making process behind the song and the story that accompanied it. They described how they analyzed the motivations of each character and used personal experiences to inform their musical decisions. “It seems like a lot of their process is telling a story that resonates with people emotionally rather than just resonating with people musically or stylistically — as a composer and an arranger, really applying the story and putting motifs with specific emotions is definitely something that I’m going to think about more going forward,” said Joey Cumpian ’25. Although many of the attendees were students taking classes from the Shen Curriculum, others not part of the Shen Curriculum came to see the “faces behind some of their favorite songs,” as Norman said, and to learn more about the musical theater and songwriting process. Throughout their discussion, the Lopezes emphasized how important their education and experiences have been in shaping their careers. To Egan, this emphasis demonstrates the importance of the master classes. The Shen Curriculum will host a performance class on Dec. 2 with Andrea Burns at the ballroom at 220 York Street.
What if the ocean could take a human form and pour its heart out about everything that people have done to it over the ages? That’s the idea behind the musical ‘Ocean Filibuster,’ which makes its Southeast premiere at the Adrienne Arsht Center for the Performing Arts from November 12 to November 20. ‘Ocean Filibuster’ is set in the future during a global senate hearing, where a bill is introduced to end the ocean as we know it. Things really heat up once the Ocean turns up to speak its piece — sort of a ‘Mr. Smith Goes to Washington’ approach to the threat of climate change. Arsht has teamed up with Miami-Dade College-based Live Arts Miami to mount the show, which is part of the latter’s ECOCultura performance series. ECOCultura features dance, theater, spoken word and music events aimed at raising awareness about environmental challenges. The musical was originally commissioned by American Repertory Theater in collaboration with the Harvard Center for the Environment. After several discussions with Harvard scientists about ocean health, writer Lisa D’Amour decided on a legislative setting for the piece. “I started to think: what if the ocean got fed up?” said D’Amour. “What if the ocean decided, ‘You know what? I’m going to speak and speak and speak and speak and not shut up until I am heard.’ “ D’Amour and her artistic partner, director Katie Pearl (they go by a single moniker, “PearlDamour” for their creative collaborations), felt that a musical format is a perfect way to get environmental messages across. “One thing about musicals is that the songs get stuck in your head and you keep singing them,” Pearl says. One of Pearl’s favorites from the show is a song extolling the beauty and luminescence of phytoplankton, with the singer accompanied by a plaintive acoustic guitar. “And so sometimes I find myself at home in the shower singing about radiolaria,” Pearl says, with a laugh. “Which is not something I ever would have done before this play.” ————————————- IF YOU GO: ‘Ocean Filibuster’ Nov 12 – 20, 2022 Adrienne Arsht Center for the Performing Arts Carnival Studio Theater 1300 Biscayne Boulevard Miami, FL 33132 For ticket information , please visit: www.liveartsmiami.org.
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On Thursday, award-winning actor, rapper and author Will Smith returned to his alma mater to surprise students. The Philadelphia native and Overbrook High School graduate (‘86) visited students in a digital media class and took questions directly from them on a range of topics of their choice. During the visit, he also pledged to support the redesign of the fifth floor at Overbrook High School for students in the pathways of arts and entertainment industries. Students 17+ will also have the opportunity to receive tickets to his upcoming movie, Emancipation. “As the proud Principal and class of 1989 alumni of Overbrook High School, it was an honor to have Will Smith, who is and continues to be an icon associated with Overbrook High School,” said Dr. Kahlila Johnson, principal of Overbrook High School. “Yesterday’s visit from Will was truly special and memorable for our students here at Overbrook High School. His celebrity status did not prevent him from being very genuine and authentic as he engaged in conversation with students. He shared with them the importance of learning and protecting your dreams. Students will forever remember the experience of sharing this space with Mr. Smith. We, the Overbrook High School community, are grateful to Will for his generosity and for sharing his expertise with our students.” Overbrook’s Digital Media class is a Career and Technical Education (CTE) program that introduces the art of multimedia design of video and audio/visual merged with creative elements of print design and exposes students to the industry through hands-on learning in digital content. Provided by the Office of The Arts & Creative Learning, each student in Overbook’s Digital Media class will receive a copy of Smith’s new memoir, Will. Overbrook High School has a rich entertainment and artistic history, producing legends that include Will Smith. Throughout the years, the District has worked to connect students back to that history. In 2021, the District launched the Mann Center for the Performing Arts’ Music Industry and Training Program (MITP) at Overbrook High School. This three-year in-school training program for students starting in tenth grade teaches different facets of the music industry – including music production, sound engineering, music business, stage lighting, video makeup, and more. Students in this program gain exposure to apprenticeship opportunities with companies in the field. In September, the District announced bringing the new 21st Century Model to Overbrook High School, which will provide students with access to Entertainment Industry programs in Digital Design, Film & Television, Music Industry and Entertainment Management, as well as industry-recognized certifications. . Last modified: November 9, 2022
In the thriving entertainment industry of South Korea, it is rare for a relatively unknown singer to get an opportunity to record a song for a Korean drama’s original soundtrack (OST). But when it happens, K-pop composer Seo Gi-jun says, music lovers are introduced to newer voices. From singer Punch, whose collaboration Stay With Me with EXO group member Chanyeol went off the charts following the popularity of 2016 blockbuster drama “Goblin”, to artist Gaho, who shot to fame after he sang Start Over for Itaewon Class, K-dramas have given new lease to the careers of many musicians. “There are cases where an OST helped in increasing the popularity of a singer. Goblin helped in the popularity of the song sung by Punch and Chanyeol. Also, Gaho became famous after the success of Itaewon Class,” the South Korean music composer told PTI, through an interpreter, in a group interview held at the Korea Press Center here. It is rare that up-and-coming artists end up being part for an OST since these songs are mostly sung by leading singers, added Seo. “K-drama OSTs help many relatively unknown singers get popularity. But, you also have to understand that it is hard for many singers who are not famous to get an opportunity to sing a song for an OST. It is very rare because these songs generally go to the singers who are already famous,” he said. Read | 8 shows, 46 hours of K-drama As much as an OST is a subset of a show, it is very much an independent entity and one doesn’t need to be a K-drama fan to enjoy its album. Besides stellar performances by ensemble cast and taut storytelling, superhit K-dramas including Crash Landing On You, Descendents of the Sun, Search: WWW, Hospital Playlist, Something in the Rain, and One Spring Night owe their popularity to the original songs that drove the plot forward. A hit OST has a significant impact on the popularity of a Korean drama, admitted Seo, who debuted in 2012 with Japanese singer Koda Kumi’s song Love Technique. “People usually think drama is more important and OSTs follow the popularity of drama. For me, as a composer, an OST is more important,” he added. What songs are to Indian films, OSTs are to Korean dramas. “Usually, Korean films don’t have OSTs. They have original sound (background score) but not songs,” said the composer, whose credits include Last Goodbye sung by brother-sister duo AKMU and Jung In’s Actually I’m from 2015’s Korean series Yong-pal. Seo, who has participated in writing and arranging about 80 songs, said a producer doesn’t know when and where the next job might come from. “One hard thing about being a composer is that this job doesn’t have any schedule. Usually, customers just demand songs whenever they want. Often, they ask ‘Can you make a song by next week?’ This is a normal practice in Seoul,” he said. The hard work that goes into creating an OST is just as much as it is for a regular, flashy K-pop song. There are, however, budget constraints. “(Production of) One song in an OST costs less than a K-pop song. Usually it is 1 million to 1.5 million won (Rs 90,000 approximately), that is if we exclude the money paid to the composer,” he added. It is interesting how Seo, who didn’t like to study as a child, also teaches music at South Korea’s Baekseok Art University. “(Growing up), I focused on music and I started my music studies in university and that has been my career till now,” he said. Seo recently established a company called Gangnam Indie Records and is expanding the scope of music production here in South Korea. Asked what could be his next future project, the musician said, “Maybe, I’ll record another OST next week.” Check out DH’s latest videos Check out DH’s latest videos Check out all newsletters Deccan Herald News now on Telegram – Click here to subscribe Follow us on Facebook | Twitter | Dailymotion | YouTube UP couple celebrate birthday of their goat kids In Pics | Countries with the most nuclear reactors DH Radio | T20 World Cup: Can India crack… Can AI write better recipes than humans? When a demotion led to a detonation Kantara: Caught in cultural crossfire UP couple celebrate birthday of their goat kids In Pics | Countries with the most nuclear reactors DH Radio | T20 World Cup: Can India crack… Can AI write better recipes than humans? When a demotion led to a detonation Kantara: Caught in cultural crossfire National Karnataka Bengaluru Sports Business Multimedia Opinion Entertainment Sanjay Raut granted bail Tremors in Delhi as 6.3 quake jolts Nepal US Midterms The state of independent journalism in India DH photo galleries DH Picks Latest stories Trending news Download DH APP Services Our group sites Download DH APP We use cookies to understand how you use our site and to improve user experience. This includes personalising content and advertising. By continuing to use our site, you accept our use of cookies, revised Privacy Policy. We use cookies.
Advertisement Supported by His work as an engineer at Sigma Sound Studios left a sonic stamp on R&B hits by the O’Jays, the Delfonics, the Stylistics and many others. Send any friend a story As a subscriber, you have 10 gift articles to give each month. Anyone can read what you share. By Bill Friskics-Warren Joe Tarsia, the recording engineer and studio operator who was among the architects of the lush, fervent blend of soul, disco and funk known as the Sound of Philadelphia, died on Nov. 1 in Lancaster, Pa. He was 88. His death, at a retirement community, was confirmed by a friend, the video producer Steve Garrin, who did not cite a cause. At Sigma Sound Studios, the recording hub he established in 1968, Mr. Tarsia worked with the producers Kenny Gamble, Leon Huff and Thom Bell on blockbuster hits by Philadelphia soul luminaries like the O’Jays and the Delfonics. Known for his precision at the mixing board and his imaginative use of echo and other ambient effects, Mr. Tarsia was the engineer on scores of gold and platinum recordings. “We were lucky to be recording at Sigma Sound with Joe Tarsia,” Mr. Gamble said in a 2008 interview with Crawdaddy magazine. “He was a great engineer and got a clean, clear sound from every instrument. “If you record the music right, it’s easier to mix, and, as an engineer he was the best,” Mr. Gamble added. “He knew what he wanted and kept us moving at the speed of thought.” In the early 1970s alone Mr. Tarsia captured the sound of dozens of acknowledged Philadelphia soul classics, including the Stylistics’ “Betcha by Golly, Wow,” the Spinners’ “I’ll Be Around” and Harold Melvin & the Blue Notes’ “If You Don’t Know Me by Now.” “TSOP (The Sound of Philadelphia),” a proto-disco workout by MFSB, the Sigma Sound house band (the initials stood for Mother Father Sister Brother), became the theme song for the long-running television show “Soul Train.” “TSOP” was among Mr. Tarsia’s collaborations with Gamble and Huff that topped both the R&B and pop charts, as were the O’Jays’ “Love Train” and Billy Paul’s “Me and Mrs. Jones.” Mr. Tarsia was known to refer to the sumptuous strings, syncopated rhythms and gospel-bred call and response of the Philadelphia sound as “Black music in a tuxedo” — an aesthetic he in no small way shaped through the richness and clarity he lent to so many recordings. “If I made a contribution, it was that Philadelphia had a unique sound,” Mr. Tarsia told The Philadelphia Inquirer in an interview commemorating the 50th anniversary of Sigma Sound in 2018. “You could tell a record that came from Philly if you heard it on the radio.” Several years before opening Sigma Sound, Mr. Tarsia established himself as an audio engineer at Cameo-Parkway, one of the leading independent record companies of the early 1960s. The Cameo and Parkway labels were important sources of music and talent for “American Bandstand,” Dick Clark’s nationally televised dance show. “Bandstand” was based in Philadelphia, and local artists like Bobby Rydell and Chubby Checker, who recorded for Cameo-Parkway, received exposure they might not have gotten had the show been produced elsewhere. Mr. Tarsia, who became the chief engineer at Cameo-Parkway in 1962, attributed his early success there to Mr. Clark’s support. “He’s the reason I’m in the business,” he was quoted as saying of Mr. Clark in the book “Temples of Sound: Inside the Great Recording Studios” (2003), by Jim Cogan and William Clark. “He was an approachable guy. If you went up to him and said, ‘I have a record,’ and he played it, it was worth a thousand promotion guys, because it was heard all over the country.” Joseph Dominick Tarsia was born in Philadelphia on Sept. 23, 1934. He was the younger of two sons of Joseph and Rose (Gallo) Tarsia. His father was a tailor, his mother a homemaker. After graduating from Edward W. Bok Technical High School in South Philadelphia, Mr. Tarsia took technical courses elsewhere before being hired at the electronics company Philco. He was later a service technician for local recording studios, work that led to his decision to pursue a career in music. “I was always moonlighting at something,” he was quoted as saying in “Temples of Sound.” “I was fixing TV sets, and one day this guy says, ‘Can you fix a tape recorder?’ and I said, ‘Sure!’ It turned out that tape recorder was in a recording studio, and I never left.” Mr. Tarsia had been at Cameo-Parkway for just a few years when “American Bandstand” moved to Los Angeles in early 1964, effectively ending the company’s tenure as a pipeline for the show’s music. The Beatles’ first tour of the United States that year only compounded matters, as Cameo-Parkway’s teenage-oriented pop gave way to British invasion rock ’n’ roll and eventually the psychedelia of the counterculture. Meanwhile, Mr. Tarsia met and befriended Mr. Gamble, who as an aspiring songwriter would drop by Cameo-Parkway to shop his songs. He was eventually the engineer for several early recordings produced by the Gamble-Huff team, most notably “Expressway to Your Heart,” a Top 10 R&B and pop hit for the blue-eyed soul group the Soul Survivors in 1967. Later that year, convinced that his future lay with the soul music of emerging vocal groups like the Intruders and the Delfonics, Mr. Tarsia borrowed against his home and used his savings to lease studio space in Philadelphia’s Center City. Naming it after the Greek letter he saw on a place mat in a Greek restaurant, he opened Sigma Sound the next August. Success quickly followed with hits produced by Mr. Gamble and Mr. Huff like Jerry Butler’s “Only the Strong Survive.” Established artists like Wilson Pickett and Dusty Springfield soon began traveling to Mr. Tarsia’s studios to record. In 1971, CBS Records offered Mr. Gamble and Mr. Huff, by then regular clients at Sigma Sound, a major distribution deal. That led to the founding of Philadelphia International Records, which became home to many of the acts associated with the Sound of Philadelphia. By the mid-1970s the likes of Stevie Wonder, David Bowie and the Jacksons were booking sessions at Sigma Sound as well. Seizing the moment, Mr. Tarsia opened Sigma Sound of New York, a trio of studios that, in the late ’70s and ’80s, hosted sessions by Madonna, Whitney Houston, Steely Dan and others. In 1990, Mr. Tarsia’s son, Michael, who died last year, became the president of Sigma Sound. Mr. Tarsia eased into retirement, increasingly spending his time lecturing and supporting educational programs like Grammy in the Schools. In 2003, 15 years after Sigma Sound of New York was closed, he and his son sold their original Philadelphia studios. Mr. Tarsia was a founder of the Society of Professional Audio Recording Services and a trustee of the Recording Academy. He was inducted into the Musicians Hall of Fame in Nashville in 2016. He is survived by his wife of more than 60 years, Cecelia (Giarrizzo) Tarsia; a daughter, Lorraine Rawle; and three grandchildren. Mr. Tarsia was proud of the stamp he put on music in the 1960s and ’70s. “In those days, before the computer,” ” he recalled to The Philadelphia Inquirer, “records had personalities. There was the Motown sound. The Memphis sound. The Muscle Shoals sound. And there was the Sigma sound.” Advertisement
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Minister of Education and Research Tõnis Lukas (Isamaa) would support a filming and audio recording ban in schools to protect teachers’ privacy. Lukas does not agree with installing cameras in the classroom or that students should be able to film classes for “so-called self-defense”. “Blackmailing a teacher by using video recordings or any form of smart recording is not allowed. This must be ruled out as it makes teachers feel insecure and teachers may leave [the profession]. We could do this by force of law, as is being prepared in the Republic of Latvia. But first, we will review the situations and analyze the chancellor of justice’s response to one specific case and take a position accordingly,” the minister told Wednesday’s “Aktuaalne kaamera”. “Perhaps this can be laid down in school rules of procedure, but I think that, in order to curb the development of such tendencies and to provide teachers with certainty, there needs to be a legal provision and a law to protect teachers in their work [places],” he added. Earlier this week, the Chancellor of Justice Ülle Madise said children do have the right to make recordings of teachers in school in exceptional circumstances, but these must not be shared with others. On Wednesday, the Data Protection Inspectorate said it did not believe rules around recordings need to be changed despite an increase in complaints. — Follow ERR News on Facebook and Twitter and never miss an update! Editor: Merili Nael, Helen Wright Source: Aktuaalne kaamera ERR News is the English-language service of Estonian Public Broadcasting, run by a fully independent editorial team.
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As more intricate and complex softsynths hit the market, there seems to be a parallel uptick in analog gear, almost directly responding to the oversaturation of sound-design-heavy software in modern music. And no era of music is more well-known for its lush and warm analog gear than the 80s; the true wild west of analog gear and a decade paved the way for where dance music is today. But snagging an original, vintage synth from that iconic era is next to impossible for those that have them rarely give them up, and if they do, it's for the prettiest of pennies. Luckily, a few hardware synths emulate the most popular gear of yesteryear, and Behringer's MonoPoly is one of them. So let's dive into how well it captures the essence of the 80s to find out if it's the best synth for you this year. Learn More About This Synth While Supporting The Magnetic Team Through Our Partnership With Sweetwater Right Here. The Behringer MonoPoly is based on Korg's iconic MonoPoly synth that was first brought to market in 2981 (and from where the Behringer's faithful recreation derives its name). The synth's iconic sound was founded on its four oscillators, each featuring multiple different waveforms. While this functionality seems standard in today's landscape, it was truly revolutionary for the time. Finding an authentic, vintage MonoPoly is incredibly rare and can easily cost you an arm and a leg. But luckily, there are many other alternatives on the market in which Behringer's is the leading model. If you're looking to tap into the vibrant creative epoch of synth music in the 1980s, this synth is a fantastic way to do that. So let's dive into the depths of our review. Check Out Our Review On Korg's Arp 2600 M Right Here 👈 After toying around with this faithful recreation of the classic synth, I quickly discovered much to love about it. And while every hardware synth has its pros and cons, these are the main features that stuck out to me while experimenting on this synth in my studio. Right out of the gate, I could tell this thing would be a softspoken workhorse in the studio. It can do all the usual stuff a polysynth can do, lush chords, soaring leads, and the like. But it also can create some other exciting sounds with minor effort. I could sculpt drums, wiggly craft FX, and even a few exciting atmospheres. Overall, this thing is a Swiss Army Knife of sound design, even more so than I expected going into this review. This made it quickly drop into one of my prime spots in my synth rack for its ability to generate swiftly almost any sound I needed. While I am not saying this is the cheapest synth on the market, it is far more affordable than many competitors. And usually, this affordability comes at a cost, and the first thing to suffer is the device's build quality. But this couldn't be further from the case with this Behringer synth. It has solid, semi-weight keys with a bit of wiggle to them but only makes the synth feel more natural and broken in (in a good way, of course). Along with that, the metal front panel contains all the internals in a compact and safe enclosure. While I wouldn't ever recommend dropping a synth on purpose, the quality of the build makes me confident this thing would perform well on the road. My music producer friend, who was kind enough to let me borrow this synth for a few days, said that the lack of a locking button on the rear panel doesn't keep things in place as well as other compatible options like Arturia's does. But even he said this was far from a deal breaker, and I would say that I agree. This synth MSRPs for just over $800, which, while being a pricey model, still puts it in reach of beginners looking to break into the hardware world. And for those looking to buy their first synth, I think this is an ideal option. And I say this from experience… Anecdote time. I bought the Korg MS-20 as my first hardware synth, hoping that figuring out the semi-modular patch bay on the synth would allow me to fully understand synthesis and tackle any other hardware synth moving forward. In a perfect world, I would have been right. But learning a new language of modular synthesis stole the wind from my sails, and I soon slowed down heavily on using the synth in favor of my familiar soft synths. But this is not the case with the Behringer MonoPoly, as you can quickly and easily make sounds that you want to use in a song with only a few adjustments and parameters. It's inspiring and easy to manipulate, a recipe for any new enthusiast to fully bore into the world of analog gear. While I will be the first to admit that I had an absolute blast playing with this synth, I would be remiss not to mention some of the minor grievances and eye-rolls I had with this synth. Here are two things I wasn't that fond of regarding the Behringer MonoPoly Being a poly-synth, I guess it makes a little sense why the tuning options were a bit lackluster. But still, most hardware synths I have played with r owned allow for +/- 7 semitones of tune, whereas the Behringer MonoPoly allows for each oscillator to be adjusted in cents and not in semitones. This was a bit restricting, though there was an obvious workaround, albeit time-intensive. And on the tuning note, my friend did note that the synth wasn't correctly calibrated when it was shipped to him. Luckily he is a synth wizard and could handle it himself in his shop. But it is something to be mindful of, especially if the synth doesn't sound entirely in key when you unbox it. I probably sound like a princess for saying this, but I was a little disappointed by the lack of onboard effects on this thing. I know the classic MonoPoly didn't have many effects, too, so a faithful recreation would seemingly make sense to lack them. But there's always something about onboard effects that have such a signature sound. The specific reverb or the iconic chorus units are only obtainable on that single piece of hardware. Granted, there are a ton of amazing plugins that I love to apply during post-processing. So I was far from left wanting. But if I were to have made this synth at home, I would have loved to include something extra on-board effect of two to be the X-Factor that makes this synth dominate the competition. Type: Keyboard Synthesizer Analog/Digital: Analog Number of Keys: 37 Type of Keys: Semi-weighted, Full-size Velocity Sensitive: Yes Other Controllers: Pitchbend, Mod MG1 wheel Polyphony: Monophonic, Up to 4-voice Paraphonic Oscillators: 4 x VCO Waveforms: Triangle, Reverse Sawtooth, PWM, PW LFO: 2 x LFO Filter: Lowpass Filter, 24dB/Oct Envelope Generator: 1 x ADSR (filter), 1 x ADSR (amp) Effects Types: X-Mod, Freq-Mod Arpeggiator: Latch, Playback Order, Octave Range Audio Outputs: 1 x 1/4" TS (line out) Headphones: 1 x 1/4" TRS USB: 1 x Type B MIDI I/O: In/Out/Thru/USB Pedal Inputs: 1 x 1/4" TS (portamento on/off), 1 x 1/4" TS (VCO), 1 x 1/4" TS (VCF) Other I/O: 2 x Trigger (in/out), 2 x CV (in/out), 1 x Sync (in) Features: Chord Memory, Unison/Share Mode, Unison Mode, Transpose OS Requirements – Mac: OS X 10.8.5 or later OS Requirements – PC: Windows 7 SP1 or later Power Source: 12V DC 1000mA power supply (included) Height: 3.5" Width: 25.5" Depth: 14.2" Weight: 22.7 lbs. Learn More About This Synth While Supporting The Magnetic Team Through Our Partnership With Sweetwater Right Here. Managing Editor at Magnetic Magazine – Former Marketing Manager at the Hyperbits Masterclass – Writer, Content Strategist, Music Producer, and Record Label Manager
ATHENS, Ala. (WAFF) – Athens city commissioners held a public hearing for their new comprehensive master plan on Monday. Several residents told city leaders that this current master plan only benefits the southern part of town and ignores the needs of people on the north side. The plan calls for several changes along Highway 72 to improve traffic flow and includes beautification projects such as improving alleys behind Marion and Washington street. It also calls for additional sidewalks to increase connectivity between parks. Enhanced features that some residents feel are overlooked in the northern parts of town. Planning Commissioners reassured the public that the plans were only guidelines. “These are recommendations,” said Gina Garth a member of the Athens planning commission, “It is up to the city council to decide what they’re actually going to do to implement it.” The vote was approved and will serve as the guideline for all city development plans for the next twenty years.
November 10, 2022, 16 hours ago newscorrosion of conformityheavy metal Celebrating their 40th anniversary, icons of heavy metal, Corrosion Of Conformity, recently announced a US headlining tour this fall. The excursion kicks off tonight (November 10) in Baton Rouge, Louisiana and runs through November 27 in Grand Rapids, Michigan. Support will be provided by Spirit Adrift and The Native Howl. See all confirmed dates below and purchase tickets here. November 10 – Baton Rouge, LA – Chelsea’s Live 11 – Pensacola, FL – Vinyl 12 – Atlanta, GA – Snowblind Fest @ The Masquerade 13 – Memphis, TN – Growlers 15 – Columbus, OH – Ace Of Cups 17 – Raleign, NC – Lincoln Theatre 18 – Wilmington, DE – The Queen 19 – Laconia, NH – Granite State Music Hall 20 – Reading, PA – Reverb 22 – Flint, MI – Machine Shop 23 – Joliet, IL – The Forge 25 – Louisville, KY – Headliners Music Hall 26 – Pittsburgh, PA – Mr. Smalls 27 – Grand Rapids, MI – Pyramid Scheme In a new interview with Greg Prato for Guitar World, Corrosion Of Conformity singer/guitarist, Pepper Keenan, confirms that the band are set to begin work on the follow-up to their No Cross No Crown album, released in early 2018. “Yes,” says Pepper. “We’re doing this next tour, and then we’re going to start putting the pieces together and get our heads in ‘studio land’, and just focus on that.” Asked if the album will be released in 2023, Pepper responds, “Maybe. We take our time doing these things. The Covid thing put everything in a kibosh and we lost a lot of time and energy. The way COC does it, if it ain’t right it’s wrong. We put our energy into it and try to create something that is up to our standards and try to push things as hard as we can in our world.” Read more at Guitar World. (Photo – Nathaniel Shannon) November 9, 2022, a day ago reviewheavy metalhard rockspell November 8, 2022, a day ago reviewheavy metalstryper November 8, 2022, 2 days ago reviewblack deathgutvoid November 4, 2022, 6 days ago reviewheavy metaldark forest November 2, 2022, a week ago reviewheavy metaldead cross October 29, 2022, a week ago reviewblack deathbones October 28, 2022, a week ago reviewhard rockdamn!escape October 28, 2022, a week ago reviewheavy metaltrial (swe) October 26, 2022, 2 weeks ago reviewblack deathreincarnated October 24, 2022, 2 weeks ago reviewheavy metalriot city
Hello, everybody! It’s Kristen, your host of the Dunedin Daily. Let’s get this day started off right with a quick review of the most important things happening these days in town, including updates on: But first, today’s weather: Tropical storm. High: 76 Low: 72. Here’s to our premier local sponsor. Check out what they can do for you: Want to support local artists in Dunedin? Studio 1212 Art Gallery was voted the best small art gallery cooperative for 2022 by Tampa Bay Magazine. Managed by award-winning area artists, this non-profit gallery features original artwork and prints, and has a popular boutique of fine hand-crafted gift items. Stop by 234 Monroe Street, 11am – 3pm Wednesday to Sunday or visit studio1212.org to shop and to see exhibition schedules. Support local artists by becoming a Patron of Studio 1212 here. Click here to get your business featured in this spot. Here are the top 3 stories today in Dunedin: Dunedin Daily Pic of the Day: Want to see your Dunedin photo here? Submit it to [email protected] for consideration! Please confirm in the email that you own the rights to the photo, and that Patch has permission to republish it.
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From my notebook: More from our sponsors — thanks for supporting local news! Featured businesses: Events: Announcements: Other classifieds: Alrighty, you’re all caught up for today! I’ll see you around.
