Eventide UltraChannel Demonstration Video

Bill Cammack demonstrates the free Eventide UltraChannel 64-bit dongle-less native plug-in for AAX64, AU, VST Mac and PC

Bill Cammack demonstrates the free Eventide UltraChannel 64-bit dongle-less native plug-in for AAX64, AU, VST Mac and PC

Download Link: http://bit.ly/UltraChannel
Code: 07CB9799Featuring:
Micro Pitch from the H8000
Stereo Delays
FlexiPath allows drag and drop reordering the signal path of the top section
5-band Parametric EQ
O-Pressor – the compressor section from the Omnipressor with sidechain
Compressor with sidechain and de-essing
Soft Saturation
Transformer emulation
Gate with sidechain

Facebook Pages And Social Ads

Facebook launched Facebook Pages today. This makes it easier for businesses, musicians, etc to represent themselves to the Facebook population, and makes it easier for the population to affiliate themselves with or review their favorites.

They have also launched Social Ads, which make use of your self-created affiliations to customize the ads you’re likely to see. This is a good idea, since the latest ads I’ve seen on facebook were for Microsoft Windows (which I don’t use), Harvard Business Online (which was down the street from my school, but I didn’t go there… except for parties! :D), and Elite Online Dating….. Are they trying to TELL me something? 😀

I think this is a great move, since a lot of people now use Facebook as their main source for daily information. It’s better to allow people to make business pages inside Facebook than have people search for a link and then go off-site to get the same information.

It’s also a great way for companies to enhance their online presence without spamming people’s friends lists.

PS – In case you can’t find the link to Facebook Pages, go all the way to the bottom of the page and click on Businesses and then you’ll get the options, including Facebook Pages.

Or, just click here. 🙂

Bill Cammack • New York City • Freelance Video Editor • alum.mit.edu/www/billcammack

Cruxy Presents Suzanne Vega (Virtually)

Tomorrow night, (Friday, July 13th, 7pm EST) Cruxy will host a one-of-a-kind event as Suzanne Vega returns to her avatar form for a special virtual listening party in Second Life. Vega will be celebrating the upcoming release of her new album BEAUTY & CRIME, out July 17 on Blue Note. I caught up with Jon Oakes to get the inside story. 🙂

What is Cruxy?

Cruxy is a media platform that allows any digital content creator (mostly emerging filmmakers and musicians) to promote and sell their works. Here’s a simple example: You’ve shot a short film. You put it in Mp4 format and upload it to Cruxy. We create all of the thumbnails, previews and promotional widgets for you. You set a price of $1 for others to buy a download of the film. We handle taking the money from the buyers and delivering cash to you (less a small fee that we charge).

Here’s a real world example of Cruxy in action. Some folks in the Midwest have a company called ShortTrackWorld. They go (in their cool van) to lots of small car races all over the Midwest where regular folks race their super modified race cars around… you guessed it, short tracks. ShortTrackWorld films the car races and then uses a satellite link to upload the videos from the event to their Cruxy page. They sell the videos of the race event to the drivers and fans and the videos are available just hours after the race. It’s pretty cool in action. You can check out the ShortTrackWorld page on Cruxy here: www.cruxy.com/stw

Recently we’ve been more focused on helping creators get their work into virtual world environments like Second Life. We see that as the next phase and our main focus moving forward.

What is the status of Cruxy as a startup, and who is team?

We are two full timers with a coterie of supporters, contractors, advisors and well-wishers. We are financed by our personal savings accounts, some paying engagements, anxiety and sweat.

Nathan Freitas and myself, Jon Oakes, have been working together for over eight years through three different (successful!) startups. We have built a ton of different technology, products, and solutions for people ranging from the government, to major corporations, and other technology businesses, but are most excited now to be applying our skills and inspiration towards creating new economic and marketing models for creative people, as well as the entertainment industry. Through Cruxy.com, we get to work with true indie talent and give them access to our entire platform. Working with a major artist and label such as Blue Note allows us to customize aspects of our platform, and create unique solutions, which also happen to help pay the bills. Its a good setup, and allows us to see the radical changes that are happening in this business from multiple standpoints.

What’s some of the interesting technology behind Cruxy.com?

As a startup, we need to be smart about how we spend our money so we use Amazon’s S3 and EC2 services for all of our server and data delivery needs. We pay on a variable basis (we did not have to go plunk down $25k for a bunch of servers and commit to a high monthly data service fee). This is really “on demand” computing and it allows us to scale in a pay that is precisely correlated ith our traffic and demand… rather than investing everything in infrastructure and hoping to fill up the pipe.

We’ve built a pretty robust system for syndicating media content. We built our syndication system to use the XSPF format which gives us unlimited dynamic playlisting capabilities.

We’ve also built a “virtual world widget” which allows people to distribute their music to their avatar in Second Life. They can then stream their music into their land or venue in Second Life so others can experience their music in a totally new and social way. Rather than just have a bunch of people anonymously visit a web page and listen to your stuff, with the virtual world widgets, you can hang out in your virtual environment in Second Life while a group of people check out and discuss your work.

Besides Second Life, are there other places where creators can syndicate their media?

Cruxy supports a variety of technologies that allow any media upload to our system to be republished and indexed by almost any standards-based service on the web. We’ve got flash widgets, RSS feeds, XSPF feeds, and even some microformats support. We also recently announced our deep integration with FaceBook so creators can get their work out to their FaceBook network more easily. We expect to launch this feature in August.

Looking towards the future, we see the growth of gaming and virtual worlds as online social environments to be a huge opportunity for creative artists to gain exposure and income. We fully intend to extend the Cruxy platform into these types of spaces and economic models.

What’s the story behind tomorrow’s Second Life event with Suzanne Vega?

We have built a virtual lower east side “Ludlow Street” circa 1990 environment to promote Suzanne Vega’s new album “Beauty and Crime”, which is full of songs about various aspects of New York. Suzanne will join us (in avatar form) for a live interview and take questions from her fans. Avatars who attend will also be able to watch video of some of her recent live performances and sample her new album.

Each attendee to the event will receive a Virtual World Widget that allows them to host their own listening parties and share the music with friends in their own land or club within Second Life.

What makes this event with Suzanne Vega different from her first appearance in Second Life?

We used the new Second Life voice beta software for this event. We also built the lower east side environment where avatars can come to hang out, drive taxi cabs, talk on pay phones and spray paint on walls long after the event. This event is about more than just the event… it’s about the environment where people can come whenever they want and sample the album while experiencing the New York that so inspires the album. We’ve got graffiti by Zephyr, the prolific graffiti artist of that era and guitars by Robbie Dingo, the renowwnded Second Life designer, at a LES guitar shop.

One other thing to note is that the MTV virtual lower east side is designed for the 18 to 25 crowd that might not remember New York pre-Guiliani. We wanted to recreate more of the grunge aesthetic that we so enjoyed in our 20’s in NYC.

How big is the market for what you are doing? Breakdancers and indie musicians don’t really make much money, right?

What everyone is realizing is that there is a growing appetite for independently created media content.

Cruxy is also one of those UGC filter sites. The higher end of the UGC market puts their stuff in Cruxy. We don’t get much of the teenage car surfing or flatulence type stuff (nothing against it as a… social… expression, but it’s not what Cruxy is about)

Thanks Jon. Good luck with Cruxy and Suzanne Vega’s event tomorrow! 😀


“Graf art building on Virtual Ludlow Street New York”
Photo Credit: Nathan Freitas

Jonathan Oakes founded and managed his first start-up, a systems integration consultancy, at 24 years old. In 1998 Oakes co-founded ThinAirApps, where he served as CEO and Chairman leading the company to a successful acquisition by Palm Inc. in 2001. Oakes spent over two years at Palm, as Senior Director managing corporate and product strategy. Oakes earned a BA in American Studies from Skidmore College and an MBA from Harvard Business School.

Over the last ten years, Nathan Freitas’ career has spanned the academic, corporate, and non-profit worlds, solving difficult problems through the thoughtful application of technology. His work has been built into Palm handhelds, on display at JavaONE and SIGGRAPH, included in Wikipedia, and covered in media ranging from Boing Boing and Slashdot, to the New York Times and Howard Rheingold’s book “Smart Mobs”. He also plays a mean double bass.

Bill Cammack • New York City • Freelance Video Editor • alum.mit.edu/www/billcammack

Creative Commons

An interesting difference between doing your own videos for fun & entertainment and creating video for broadcast is that you are forced to become generic. Instead of being able to use anything you want and do anything you want with it, there are many things to be avoided in the production of a video. As a content producer, you have to think about what you might want to do with your work down the line during even the pre-production phase of creating your video.

Let’s say you do a personal interview with someone, and you like how it came out. You can do whatever you want with it, personally, but then, if you want to offer your interview to another group, they might require releases (written documents stating that the subjects in the video gave you permission to use your video of them) from everyone in the video, or they won’t accept it for their production. Even if you have releases for the subjects, you might have done it inside a restaurant, and THAT needs to be ‘cleared’.

You might use your favorite song in a video, but if you want to include that video in a broadcast, you’ll need to re-work it with music that’s cleared for use under certain circumstances (see Creative Commons), like from podsafe music network or IODA. Strangely enough, even music that comes on the radio or that someone walks by could present an issue. These things have to be considered when you’re doing a video that depends on the audio as well as the video. If someone’s saying something important while this uncleared music passes through the scene, there might be no way around it, since re-tracking the person’s dialogue means that you not only cut out the music, but all the other background sounds that make the video sound uniform.

Does this make sense? Yes. 😀 People work hard on their music or whatever and put their own energy and creativity into it, so they should definitely have rights to determine how their productions are used. There’s an interesting Creative Commons license that allows you to use the work as long as you attribute credit to the creator of the original work somewhere in your video, you don’t use it in a commercial work, and the work that you do that’s derived from their work is also licensed under the same CC license. It’s called CC BY-NC-SA (attribution, non-commercial, share alike). This is interesting because it creates a stream of ‘cleared’ work for people making similar videos to use.

There’s also the internet archive, where there are lots of videos and songs labeled “no rights reserved” that you can use in any way you want, and a lot of Creative Commons videos as well.

What’s “unfair” about this system (not to the creators of the work, but unfair to media creators looking for music or video to enhance their projects) is that money talks. 😀 If you work for a production company, or you do your own productions, you are subject to the same fees to license “real” music as the networks are. Let’s say you wanted to do a video about something and a network wanted to do the same piece. Even if your footage is better, content-wise, and your written dialogue is better, and your editing is better and your shot selection is better….. your video will have YOU playing your guitar over your drum machine, sounding like folk music from the country :/ while the network blasts “Keep On Rockin’ In The Free World” by Neil Young. Your piece IS better, but theirs SOUNDS better, so they have an emotional advantage in the effect their video has on the viewers.

Same thing if you’re a documentary maker. MTV plays music all day and all night on several channels, internationally. If you watch one of their docs, they’re FILLED… I mean *FILLED* with the latest music from the hottest artists at the time. MTV’s in the country, you hear the latest country music. They’re in the city, you hear the latest Hip-Hop. They’re in India, you hear the best mood-inducing Indian music. This is because A) MTV has the money to purchase the rights to whatever songs they want, and B) everybody wants their songs to be ON MTV so they can get publicity = more fame and sales. Nobody wants to be in YOUR PODCAST that 30 people download on a weekly basis! 😀 So… YOUR video or film or what-have-you is going to sound like what’s really going on… you got the music you could afford to use.

I think podsafe music network and IODA are providing a great service on both sides of this situation. They’re allowing video producers to use music with high production values, as long as the producer complies with the stipulations of the licenses. If your budget is ZERO, or even less than zero… you can still get a fantastic background track for your non-commercial work. For the musicians, they benefit because their music’s being heard by people that otherwise wouldn’t have looked them up on the internet. They’re being heard without having to be ‘hot’ enough to get into rotation on MTV. Also… you never know when a video that someone does might become REEEEEEALLY popular, and then the musicians get to ride the wave. 😀

~Bill C.~
http://ReelSolid.TV