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El MIDI, la tecnología que le abrió la puerta a la música digital, cumple 30 años

Un pequeño teclado y un ordenador portátil: hasta que apareció la tecnología MIDI, hace 30 años, nadie imaginaba que sólo con ese equipo se podría dar un concierto. Dicen los entendidos que para apreciar realmente el tema Shine on you crazy diamond , de Pink Floyd, es mejor escucharlo en vinilo.

Las emisiones de los sintetizadores estallan a través del crepitar de la púa sobre el disco, mientras la guitarra y la batería marcan un ritmo ondulante. Es un sonido enorme que define toda una época, y uno puede sumergirse por completo en el espíritu de esos años con esa versión en vinilo.

Pero más allá de la impresionante creatividad de la música, el sonido evidencia una importante limitación en la forma en la que los instrumentos musicales electrónicos se controlaban en aquel momento.

“Una banda como Kraftwerk, por ejemplo, utilizaba 200 teclados analógicos distintos”, explica el músico argentino Cineplexx.

Pero la tecnología de la Interfaz Digital de Instrumentos Musicales (MIDI, según sus siglas en inglés) permitió conectar los instrumentos a una computadora y entre sí, lo que supuso un cambio enorme.

“Yo cuando doy un concierto utilizo un teclado con 20 teclas y un ordenador portátil”, cuenta Cineplexx .

Con estos elementos es posible componer, secuenciar, programar, modificar y reproducir el sonido de cualquier instrumento, como “un vibráfono o un sintetizador”.

Un lenguaje común

El protocolo MIDI nació en California, de la mano de Dave Smith, un fabricante de sintetizadores, que convenció a sus competidores para que adoptaran un formato en común que permitiera controlar de forma externa a los sintetizadores, con otro teclado o incluso a través de una computadora.

MIDI pronto se convertiría en el estándar industrial para conectar diferentes instrumentos electrónicos, cajas de ritmo, samplers y ordenadores. Esta tecnología abrió una “nueva era de procesamiento musical”.

“Lo que hizo MIDI es permitir el nacimiento de los primeros estudios de grabación caseros”, cuenta Smith en conversación con Tom Bateman, de BBC Radio 4.

El Prophet-600 de Sequential Circuits en acción

“Las computadoras eran lo suficientemente rápidas como para secuenciar notas y controlar el número de teclados y cajas de ritmos al mismo tiempo, y eso abrió paso a una industria nueva”.

Fue un avance que tendría el mismo impacto en la música popular que la electrificación de guitarras, desarrollada décadas antes.

El nacimiento de la música dance

Alex Paterson , fundador de la banda de ambient dance llamada The Orb, tiene un estudio de grabación en su casa de Buckinghamshire, Reino Unido.

“Que Dios bendiga a MIDI”, exclama al ser consultado.

“Fue como entrar en un sueño”, cuenta, refiriéndose al sistema utilizado en 1990 para grabar el tema emblemático de la banda, Little Fluffy Clouds.

“Estaba todo allí guardado, listo para que tú lo lances, fue realmente increíble”, recuerda.

Este control orquestado y secuenciado de los sonidos de sintetizadores, cajas de ritmo y samplers dio lugar a nuevas formas de producción: así nació la música dance.

Lo que hizo MIDI fue “separar la tecla del sonido”, dice Cineplexx. Ahora se pueden crear órdenes digitales y asignarle a cada tecla los sonidos que se quieran.

El músico argentino ofrece una comparación interesante con las cámaras digitales y analógicas en el mundo de la fotografía.

“Hay quienes cuestionan la calidad”, dice, pero destaca que en la práctica el MIDI proporcionó la posibilidad de escribir partituras digitales interpretarlas como se quiera con un pequeño teclado.

Libre acceso

El primer instrumento con capacidad MIDI fue un sintetizador llamado Prophet-600 – diseñado por Dave Smith – que comenzó a producirse en 1982.

Las computadoras Atari y Commodore 64, muy populares entre los aficionados a los videojuegos en aquella época, también podían utilizarse para controlar instrumentos MIDI a través de un cable con conectores DIN (de cinco puntas) en cada extremo.

La amplia disponibilidad del formato y la facilidad de su uso permitieron redefinir la música pop de los 80, le aportaron un fuerte sonido electrónico y engendraron muchos de los géneros musicales contemporáneos.

Dom Beken, coproductor de Alex Paterson, recuerda cómo la tecnología MIDI permitió que cualquiera pudiera crear “masivos paisajes sonoros”. “Pioneros de la electrónica y antiguos punks ahora podían hacer cosas que enloquecían al público en las pistas de baile”, dice.

Para Dave Smith, MIDI sólo podía triunfar si todos los fabricantes la adoptaban. “Tuvimos que regalarla”, dice. La universalidad del formato fue quizás un ejemplo precursor de lo que ahora se denomina tecnología de código abierto (open source), para que cualquiera tuviera acceso.

“Por supuesto que hubiera sido divertido ganar dinero con ella”, dice su creador californiano.

“Pero ese no era el plan”.

Treinta años después, la tecnología MIDI se mantiene como uno de los componentes centrales de la grabación y producción profesional de música.

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Title Post: El MIDI, la tecnología que le abrió la puerta a la música digital, cumple 30 años
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El MIDI, la tecnología que le abrió la puerta a la música digital, cumple 30 años

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“Una banda como Kraftwerk, por ejemplo, utilizaba 200 teclados analógicos distintos”, explica el músico argentino Cineplexx.

“Yo cuando doy un concierto utilizo un teclado con 20 teclas y un ordenador portátil”, cuenta Cineplexx .

Con estos elementos es posible componer, secuenciar, programar, modificar y reproducir el sonido de cualquier instrumento, como “un vibráfono o un sintetizador”.

Un lenguaje común

“Lo que hizo MIDI es permitir el nacimiento de los primeros estudios de grabación caseros”, cuenta Smith en conversación con Tom Bateman, de BBC Radio 4.

El Prophet-600 de Sequential Circuits en acción

“Las computadoras eran lo suficientemente rápidas como para secuenciar notas y controlar el número de teclados y cajas de ritmos al mismo tiempo, y eso abrió paso a una industria nueva”.

Fue un avance que tendría el mismo impacto en la música popular que la electrificación de guitarras, desarrollada décadas antes.

El nacimiento de la música dance

Alex Paterson , fundador de la banda de ambient dance llamada The Orb, tiene un estudio de grabación en su casa de Buckinghamshire, Reino Unido.

“Que Dios bendiga a MIDI”, exclama al ser consultado.

“Fue como entrar en un sueño”, cuenta, refiriéndose al sistema utilizado en 1990 para grabar el tema emblemático de la banda, Little Fluffy Clouds.

“Estaba todo allí guardado, listo para que tú lo lances, fue realmente increíble”, recuerda.

Este control orquestado y secuenciado de los sonidos de sintetizadores, cajas de ritmo y samplers dio lugar a nuevas formas de producción: así nació la música dance.

Lo que hizo MIDI fue “separar la tecla del sonido”, dice Cineplexx. Ahora se pueden crear órdenes digitales y asignarle a cada tecla los sonidos que se quieran.

El músico argentino ofrece una comparación interesante con las cámaras digitales y analógicas en el mundo de la fotografía.

Libre acceso

El primer instrumento con capacidad MIDI fue un sintetizador llamado Prophet-600 – diseñado por Dave Smith – que comenzó a producirse en 1982.

“Por supuesto que hubiera sido divertido ganar dinero con ella”, dice su creador californiano.

“Pero ese no era el plan”.

Treinta años después, la tecnología MIDI se mantiene como uno de los componentes centrales de la grabación y producción profesional de música.

Linux/Open Source News Headlines – Yahoo! News

Reaction to the death of actor Jack Klugman

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Celebrities on Monday reacted to the death of "Odd Couple" star Jack Klugman, who died Monday at age 90. Here are samples of sentiments expressed on Twitter:

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"R.I.P. Jack Klugman, Oscar, Quincy a man whose career spanned almost 50 years. I first saw him on the Twilight Zone. Cool guy wonderful actor." — Whoopi Goldberg.

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"You made my whole family laugh together." — Actor Jon Favreau, of "Swingers," ''Iron Man" and other films.

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"I worked with Jack Klugman several years ago. He was a wonderful man and supremely talented actor. He will be missed" — Actor Max Greenfield, of the "New Girl" on Fox.

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"So sorry to hear that Jack Klugman passed away. I learned a lot, watching him on television" — Dan Schneider, creator of Nickelodeon TV shows "iCarly," ''Drake and Josh" ''Good Burger," ''Drake & Josh."

Predicting who's at risk for violence isn't easy

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CHICAGO (AP) — It happened after Columbine, Virginia Tech, Aurora, Colo., and now Sandy Hook: People figure there surely were signs of impending violence. But experts say predicting who will be the next mass shooter is virtually impossible — partly because as commonplace as these calamities seem, they are relatively rare crimes.

Still, a combination of risk factors in troubled kids or adults including drug use and easy access to guns can increase the likelihood of violence, experts say.

But warning signs "only become crystal clear in the aftermath, said James Alan Fox, a Northeastern University criminology professor who has studied and written about mass killings.

"They're yellow flags. They only become red flags once the blood is spilled," he said.

Whether 20-year-old Adam Lanza, who used his mother's guns to kill her and then 20 children and six adults at their Connecticut school, made any hints about his plans isn't publicly known.

Fox said that sometimes, in the days, weeks or months preceding their crimes, mass murderers voice threats, or hints, either verbally or in writing, things like "'don't come to school tomorrow,'" or "'they're going to be sorry for mistreating me.'" Some prepare by target practicing, and plan their clothing "as well as their arsenal." (Police said Lanza went to shooting ranges with his mother in the past but not in the last six months.)

Although words might indicate a grudge, they don't necessarily mean violence will follow. And, of course, most who threaten never act, Fox said.

Even so, experts say threats of violence from troubled teens and young adults should be taken seriously and parents should attempt to get them a mental health evaluation and treatment if needed.

"In general, the police are unlikely to be able to do anything unless and until a crime has been committed," said Dr. Paul Appelbaum, a Columbia University professor of psychiatry, medicine and law. "Calling the police to confront a troubled teen has often led to tragedy."

The American Academy of Child & Adolescent Psychiatry says violent behavior should not be dismissed as "just a phase they're going through."

In a guidelines for families, the academy lists several risk factors for violence, including:

—Previous violent or aggressive behavior

—Being a victim of physical or sexual abuse

—Guns in the home

—Use of drugs or alcohol

—Brain damage from a head injury

Those with several of these risk factors should be evaluated by a mental health expert if they also show certain behaviors, including intense anger, frequent temper outbursts, extreme irritability or impulsiveness, the academy says. They may be more likely than others to become violent, although that doesn't mean they're at risk for the kind of violence that happened in Newtown, Conn.

Lanza, the Connecticut shooter, was socially withdrawn and awkward, and has been said to have had Asperger's disorder, a mild form of autism that has no clear connection with violence.

Autism experts and advocacy groups have complained that Asperger's is being unfairly blamed for the shootings, and say people with the disorder are much more likely to be victims of bullying and violence by others.

According to a research review published this year in Annals of General Psychiatry, most people with Asperger's who commit violent crimes have serious, often undiagnosed mental problems. That includes bipolar disorder, depression and personality disorders. It's not publicly known if Lanza had any of these, which in severe cases can include delusions and other psychotic symptoms.

Young adulthood is when psychotic illnesses typically emerge, and Appelbaum said there are several signs that a troubled teen or young adult might be heading in that direction: isolating themselves from friends and peers, spending long periods alone in their rooms, plummeting grades if they're still in school and expressing disturbing thoughts or fears that others are trying to hurt them.

Appelbaum said the most agonizing calls he gets are from parents whose children are descending into severe mental illness but who deny they are sick and refuse to go for treatment.

And in the case of adults, forcing them into treatment is difficult and dependent on laws that vary by state.

All states have laws that allow some form of court-ordered treatment, typically in a hospital for people considered a danger to themselves or others. Connecticut is among a handful with no option for court-ordered treatment in a less restrictive community setting, said Kristina Ragosta, an attorney with the Treatment Advocacy Center, a national group that advocates better access to mental health treatment.

Lanza's medical records haven't been publicly disclosed and authorities haven't said if it is known what type of treatment his family may have sought for him. Lanza killed himself at the school.

Jennifer Hoff of Mission Viejo, Calif. has a 19-year-old bipolar son who has had hallucinations, delusions and violent behavior for years. When he was younger and threatened to harm himself, she'd call 911 and leave the door unlocked for paramedics, who'd take him to a hospital for inpatient mental care.

Now that he's an adult, she said he has refused medication, left home, and authorities have indicated he can't be forced into treatment unless he harms himself — or commits a violent crime and is imprisoned. Hoff thinks prison is where he's headed — he's in jail, charged in an unarmed bank robbery.

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Online:

American Academy of Child & Adolescent Psychiatry: http://www.aacap.org

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AP Medical Writer Lindsey Tanner can be reached at http://www.twitter.com/LindseyTanner

NRA chief LaPierre fires back at his critics

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National Rifle Association CEO Wayne LaPierre fired back at his critics today, defending his proposal to put armed guards in every school in the country as a way to prevent future tragedies like the Sandy Hook Elementary School shooting that took the lives of 20 children and six adults.

"If it's crazy to call for armed officers in our schools to protect our children, then call me crazy," the head of the powerful gun lobby said today on NBC's "Meet the Press."

LaPierre and the NRA came under harsh criticism this week for their response to the Newtown, Conn., school shooting.

After keeping silent for a week, except for a release announcing that the organization would make "meaningful contributions" to the search for answers to the problem of gun violence, LaPierre held what critics described as a "tone deaf" press conference in which he blamed the media, video games and Hollywood for the recent shootings, and suggested that the answer to gun violence was more guns.

Gun control advocates argue that a federal assault weapons ban is necessary to curbing gun violence. Sen. Dianne Feinstein, D-Calif., who helped pass an assault weapons ban in 1996 is renewing efforts to pass similar legislation as the original ban expired in 2004.

"I think that is a phony piece of legislation and I do not believe it will pass for this reason: it's all built on lies," LaPierre said today.

LaPierre and many pro-gun advocates like him argue that assault weapons bans aren't effective and that violent criminals are solely to blame.

INFOGRAPHIC: Guns in America: By The Numbers

In today's interview, LaPierre pointed out that the Columbine High School shooting occurred after the assault weapons ban passed, but he failed to mention that the shooters obtained the guns they used illegally though a gun show.

He also did not discuss the fact that there was an armed guard on duty at the school when Eric Harris and Dylan Klebold killed 13 people there before killing themselves.

Several senators watching LaPierre's interview had strong reactions.

"He says the only way to stop a bad guy with a gun is a good guy with a gun. What about stopping the bad guy from getting the gun in the first place?" said Sen. Chuck Schumer, D-N.Y., on NBC's "Meet the Press."

Sen. Lindsey Graham, R-S.C., who was also on the show, said that he open to discussing increased school security but warned against a quick rush to ban assault weapons.

"I don't suggest we ban every movie with a gun in it and every video that's violent and I don't suggest that you take my right buy an AR-15 away from me because I don't think it will work," Graham said on NBC's "Meet the Press."

New Jersey Gov. Chris Christie said he didn't think having armed guards in schools was a good idea, though the Republican said he was "not commenting on the NRA proposal in particular."

"I am not someone who believes that having multiple, armed guards, in every school, is something that will enhance the learning environment, and that is our first responsibility inside a school, is the learning environment, you don't want to make this an armed camp for kids, I don't think that is a positive example for children," he said. "We should be able to figure out some other ways to enhance safety."

Earlier this week protesters from the group "Code Pink" snuck into the NRA press conference and held up a sign that read "NRA Blood on Your Hand."

Gun-control advocates like the Brady Campaign to End Gun Violence have long been critical of the NRA, but some lawmakers who also back more stringent gun control have been reluctant to lash out at the NRA until the recent shootings at Newtown, Conn.

After the Aurora, Colo., movie theater shooting, when a gunman armed with an AR-15, two Glock pistols and a shotgun, killed 12 and wounded 70 others, even Feinstein lamented that it was a "bad time" to press for gun control.

She has since changed her tone, but her previous reluctance to tackle the issue shows just how powerful the NRA is in derailing any opposition gun ownership.

President Obama announced last week that he was creating a task force headed by Vice President Biden to offer workable policy solutions to the problem of gun violence by the end of January.

The president will likely face an uphill battle, as any proposed legislation will have to make its way through the House of Representatives, which is currently controlled by Republicans.

Many lawmakers, the president and the NRA have discussed a holistic solution that includes the examination potential problems with the mental health system in this country.

Mental health services have come under a great strain as local governments are forced to cut their budgets. As a result, the National Association of State Mental Health Program Directors has estimated a loss of $4.35 billion to state funded mental health services.

RIM shares fall at the open after earnings

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TORONTO (Reuters) – Research In Motion Ltd fell in early trading on Friday following the BlackBerry maker’s Thursday earnings announcement, when the company outlined plans to change the way it charges for services.

RIM, pushing to revive its fortunes with the launch of its new BlackBerry 10 devices next month, surprised investors when it said it plans to alter its service revenue model, a move that could put the high-margin business under pressure.

Shares fell 16.0 percent to $ 11.86 in early trading on the Nasdaq. Toronto-listed shares fell 15.8 percent to C$ 11.74.

(Reporting by Allison Martell; Editing by Gerald E. McCormick)

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Title Post: RIM shares fall at the open after earnings
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RIM shares fall at the open after earnings

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Shares fell 16.0 percent to $ 11.86 in early trading on the Nasdaq. Toronto-listed shares fell 15.8 percent to C$ 11.74.

(Reporting by Allison Martell; Editing by Gerald E. McCormick)

Gadgets News Headlines – Yahoo! News

'Hobbit' extends No. 1 journey with $36.7 million

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LOS ANGELES (AP) — Tiny hobbit Bilbo Baggins is running circles around some of the biggest names in Hollywood.

Peter Jackson's "The Hobbit: An Unexpected Journey" took in $36.7 million to remain No. 1 at the box office for the second-straight weekend, easily beating a rush of top-name holiday newcomers.

Part one of Jackson's prelude to his "The Lord of the Rings" trilogy, the Warner Bros. release raised its domestic total to $149.9 million after 10 days. The film added $91 million overseas to bring its international total to $284 million and its worldwide haul to $434 million.

"The Hobbit" took a steep 57 percent drop from its domestic $84.6 million opening weekend, but business was soft in general as many people skipped movies in favor of last-minute Christmas preparations.

"The real winner this weekend might be holiday shopping," said Paul Dergarabedian, an analyst for box-office tracker Hollywood.com.

Tom Cruise's action thriller "Jack Reacher" debuted in second-place with a modest $15.6 million debut, according to studio estimates Sunday. Based on the Lee Child best-seller "One Shot," the Paramount Pictures release stars Cruise as a lone-wolf ex-military investigator tracking a sniper conspiracy.

Opening at No. 3 with $12 million was Judd Apatow's marital comedy "This Is 40," a Universal Pictures film featuring Paul Rudd and Leslie Mann reprising their roles from the director's 2007 hit "Knocked Up."

Paramount's road-trip romp "The Guilt Trip," featuring "Knocked Up" star Seth Rogen and Barbra Streisand, debuted weakly at No. 6 with $5.4 million over the weekend and $7.4 million since it opened Wednesday. Playing in narrower release, Paramount's acrobatic fantasy "Cirque du Soleil: Worlds Away" debuted at No. 11 with $2.1 million.

A 3-D version of Disney's 2001 animated blockbuster "Monsters, Inc." also had a modest start at No. 7 with $5 million over the weekend and $6.5 million since opening Wednesday.

Domestic business was off for the first time in nearly two months. Overall revenues totaled $112 million, down 12.6 percent from the same weekend last year, when Cruise's "Mission: Impossible — Ghost Protocol" debuted with $29.6 million, according to Hollywood.com.

Cruise's "Jack Reacher" opened at barely half the level as "Ghost Protocol," but with a $60 million budget, the new flick cost about $100 million less to make.

Starting on Christmas, Hollywood expects a big week of movie-going with schools out through New Year's Day and many adults taking time off. So Paramount and other studios are counting on strong business for films that started slowly this weekend.

"'Jack Reacher' will end up in a very good place. The movie will be profitable for Paramount," said Don Harris, the studio's head of distribution. "The first time I saw the movie I saw dollar signs. It certainly wasn't intended to be compared to a 'Mission: Impossible,' though."

Likewise, Warner Bros. is looking for steady crowds for "The Hobbit" over the next week, despite the debut of two huge newcomers — the musical "Les Miserables" and the action movie "Django Unchained" — on Christmas Day.

"We haven't reached the key holiday play time yet," said Dan Fellman, head of distribution for Warner. "It explodes on Tuesday and goes right through the end of the year."

In limited release, Kathryn Bigelow's Osama bin Laden manhunt saga "Zero Dark Thirty" played to packed houses with $410,000 in just five theaters, averaging a huge $82,000 a cinema.

That compares to a $4,654 average in 3,352 theaters for "Jack Reacher" and a $4,130 average in 2,913 cinemas for "This Is 40." ''The Guilt Trip" averaged $2,217 in 2,431 locations, and "Monsters, Inc." averaged $1,925 in 2,618 cinemas. Playing just one matinee and one evening show a day at 840 theaters, "Cirque du Soleil" averaged $2,542.

Since opening Wednesday, "Zero Dark Thirty" has taken in $639,000. Distributor Sony plans to expand the acclaimed film to nationwide release Jan. 11, amid film honors and nominations leading up to the Feb. 24 Academy Awards.

Opening in 15 theaters from Lionsgate banner Summit Entertainment, Naomi Watts and Ewan McGregor's tsunami-survival drama "The Impossible" took in $138,750 for an average of $9,250.

A fourth new release from Paramount, "The Sopranos" creator David Chase's 1960s rock 'n' roll tale "Not Fade Away," debuted with $19,000 in three theaters, averaging $6,333.

Universal's "Les Miserables" got a head-start on its domestic release with a $4.2 million debut in Japan.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Hollywood.com. Where available, latest international numbers are also included. Final domestic figures will be released Monday.

1. "The Hobbit: An Unexpected Journey," $36.7 million ($91 million international).

2. "Jack Reacher," $15.6 million ($2.5 million international).

3. "This Is 40," $12 million.

4. "Rise of the Guardians," $5.9 million ($13.7 million international).

5. "Lincoln," $5.6 million.

6. "The Guilt Trip," $5.4 million.

7. "Monsters, Inc." in 3-D, $5 million.

8. "Skyfall," $4.7 million ($9 million international),

9. "Life of Pi," $3.8 million ($23.2 million international).

10. "The Twilight Saga: Breaking Dawn — Part 2," $2.6 million ($6.6 million international).

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Estimated weekend ticket sales at international theaters (excluding the U.S. and Canada) for films distributed overseas by Hollywood studios, according to Rentrak:

1. "The Hobbit: An Unexpected Journey," $91 million.

2. "Life of Pi," $23.2 million.

3. "Rise of the Guardians," $13.7 million.

4. "Skyfall," $9 million.

5. "Wreck-It Ralph," $7.3 million.

6. "The Twilight Saga: Breaking Dawn — Part 2," $6.6 million.

7. "Pitch Perfect," $6 million.

8. "Les Miserables," $4.2 million.

9. "Love 911," $3.2 million.

10. "De L'autre Cote du Periph," $3.1 million.

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Online:

http://www.hollywood.com

http://www.rentrak.com

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Universal and Focus are owned by NBC Universal, a unit of Comcast Corp.; Sony, Columbia, Sony Screen Gems and Sony Pictures Classics are units of Sony Corp.; Paramount is owned by Viacom Inc.; Disney, Pixar and Marvel are owned by The Walt Disney Co.; Miramax is owned by Filmyard Holdings LLC; 20th Century Fox and Fox Searchlight are owned by News Corp.; Warner Bros. and New Line are units of Time Warner Inc.; MGM is owned by a group of former creditors including Highland Capital, Anchorage Advisors and Carl Icahn; Lionsgate is owned by Lions Gate Entertainment Corp.; IFC is owned by AMC Networks Inc.; Rogue is owned by Relativity Media LLC.