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Featured News - Current News - Archived News - News Categories
Powerful laser technique will dramatically expand the number of drug targets accessible for research and discovery
The University at Buffalo, representing a national consortium of eight research universities and institutes, has been awarded a prestigious $25-million Science and Technology Center grant from the National Science Foundation to transform the field of structural biology, including drug development, using X-ray lasers.
This is the first Science and Technology Center grant UB has received. With the grant, UB and its partner institutions will establish The BioXFEL research center (http://www.bioxfel.org/), headquartered in Buffalo.
The BioXFEL (pronounced bio-x-fell) center will focus on developing new X-ray bioimaging techniques - including an advanced form of X-ray crystallography called serial femtosecond crystallography - to analyze a vast array of new molecular targets for drug discovery.
This technique has the potential to spur much-needed innovation in the pharmaceutical field. It will provide scientists with new insights into how biological molecules function, what might be happening when disease occurs, and what compounds might be designed as drugs to modify this activity.
"Together with its partners, UB is especially proud to announce this highly competitive award," said UB President Satish K. Tripathi. "NSF selects just a handful of Science and Technology Center winners every four years from a pool of hundreds of applicants. This research builds on Western New York's rich legacy of expertise in X-ray crystallography, historically based within the Hauptman-Woodward Medical Research Institute and UB's Department of Structural Biology."
SUNY Chancellor Nancy L. Zimpher said, "With this prestigious award, the University at Buffalo deepens its national leadership and long tradition of groundbreaking health research and the innovative treatment of disease. Congratulations to President Tripathi and the team of scientists who have secured this extraordinary grant."
"Congratulations to President Tripathi, Professor Lattman and the extraordinary faculty team," said Tim Killeen, Ph.D., president of the Research Foundation for SUNY and SUNY's vice chancellor for research. "This is, without question, the premier award given out by NSF and truly exciting news for us all. The groundbreaking, cutting-edge research will, once again, showcase UB's stature as a world-class research university. The collaborative work conducted through this award represents a major contribution to Chancellor Nancy Zimpher's vision of the Power of SUNY and the SUNY Networks of Excellence announced recently by Gov. Cuomo."
"This $25-million federal grant demonstrates the strength of Buffalo Niagara Medical Campus institutions to serve as outliers in science and medical innovation," said Rep. Brian Higgins. "Not only will it advance critical research, this significant investment will advance economic growth in the City of Buffalo."
Sens. Charles E. Schumer and Kirsten Gillibrand also offered their congratulations.
"This first of its kind federal investment in the important work being done by Hauptman-Woodward and the University at Buffalo just proves once again that Western New York is on the cutting edge of medical and scientific research," Schumer said. "This Science and Technology Center grant will not only lead to important new breakthroughs in drug development - but will also serve as a signal to new companies around the globe that Buffalo is the place to be when it comes to medical research."
"This highly competitive award reflects the University at Buffalo's relevance as an innovator in the field of medical research and bio-tech," Gillibrand said. "With these resources, UB will be given the opportunity to make groundbreaking advancements in the pharmaceutical field, further adding to the university's contribution to the region's biomedical economy."
Eaton E. Lattman, Ph.D., professor in the UB department of structural biology in the School of Medicine and Biomedical Sciences and CEO of the Hauptman-Woodward Medical Research Institute, will be director of the BioXFEL center.
John C.H. Spence, Ph.D., Regents' professor of physics at Arizona State University, will serve as the center's scientific director. The University of Wisconsin-Milwaukee also will have a primary role in the center, led by principal investigator Abbas Ourmazd, Ph.D., distinguished professor of physics and electrical engineering.
Other partner institutions are Cornell University; Rice University; the University of California, San Francisco; and Stanford University. The University of California, Davis, also will help with creating and managing the educational program.
The establishment of the BioXFEL center will put UB and Western New York in the forefront of this technology. "It has the potential to transform the way scientists study diseases and develop new treatments," said Alexander N. Cartwright, Ph.D., vice president for research and economic development at UB. "The late Dr. Hauptman won the Nobel Prize in 1985 with Jerome Karle for the development of direct methods for determining the structures of molecules. This new UB center, in partnership with HWI, will take the extraordinary promise of that 20th-century technique and revolutionize it further for the 21st century."
While current techniques in crystallography provide almost 90 percent of what scientists know about biomolecular structure, fewer than 20 percent of purified proteins currently form the crystals necessary for this technique.
"With the new bioimaging technique developed in the BioXFEL center, we will be able to analyze crystals 1,000 times smaller than the ones we can use now," Lattman said. "These are crystals we could never use before and, in fact, may not have known existed. A whole new universe of drug targets will become accessible for study as a result."
"In addition," added Spence, "we will be developing new techniques for making movies of molecular machines at work, and of viruses and biomolecules in their natural wet environment undergoing chemical change. Some of the work, with professor Petra Fromme at ASU, will try to image the detailed atomic processes responsible for photosynthesis. This occurs when sunlight falls on all green plants, allowing them to split water, creating the oxygen we breathe and converting the carbon dioxide responsible for global warming into carbohydrates."
"The techniques the BioXFEL center will develop could shorten the process of determining protein structure from years to days," said Ourmazd of the University of Wisconsin-Milwaukee. "This will rely heavily on mathematical algorithms we and others are developing to deduce structure from millions of ultralow-signal snapshots."
The new technique enables the study of ultra-small crystals - nanocrystals, Lattman explained - which grow much more readily than the much larger ones required by current methodology.
"Many other aspects of the project, such as the patterns created by the X-ray laser, are different from what we are used to," he said. "We have to figure out how to work with them, both experimentally and theoretically."
He noted that the new technique offers tantalizing possibilities in the future. "Maybe down the road, we won't even use crystals at all, but we're a long way away from that," he said.
Scientists involved with the BioXFEL center will use an extremely powerful new kind of X-ray beam developed at SLAC National Laboratory at Stanford University called an X-ray, free-electron laser. The use of the XFEL to analyze protein crystals was chosen by the journal Science as one of the top 10 science breakthroughs of 2012. That work included a number of scientists who will be participants in the BioXFEL center.
"Because this technique is so new, much remains to be done before it can be used routinely," explained Lattman. "The process needs to be streamlined. Right now, every single step takes a heroic effort. The purpose of the new BioXFEL center is to create the resources and knowledge necessary so that, five years from now, scientists can apply XFEL routinely to the most pressing biomedical questions."
A key advantage is that it will let scientists see the motions of molecules for the first time. "Most biological processes require movements within the molecules involved," Lattman said, "but the pictures provided by current X-ray analysis contain very limited information about them.
"The XFEL beam is unbelievably intense and is composed of a sequence of unimaginably short pulses that act like flashbulbs to freeze the motions of protein molecules when the beam zaps them," Lattman added. "In the long run, the X-ray laser will allow us to make movies of molecules, rather than having to infer their motions from fixed pictures."
HWI expertise will play a central role in the new center, particularly its National Institutes of Health-funded high-throughput screening laboratory, which has been growing crystals of proteins for hundreds of client labs throughout the U.S. for a decade.
Arizona State will be a major research partner, providing expertise through Spence's lab, which specializes in determining the structures of membrane proteins and viruses, which are difficult to crystallize. University of Wisconsin-Milwaukee will provide key theoretical and experimental contributions.
Together, UB, Arizona State and UWM will offer education programs to try to develop young scholars in this technique at the graduate and postdoctoral level, as well as the undergraduate and high school levels. Lattman said UB will be one of the key facilities in the U.S. with this focus.
The center will emphasize applications of its research through its industrial partners in the Industrial Macromolecular Crystallography Association comprised of major pharmaceutical companies, including Bristol-Myers Squibb, Pfizer, Abbott, Merck and Novartis.
The BioXFEL center's headquarters will be located at 700 Ellicott St., on the Buffalo Niagara Medical Campus, in the building that houses both HWI and UB's Department of Structural Biology.
The NSF Science and Technology Centers: Integrative Partnerships program supports innovative, potentially transformative research and education projects that require large-scale, long-term awards. The centers foster cutting-edge research, education of the next generations of scientists and broad distribution of the knowledge and technology produced.


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BALTIMORE – The UMBC men's lacrosse team gave defending America East champion quite a battle, but the Retrievers lost a 18-14 shootout to the Albany Great Danes before 1,449 fans on "Senior Day" at UMBC Stadium.
The Retrievers slip to 6-6 overall and 2-2 in America East play, while Albany, which is receiving votes in the national polls, improves to 7-5, 4-0.
UMBC senior face-off specialist Phil Poe (Harwood, Md./DeMatha) tied his own school record, by winning 23 (of 35) face-offs in the contest. Poe also collected 15 ground balls and raised his career total to 303, third-most in school history.
Sophomore attackman Nate Lewnes (Arnold, Md./St. Mary's) tied his career-best with five goals in the contest.
The Great Danes started quickly, taking a 4-0 lead midway through the first quarter before Pat Young (Ewing, N.J./Christchurch (Va.)) School) got UMBC on the board with 4:46 to play in the stanza.
Albany led, 7-2, after 15 minutes, but the Retrievers owned the second quarter, outscoring the visitors, 6-2 and climbing to within 9-8 at intermission. Senior attackman Matt Gregoire (Crofton, Md./South River) scored twice in a 5-1 run to end the quarter. His second goal with 46 seconds remaining cut the deficit to 9-7, and Poe won the ensuing draw, raced down the field to score seven seconds later to give UMBC the momentum at the break.
UA outscored UMBC, 5-2, in the first 17 minutes of the second half and led, 14-10 on a Matt Garziano goal 1:47 into the fourth quarter. But the Retrievers fought back, and after an exchange of goals, Lewnes scored twice on hard left-handed rips from the off-wing as he finished feeds by freshman attackman Max Maxwell (Hamburg, N.Y./Hamburg).
But 15-13 was as close as the Retrievers would come down the stretch. Albany scored twice more, but UMBC still had life as Lewnes converted another Maxwell feed with 3:33 remaining to bring the hosts to within 17-14. The goal was scored with two non-releaseable UA penalties enforced. The Retrievers still had 43 seconds on the man-up, but Poe was whistled for a face-off violation on the ensuing draw and UMBC could not complete the rally.
Young (3g, 1a) and Gregoire each scored three goals for UMBC, while Maxwell and sophomore midfielder Jack Gannon (Lake Ronkonkoma, N.Y./Sachem North) added four and three assists respectively.
Albany was led by senior attackman Miles Thompson, who scored a game-high six goals and added four assists.
UMBC outshot UA, 46-39, but Great Dane sophomore goalkeeper Blaze Riorden made 20 saves, the most against the Retrievers since the 2011 campaign. UMBC red-shirt freshman netminder Connor Gordon (Bourne, Mass./Tabor Acad.), who left the game briefly in the first quarter due to injury, stopped 11 UA shots and allowed 16 of the 18 goals.
UMBC concludes the regular season at Vermont on Saturday, April 26.
Notes: Poe has the most ground balls (303) of any UMBC Division I (1981) player… Gregoire now has 13 career games with three or more goals, including seven in 2014… UMBC lost for the first time in 2014 (6-1) when outshooting its opponent… The Retrievers still lead the all-time series, 10-8.

subset: commoncrawl


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Reel Life Lessons ... So Far
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Gaia la libraia Vuoi ricevere un'email sui tuoi prodotti preferiti? Chiedi a Gaia, la tua assistente personale
"I love to entertain people and make them laugh. Whether through Manny or by just being myself, making people laugh is the greatest feeling in the world. Getting an opportunity to do that at my age has taught me a lot. So, I started this journal as a reminder of the most important real and 'reel' life lessons that I hope to never forget. "
Barely into his teen years, Rico Rodriguez is living his dream, playing the hilarious and infectious character Manny Delgado on ABC's Emmy Award–winning sitcom Modern Family. As his on-screen alter ego, Rico dispenses wisdom with a maturity far beyond his age. In Reel Life Lessons...So Far, he shares his own thoughts about growing up, facing life's challenges, and the importance of family.
Written in a simple, lighthearted manner and filled with witty and engaging anecdotes about Rico's life on and off the set—or, as he puts it, life with his real family and his reel family, Reel Life Lessons...So Far reflects a sense of warmth and charm that will remind readers of all ages about the true kid inside us all.
Gaia la libraia Vuoi ricevere un'email sui tuoi prodotti preferiti? Chiedi a Gaia, la tua assistente personale


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WHO Drug Information
Volume 26, N° 1, 2012
Our first issue for 2012 opens with an article in the Regulatory Focus series, "Regulation of medicines in China". This provides insight into changes taking place in the organizational structure, legislative framework and current situation of medicines regulation in China with a focus on medicines registration, use, advertising and post-market safety monitoring as well as control of narcotics and psychotropic substances. It also draws a picture of China's pharmaceutical industry and offers a glimpse of the transformations taking place in the national medicines regulatory scene set against a backdrop of international harmonization.
The section on Paediatric Medicines highlights the need for better medicines for children and specifically, the work currently under way to provide paediatric pharmaceutical formulations to suit the age, physiological condition and body size of the child. Use of unlicensed and off-label medicines in children is widespread. A WHO guideline "Development of paediatric medicines: points to consider in pharmaceutical formulation" has now been published following adoption by the WHO Expert Committee on Specifications for Pharmaceutical Preparations.
The section on Safety and Efficacy highlights information on signals and reports of adverse drug reactions, with other news from around the world, including labelling changes. This is complemented by the section on Regulatory Action and News which provides the most recent developments from regulatory authorities, and particularly those having an impact on decision-making and risk assessment.
The final and temporary lists of ATC/DDD Classifications adopted by the WHO International Working Group for Drug Statistics Methodology are also presented.
The final section, Recent Publications, Information and Events, provides brief summaries of several recently-published documents and online resources.
The journal concludes with the 67th Recommended List of International Nonproprietary Names (INN).


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Support Your Local Gunfighter
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|Garner plays a western con man with his tongue firmly in his cheek. He comes to the small town of Purgatory and is thought to be a notorious gunfighter. He decides to go with the mistaken identity and use it to his profitable advantage. Elam is his bumbling sidekick and Pleshette the love interest. A delightful, deliberately cliche-filled western. A follow-up, not a sequel, to "Support Your Local Sheriff" (1969).
|Directed by:
|Burt Kennedy
|James Garner, Jack Elam, Suzanne Pleshette, Harry (Henry) Morgan, Dub Taylor, John Dehner, Joan Blondell, Ellen Corby, Henry Jones


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North Village Residential Parking by Permit Only Project Begins Soon
COLUMBIA - The North Village Residential Parking by Permit Only six month pilot project will begin on Monday, Feb. 11.
The project allows home owners and renters in the Ordinance 14-313 established area to apply for a special parking permit from the Columbia Public Works. The permit will allow parking along the street in designated locations. The Columbia Public Works said the applicants should bring proof of residency to the 3rd floor of City Hall at 701 E. Broadway.
There will be a time line of implementation beginning with the installation of meters on St. Joseph St. and St. James St. on Feb. 11.
On Feb. 11 and 12, there will be signs indicating the area where permit holders may park along St. Joseph St., St. James St., Hubbell Dr., and Ash St.
The enforcement of the week of Feb. 11 through Feb. 19 will consist of warnings. The full enforcement of permit and metered parking will begin on Feb. 20.
Find more information here.


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Thursday, April 30, 2015
The enigma of the Kalash
Last year Garrett Hellenthal et al. claimed that the Kalash people of the Hindu Kush received a large pulse of admixture from somewhere in the west, possibly Europe, as late as 327–326 BCE. They even suggested that Alexander's soldiers may have been the culprits. But this was naive and wrong.
Now, Qasim Ayub et al. are claiming that the Kalash are an Ancient North Eurasian (ANE) population that has remained genetically isolated for the past 11,800 years. This is also naive and wrong.
One day, perhaps in the not too distant future, someone will study the population history of the Hindu Kush using ancient DNA and methods that actually work. What I think they will find is that the Kalash, just like most of their neighbors, are largely the result of an admixture event during the Bronze Age between Indo-Iranian migrants from the steppe and Central Asian agriculturists. They will confirm that the Kalash are an extreme isolate, but only since the Bronze Age, not the early Neolithic.
These results will correlate very nicely with mainstream linguistics and archeology, latest expansion dates for uniparental markers, and even common sense.
Ayub et al., The Kalash Genetic Isolate: Ancient Divergence, Drift, and Selection, The American Journal of Human Genetics (2015), http://dx.doi.org/10.1016/j.ajhg.2015.03.012
See also...
The teal people: did they actually exist, and if so, who were they?
Tuesday, April 21, 2015
West Eurasian mtDNA lineages in India
It might be interesting to compare the modern-day Indian mtDNA from this paper to the the ancient European mtDNA from Haak et al. 2015. The data is freely available in the spreadsheet here. Anybody up for it?
There is no indication from the previous mtDNA studies that west Eurasian-specific subclades have evolved within India and played a role in the spread of languages and the origins of the caste system. To address these issues, we have screened 14,198 individuals (4208 from this study) and analyzed 112 mitogenomes (41 new sequences) to trace west Eurasian maternal ancestry. This has led to the identification of two autochthonous subhaplogroups-HV14a1 and U1a1a4, which are likely to have originated in the Dravidian-speaking populations approximately 10.5-17.9 thousand years ago (kya). The carriers of these maternal lineages might have settled in South India during the time of the spread of the Dravidian language. In addition to this, we have identified several subsets of autochthonous U7 lineages, including U7a1, U7a2b, U7a3, U7a6, U7a7, and U7c, which seem to have originated particularly in the higher-ranked caste populations in relatively recent times (2.6-8.0 kya with an average of 5.7 kya). These lineages have provided crucial clues to the differentiation of the caste system that has occurred during the recent past and possibly, this might have been influenced by the Indo-Aryan migration. The remaining west Eurasian lineages observed in the higher-ranked caste groups, like the Brahmins, were found to cluster with populations who possibly arrived from west Asia during more recent times.
Palanichamy et al., West Eurasian mtDNA lineages in India: an insight into the spread of the Dravidian language and the origins of the caste system, Human Genetics, 2015 Apr 2. [Epub ahead of print]
Friday, April 3, 2015
The teal people: did they actually exist, and if so, who were they?
The ADMIXTURE analysis in Haak et al. 2015 includes a series of intriguing teal colored components from K=16 to K=20 (see image here). The main reason I'm so intrigued by these components is because they generally make up over 40% of the genetic structure of the potentially Proto-Indo-European Yamnaya genomes.
But there's only so much one can learn by starring at a bar graph, so I thought I'd have a go at isolating the same signal with ADMIXTURE to study it in more detail. You can view the results of my experiment in the spreadsheet here.
I wasn't able to completely nail any one of the teal components from Haak et al., because I don't have access to all of the samples used in the paper (I'd have to sign a waiver to get them). Nevertheless, the signal looks basically the same.
Below is a bar graph based on the output featuring selected populations and ancient genomes from Europe and Asia. The Fst genetic distances between the nine components are available here.
Note that the teal component peaks in the Caucasus and the Hindu Kush, and generally shows a strong correlation with regions of relatively high MA1-related or Ancient North Eurasian (ANE) admixture. On the other hand, the orange component peaks among Early European Farmers (EEF), who basically lack ANE.
K8 model. As expected, the teal component harbors a high level of ANE, while the orange component lacks it altogether. Refer to the spreadsheet here.
It's very likely that the teal and orange components from Haak et al. share these traits. I think this is more than obvious by looking at their frequencies across space and time in Eurasia.
I also analyzed the synthetic individuals with PCA based on their K8 ancestry proportions. The samples representing the orange component fall just south of the Stuttgart genome from Neolithic Germany, and this is basically where I expect Neolithic genomes from the Near East to cluster when they become available.
Interestingly, the samples representing the blue component are dead ringers for Scandinavian hunter-gatherers (SHG). However, I suspect this is something of a coincidence caused by the small number of Western European hunter-gatherer (WHG) and Eastern hunter-gatherer (EHG) genomes in the dataset. The algorithm probably doesn't have enough variation to latch onto to create both WHG and EHG components, and in the end settles for something in between, which just happens to resemble SHG.
But the fact that the orange and blue samples more or less pass for ancient populations leaves open the possibility that the same might be said for the teal samples.
So did the teal people actually exist, and if so, who were they?
My view at the moment is that a population very similar to the teal samples formed in Central Asia or the North Caucasus during the Neolithic as result of admixture between MA1-like and Near Eastern groups. This population, I believe, then expanded into the Pontic-Caspian steppe by the onset of the Eneolithic.
Were they perhaps the Proto-Indo-Europeans? Probably not. I'd say they were Neolithic farmers who eventually played a role in the formation of the Proto-Indo-Europeans. In any case, someone had to bring the Caucasian or Central Asian admixture to the steppe, and I have it on good authority that it was already present among the Khvalynsk population of the Eneolithic, albeit at a lower level than among the Yamnaya of the early Bronze Age.
Haak et al., Massive migration from the steppe was a source for Indo-European languages in Europe, Nature, Advance online publication, doi:10.1038/nature14317
Update 16/11/2015: 'Fourth strand' of European ancestry originated with (Caucasus) hunter-gatherers isolated by Ice Age
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How to Record Customer Payments in Quicken 2012
When you are working with customers and using Quicken 2012, you'll need to be able to record payments made by customers as well as send and record invoices. To record a customer payment, follow these steps:
Choose the Receive Customer Payment command.
Display the Business tab, click the Business Actions button, and choose the Invoices And Estimates→Receive Customer Payment command. Quicken displays the Payment window.
Select the customer.
Open the Customer box and select the customer for whom you want to record a payment. After you select the customer and move to the next box, Quicken displays a list of any unpaid invoices the customer owes.
Describe the payment.
You should enter the payment amount into the Amount box.
You should probably also record the payment date using the Date box and the customer's check number using the Check Number box.
Select the bank account into which you'll deposit the check.
This is easy. Open the Deposit To drop-down list box and select the bank account.
Identify the open invoices the customer is paying.
Quicken attempts to guess at which unpaid invoices the customer is paying, marking the invoices with a check. Often Quicken guesses correctly, but verify that the correct invoice shows a check mark. You can mark and unmark invoices by clicking the check mark.
If a payment pays partial amounts of unpaid invoices, you can click the Payment column in the Outstanding Invoices list and then edit the amount.
Record the payment.
After you describe the payment and apply it to the correct open invoices, click the Enter button. Quicken records the payment and updates the invoice open balance(s).


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Swarovski Harley Pierced Earrings Set
Glow with elegance with this set of two pairs of pierced earrings. One set comes with a pair of glittering Jet Hematite crystal stud earrings in a bezel setting and a pair in clear crystal. Both pairs are feminine and bold, with a gentle sheen that won't go unnoticed.


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Living Swell
Marblehead, MA
About The Shop
Located in historic, seaside Marblehead, Living Swell is a boutique that showcases beautifully curated collection of artisan-made goods celebrating the easy elegance of living by the sea, sourced locally and from around the world. Our always changing array of original art and photography will inspire you.
Consult with our design team and let us create a one of a kind interior for you. We are a full service interior design firm offering project management, space planning custom window treatments, color consultation, furniture upholstery and procurement.
Come.....Be inspired, shop, create and enjoy


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In this season o' plenty, with Thanksgiving behind us and Christmas feasting ahead, reporter George Raine's story in a recent issue of Catholic San Francisco, the archdiocesan newspaper, gives a perspective on those trying to subsist on food stamps. He interviewed a U.S. representative from the Bay Area about the week she and other lawmakers spent living on the $4.50 daily allowance for food stamp recipients.
Rep. Jackie Speier, who represents California's 12th District in Congress, told Raine the experience was "humbling and difficult." She joined other House Democrats in a "Food Stamp Challenge" the first week of November to call attention to the program facing possible budget cuts in Congress.


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(Silver Spring, Md.) � Science Channel and Popular Science magazine announced today the addition of author, comedian, writer and pundit Baratunde Thurston as host of the new television series POPULAR SCIENCE'S FUTURE OF. Through in-depth interviews with creative inventors, unconventional scientists and talented entrepreneurs, as well as hands-on experience with their astonishing prototypes, Thurston will guide viewers five, ten, 15 or 25 years into the future with a rare glimpse at how the technological breakthroughs of today are destined to reshape our lives tomorrow. A joint venture between Science Channel and Popular Science magazine, the 10-part series will world premiere on Science Channel and Science Channel HD in August 2009.
Baratunde Thurston is a comedian and vigilante pundit who lives at the intersection of comedy, technology and politics. Currently, Thurston serves as the web editor for The Onion, but also writes for The Huffington Post and his own website baratunde.com. He is also the co-founder of Jack & Jill Politics, one of the top 10 black blogs. He has authored three books, including "Keep Jerry Falwell Away From My Oreo Cookies", was nominated for the Bill Hicks Award for Thought Provoking Comedy, declared a Champion of the First Amendment by Iowa State University, and called "someone I need to know" by Barack Obama.
His geek credentials are unassailable. Baratunde graduated Harvard University with a degree in Philosophy and spent eight years offering strategic advice to Fortune 100 companies on the future of communications and media. Comedy Central hired him to tweet the inauguration, and Mashable called him "ever-hilarious" and featured him on its best of NYC social media list.
"We feel this extraordinary venture with Popular Science requires a host with a unique ability to make the technology of tomorrow tangible for our audience today," said Debbie Myers, Science Channel general manager and executive vice president of Discovery Emerging Networks. "Baratunde speaks the language of tech. He has his finger on the pulse, is smart, engaging, personable, inquisitive and is an expert on what's next."
"I'm a big fan of Baratunde's," says Mark Jannot, editor-in-chief of Popular Science. "At Popular Science, we try to make technology and science as accessible and exciting as possible. Baratunde's combination of humor, empathy, enthusiasm, and smarts makes him an ideal host to translate PopSci from the page to the screen."
Baratunde's stage presence has earned him emcee duties at the National Conference for Media Reform, Netroots Nation and South by Southwest. He has been featured in various media outlets including National Public Radio, the BBC, CNN, The Boston Globe, MSNBC, ABC News, The UK Independent, The New York Times, C-SPAN and ComedyCentral.com.
Baratunde speaks at colleges and conferences around the country and performs regularly in New York City, where he lives.
Each episode of POPULAR SCIENCE'S FUTURE OF will examine one important aspect of human life, uncovering breakthrough research, introducing maverick scientists and exploring the genius prototypes that show how our lives will evolve. The single topic in each episode allows for a deep exploration of how each of these subjects will fundamentally change within our lifetimes. From "The Future of Play," learn how we'll spend our leisure time in the future, from video games that pack a real "punch" to city-wide experiential games for thousands. In "The Future of War," soldiers wear exoskeletons that increase their strength and endurance or communicate telepathically using special helmets. In "The Future of Sex," mates are selected using compatible genome mapping, babies are designed to reduce the likelihood of diseases and a high-tech MRI scanner can prove that you love your spouse. Additional episodes planned include Security, Pleasure and Superhuman.v
POPULAR SCIENCE'S FUTURE OF is produced by The Incubator. For The Incubator, Simon Andreae and James Younger are executive producers. For Science Channel, Christo Doyle is executive producer.
About Popular Science
Founded in 1872, Popular Science (www.popsci.com) is the world's largest science and technology magazine, with a circulation of 1.3 million and 7.1 million readers. Each month, Popular Science delivers "The Future Now," reporting on the intersection of science and everyday life with an eye toward what's new and why it matters. Our readers believe that the future is going to be better, and Popular Science gives them the tools and information to improve their technology and their world. Nominated for the 2009 and winner of the 2004 National Magazine Award for General Excellence, Popular Science is published by the Bonnier Corporation. The Bonnier Corporation (www.bonniercorp.com) is one of the largest consumer-publishing groups in America and the leading media company serving passionate, highly engaged audiences through more than 40 special-interest magazines and related Web properties; television, cable, radio, VOD and mobile content; live events; and branded products.
About Science Channel
Science Channel is broadcast 24 hours a day and seven days a week to more than 56 million U.S. homes and simulcast on Science Channel HD. We immerse viewers in the incredible possibilities of science, from string theory and futuristic cities to accidental discoveries and outrageous inventions. We take things apart, peer inside and put things together in new and unexpected ways. We celebrate the trials, errors and brinking moments that change our lives forever. To find out more go to www.sciencechannel.com.
About Discovery Communications
Discovery Communications (Nasdaq: DISCA, DISCB, DISCK) is the world's number one nonfiction media company reaching more than 1.5 billion cumulative subscribers in over 170 countries. Discovery empowers people to explore their world and satisfy their curiosity through 100-plus worldwide networks, led by Discovery Channel, TLC, Animal Planet, Science Channel, Planet Green, Investigation Discovery and HD Theater, as well as leading consumer and educational products and services, and a diversified portfolio of digital media services including HowStuffWorks.com. For more information, please visit www.discoverycommunications.com.


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Real Racing 3 (Worldwide Release) Review
- Publisher: Electronic Arts
- Genre: Action
- Released: 28 Feb, 2013
- Size: 52.7 MB
- Price: FREE!
- Control options in all the flavors you could ever need; from Arcade-like simplicity, to Sim-like complexity and a good range in-between.
- Smooth, detailed graphics makes immersion easy.
- 46 cars and 961 events to compete in; you'll be busy for days, weeks, months.
- IAP model drives a wedge between the player and the content; designed to cut the player off no matter what they do - even if they are a paying customer.
- 'Time Shifted Multiplayer' opponents not normalized enough to ensure smooth progression; players can be robbed of podium spots (or of a satisfying victory) due to over or under geared opponents.
Real Racing 3 is a true 'Jekyll and Hyde' - one moment you're lost in the majesty of throbbing engines, squealing tyres and exhaust fumes as you tear your way around a track... and the next you're staring at a ticking timer, waiting for a chance to get back in to that dream-like head-space and delay the inevitable wait for a moment longer.
- Full Review
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Editor's Note: As of the 28th of February the game is live across the world. Updates to the game have resolved minor bugs, however most importantly at the time of this writing 'repairs' no longer take time to complete. You'll still be considerably out of pocket, but it will put you back on the road sooner after taking unavoidable damage (such as from a TSM-controlled AI driver). Despite this the core problem afflicting RR3's playability remains in-tact; the game is devoid of meaningful progression. Not once is the player treated as though they're on a journey wherein their skills are tested and must improve to move on. Instead you either win, or you lose and even when you lose you're still afforded the chance to move on - it's a hollow victory no matter how you look at it. If all you want from a racer is a series of beautiful real-life track replicas and vehicles to race in, then you can't beat RR3's free pricetag, but ultimately it's as fulfilling as pushing matchbox cars around a felt floor-mat.
With the rise of - and burgeoning prevalence of - newer, more insidious IAP payment models, I feel this review should come with a strong disclaimer.
If you love racing for the sake of racing; if fine tuning lap times in gorgeously crafted replicas of famous tracks, in gorgeously crafted replicas of famous vehicles is your 'thing', then Real Racing 3 is the bargain of a lifetime. For absolutely no entry fee you can enjoy everything the game has to offer as long as you're willing to suffer the 'cost' of waiting for the game to once again give you control.
Beating at the heart of Real Racing 3 is the fire-baptized, fuel-powered, engine-throbbing heart of a magnificently presented racing simulator. Difficulty scaling ranges all the way from casual, almost 'Arcade' like handling, to tough-as-nails simulation where every control you need is placed at your fingertips. While true multiplayer is currently (and understandably) absent from the game, the AI is directly influenced by your friends on Gamecenter and Facebook (as well as a smattering of other random players).
Dubbed 'Time Shifted Multiplayer', the end result is an always changing, always unique race experience. However, it has its downsides; notably you have no real control over who you're paired with and while you'll often find yourself amongst the company of peers, you'll occasionally be thrown up against seriously under-geared or worst of all, over-geared opponents, destroying the flow of progression entirely.
However, I've danced around the issue for too long. While the heart of RR3 may be that of a thoroughbred racer, it's surrounded by an all but impenetrable IAP system designed to exact payment from the player over and over again. Much like a 'Freemium' title, almost every ancillary action you take requires a combination of basic in-game currency and either time or 'gold', the game's 'premium' currency.
Just purchased a car? You'll have to wait for that to be 'shipped'. Need to juice up your car to keep up with the competition? You'll pay and wait for that too. So far, so normal, but the rabbit-hole goes deeper.
Damage you sustain to your vehicle in a race is considered persistent and will carry on between races. The damage directly affects the performance of your vehicle, so you'll want to fix it as soon as possible... only you'll have to pay, and yes, wait for the damage to be reversed. Oh, did I mention that repairs are carried out sequentially and not in parallel? For every piece you repair, the repair time total is increased.
... But wait, there's more.
All of this could be forgiven if the cash-flow was enough to support smooth progression. Sadly, the anemic rewards make it hard to keep a single vehicle at a competitive level, let alone the running costs of repairing said vehicle as well. It doesn't stop at maintenance either. Vehicles must be bought to participate in 'Showcase' matches (if you don't already own them), and simply using your vehicle will eventually require top ups on engine oil, replacement brakes/tires and so on.
As mentioned in the disclaimer, you can forgive all of this if you're patient, but the fact remains that even those who choose to cough up the cash will be nickle-and-dimed in to spending their premium currency until they're back to square one. It's no wonder full multiplayer features had to be left off the table - as it is having your face melted by a 'TSM' boosted AI from a player who has paid their way to a better vehicle can cheat you out of a podium position; to have to play against a 'pay to win' player in real time would be crushing.
There's a pervasive sense of being able to look, but not touch. This is a game that says 'wouldn't it be great to enjoy all of this?' and then makes you wait, albeit a nominal time, but wait none-the-less. You could spend all day racing at lower tiers and attempt to avoid collisions, but you'd still be forced to 'maintain' the vehicle at some point, cutting you off from the gameplay. You could race another vehicle, but you'll only burn through your resources twice as fast, once again cutting yourself off from the flow of progression.
Despite the brilliantly implemented controls that provide an almost visceral level of feedback; despite the sharp, industry leading graphical technology that has to be seen on the best iOS devices to truly believe them; despite the incredibly engaging 'Time Shifted Multiplayer' concept making the AI feel better than ever; all of this is undercut by a need to force the player to stop playing and open their wallet.
Ultimately the IAP model drives a wedge between the player and the game on offer. If Real Racing 3 has anything to offer, it's a kind of martyrdom. For a game considered to be one of the major releases of the year to fall so low shows just how toxic this kind of game implementation has become.
DescriptionOver 200 cars. 18 real-world locations. The definitive racing experience.
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Real Racing 3 is the award-winning franchise that sets a new standard for mobile racing games.
This app offers in-app purchases. You may disable in-app purchasing using your device settings.
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Over 400 Million Downloads!
Real Racing 3 features officially licensed tracks with 40 circuits at 18 real-world locations, a 43-car grid and over 200 meticulously detailed cars from manufacturers like Ferrari, Porsche, Bugatti, Chevrolet, Lamborghini and Audi. Plus Real-Time Multiplayer, Social Leaderboards, Time Trials, night racing, and innovative Time Shifted Multiplayer™ (TSM) technology, allowing you to race anyone, anytime, anywhere.
**This is a resource-intensive game featuring extremely high-quality visuals. Please make sure you have at least 2.5GB of free space on your device.**
"Feels a full generation ahead of the competition" (IGN, 9.1/10, Editors' Choice)
"A stunning visual masterpiece on mobile" (Touch Arcade)
"Sets the new standard on mobile for racing games" (Pocket Gamer, 9/10, Gold Award)
Take the wheel of over 200 vehicles from manufacturers like Ford, Aston Martin, McLaren, Koenigsegg and Pagani.
Burn rubber on 18 real tracks in multiple configurations from top worldwide locations, including Silverstone, Hockenheimring, Le Mans, Dubai Autodrome and many more.
Take on friends and rivals in global 8-player, cross-platform, real-time racing. Or drop into any race to challenge their AI-controlled versions in Time-Shifted Multiplayer™.
Compete in over 4,000 events, including Cup races, Eliminations and Endurance challenges. View the action from multiple camera angles and fine-tune the HUD and controls to your preference.
Powered by the remarkable Mint™ 3 Engine, Real Racing 3 features detailed car damage, fully functional rearview mirrors, and dynamic reflections for truly HD racing.
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What's New in Version 7.5.0Five fantastic Ferraris fly into Real Racing 3 in this red-hot update where you can:
•Show the competition what you're made of by earning Ferrari's beautiful F8 Tributo in an all-new Track Day special event
•Race the iconic Ferrari 250 GTO and incredible Ferrari F40 LM in the Endurance GT 1962 & 1989 Motor Sport Seasons
•Earn the Ferrari 360 Modena, Ferrari 250 GTO, Ferrari 500 TRC, Ferrari F40 LM and the Lamborghini Aventador LP 700-4 five Limited Time Series
•Fully upgrade your Porsche 911 GT2 RS Clubsport and the McLaren 650S GT3 to unlock new Exclusive Series
Plus, check out Real Racing TV for new episodes of Real Cars With Dario Franchitti, Game Team and Real Racing Challenges. Pull up to the starting line and start racing!
AppSpy usually gives great reviews, but they've bombed this one. I've been playing RR3 for hours now and I'm hooked. The pay+repair+wait system works and does one thing: IT MAKES YOU USE ALL YOUR CARS. So there IS a sense of satisfaction when you've pushed each of your rides to the limit. And when you do -- by that time you'll have made enough for a new ride. That's how it's working for me.
I made my own review over here (http://theanimaster.deviantart.com/art/Don-t-diss-Real-Racing-3-just-yet-357460151) , explaining how to make sense of what RR3 is all about. You just need to play it... and quit thinking about getting THE best car -- focus on the game!
I'm glad you're getting a personal level of satisfaction out of the game, but my point has never been about longevity of play. Rather it is the way the timed aspects act as a non-player derived break in the gameplay, and the utter lack of distinction between victory and defeat in the racing of the game - you progress regardless of whether you're paired with over or under equipped opponents, and your position is rarely tied to skill; out gear them and your odds are improved.
I respect people's enjoyment of the game, especially as it's a high quality product being offered for free, however there's no reason to lower the standard of what's acceptable or what we define as a game just because it had a large development budget.
Now as to your review I might point out a few fallacies you're perpetuating:
1) 'Start slow and learn', 'Drivers level up', 'Fastest isn't always great' - there's literally no incentive to play slowly other than to prevent spending more cash on repairs or new vehicles. This is due to the TSM system that pairs you with opponents of your level (the game doesn't get harder, it just matches you with people it considers your 'relative' peer) resulting in vehicles that wildly range in power. You wonder why the faster vehicles are so fast/skilled? They're not, they're just packing more heat than you; you never had a chance from the moment you loaded the level.
2) 'cars don't go in all events' - this could have been a blessing if not for the curse that is the 'show' races where you're forced to eventually fork out for all four cars. It _could_ have just been a level where you get to experience the feel of a different vehicle, thereby tempting you to purchase it over the one you currently use, but they don't - you have no choice. Get everything or don't complete the challenges on offer.
3) 'What's missing' - replays would be nice, but you know what would be even better? AI and the restoration of player driven choices. You lamented that RR2 allowed players to save and purchase new cars instead of upgrading them, but they didn't have to - upgrading was still an option and allowed you to leapfrog vehicles while remaining on-par with those you were racing against. Finely tuning how powerful each vehicle is in each race meant you had to work for your victory if you only just met the minimum requirements or had the option to wait it out and upgrade to lower the challenge - it was consistent and so your victories meant something... you either had to improve as a driver or earn that upgrade to make headway. Once the single-player aspects are locked down, the rest can fall in to place. Replays are nice to show off, but until they have meaning attached to them beyond 'hey, I got lucky in this one race, let me show you!' then they serve no real purpose.
For a game that had years of development and demonstrated a far deeper and complex social system during that development, the end result looks and feels like an amateur's attempt at recreating a masterpiece. You can still enjoy what's on offer, but there's a vast empty distance between the game that is and the game it could still easily be.
This is, indeed, a review that doesn't just praise the game entirely just because of the graphics or worse, its legacy and fanbase. Instead, it just nailed the words on explaining the game and IAP mechanics. Meanwhile, I even saw articles trying to explain why the freemium model used in RR3 was fair. Really?
I am a huge fan of Real Racing 2 and having played Real Racing 3 was a disappointment until now, exactly as shown by appspy. Keep up with the spot-on reviews guys!
PS: Have you seen that EA tweaked the waiting times today? before, repairing a single part took around 1:15 min, now it takes around 20s; oil changing went from 15 min to 5 min, engines went from 3h to 1h. Although not ideal, this is already a change WE, AS PLAYERS, DEMANDED! KEEP PUSHING GUYS!
ahhh I can't wait for the industry to shift back to using the preemium model instead of the freemium. I think it'll take a while for most consumers to first be aware of the freemium model, then to understand it, and finally to prefer spending an initial amount of money for an entire game, instead of paying little by little for a game to trickle down its content and access to gameplay. But I think it'll take a while. I'd rather pay 5$ for this game...maybe even 10$, then be stuck with having to pay for everything in game.
aaaand I know how to play without waiting ;-) http://youtu.be/wYu1ryYmDgs
Cheers xavier - this 'cheat' at least makes it tolerable for the moment. Makes you realize how much better this will be if be if they just delete these pointless wait times and just charge a once off fee for the game.
Oh for goodness sake! Admin please rectify this for me! :)
This is just so devastating. On the one hand when a brilliant little sim for mobile devices which on the other hand has been neutered by the IAP system. What were they thinking?!?!?! ....that gamers would be saying 'how cool is this - it's so realistic that I have to wait an hour while they change the engine, awesome!!!" We can only hope that this 'soft' release was to gauge the community reaction and that they will drastically modify it by the full release. This still could be GOTY as the core sim is brilliant. Just fix it! :)
So disappointing! I'm a huge sim racing fan, so I was really looking forward to this release. IAP and DLC are really wearing me out as a gamer!!
And it is without appletv support!! It is just mirroring on airplay! http://youtu.be/QAReiSzqdCo
Thanks Andrew for telling the truth and not rating it a 5, "just because it's RR3"
I really wanted to like it, despite the Freemium aspect but sadly it's a total FAIL in my book.
Wait times are ridiculous and spending real money will only get you so far until you have to pay again ... with no end in sight!
What have they done to THE anticipated release of 2013???


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When Will Leitch started Deadspin, his guiding principal—beyond a belief that he could get the whole world to refer to the Arizona Cardinals as the Buzzsaw—was that sports, in the grand scheme of things, aren't that important. Yes, there's lots of money spent on them, and when your team wins the World Series it's the greatest thing ever, but as opposed to the tough stuff—death, love, war—they're the fun diversion that makes the rest of life bearable. Of course, what Will quickly discovered is that writing about sports means confronting all the real-world unpleasantness we'd rather forget: mortality, greed, dishonesty, homophobia, sexism, you name it.
One of Deadspin's best (and most deserving) targets is ESPN, which is the worldwide leader in sports largely by default. They're the biggest, but they're not the best—they're horrible for thousands of reasons that are illuminated on this site every single day. But one of the things they have done right of late is "30 for 30," their series of 30 documentaries that have covered the memorable figures and events in sports from the last 30 years. Thoughtful in a way so much of their programming isn't, these films have managed to do what ESPN often struggles to do: take sports out of their day-to-day minutiae and examine them with insight and a sense of perspective and history.
"Volume 2" of the series starts next month, and the one film I've seen so far, 9.79* (which premieres Oct. 9), follows the "30 for 30" formula so steadfastly you'd assume it would be awfully predictable. But director Daniel Gordon's film about the 1988 Summer Olympics' 100-meter final—the one in which Canadian sprinter Ben Johnson broke the world record and was then busted for doping—played me like a drum. You know how it's all going to end up, and you even know the techniques Gordon will use to stir your emotions. Damn thing works anyway.
I haven't seen all of the first volume of "30 for 30"—you probably haven't either—but we all know how the typical installment in this series works. It tends to be directed by a filmmaker of some reputation (Barry Levinson, Albert Maysles, Ice Cube) who has a personal connection to the story being told. (For example, Mike Tollin's lighthearted USFL documentary was inspired by his time working with the short-lived football league.) The films tend to consist of breezy talking-head interviews filled with impressive names that are intercut with SportsCenter coverage from the period. (Depending on how much the subject matter means to him, the filmmaker will also sometimes insert himself into the material.) The documentaries are delivered in slick, entertaining fashion, hiding deeper societal questions—Do we value success over scruples? What drives the greatest players?—underneath a fun, flashy surface. And they usually wrap up with a sweeping, simplistic "Here's the big moral of the story" ending that you can skip if you've been paying attention up to that point. (It's the weak link of these films but, honestly, a lot of theatrical documentaries do the same thing.)
Since that first volume, ESPN Films has made more documentaries, like the excellent The Fab Five, but they've continued to follow that basic pattern. As with any collection of anything, you've got your great "30 for 30" films and your so-so ones—and not everyone may agree on which ones are which. For my money, The U, Without Bias, Guru of Go, The Best That Never Was, and Pony Excess are installments that I could watch over and over again. They appeal to my nostalgia for the events depicted—whether they're sad or happy memories, I remember them all quite intensely—and the uncluttered nature of the storytelling makes them addictive.
But some of the very best "30 for 30s" have gone against the formula. Director Brett Morgen's June 17, 1994 brilliantly retold the story of O.J. Simpson's infamous Ford Bronco freeway dash by using nothing but footage from that day, combined with noteworthy sporting events that were happening simultaneously. Without voiceover or interviews, June 17, 1994 unfolds like a thriller, presenting the day's events hour by hour as if it's all happening right now, and the result is a film that's incredibly tense—while at the same time suggesting that Simpson's ordeal was but one thing happening in the world on that unforgettable Friday in June. Also against the grain is No Crossover: The Trial of Allen Iverson, which was directed by Steve James, one of the men behind Hoop Dreams. No Crossover looks back at the 1993 trial of the then-high schooler, and James (who grew up in the same Virginia community as Iverson) examines how the court case became a powder keg for the racially and economically divided town. A portrait of a city more than it is of Iverson, No Crossover is an incredibly touching, powerful film that uses a sports celebrity's trial as a microcosm for so many factors tearing up America.
9.79* isn't on the level of the very best of "30 for 30s," but it's a good example of why I'm happy the series is back. Gordon takes a backseat to his subjects, the eight men who competed in the 1988 Summer Olympics 100-meter dash. Of course, the main attractions are two runners in particular—athletes who are perfect contrasts in temperament. On one side, you've got Carl Lewis, the brash, motor-mouthed American champion. On the other, there's Johnson, a soft-spoken Canadian who was born in Jamaica and was determined to beat Lewis, if for no other reason than to have the pleasure of shutting him up. Sports reporting tends to play up rivalries and good guy/bad guy narratives, so it's natural that "30 for 30" would do the same thing, and 9.79*'s face-off between Lewis and Johnson is handled beautifully, showing the pivotal races before the '88 battle in Seoul that added such drama to the eventual Olympics showdown. You know how it all plays out, but Gordon's scene-setting—which allows all eight men to explain their mindset approaching the event—is nonetheless riveting, tapping into the visceral thrill of competition and exploring the alchemy of athletic greatness.
If it were just about chronicling winners and losers and telling old stories, "30 for 30" would be fine but not nearly as rewarding as it's proved to be. No, 9.79* (like this series in general) also gets at something deeper: that mysterious hold that sports have on us. They're just games, but, really, they do contain the whole world in them. People who don't "get" sports complain that they're just escapist nonsense. Anybody who cares about them knows better: Sports are another way to think about the issues that make us human. ESPN's endless har-har-har, whoop-whoop-whoop misses that. The films of "30 for 30" understand that to their core.
Grierson & Leitch is a regular column about the movies. Follow us on Twitter, @griersonleitch.


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1986 Wiggle Wiggle Thread Emerald Green & Gold
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I'm looking for a new pair of headphones that I can use for mixing. I would prefer wireless, I know BT4 and AptX exist, which is how I know that Bluetooth headphones can sound just as good as wired, but the problem is always the price, though have not found any yet.
Velour pads
Open back (for mixing, not recording)
A2DP AptX
It's so difficult to find any, I suppose this website isn't the best place to ask, but I'm not in a hurry..
Hmmm. If you can live with a wire, I would actually recommend Sony MDR-7506 or 7509 headphones. Those are among the most-used headsets on the planet for mixing. For myself, one day while headphone shopping I tested out near 50 pairs of headphones. I went with the 7506 and that's been my headphones of choice ever since.
Edit: Yep, before purchasing my current headphones called Skullcandy Crushers, my critera was 'feel like you're in a movie theater'. These really delivered, I tried out at least 50 headphones at the store, and not even the 4x-5x priced headphones came close to the bass of these. Not surprising considering they need a battery even when wired, because they have a driver specifically to shake the ear cups, it's great.
After using pleather for so long, I really want velour, unless there's something I don't know about? There's so little information about the pads compared to the headphones out there..
I'm seriously considering buying a pair of headphones which has got a removable cable, so that I can make them Bluetooth myself.
There's no information about the specifics for my own needs out there, they just review the headphones and move on.
Here are the headphones that I'm limited to in Sweden: http://www.prisjakt.nu/kategori.php?b=s278054457&o=produkt_pris_inkmoms
Problem is, I know there are a heck of a lot more headphones out there, and there must be one that meets my criteria.. As soon as I add "open-back" to the list, the engine finds no match. I'm really stuck here, same goes for "removable cable".
Searching for words just as tags on Amazon, finds basically nothing, I'm not looking for velour slippers. :P
Well the rule is never use wireless headphones for mixing or even recording because of latency issues. Even the best wireless headphones in the world are still going to have some latency and it can cause you a lot of problems trying to use a set for mixing.
For closed back Triem23 already hit the Sony offerings so I'll add Sennheiser HD 280's and if you have more money than sense, Shure SRH 1540's. They're great just too expensive in my opinion.
For open back AKG K701's are great and would be my recommendation if Sennheiser didn't exist but they do so my first choice would be HD 650's followed by HD 600's and if price weren't a problem HD 800's.
For somebody that wants a good pair for both recording and mixing, go for AKG K240's and save a lot of cash.
@Aladdin4d I'm owned some Seinie's, and a couple of the models you've mentioned would be my recommendations right behind the Sonys. Personally, I perceive the Sonys as being a tad brighter than the Seinheisers. Both companies have some great cans.
Kevin one thing to think about is what the headphones are for. Skullcrushers are pretty sweet from all I've heard, but looking at the frequency response curvesthey are made to be bass heavy. There's a massive spike around 80Hz and they start rolling off high-end frequencies at 11khz (Ideally you want as flat a curve as you can get from 18Hz to 20 or 22khz). I'd be nervous about mixing on those.
For mixing and mastering the goal is to get headphones with a flat frequency response. You want to get your audio sounding good without any kind of coloration going on. Things like Skullcrushers or (god help those dumb enough to buy them) Beats Audio are absolutely wrong for mixing. These headphones are designed to perceptually sound good by boosting bass (and treble for beats), but that's basically applying an EQ right at your ear making it hard to accurately judge your mix.
Sony and Seinheisers are both solid, but you're looking for headphones labeled as Studio Monitors. These should be designed for the flat (ACCURATE) response needed for mixing, instead of the colored sound aimed at consumers.
Yeah I know they're awful for this task. Skullcrushers are different than Crushers though.
I'm curious why you guys seem to have no problem with the type of ear pads?
Vinyl has never bothered me. Besides, one can also buy some third-party earcups for many brands (Usually about $10-$20), so I wouldn't make the earcup material a primary concern. But you could check online for third party velour replacements.
I actually have some replacement fabric cups on on of my sets of headphones. http://www.bhphotovideo.com/bnh/controller/home?O=&sku=886945&gclid=CPyYnpGD_M0CFYVqfgodvPgFCw&is=REG&ap=y&m=Y&c3api=1876,92051677562,&Q=&A=details
That said, I don't really find a major comfort difference. I mean, yeah, the velour are a bit softer, but, I guess when I'm "in the groove," I just don't notice what I'm wearing? Also, I'm old. I've probably used Sony MDR 7506s longer than you've been alive, so I'm just used to it by now. It still come down to every time I try other headphones I go back to my Sonys.
I kid you not... I use Turtle Beaches with the bass boost turned off and they are the best headphones I've used for audio hahaha.
I don't think they are open back sadly...
Also http://www.techbargains.com/category/376/electronics/audio-components is the main site I go to when I am looking for a deal on something. The link will take you straight to the Audio Components page
@Triem23 If you hadn't mentioned the Sony's I would have. Full disclosure - I have HD 280's and 650's and worked for a Sennheiser dealer for 12 years so I'm probably biased........
I'm curious why you guys seem to have no problem with the type of ear pads?
Personally I prefer the pleather type because when you get wrapped up in a really long session and your ears sweat (trust me they will) velour pads will soak it up. Come back after a lunch break and put them on, velour pads just feel ....well......disgusting. Pleather pads can be more or less wiped clean.
Replacement pads are cheap and when it comes to good cans the sizes aren't radically different between brands so you can usually get by with pads from a different brand. Some places like scansound.com even make generic replacement pads, Another option is just get a second set of pads and recover them yourself.
@TriflixFilms One thing here, with headphones for mixing we're ideally looking for "Flat" not "sounds good." A bit counter-intuitve, I know, but...
I've not used the Turtle Beaches, but checking specs and response curves online those things have a very high distortion ratio and a frequency response curve that's all over the place. They're not "flat" at all, but have a lot of "color." They might be great sounding headphones, but I'd still be wary about mixing on them.
@Aladdin4d We're all biased in out own way. ;-) Seinie's are some great damn headphones. I prefer the Sonys.
Since I keep talking Frequency Curves, it should be noted that nothing is actually "flat" all the way across. The aformentioned Sony 7506's have a swell around 10khz the Seinie's don't have. This makes the 7506's bright, and it's great in a live mix situation for isolating channel hiss and having vocals cut through ambient noise, but it's not quite as accurate as the Seinnie's. Of course I've used 7506's so long and mixed on them so much my ears and brain already know how to adjust for what sounds perfect on the 7506's to what's "accurate."
The best advice I have is to really hit up any local music stores around and try to listen to anything they have.
@TriFlixFilms Of the headphones listed on that link the Samson SR950's are an outstanding bang for the buck option!
I didn't mention them before but Beyerdynamic makes great cans too and $130 for the the DT 990's is a really good deal.
I just hope he can get them in his country but yeah, I love Tech Bargains!
I waited for a long time and I just placed an order on the Sennheiser HD 558. I got them for half price (150 euro to 75 euro)so that sealed the deal. They should arrive on Monday.
Good set of cans--you'll be very happy. Sony MDR-750x series are my favorite studio monitoring headphones, but the Sennheiser HD 5xx series are my second favorite. The Sennheisers are about the most comfortable I've ever worn.
MDR 7506 or 7509. Not the 750! Too small an earcup!
Kevin, I'm pretty sure you'll be happy with the purchase. They're accurate headphones with a nice wide stereo image, and comfortable earcup. The only limitation is they bleed outside noise and are quiet. These aren't field headphones!
Just a small comment. I hope you are aware that mixing with headphones is generally avoided. Headphones can be great for finding critical spectral info but are deceiving in spatial dimension. There are VST plugins that can be used to compensate but it is just easier to mix with monitors. Monitors also give you a boring flat profile and steady bass rolloff so that folks that are mixing get approximately the same freqency response despite brands. (this is only true in a general sense). All this talk about bass boost is exactly what you want to avoid while mixing.
The HD 558 have like 1% of the bass my current headphones has, which have the strongest bass on the market, so is gonna be very different for sure.
100% confident in saying that people make this a too big of a deal, just by reading comments from different forums, they're actually insane and need help.
All I see are rude comments basically if you dont get the perfect headphones everything you create will sound like garbage, that's my impression of the audio community.
Everything I've read about mixing music, which is quite a bit, is in line with what @dancerchris mentions. Headphones are good as a tool for occasionally checking your mix, but actual mixing should be done using monitors. Good headphones are still an important tool to have, though.
Are you planning to use them for mixing music, or soundtrack?
Hi @AxelWilkinson Yes but remember that there's a difference between what a beginner can even achieve even if he's got the best tools for the job.
I'm going to be mixing sound effects for videos I make, I don't think people assumed it was for music but isn't it basically the same? I have never mixed music before, just sound effects.
By the way I don't want anyone to be upset, I may come off as rude, and it's definitely not my intention.
@KevinTheFilmmaker I'm with Triem23 and think you'll be very pleased. As far as mixing music goes the real prejudice against mixing with headphones is focused on closed cans, Good open back cans like yours can actually be very good for mixing and most of the guys I know use both open back cans and monitors to finish a mix.
Reality is also sometimes one doesn't HAVE the option of "proper monitoring." A student, hobbyist, no-budget indy might not have a room to properly deaden with foam and space to properly space out speakers. If you can't control your mixing room properly, then, yeah, you're better off with good headphone monitors (good, like the Sennheisers you got, not those bass heavy gamer headsets).
If you have to mix in the field, or even to monitor on-set good closed ear monitors are a must. Earbuds don't cut it--I worked a film once where production audio monitored on cheap earbuds. 100% of production audio was useless because of the 60hz line hum no one could here. Original audio editor quit after having to ADR and sync everything. This left me to swoop in and do ambience, foley, SFX and music... The fun stuff. (It really was a blast micing chairs and sitting, shifting my weight with the character, and micing a tabletop for moving, hands bottles, the gun, etc. I consider it my best audio mix ever because no one picked up that it was 100% post sound. It just sounded like really clean production audio.)
From the looks of it, current mixing people or enthusiasts or wannabes all make sure that you can't get into mixing if you don't have a perfect pair of headphones. This is bad and yeah I can't have proper sounding speakers even if I bought them, but I'm going to get some good frequency with the new headphones so at least there's that. Mind boggling how rude people can be though.
Mixing for both music and film is best done with monitors in order to achieve correct spatial imaging, i.e. where the sound is in 3D space. You cannot get that with headphones regardless of whether or not they are closed or open back. You don't need perfect, you need correct spacing. IMHO a cheap pair of monitors is FAR better than an expensive pair of headphones. Even very expensive studio monitors are less than desirable for normal music listening. If you insist on headphones you may want to invest in a "Virtual Room" software. Waves NX is an example. You would throw this on your master audio bus. There are other cheaper ones out there but NX does 5.1.
What about acoustic treatment? The reverb in my room is insane, and there's nothing I'll be able to do about that.
I understand that the ideal setup would be like 5 different speaker systems, car speaker, phone speaker, TV speaker, closed back headphones, open headphones would be ideal, but not in a position to even start thinking about it.
Actually acoustic treatment is pretty easily done with some cloth covered Dow Corning 703 or 705 (far better than much more expensive acoustic foam). Seriously if you don't want to set up a mixing studio, get the VR room plugin. There are some free ones out there for stereo, but you'll have to pay for the surround ones. I think you can get NX for $80 on sale.
I am suggesting these approaches because you said you wanted to do some mixing. It isn't trivial setup to mix. DJ's are looking for sound isolation so they use cans. So do location sound recordists. Do not confuse those jobs with mixing. While you can check levels or cue up the next track using phones it will be less than dissapointing using just phones for mixing. Really try something like TB-Isone or Waves NX along with your headphones, that is about the cheapest route to go.
My $0.02
Can I at least start mixing first? Lol.
@KevinTheFilmmaker Yes you can certainly start mixing first and you don't have to immediately resort to extra plugins. Personally I would ignore them completely as a totally unnecessary expense because if you decide you want the functionality it's pretty easy to set up manually.
Using cans means there is going to be a spatial skew. Things panned to the middle played through loudspeakers sound in front while the same thing played through cans will seem to come from the middle of your head and instruments will sound further apart than they do over loudspeakers . As long as you're aware of the difference you can easily adapt to it. Another big argument against mixing with headphones is when listening to loudspeakers, your right ear receives sounds from the left channel as well as the right, but slightly later and at a slightly reduced level and it also receives reflections from walls, ceilings and floors while with headphones the right ear only hears the right channel blah blah blah. Open back cans with spatial reflectors like the ones you chose go a long way towards eliminating that argument with the difference between that type of headphone and monitors being far less than any purist would ever be willing to admit to. As I mentioned before most guys I know are using both cans and monitors to mix with a ratio of about 90% of the work being done with cans to 10% monitors. I even know a couple of guys using nothing but Sony 7509's which are closed back but I don't know of anybody using solely monitors anymore. The reason for that is more of their audience is using headphones/earbuds than ever before and many mixes done solely with monitors sound weird or outright terrible when played back on headphones so they moved on to making things that sound equally good on both.
Ok but let's be realistic, my audience are friends and family. I plan to make a trailer just for fun for H'ween so you're going to have to judge it then. I want to post it here for feedback later, as it will be the first thing effects wise for video that I make.
The main reason I didn't go with "mixing headphones" is because I want the most comfortable headphones I could get my hands on. I could of easily ordered the Sony 7509 but I didn't like the ear cups.
I think people are a bit too harsh when talking about mixing here because you have to remember that I'm a beginner, and even if I had the best tools available, it doesn't mean what you hear would sound great, or is it magically the oposite? Curious...
Steven Spielberg with and iPhone would shoot a better movie than you with a $300,000 Alexa...
It's not the tools, its the know-how.
Actually agree with you pretty heavily here @KevinTheFilmmaker. Use what you have, master it. Move on when you have the budget


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DealYard_Manny necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 309 diseños de 61 diseñadores freelance.
DealYard - Your Source For Brand Name Products At Great Prices
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We have a large presence online across multiple marketplaces such as Amazon, eBay, Buy.com. We submit our products to all the major search and comparison shopping engines such as Google Base, Shopping.com, Shopzilla, Bing Cashback, NexTag, Pricegrabber, Smarter.com. Shop.com, SortPrice, Yahoo Shopping.
From our Latest Press Release. "Even in this very difficult and challenging economic climate, DealYard was able to gain market share and generate significant revenue amd profit growth." So help us build our Brand and Web Presence now. People buy from us because of our prices, we just need some help with our Branding. We are still growing as a company and our loyal customers know our name, they just need to remember the logo!
DealYard is committed to offering the best brands at outstanding values to its customers. DealYard.com's disciplined focus on growth and profitability, resulted in a ranking of No. 31 in the Inc. 5000 fastest-growing private retail companies in America.
Saavy internet shoppers, young professionals who shop online. The same wide target audience as Amazon, Overstock, Buy.com. Pretty much everybody...
We prefer to keep the Blue and White color scheme of the website, but are open to suggestions. You are free to be as creative as you want. Simple, yet attractive logos are best. The new logo needs to match the color scheme and design of the website. (Blue & White) (Maybe some Green or Orange) The current logo just doesn't match anything right now. Please submit versions with .com and without.
We are a young and upcoming company that is trying to establish our brand across the internet. Our company is like a smaller version of Overstock because we sell a wide variety of products. However, we would like to establish our own unique identity and seperate presence. We are looking for a logo that will be very memorable and will make us stand out from the competition.
Your logo design will be very heavily promoted by our internet marketing team and will appear on all our newsletters, email marketing campaigns and coupons. I will be actively engaging with any graphic designers. If you are looking for potential exposure to a very wide audience with a fast growing company, then this is your chance!
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


text: Earners of the Associate badge for Postgres Advanced Server 10 have demonstrated knowledge and capabilities in leveraging open source based database technology for enterprise environments. Earners have skills with architecture, creating and managing databases and clusters, configuration, tablespaces, user and security configuration, disaster recovery strategies, and using enterprise administration tools. They have aptitude for operation and proactive maintenance of large-scale database systems.Additional Details


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20,000 Pieces to Change the Cap Color or Print a Logo.
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Hee! New comic! It's cute, I liked it. I'm not entirely sure why I'm posting, other than that I have no life and am procrastinating. So. Um. ::randomly pokes people::
<small>I have a higher post count than Jo on these Keenspace forums. This scares me.*
*Um, maybe I should explain the Footnote Revolution that's currently going on at the BmB board... although there's not much to explain - it's a simple matter of attaching a completely OT footnote to your post in a small font. And it's somewhat addictive.</small>


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FIFA will invite Luis Suárez to defend himself against fairly overwhelming evidence that he straight-up bit a dude during a World Cup match. Under regulations regarding player misconduct against other players and non-0fficials and/or more general rules of decorum in the disciplinary code, FIFA has given Suarez and Uruguay until the end of business, Wednesday in Brasilia.
FIFA's full statement is below:
FIFA can confirm that disciplinary proceedings have been opened against the player Luis Suarez of Uruguay following an apparent breach of art. 48 and/or art. 57 of the FIFA Disciplinary Code during the 2014 FIFA World Cup Brazil™ match Italy-Uruguay played on 24 June 2014. The player and/or the Uruguayan FA are invited to provide with their position and any documentary evidence they deem relevant until 25 June 2014, 5pm, Brasilia time.
According to art. 77 lit. a of the FIFA Disciplinary Code (FDC), the FIFA Disciplinary Committee is responsible for sanctioning serious infringements which have escaped the match officials' attention. Furthermore, according to art. 96 of the FDC, any type of proof may be produced (par. 1), in particular are admissible, reports from referees, declarations from the parties and witnesses, material evidence, audio or video recordings (par. 3).
If found guilty, FIFA rules require a minimum punishment of two games and a decision must be made available by Uruguay's game against Colombia on Saturday.
Photo Credit: Getty Images


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Page 25
This special one-shot issue with all of the benefiting the Children Affected by AIDS Foundation. Unlike Dream Halloween 2002, this issue was available for order by US comic book retailers via Diamond Comics. It was also given away for free at the 2003 CAAF fundraiser.
The comic features two stories:
- The Power of Fear
- Hope
In the first story Skeletor, feeling that his usual cronies and underlings are ineffective against He-Man's power, uses the mystical elixir of Schneidor to summon Scare Glow from another dimension. Scare Glow later attacks Teela and Man-At-Arms, while they and Adam are out testing the new Attack-Trakk. Adam gets away, and changes into He-man in order to combat the extra-dimensional spectre, but finds himself resoundly incapacitated by Scare Glow's fear hallucinations. Only a timely intervention by Orko saves the trio of heroic Warriors from destruction, and Scare Glow is defeated and sent packing back to a seriously displeased Skeletor.
The second story is a reprint of the Dream Halloween 2002 exclusive comic and features an internal monologue by He-man, describing his battle against evil and his daily hardships, urging the reader to never give up and lose hope, no matter how bleak things may look.
A small fun-fact of a tidbit, is that current image-partner and writer Robert Kirkman, served as the letterer on both stories in this issue.


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Monday, March 8, 2010
snack bento with pb&j biscuit
She has a peanut butter & jelly biscuit sandwich, a flower shaped piece of fruit leather, a silicone cup of grapes and organic yogurt covered raisins, veggie straws, and tucked in the back corner is a tiny piece of granola bar.
The peanut butter & jelly biscuit is a funny thing. I make them in a batch of about 8 or so and keep the extras in the freezer to pull out here and there. My daughter loves them as long as she thinks it's a cookie. If she thinks it's a sandwich then she won't eat it.
I've made a batch of them about four times now and out of each batch I can only get half of them to turn out. This was one of the better ones from my last try. Because they are freezer friendly, it's nice to pull one out and let it thaw in a bento box and be ready to eat by lunch time. You can find the recipe here, but be warned, they are trickier to have turn out well than the photo there and directions would indicate! ;-)
(Or maybe I'm just lousy at making them. That is entirely possible.)
5 comments:
- Wendy said... [Reply to comment]
What happens to them to keep them from turning out well? That looks like something the little guy would like, so I'm curious to try them.
- March 9, 2010 at 1:12 AM
- Melissa said... [Reply to comment]
There are a couple problems I encounter making them... I have issues with some of the biscuits puffing up so much that most of the filling gets pushed out, sometimes no matter how hard I press the seams together they still puff apart into seperate halves, and once the seams split the filling will leak out. Those ones come out looking like a taco. My frustration is that I do all them exactly the same every time and yet my results are all over the place! I stubbornly think each time I try it, "this time they will all come out perfectly!".
- March 9, 2010 at 10:20 AM
- Lisa said... [Reply to comment]
A suggestion... after you shape them, put them in the refrigerator on the cookie sheet, to chill. For about 20-30 minutes. Once they're thoroughly chilled, then bake them. This is a trick baker's often use for shaped items. When something cold hits the hot oven, there's less time for it to lose it's shape since it starts to cook right away.
Give that a shot. :O)
- March 9, 2010 at 1:46 PM
- Melissa said... [Reply to comment]
That is a good tip, Lisa. I actually DID think to do that on the last batch I made - for the last three I put the cookie sheet in the fridge...and then I forgot all about them and they sat in there all night. By morning they looked all dried out and shriveled (yuck!). So I just threw them out and never got to see if it would help! LOL
- March 9, 2010 at 3:27 PM
- mrs. fuzz said... [Reply to comment]
I love this little bento! I wnt to make those biscuits now. Thanks for the link. Also, thanks for the goodbyn (spelling?) review. I saw an add in Family Fun Magazine and was curious about them, but wasn't sure of the size. Now I know! :)
- March 12, 2010 at 10:02 PM


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- Letto da: Barrett Whitener
- Durata: 4 ore e 9 min
- Versione integrale Audiolibro
- Data di pubblicazione: 07/11/2005
- Lingua: Inglese
- Editore: Blackstone Audio, Inc.
Sintesi dell'editore
By the time he returns home to Ralph, Texas, Norwood has met his true love, Rita Lee, on a Trailways bus; befriended Edmund B. Ratner, the second shortest midget in show business and "the world's smallest perfect fat man"; and helped Joann, "the chicken with a college education", to realize her true potential in life. As with all of Portis' fiction, the tone is cool, sympathetic, funny, and undeniably American.
"The least known great writer in America." (Esquire)
Altri titoli dello stesso
Cosa ne pensano gli iscritti
- Jason
- 27/10/2011
Norwood: an amusing, rambling road odyssey
While not for all tastes, "Norwood" is Charles Portis' first novel and one that displays the author's fondness for wry observational humor and quirky characters. Norwood Pratt accepts a job to drive a car cross-country for a shady businessman, all in the hopes of collecting $70 from a friend in New York City. The real joy of this tale lies in watching Norwood's interactions with the strange, colorful people that he meets along the way, and how the hero's unwavering simple worldview gets him into and out of trouble. My favorite encounter? It's a toss-up between the flying sausage patty aimed at Bill Bird and the bus ride of Joanne the Wonder Hen.
This is a story where the details are much more rewarding than the plot itself. Narrator Barrett Whitener does a great job bringing the book and its characters to Tex-Arkana life, and the audiobook was perfect to listen to on a recent road trip of my own.
1 su 1 utenti hanno ritenuto utile questa recensione
- Diane
- 30/10/2012
Brilliant, but not for everyone
Any additional comments?
This book is brilliant on so many levels and no doubt gets better and funnier with subsequent listens. Characters are simultaneously bizarre and humdrum, yet so real. The dialogue is rich and flawless and the narrator was perfect. While the book's plot is shallow – there aren't many twists and turns or high adventure – there is tremendous depth just under the surface.
Having said all that, I prefer non-fiction so I probably won't listen to this one again.