About Music Industry for Beginners: For Budding Sound Engineers (Audiophiles), Music Performers, Music Educators, Musical Content Creators, Music Business Startups, Film & Music Lovers
IS 456: 2000 32.8 Design of RCC Isolated Footings For Columns (Square and Rectangle) - Working Stress Method: 32.8.1 Design Considerations:Minimum Reinforcement: (As Per IS456:2000, Clause
2 What is electronic dance music (EDM)? EDM is a genre of music that is specifically composed and designed for non-stop dancing. Although this relentless composition has been tested as an empirical and verifiable fact, actor immersion in the experience of non-stop dancing defines its purpose failure to understand this principle has led many to take EDM for what it is not (Ferreira, 2008). Moreover, it is a type of popular music that is heavily reliant on technology for its production as well as its delivery (Montano, 2010).
History of emergence and globalization EDM is considered to be socio-culturally liberating in diverse ways and the culture has manifested itself in clubs, communities, and regions of all shapes and sizes worldwide. Historically in the United States, EDM first began to accumulate social interest and materialize in cities such as New York and Chicago in the 1980s, which were locations that had strong disco music and club followings. As a result, the music and scenes expanded beyond the Midwest to locales such as Dallas, Los Angeles, and San Francisco (Farrugia, 2009). EDM and its established culture continued to grow and subdivide throughout the 1990s in Europe and North America, but since then, it has diffused to numerous non-Western localities. For instance, an ethnographic study performed in Hong Kong on EDM and relevant club culture revealed that the genre has been the dominating club music in Greater China since the early 2000s (Chew, 2011).
In the EDM scene, the DJs play a significant role by introducing and promoting music to EDM listeners. Additionally, participants idealize DJs as artists who are completely free in decision- making, presumably understand the concept of good music, and orient his or her performance to the wishes of the client (Pfadenhauer, 2009). Depending on the exposure, DJs are sometimes perceived as localized celebrities who are responsible for assembling entertaining performances. It is also significant to note that DJs can perform because it is a hobby or part time job, but a small percentage of them are successful at implementing this nightlife choice as a profitable career.
The scene within the economy Although the global EDM scene has been overlooked by academia, it has recently caught media attention and already begun establishing economic value within the marketplace. For example, the 2011 Electric Daisy Carnival, one of the largest annual EDM festivals in North America, was held over a 3-day weekend at the Las Vegas Motor Speedway venue. Shortly after the publicized 3-day event, studies revealed that the thousands of festival attendees generated approximately $136 million for the Clark County District. Moreover, according to an economic report released by Beacon Economics, the festival brought an estimated $8.9 million in tax revenue for the state, which is the equivalent of 1,400 full-time jobs and $55 million in income for Clark Photo of the main stage at the Electric Daisy Carnival, held at the Las Vegas Motor Speedway 3 County employees (Ahmed, 2011). EDM listeners gather to listen to DJs play in spaces as small as suburban houses to massive events that rival the numbers and hype behind Burning Man, another large music festival that caters to a wider population of music fans.
Earlier this year, Beatport, the leading global online brand for DJs and EDM fans, was recently acquired by another large organization for an estimated $50 million. The purchasers, SFX Entertainment, bought the music site as part of the companys plan to build a $1 billion dollar empire geared towards the EDM global scene (Sisario, 2013). Based on historical facts and current events, the global EDM scene will continue its presence in the mainstream as well as underground.
The project target: the DJ EDM events, regardless of attendee numbers, are made possible by the DJs who are performing. However, the equipment and infrastructures that are necessary for DJs to perform have a significant impact on the environment. As mentioned earlier, EDM heavily depends on technology for the creation of songs as well as its delivery. Addressing the issue of sustainability and climate change, there is a universal need for all high-income populations to significantly reduce their consumption.
According to the theory of social construction of technology (SCOT), technological development is the outcome of social interactions between relevant social groups and not necessarily as a response to other conventional measurements, such as market demands and external shocks (Olsen & Engen, 2007). This in turn can be applied to the technological artifacts designed specifically for DJs, as the market for these users offers vast options of products, yet they occupy an extremely small percentage of the general population. In addition, these complex products pose environmental burdens primarily in the production phase due to the heavy incorporation of integrated circuitry (Pioneer, 2012). Compared to everyday electronic products such as a mobile phone or laptop, the use phase of these products are low because the equipment was designed for one purpose to mix music. The equipment pieces lack multi- functionality and the product semantics solely cater to the physical and emotional needs of the performing DJ.
Pioneers line of DJ products will be used in this study, not only to reflect real-world application, but also because their products set the industry standard. In fact, the brand states on their line of DJ products: For over 15 years, Pioneer DJ products have been setting the industry standard, making them the premier choice for professional DJs worldwide (Pioneer, 2013).
DJs of the EDM scene have to act in a specific manner that differs from the performance of a hip-hop DJ because of the different cultures that come alongside the genres (Pfadenhauer, 2009). For instance, the tempo of hip-hop subgenres range around 60-100 beats per minute (BPM) in contrast to EDM, which can range from 120-170 BPM. Additionally, EDM song lengths are typically longer sometimes up to 7 or 8 minutes. Consequently, user needs vastly differ based on individual habits acquired from specializing in distinctive genres.
4 THE SYSTEM IN ACTION: Music Acquisition Music Medium i.e.: Beatport USB drive or CD Interface Set-up (headphones) HDJ-1000s + (turntabIes) CDJ-2000s x2 Mixer + Speakers R E S E A R C H
B O U N D A R Y
As illustrated in the graphic above, DJs typically acquire their music through online hubs, such as Beatport. The music is then transferred to a medium, such as a USB drive or CD, using a laptop or computer. Then, these mediums are inserted or connected to turntables, which are used alongside a mixer to assist in the manipulation of sound.
Project boundaries This ecological design study will primarily focus on the following: HDJ-1000s Two DJ-2000s CDs USB drives User medium-preference scenarios will be analyzed Electricity consumption will also be analyzed
Product features, assumptions, and Okala impact factors
The information used for the CDJ-2000 and HDJ-1000 was acquired from the official Pioneer website (Pioneer, 2013). The calculations and impact factors used for this study were taken from the Okala Guide (White, St. PIerre, & Belletire, 2009).
5 System Assumptions The DJ user: The DJ user performs 3 times a week each performance is 1 hour The DJ does not utilize a laptop for a performance and must mix by ear, or manually. The DJ user is located in Phoenix, Arizona The headphones: It is estimated that the headphones will last 3 years Headphones are used for 4 hours a week to account for the 3 1-hour performances and an additional hour to search for new songs or material Method of Okala bill of materials: disassembled the product and weighed each component Music mediums: USBs and CDs are used by the DJ to play 3 sets in 1 week CDs last 2 years (assuming after 2 years, the songs on the CD become obsolete to the DJ and is disposed of) USBs last 3 years to account for technological obsolescence Method of Okala bill of materials: - CD information was retrieved from a previously performed life cycle assessment - USB was disassembled and each component was weighed The turntables: The turntable is estimated to last 10 years and will go through more than 1 owner, as turntables are often sold to interested buyers via social networks or Craigslist before it is considered for disposal The turntables are owned by a club or venue, which is open 3 nights a week (Thursday, Friday, Saturday), 4 hours a night (10 pm to 2 am). Method of Okala bill of materials: referred to the service manual (Pioneer, 2011) This system excludes the mixer and speakers (for sound)
Below is an example of how hours per lifetime calculations were performed for this study:
10 years x 52 weeks/year x 12 hours/week = 6,240 hours/lifetime
Below is an example of how ton-mile calculations were performed for this study:
15 lbs x 5,500 miles (from Tokyo to Los Angeles) x (1/2000) lbs/ton = 45 ton-miles
Below is the formula used to calculate impacts per hour for each product:
8 Product ProfiIe: Compact Disk Lifetime: 2 years Unit weight: 0.363 Ibs Manufactured: Indiana Cost: $0.26 Product ProfiIe: 16G USB Lifetime: 3 years Unit weight: 0.0172 Ibs Manufactured: China Cost: $12 EIement MateriaI or Process Amount Unit OkaIa Factor Unit OkaIa impact miIipoint !"#$%&' !() +",-."/ 01232 456 23 456 721038 9:;<&',#: -#5$,:= 01232 456 70 456 2132 !5.>',& &.>< !!) +",-."/ 017?3 456 72 456 @10@8 !.&A.=,:= !.+<") +",-."/ 01027 456 77 456 012B7 C".:>+#"'.',#: C"%&A) @8D'#: E9F '# !GHI 01732 4'#:D-,1 71J 456 0120JK L.:$M,55 !() +",-."/ 01232 456 7B E<>'I 456 ?108@ !!) +",-."/ 017?3 456 K1@ 456 717@2@ !.+<") +",-."/ 01027 456 23 456 71773 26.6979 26.7 Impacts per hour: 0.22 TotaI Impacts/ Lifetime: EIement MateriaI or Process Amount Unit OkaIa Factor Unit OkaIa impact miIipoint !.&A.=,:= LN!O) +",-."/ 01077 456 7B 456 017?B !.+<") PQ,'< +",-."/ 01002 456 77 456 01022 9:'<":.5 9:'<=".'<$ &,"&%,'"/ 0100J@ 456 J300 456 8812@ OR'<":.5 GN!O) +",-."/ 0100KK 456 7@ 456 010J@B 9:;<&',#: -#5$,:= 0100KK 456 70 456 010KK S'<<5) +",-."/ 01000@ 456 @? 456 0100? S'<<5 "#55,:= 01000@ 456 @1? 456 01000? C".:>+#"'.',#: 9:'<"&#:',:<:'.5 .," E(Q,:. '# LTI 010J83 4'#:D-,1 @2 4'#:D-,1 @1@3K8 C"%&A) @8D'#: ELT '# !GHI 01003@3 4'#:D-,1 71J 4'#:D-,1 010778JB !"#$%&'' LN!O) +",-."/ 01077 456 81B 456 010J@B !.+<") +",-."/ 01002 456 23 456 01708 9:'<=".'<$ &,"&%,'"/ 0100J@ 456 J000 E<>'I 456 8@18 GN!O) +",-."/ 0100KK 456 81B 456 0103B38 S'<<5) +",-."/ 01000@ 456 81? 456 01007K 174.028374 174.03 Impacts per hour: 0.37 TotaI Impacts/ Lifetime: 9 Total system Okala impacts per lifetime Total system Okala impacts per hour Headphones 4869.63 x 1 4869.63 7.8 USBs 174.03 x 2 348.06 0.74 Turntables 62648.24 x 2 125296.48 20.08 Total: 130514.2 28.62 Impacts per hour: 7.80 Total Impacts/ Lifetime: Impacts per hour: 10.04 Total Impacts/ Lifetime: Impacts per hour: 0.37 Total Impacts/ Lifetime: Total system Okala impacts per lifetime Total system Okala impacts per hour Headphones 4869.63 x 1 4869.63 7.8 CDs 26.7 x 10 267 2.2 Turntables 62648.24 x 2 125296.48 20.08 Total: 130433.1 30.08 Impacts per hour: 7.80 Total Impacts/ Lifetime: Impacts per hour: 0.22 Total Impacts/ Lifetime: Impacts per hour: 10.04 Total Impacts/ Lifetime: Comprehensive system analysis for the DJ user The following two scenarios are analyzed and placed side by side according to similar music memory volume for better comparison: DJ user who prefers USBs as music medium DJ user who prefers CDs as music medium
CD Preference: headphones + 2 USBs + 2 turntables
Cost: $3,993
USB Preference: headphones + 10 CDs + 2 turntables
Cost: $3,972
For better reference of larger system implications: System energy consumption per hour: 59.5 W Speaker energy consumption to provide sound to 1,500 sq. ft. venue per hour: 2 subwoofer + 4 speakers 1000 w (x2) + 800 w (x4) = 5200 W
Design solutions to lower environmental impacts of DJ user
11 Total system Okala impacts per lifetime Total system Okala impacts per hour CDJ 2000 Total impacts/hour: 10.04 Total impacts/lifetime: 62648.24 x2 125296.48 20.08 HDJ 1000 Total impacts/hour: 7.80 Total impacts/lifetime: 4869.63 x1 4869.63 7.8 CD Total impacts/hour: 0.22 Total impacts/lifetime: 26.7 x10 267 2.2 System total 130433.11 30.08 CDJ 2000 Total impacts/hour: 10.04 Total impacts/lifetime: 62648.24 x2 125296.48 20.08 HDJ 1000 Total impacts/hour: 7.80 Total impacts/lifetime: 4869.63 x1 4869.63 7.8 USB Total impacts/hour: 0.37 Total impacts/lifetime: 174.03 x2 348.06 0.74 System total 130514.17 28.62 CDJ 2000 Total impacts/hour: 10.04 Total impacts/lifetime: 62648.24 x2 125296.48 20.08 HDJ 1000 (Redesign) Total impacts/hour: 5.633 Total impacts/lifetime: 4687.1 x1 4687.1 5.633 System total 129983.58 25.713 CD Preference USB Preference Redesign Preference Multi-functionality and wireless features Compared to the original (or reference) system, the proposed redesign of the HDJ-1000s offers the DJ user a multi-functional product, eliminating the need to buy separate music mediums as well as keep track of these items during the performance. The headphones feature a retractable USB component for easy plug-in to a laptop or desktop computer for music management and recharge. The product has been redesigned for full built-in data storage and for wireless syncing to the CDJ turntables CDJ-2000s on todays market are already capable to sync wirelessly to each other (Pioneer, 2011). In addition to these conveniences, the removal of chords allows for increased freedom of movement and less wear and tear.
Comparison of systems These redesigns also intentionally reshape user behavior and will improve product lifetime. By providing this multifunctional product, it is also fulfilling additional user needs which in turn, replace the consumers need to purchase more products.
13 Total system Okala impacts per lifetime Total system Okala impacts per hour CDJ 2000 Total impacts/hour: 10.04 Total impacts/lifetime: 62648.24 x2 125296.48 20.08 HDJ 1000 Total impacts/hour: 7.80 Total impacts/lifetime: 4869.63 x1 4869.63 7.8 CD Total impacts/hour: 0.22 Total impacts/lifetime: 26.7 x10 267 2.2 System total 130433.11 30.08 CDJ 2000 Total impacts/hour: 10.04 Total impacts/lifetime: 62648.24 x2 125296.48 20.08 HDJ 1000 Total impacts/hour: 7.80 Total impacts/lifetime: 4869.63 x1 4869.63 7.8 USB Total impacts/hour: 0.37 Total impacts/lifetime: 174.03 x2 348.06 0.74 System total 130514.17 28.62 CDJ 2000 (redesign) Total impacts/hour: 4.90 Total impacts/lifetime: 30584.4 x2 61168.8 9.8 HDJ 1000 Total impacts/hour: 7.80 Total impacts/lifetime: 4869.63 x1 4869.63 7.8 CD Total impacts/hour: 0.22 Total impacts/lifetime: 26.7 x10 267 2.2 System total 66305.43 19.8 CDJ 2000 (redesign) Total impacts/hour: 4.90 Total impacts/lifetime: 30584.4 x2 61168.8 9.8 HDJ 1000 Total impacts/hour: 7.80 Total impacts/lifetime: 4869.63 x1 4869.63 7.8 USB Total impacts/hour: 0.37 Total impacts/lifetime: 174.03 x2 348.06 0.74 System total 66386.49 18.34 CD Preference USB Preference USB Preference CD Preference Pioneers commitment to sustainability This second proposed solution would significantly contribute to Pioneers preexisting environmental initiatives (Pioneer, 2012). The major trade-off would be the significant increase in price for the product, but the additional money spent can go towards the implementation of the take-back program. The take-back program will refurbish or reuse cables, steel parts, external hard plastics, and dispose of rest in a more environmentally benign manner compared to land filling. If the proposed take-back program were to be initiated across all Pioneer products, the total reduction in the corporations overall environmental impacts would be tremendous.
Material efficiency With a proactive project schedule and increase in project funding, designers can work with electrical engineers to redesign and compress the integrated circuitry resulting in a 10% reduction. In addition, attention was paid to the user interface, reducing clutter and eliminating redundant or unnecessary functions (which are usually addressed during the music management phases prior to performance anyway). Material efficiency for this redesign ultimately led to the reduction of overall weight.
Conclusion: economic comparisons Although the end of the products destiny is up to the user, a cost-comparison of the system is given below:
15 References Ahmed, A. (2011, November 11). Electronic Daisy Carnival plugged $136 million into Clark County. McClatchy - Tribune Business News . Chew, M. (2011). Hybridity, Empowerment and Subversiveness in Cantopop Electronic Dance Music. Visual Anthropology, 24, 139151. Farrugia, R. (2009). Building a Women-Centered DJ Collective: From San Francisco to cyberspace to Sister USA. Feminist Media Studies, 9 (3), 335-351. Ferreira, P. (2008). When Sound Meets Movement: Performance in Electronic Dance Music. Leonardo Music Journal, 18, 17-20. Marketing Weekly News. (2013, March 16). SFX Agrees to Acquire Beatport. Marketing Weekly News, p. 260. Montano, E. (2010). How do you know he's not playing Pac-Man while he's supposed to be DJing?: Technology, formats and the digital future of DJ culture. Popular Music, 29 (3), 397-416. Olsen, O., & Engen, O. (2007). Technological change as a trade-off between social construction and technological paradigms. Technology in Society, 29, 456-468. Pfadenhauer, M. (2009). Lord of the Loops. Observations at the Club Culture DJ-Desk. Forum: Qualitative Social Research, 10 (3). Pioneer . (2013, January 24). DJ. Retrieved April 7, 2013, from Pioneer Electronics USA: http://www.pioneerelectronics.com/PUSA/DJ Pioneer. (2011). Service Manual. Multi Player CDJ-2000. Pioneer. (2012, September). The Pioneer Group Environmental Report. Retrieved April 6, 2013, from Pioneer Corporation: http://pioneer.jp/environment-e/information/report.html Sisario, B. (2013, February 26). SFX Entertainment Buys Electronic Dance Music Site. Retrieved April 1, 2013, from The New York Times: http://mediadecoder.blogs.nytimes.com/2013/02/26/sfx-entertainment-buys-electronic- dance-music-site/
About Music Industry for Beginners: For Budding Sound Engineers (Audiophiles), Music Performers, Music Educators, Musical Content Creators, Music Business Startups, Film & Music Lovers
IS 456: 2000 32.8 Design of RCC Isolated Footings For Columns (Square and Rectangle) - Working Stress Method: 32.8.1 Design Considerations:Minimum Reinforcement: (As Per IS456:2000, Clause