If you’re a fan of body shaking bass frequencies and missed our article from waaaay back in 2016 about SubPac, read on because you’re in for a treat.
SubPac is a pioneering technology from Los Angeles, California that is defining the physical-sound category where music, VR, games and film can be experienced in a whole new way. Through its patent-pending immersive physical-sound technology, SubPac transcends the traditional audio experience by allowing users to actually feel sound throughout their body.
Wear a subwoofer? Sounds like fun!
SubPac M2
SubPac is creating its own physical-sound category through two unique products; the SubPac M2, a wearable vest, and the SubPac S2, a seatback device. Both create a new form of expression for musicians and sound designers to connect with their fans on a deeper level by using innovative technology that allows consumers to physically feel sound. This tangible connectivity captivated GRAMMY-winning producer Timbaland to come on board as a partner and introduce the brand to the music industry.
“SubPac is a game changing experience for both artists and fans,” said Timbaland. “It lets you feel the music like never before. It’s the feeling that’s been missing, until now.”
The SubPac vest is getting a lot of attention and its clear that listeners on the go are ready for an immersive experience, especially one that works while being active- jogging, playing basketball, cycling etc. It’s a logical step to add a wearable to our listening routines and the idea now is to connect your smartphone to the SubPac control unit via the headphone connection. This allows for an audiophile hookup of headphones for the mid and high frequencies and vest for the bass frequencies.
Now you can feel deep bass wherever you go and wherever you choose to enjoy your music.
Coming to Kickstarter April 18th. Meet the designers, makers, musicians and their instruments and learn how they have shaped the world of electronic music. Richly illustrated with a unique collection of sketches, photos and graphics and with a foreword by electronic music visionary Jean-Michel Jarre.
The book’s essence is to celebrate innovative interface designs, provide a categorization of gear and explore the functional, artistic, philosophical and aesthetic world of user interfaces in the context of making and performing of electronic music.
Featuring exclusive interviews with: Roger Linn, Dave Smith, Keith McMillen, Richard Devine, Suzanne Ciani, Olivier Gillet, Ean Golden, Brian Crabtree, Matt Moldover, Axel Hartmann, Dorit Chrysler, DiViNCi, Skinnerbox, Native Instruments, Ableton, Teenage Engineering, Roland, Elektron and many more.
A wide range of landmark pieces of equipment is featured along with chapters on design principles, interface elements, visualization of sound and instrument and controller concepts such as grids, touch and modular. PUSH TURN MOVE is the very first of its kind in both scope and depth. Please sign up on www.pushturnmove.com or follow along on http://fb.me/pushturnmove/
PUSH TURN MOVE is written by friend of The Silo- Danish designer, author and electronic musician Kim Bjørn and edited by Mike Metlay, editor at Recording Magazine and Paul Nagle, reviewer at Sound on Sound Magazine.
Hip-hop is not rap, although rap is part of hip-hop. Hip-hop is a culture and style that was born in the American city, growing out of the minds and experiences of predominantly African-American communities in late ’70’s New York. But by now it is everywhere. They love hip-hop in India and South America and here where I live in Norfolk, most farmers may not listen to hip-hop, but their kids certainly do.
Hip-hop is also a beat: the beat of rap music, the beat of the city beating here in the country, over the airwaves and out of car windows, vibrating through headphones in the air-conditioned cabs of tractors. It is a beat originally created by isolating the percussion breaks of jazz and funk records and remixing them live for dancing and block party revelry, and later to accompany the flowing, groove poetry of a whole new kind of poet: the rapper, Master of Ceremonies or MC—often poor and disenfranchised, but still creative, soulful and strong. Hip-hop, in its original form, could be considered a kind of technological, urban folk music, in the sense that its early practitioners did not record their sounds, and even resisted recording. Hip-hop was something that happened live.
But was rapping really a new form? There is another part of this story that has always interested me. In many of the African tribes from which slaves were stolen, the griot(pr. gree-oh) was a cultural fixture. Griotswere to West-Africa what the bards or troubadours were to Europe: mobile repositories of history in the form of oral tradition; cultural history sung and chanted to the beat of drums. Except in the case of the griot, that beat was African.
Griots were also expected to improvise poetry based on the current social and political scene, and were known for their sharp wit and verbal mastery. In many parts of West-Africa, a party still isn’t a party without a griot.
It is a testimony to the resilience of slaves that, denied the right to speak their own languages, they found other ways to speak, and sing, their true voices. There were the work songs of course, documented before they disappeared in the field recordings of Alan Lomax. But consider other examples. As blacks embraced Christianity, they injected the forms of church with Africanness. Black preaching became famous for its emotional power, spontaneity and, you guessed it, verbal mastery. Black gospel, blues and then jazz took the existing forms of American church music, folk and brass military music and made them African. Jazz and blues again incorporated the principle of the masterful voice, not spoken this time, but sung through the instrument itself, giving us the improvised instrumental solo. And rock and roll is a whole other subject…
Given this history, hip-hop is seen as an urban innovation on an old theme and a turn, perhaps full circle, back to the centrality of The Word. Rap is not merely poetry to a beat: these words flow with and around beats to create layers of syncopation, tickling the mind while they move the body. They are polyrhythms with verbal content.
At this level hip-hop is an art form, and while we may not always like the content of an artist’s message, if we care about art we can still engage with it on the basis of its merits. And we may consider its context. Some people, even creative people, will respond to poverty and systemic oppression with anger and violence. Some will focus their desire on all the trappings of money and fame formerly denied them. It’s not so hard to fathom.
But there are some, a few, who go another direction for justice. These are the warrior-poets who seek from pain the gifts of understanding, even wisdom. Even love. Hip-hop is known to borrow motifs from kung-fu movies, because there, too, you find the archetype of the warrior-artist, skills honed to razor sharpness, delivering beat-downs with fists if necessary, but just as often with the mind itself.
Granted, you will not find much of this style of writing on the radio. But it’s out there. To dig deeper, Google “conscious hip-hop” or “underground hip-hop” and see where that takes you. Word. For the Silo, Chris Dowber.
Question: what do William Shakespeare and DJ Hero have in common? Well, in the famous words of Will himself, “If music be the food of love, play on”. That’s right, the soundtrack is the star in this new video game! We’ll get to the gameplay in a moment but first let’s jive to the beats.
Saturday morning, I’m sitting in my living room, morning coffee in hand staring at a turn table. I think to myself, so that’s it? A box with some buttons and a spinny thing? How bad could this be? I mean really, how is this game going to be any different than guitar hero (minus the obvious difference in “controllers”)? As a newbie to the turn table scene I was confused but anxious to give what little skills I had a try. Now, with bloodshot eyes, cramped fingers and a twitch from drinking copious amounts of coffee, I am here to tell all. Far beyond what I had initially set out to review this game for, the music in DJ Hero is by far the most creative and energetic. It’s new, original and truly defines what the game is all about. All the tracks are original mash-ups created by such talent as DJ Jazzy Jeff and Grandmaster Flash. If you are looking for funk, hip hop, techno or maybe all three spun together, you’ve got it! Even if you’re a soul man, look no further. Unlike Guitar Hero and Rock Band, DJ Hero is comprised of never before heard tunes that are incredibly well matched. My favorite – the Vanilla Ice and MC Hammer mash-up. Yeah, it’s a way back playback but I loved it! I’m going to say, with great certainty, that it is nearly impossible to play this game without a single toe tap or head bob. Simply put, the music featured on DJ Hero well surpasses my expectations. 10/10.
In terms of gameplay, DJ Hero is actually quite intense. Although the game does a walk-through of all the controls and allows you to play on either easy, beginner, medium, hard or expert levels the tricky part is somehow managing them all at once. Unlike Guitar Hero for example, you are doing more than just pressing buttons and strumming – you are pressing buttons, controlling the effects dial, sliding the cross fader, scratching either up or down or all around (depending on the directions), oh yeah and remembering to blink and breathe. I love games that really test my abilities including my use of hand-eye coordination and this video game certainly put those abilities to the test. DJ Hero requires each hand to work separately and perform its own task. You earn stars based on your performance and it is through this that you are able to unlock new mixes, characters and costumes. DJ Hero is incredibly challenging but always leaves room for improvement which is part of the reason why this game is so awesome.
Speaking of improvements, this game could use one or two. More specifically, the multiplayer function in DJ Hero is slacking. I will give Guitar Hero and Rock Band the points on this one simply because they offer more variety. For example, Rock Band allows for several different instruments to all play together and help “create the music”. DJ Hero’s multiplayer function allows for another turntable to be added to the mix but you are still playing the same song, the same notes and not contributing to the overall sound. DJ Hero also allows for a guitar to join in however, the songs to be played on guitar are limited and don’t come together as smoothly as you might think.
Despite my two “needs improvement” comments, overall DJ Hero is a definite must have! It challenges your mental and physical abilities and successfully frustrates you to your core. I can recall shouting several profanities at my television screen therefore, I caution you to refrain from playing this game in the presence of small children (if you’re anything like me that is). As I mentioned in the beginning of this review, the music/soundtrack is truly the star of this game and works well even as the background music at your next shin-dig! I now have a new appreciation for the guy running the beats up in the little booth at the clubs. Next time you’re out, shakin’ it like a polaroid picture, buy the guy in the booth a drink would ya?
Reviewed & Written By: Holly LaRue
