This turned out to be a bit more credible than I expected, though I'm surprised to see Shure rated higher than Grado.
Moepstar is right, Beyerdynamics should absolutely be on the list, and given the success of the TMA-1 Aiaiai should be as well. Also, Audio Technica may have produced some cheap crap in the past, but they should be at least one category higher based merely on the strength of the ATH-50.
Absolutely - Grado is fine if you really like supra-aural open headphones, but you can pretty much rule them out if you sit anywhere near another person who doesn't care to hear your music. Another problem with Grado is they "protect" international distributors who are free to add any ridiculous markup they like to arrive at a local price. There can be no competition because headphone vendors like Headroom and Amazon just aren't allowed to ship Grado products internationally under threat of no supply.
I'm surprised Grado is at this high position at all - their production quality is absolutely abysmal, they came apart in a year - unlike Sennheiser (using for few years), Audiotechica (using for few years) and Technics/Panasonic (these I use for 15 years!). As for the cost - for same money there is always better alternative than Grados.
They may come apart in a year, but they're so simple and so fixable, I prefer them exactly the way they are... and they sound better, which is really why I'm buying headphones.
W. David Marx has been doing wonderful analysis of Japan and this phenomenon of trend adoption/synthesis/evolution—specifically with regard to fashion but he's covered many other topics as well—at http://neojaponisme.com for years now.
Don't lose your weekend to the archive. Or, you know, do.
This isn't exactly a revolutionary concept. Onyx Ashanti[0][1][2] has built an entire performance around it (literally, the the whole system is custom built). And on a sort of parallel track, nerds like Herrmutt Lobby and DZA have done some really remarkable things pushing the boundaries of what can be done with off the shelf MIDI gear[3] as well as with game controllers[4].
Perhaps Mi.Mu will be the best execution of a MIDI/OSC glove to date—it will probably have to be if it's going to make it on stage with performers like Imogen Heap and Tim Exile.
I will say, sometimes an encoder is exactly what you need. Other times what you need is a long throw fader (to say nothing of the very particular engineering of crossfaders for scratch DJs). I hope designers and engineers continue to experiment in this space, but not every conventional interface needs 'disrupting', and they certainly don't all need to be made wireless. I always feel a bit annoyed when these developments are framed as a breaking down of walls between performer and audience, a paradigm shift away from the dark ages of electronic musicians hunched over banks of knobs and 'checking their email'.
It's a cliché, and I'm not even sure it maps to reality all that well. I'm fairly certain Miles Davis spent the majority of his time on stage looking at piano keys. And if not there, at his collaborators. Maybe occasionally a glance towards the audience. Maybe. Stevie Wonder never looked at anybody. It never mattered, because that was never the point.
This episode of Frontline[0] from January aired for the first time (I think, DVR marked it as new) on KQED in the Bay Area this week. It profiles several defectors, as well as the editor of Asia Press[1] and is certainly worth an hour of your time.
I don't know about 'discounting' but John wasn't composed until well after virtually anyone who might have encountered Jesus personally was already dead, near the end of the first century AD. Not exactly the type of source that can be relied upon for accurate, direct quotes.
It occurs to me that x-sharing startups in the mold of Airbnb/Uber may be most likely to overcome their regulatory challenges not through litigation or lobbying, but simply due to more of them popping up and the increased likelihood that the average person knows someone who has benefitted ("my friend's daughter who paid her way through law school driving for Uber", "my cousin the line cook who was offered the opportunity of a pop-up run at an established restaurant after a few successful months on Cozymeal", etc.)
Also, I wonder if Cozymeal might find opportunities on the operations/materials side of this equation. I know that e.g. sourcing and selecting ingredients is frequently a very personal experience for chefs and restauranteurs, but I can't help but think there could be some upside to facilitating volume pricing of certain ingredients for members within a particular region, not unlike how members of hobbyist electronics groups will organize group buys of components. If ingredients are a bridge too far, they might apply the same logic to more practical items—flatware, napkins, menus, and so forth.
> It occurs to me that x-sharing startups in the mold of Airbnb/Uber may be most likely to overcome their regulatory challenges not through litigation or lobbying, but simply due to more of them popping up and the increased likelihood that the average person knows someone who has benefitted
I think there's something sublime about that. It seems the technology drives culture in many ways and it happens when an innovation goes viral and benefits people faster than the law can react.
Some technologies don't get the chance to do that. People see harms before they can feel the benefits and start to turn public opinion and law against the innovation. Segway's and Google Glass are in that category, I think.
If that quote wasn't entirely fabricated, I suspect the officer was responding to a statement that identified Dorian as "Satoshi Nakamoto, the creator of Bitcoin".
Also, a minor nitpick: Temple City is part of a community that's directly adjacent to Los Angeles—people have heard of Bitcoin there.
Easy fix: pay for access to the DB and a few others like it, plot the movements of congresscritters, judges, DAs, et al. and publish. The brokers will be swimming in injunctions by the end of the week.
Having said that, I can't help but get nitpicky about a few things (I hope you take this as constructive criticism).
Filling in the blanks: Jackhigh is from the UK, Odd Nosdam is from the midwest but lives in Berkeley, Nocow is Russian (St. Petersburg). Shlohmo is from Los Angeles, not New York. Lunice is from Montreal, not the UK. Dakim is definitely from Detroit, but moved to California a while back. Mike Slott is marked as New York, where he lives now, but he's originally from Glasgow.
Ssaliva and Cupp Cave are the same person. His occasional collaborator Dem Hunger (who is an insane genius) seems only to be releasing music under the Wanda Group moniker of late. Jeremiah Jae is included, as is his older group material with Young Black Preachers, but not the newer stuff as Black Jungle Squad. The DJ for that group, Pbdy, signed to Brainfeeder not too long ago, runs a few regular nights in LA as well as his own label (TAR), and should probably be included, as should many others.
However, the most egregious omissions from the list are Kutmah and Daddy Kev. Daddy Kev is one of the residents and founders of Low End Theory, and the man behind Alpha Pup Records, a label which has released work by many—perhaps even most—of the artists on that list. Kutmah founded Sketchbook, the art/music night which evolved into Low End Theory. When Ras G releases a song called "One 4 Kutmah"—one of many instances of a producer naming a track "One for/4 x" as a nod to Dilla's "One for Ghost" on Donuts—that pretty well establishes you as a godfather of the scene. Without the contributions of those two guys that huge circle covering Los Angeles on the map gets a lot smaller.
And that kind of gets to the heart of what's really missing from this graphic—the personal connections. You're documenting an art movement which is very much alive, not only in the sense that it's constantly evolving, but that it's filled with real people who are friends and coworkers and share ideas (and experiences and meals and even sometimes bathrooms and lease agreements) with each other.
The fact that a handful of producers from across the map all dabble in samples that might qualify their work as "world music" is sort of interesting, I guess. What I find a great deal more interesting is that Kutmah used to earn extra cash by picking up shifts at Poo-Bah Records in Pasadena, one of the best independent record stores on the planet, which just so happens to be co-owned and managed by Take (who is going by Sweatson Klank these days).
Other employees of that shop have included Ras G, Black Monk, and Detective Tully, who himself has long been the stage manager (and frequent opening act) at Low End Theory, and is a founding member of the My Hollow Drum crew along with Teebs, yuk., Co. Fee, Bahwee, and others. MHD made their name playing a residency at the The Crosby in Santa Ana, which was co-owned by Chris Alfaro a.k.a. Free the Robots, a venue which more recently has played host to frequent performances by members of the Soulection and Team Supreme collectives, who have been making huge moves lately and are completely absent from your list. (Even more recently, The Crosby was forced to shut its doors, though I'm certain something incredible will rise from its ashes.)
Similarly, Kutmah was also one of the earliest participants in dublab, one of the first touchstones of the beat scene in Los Angeles. Its founder, frosty, was once a member of Adventure Time alongside Daedelus, and another early and frequent dublab collaborator matthewdavid would go on to release his own work on Brainfeeder, and put out tapes by Ras G, Samiyam, Odd Nosdam, Ahnnu, Dakim, Dem Hunger, yuk. and many others on his Leaving Records imprint, which just last year signed a distribution deal with Stones Throw.
And that brings us back to Dilla, as so many things do. His impact is wide and deep, and he inspired a great many people to do a great many things, including inspiring you to create that graphic, which itself just barely scratches the surface.
Moepstar is right, Beyerdynamics should absolutely be on the list, and given the success of the TMA-1 Aiaiai should be as well. Also, Audio Technica may have produced some cheap crap in the past, but they should be at least one category higher based merely on the strength of the ATH-50.