The James Webb Space Telescope captured the eerie punctuation mark, found buried within an image of Herbig-Haro 46/47—a tightly bound pair of actively forming stars located 1,470 light years from Earth.
One of the most recognizable, versatile, and hilarious performers of our generation passed away this week and the loss is being felt all over the world. Paul Reubens, best known for his iconic character Pee-wee Herman, lost a battle with cancer this week at the age of 70 and his friends in Hollywood have been paying…
X Corp (aka Twitter) may take legal action against one of its more outspoken critics. The Center for Countering Digital Hate (CCDH) says in a letter that X threatened a lawsuit against the anti-hate group on July 20th for allegedly making “false or misleading” claims against the social media giant and trying to scare advertisers. The Center published a research article in June asserting that X allowed explicitly racist and homophobic posts despite policies to the contrary, even days after they’d been reported.
X accused CCDH of using poor methodology, and not studying the 500 million posts on the service each day. It also maintained that the Center was taking funding from competitors or foreign governments as part of an “ulterior agenda,” according to The New York Times. CCDH rejects the allegations. It notes that it never claimed to be conducting a comprehensive study, and points to its documented methodology. It adds that X never said just what was inaccurate, and that it doesn’t accept any funding from companies or governments.
The researchers further maintain that X is being hypocritical for attacking supposedly limited research while simultaneously curbing the ability to conduct those studies. The platform recently instituted reading rate limits in what it says is a temporary measure to thwart excessive data scraping. The company believes some scrapers are abusing their tools to train AI models and conduct manipulation campaigns. Even Blue subscribers are capped at viewing 8,000 posts per day, making it impractical to conduct extensive research.
X has disbanded its communications team and isn’t available for comment. CCDH says it “will not be bullied” and will continue publishing its research. It also intends to post the original letter, and believes a lawsuit with “frivolous” claims could prove risky.
Reports indicate that X’s ad sales have plunged by half since Musk bought the company last year. The executive pinned the exodus on European and North American marketers trying to deliberately bankrupt the firm, but employees talking to the NYT maintained that advertisers were balking at the surges in hate speech and porn after Musk’s acquisition. Brands like GM and Volkswagen have frozen ad spending on X, while others are believed to have scaled back their efforts.
X has been threatening legal action against others in recent weeks. It accused Microsoft of violating data use policy, and threatened to sue Meta for purportedly duping key features with Threads. The tech giant has also sued a law firm for supposedly taking excess funds during the previous management’s handover to Musk.
This article originally appeared on Engadget at https://www.engadget.com/twitter-threatens-to-sue-anti-hate-group-over-its-research-125645342.html?src=rss
I wrote my first synth review for Engadget in 2019. At the time I thought it might be a one off. Maybe it would afford me the opportunity to play with some fun gear now and then, but “Engadget synth beat reporter” was not something in the cards long term. Well, four years later I’ve not only managed to turn music tech into a regular part of my job, but I’ve become something of a connoisseur of weird, cheapsynths. I’d almost say that I’ve become jaded by the relentless releases of wannabe Volcas and VSTs-but-hardware. So I was somewhat skeptical of SOMA’s Rumble of Ancient Times (RoAT from here on out), a $170 “8-bit noise synthesizer.”
Well, this little pile of battery-powered weirdness has silenced my inner cynic. It’s reminded me to stop being so precious about my music. That creating art should be fun. And that, sometimes, you just need to let things go.
Before I turn you off with more philosophical ramblings (and don’t worry, there will be more), let’s lay out exactly what the RoAT is. It’s an 8-bit digital synth and sequencer inspired by video games of the early PC era, which had to do a lot with incredibly little. The core here isn’t some high-powered ARM processor; there’s no advanced physical modeling or complex wavetables. Instead, the RoAT runs on a very basic microcontroller like you might find in old kitchen appliances. (Not the kind that connect to the internet and have giant touchscreens.)
There are four freely tunable oscillators with 16 waveforms to choose from. The frequency range available is huge and the potentiometers can only turn so much, so dialing in a perfect scale isn’t something that’s going to come easy. The 16 voice options are all harsh and decidedly digital. Think Atari 2600 in a blender. And the resonant filter is deliciously lo-fi. I know that it’s somewhat cliche at this point to say that a synth is oozing character, but I don’t know how else to describe the sound of RoAT. It’s one of the more characterful instruments I’ve had the pleasure of using at any price point.
The sequencer is basic, too. An oscillator is either on or off and that’s it. If you want a particular note you have to lock it in with the tuning knobs. The one variable is that by default, the voices can either be momentary on, or momentary off – so you can set one to drone while the others pop in to add color. The sequences must be played in live, nothing is quantized and the pattern length is just a single bar. But since it’s not a step sequencer, that doesn’t matter quite as much. You can always just turn the tempo down to 70 bpm while actually playing at 140 bpm and effectively get two bars.
The simplicity here actually makes it fun and fuss free. You just hold down the record button and tap the little copper pads under each voice button, wait for the loop to come back around and tap some more to add additional triggers. The whole process of dialing in notes then sequencing them is sloppy and playful. You don’t have to think about ratchets or parameter locks. The limitations actually free you up to focus on jamming, experimenting and iterating.
The one part of the RoAT interface that might seem intimidating at first is the bank of registers. This is how you do actual sound design on the instrument. There’s a table in the bottom right hand corner where all the various parameters are laid out, like frequency, wave selection, LFO type and speed, etcetera. They’re in numbered rows, from zero to seven, and you navigate between them using buttons on the left side labeled one, two and four. So yes, you will need to do some basic arithmetic if you want to change the release of a voice or tweak the filter resonance, which you’ll find on page five and select by pressing the one and four buttons (1+4=5, got it?). While this might seem unnecessarily complicated, it’s actually pretty easy to wrap your head around and I’d argue far faster and more enjoyable than trying to scroll through an endless menu.
Some of the parameters need a little more explanation than what can be squeezed into the table on the front. But flip the RoAT over and you’ll get most of the info you need on the back of the unit.
The one exception to this is page six of the registers, which is where you’ll find the summing algorithm controls. These are explained on the back of the device, but I’d be lying if I said I fully understood what they all meant or why they affect the sound the way they do. I have a feeling that many people will be in the same boat as me. That being said, you don’t really need to understand to simply tweak the knobs until you hear something you like.
By the way, turning knobs until you hear something you like is perfectly a valid approach for any instrument, but it seems particularly appropriate here. The dramatic changes even a tiny bit of movement introduces mean this is best navigated by feel. And if that seems like too much work for you, there’s that button labeled “CHAOS” in the top left corner. I bet you can guess what it does. (It causes chaos, btw.)
This button randomizes all the parameters except for the row you’ve currently selected in the register. So if you don’t have any of the numbered buttons on, you’re on row zero which controls pitch, you can knock out countless iterations on a particular melody or sequence, swapping in different waveforms and algorithms.
Now this is where the limitations of the RoAT might become an issue for some. Do you like the chaos you’ve just created? Great, you better record that right now. Get out a field recorder and a TRS cable, or fire up your DAW or something. Because once you flip that power switch on the RoAT off, your creation is gone – forever. There’s no saving of sequences. No presets. No MIDI out to control other instruments.
There is analog sync out, but no sync in. That means that, while you can connect the RoAT to a Volca or a Pocket Operator and keep them in time, you have to use the clock on the RoAT to drive everything. And there’s no tap tempo here or a screen where you can see the exact tempo you’re at. So I really hope you enjoy your jams at 108.45 BPM.
Practically everything about the RoAT is messy and ephemeral. But, that’s also kind of what makes it so great. I realize that a lot of what attracts me to the RoAT might not matter to many of you. You might just want to play a pleasant melody on a clean sounding synth. Which, great, I like doing that too. That’s not what you come to the RoAT for, though.
It’s excellent at noisy rhythmic patterns perfect for industrial or chiptunes. But it’s limited connectivity and inability to reliably reproduce the same exact results multiple times means it’s not an ideal performance instrument. Instead it’s best as a source of inspiration and samples. Though, thinking of the Rumble of Ancient Times in purely practical terms misses the point. It takes obsolete technology that would otherwise be destined for a landfill and mutates it into an experimental instrument that’s easy to get lost in. And every time you turn it on feels like a brand new adventure.
Remember when I said earlier that it reminded me that sometimes you need to let things go? Well, I am a digital hoarder. I have saved practically every photo I’ve taken since 2008 (and every crappy photochop since 2005). I have a hard drive overflowing with song sketches that are absolute trash and clearly going nowhere. And I have a hard time parting with even insignificant personal items floating around my house.
Not only that, but I am the sort of person who second guesses everything. I will nitpick and obsess over a project – be it a song or this review – until I hate it. In April of last year I mentioned in my review of the Chase Bliss Habit that I had been sitting on three songs for an EP for over a year. Well, absolutely zero progress has been made there. In fact I’ve since decided one of those songs is worthless and I’ve cut it.
Which brings me back to the Rumble of Ancient Times. Its simplicity, playfulness and sloppiness are a natural counter to my obsessive tendencies. Its insistence that you explore, iterate and constantly push forward prevents me from getting stuck. And the fact that I can’t save a sequence – that I have to start with a blank canvas every time I turn it on – keeps me from hoarding half-baked ideas that I will never revisit.
This article originally appeared on Engadget at https://www.engadget.com/soma-labs-rumble-of-ancient-times-is-the-chaotic-neutral-of-synths-154507287.html?src=rss
Cloud is known for his role as Fez on the HBO series “Euphoria.”
Because what better way to start your day than with Baby Groot, this Guardians of the Galaxy Baby Groot Cassette Alarm Clock features everyone’s favorite extraterrestrial tree monster standing behind a ‘Cosmic Mix Vol. 1’ mixtape. Manufactured by Paladone and available from Merchoid, the clock stands 5.7″ tall and wakes sleepers up to its “I Am Groot” sound effect. Will that be enough to get me out of bed? I doubt it.
The clock displays the time, date, and set alarm time and is USB-powered (cable included). It also has a snooze function, which is the most important function of an alarm clock as far as I’m concerned. Sorry, I was late to work today, by the way.
Am I going to buy a Baby Groot alarm clock? Maybe as a gift for a Guardians of the Galaxy-loving niece or nephew, but I don’t actually need an alarm clock myself; I just wake up naturally. Usually around 11 or noon. Then it’s time for brunch before my first nap of the day.
Police in New Orleans have been using facial recognition for the better part of a year, but the tech hasn’t had much of an impact on the city’s violent crime crisis. NOLA’s recently published quarterly public safety review, compiled by consulting firm Datalytics, shows that between October 1, 2022, and July 1,…
Elon Musk finally dismantled the obnoxious, flashing “X” sign on top of Twitter’s headquarters on Monday following complaints from city authorities and residents. San Francisco’s Department of Building Inspections (DBI) received “24 complaints about the unpermitted structure, including concerns about its structural…
Vampires aren’t supposed to be sparkly, and we’re here for bat creature Dracula in The Last Voyage of the Demeter.
A New York Times investigation uncovered earlier this year that the US government used spyware made by Israeli hacking firm NSO. Now, after an FBI investigation into who was using the tech, the department uncovered a confusing answer: itself, according to the New York Times on Monday.
Since 2021, the Biden administration has taken steps toward parting ways with NSO, given the firm’s reputation for shady tools like Pegasus that lets governments discreetly download personal information from hacked phones without the user’s knowledge. But even after the president signed an executive order banning commercial spyware in March, an FBI contractor used NSO’s geolocation product Landmark to track the locations of targets in Mexico.
The FBI had inked a deal with telecommunications firm Riva Networks to track drug smugglers in Mexico, according to TheTimes. The spyware let US officials track mobile phones because of existing security gaps in the country’s cellphone networks. While the FBI says it was misled by Riva Networks into using the tech, and has since terminated the contract, people with direct knowledge of the situation said the FBI used the spyware as recently this year.
This isn’t the FBI’s first run in with NSO and its spyware tools. Prior to the executive order banning the products for government use, the agency considered using Pegasus to aid in its criminal investigations. Spyware generally gained a bad reputation for its use to surveil citizens and suppress political dissent, with NSO considered one of the largest in the business.
This article originally appeared on Engadget at https://www.engadget.com/fbi-investigates-use-of-nso-spyware-pegasus-landmark-163949655.html?src=rss
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
