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New elements simplify, cozy laptop administration while enhancing flexibility for conclusion clients.be aware: ESJ’s editors carefully opt for supplier-issued press releases about new or upgraded items and capabilities. they now have edited and/or condensed this liberate to spotlight key aspects however make no claims as to the accuracy of the vendor's statements.
RES application has greater its flagship product RES Workspace manager (formerly PowerFuse). by means of managing desktops, laptops, and all types of virtual functions, Workspace supervisor simplifies IT as companies navigate from physical to virtual supplies of their desktop environment. the new features maximize the context-mindful capabilities of the application and give IT experts security and handle over person workspaces. The answer additionally now integrates with carrier Orchestration technology, a part of the latest unencumber of RES Automation supervisor, permitting IT to automate the delivery of IT features from a personalised provider catalog without delay to a consumer's workspace.
Enhancements to Workspace manager 2011 consist of:
Dynamic privileges: adds handle over who, when, and the way computing device and equipment-stage elements are accessed. the usage of dynamic privileges, computing device directors can elevate users to administrator levels for particular initiatives or processes inside purposes without granting them full administrator rights.
Whitelisting/blacklisting of person-put in purposes: provides protection points to managing end user software installations. IT controls which purposes are allowed to be put in by means of particular groups of clients, and is additionally capable of centrally validate them earlier than they're installed.
Context-mindful net web page security: Workspace supervisor 2011 allows for IT to dynamically allow or deny access to various internet websites and purposes based mostly upon the user's context (including time of the day, time zone, active listing neighborhood, and so on.).
more advantageous automation manager integration: The aggregate of Workspace manager and Automation supervisor allows IT managers to create reusable "runbooks" which might be pre-set enterprise suggestions that automate the birth of IT functions to a workspace. In a self-carrier model, clients are introduced with only these IT features (applications, data, net websites, and so forth.) to which IT has already granted universal permission to them. users can then initiate a request for the carrier, triggering a workflow it's absolutely automatic -- putting off most of the bottlenecks associated with provisioning and managing functions on the laptop.
Workspace supervisor 2011 is packaged as three separate modules:
For greater information, seek advice from www.ressoftware.com.
PHILADELPHIA--(company WIRE)--RES utility, the proven leader in dynamic computing device options, these days announced the availability of a cellular application configured for Apple’s iPhone and iPad. the new app, carrier Orchestration client, offers conclusion users on-demand entry to its RES service Orchestration Module functionality. introduced remaining week as a key enhancement to RES Automation supervisor 2011, provider Orchestration permits IT specialists to convey new stages of IT as a service to end users. The RES utility cell app raises the reach of this solution, bringing it to conclusion users on the go.
RES carrier Orchestration allows for IT to use company rules to automate their service beginning wants and offer IT as a service to conclusion clients. Some commonplace examples of how agencies can benefit from carrier Orchestration consist of:
With the provider Orchestration client cellular utility, conclusion users have entry to those features through their smart phones. end users can quite simply browse the self-service catalog based by IT, and request the necessary computing device software. an automatic request is then despatched to their supervisor. The manager can use his cell to approve the request. once the request is authorised, service Orchestration will control the start of the software using the firm’s delivery infrastructure. conclusion clients can have full access to an authorised software on their desktop except they no longer want it.
an extra wonderful means of the mobile carrier catalog is the capacity to reset a home windows password by using the cellular equipment as a relied on token, warding off the deserve to go surfing. additional approvals may also be brought to this function for security measures.
via automating the manner of offering these features, each in-office and for users on the go, it will probably now shop useful materials that could have otherwise been spent coordinating with the end consumer and their supervisor and getting particular person functions in a position for use. These substances will also be refocused on greater strategic business wants.
“nowadays’s IT departments are challenged with doing extra for the firm, regularly with limited resources to help these initiatives. They require solutions that permit them to minimize the time spent on events tasks,” noted Bob Janssen, CTO of RES application. “provider Orchestration with the aid of RES utility helps to vastly cut back the time IT spends dealing with provider delivery to conclusion clients, a typical assignment. With the brand new cell app, they are additional extending this offering to empower conclusion users to access the features they need when on the go, cutting back their dependence on IT and enabling them improved productiveness.”
service Orchestration client presents help for any service, including applications, printers, records and user accounts; guaranteeing end clients have full entry to anything they might want. The cellular software is standard to set up and even provides the capability to reset passwords the usage of your Apple iPhone for authentication. It will be attainable for free this month along with RES Automation supervisor 2011, which is now obtainable as a free up candidate and may ship on November 1.
For more assistance on RES utility and full particulars on the rebrand initiative please consult with:
About RES software
RES utility, the confirmed leader in dynamic laptop options is using a metamorphosis in the method corporations manipulate, retain and in the reduction of the cost of their computing device infrastructure. The RES application award-profitable, patented items allow IT specialists to manipulate and deliver comfortable, personalized and compliant computers unbiased of the underlying computing infrastructure – thin consumers, virtual desktops, actual pcs, or server-based computing environments. The business empowers shoppers, from small to medium-sized agencies to global agencies, to cut back laptop complexity and meet the simple needs of a dynamic team of workers that requires on-demand entry to their personalised workspaces. For greater counsel, comply with updates on Twitter @ressoftware and discuss with www.ressoftware.com.
To retain the integrity of virtual laptop pictures in a nonpersistent VDI deployment, virtual computers are reset to a pristine state at the conclusion of each and every session. As such, IT should maintain person profiles one after the other from the computing device pictures.
IT has a couple of person profile administration tools from which to opt for. One time-honored choice is to use home windows roaming profiles. Likewise, some VDI companies offer products notably for profile management. There are additionally some in fact good third-birthday party tools for consumer profile management.Third-celebration person profile administration tools
ProfileUnity from Liquidware: ProfileUnity is handy to miss out on as a user profile administration product, because Liquidware often markets it as a home windows migration tool. basically, though, ProfileUnity is a user profile management product.
Liquidware designed ProfileUnity to combine with lively directory. It makes use of virtual disk layering and helps digital challenging disks and virtual computing device disk information. As a bonus, ProfileUnity helps utility rights administration. The utility can authorize or steer clear of clients from installing or executing particular person purposes.
RES One Workspace from RES application: RES One Workspace provides plenty of commercial enterprise capabilities, together with automation, reporting and adaptive security. person profile management is its groundwork, despite the fact. The tool keeps consumer profile statistics on a per-software foundation and applies the profile statistics in true time because the consumer accesses an utility.
ambiance supervisor from Ivanti: environment supervisor is likely one of the most universal consumer profile administration tools. it is now built-in into DesktopNow from Ivanti, along with another former AppSense products, together with utility handle and efficiency manager. it's also purchasable as a standalone product.
ambiance supervisor keeps person profiles independently from the computing device OS. It constructs user profiles to allow clients' customizations to observe them from one equipment to another, even with the machine classification. These profiles combine with a coverage configuration component that determines which supplies users can access.next Steps
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Michael Abbott has overseen audio at the Grammys for decades. It’s an extremely high-pressure position, so I expected Abbott to have the personality to match. But when I met him in the hallways of a trade show last month, I immediately noticed that he carries a cool, laissez-faire demeanor. It’s disarming, which made it easy to forget how elite his resume is — at least until their conversation started. After pleasantries were exchanged, the first thing Abbott said caught me off guard. “I have a reputation preceding me,” he chuckled. “I’ve done so many amazing things, and have been involved in some debacles as well.”
Not only has Abbott mixed and produced audio for shows like The Voice and Shark Tank, but he’s also done presidential debates and awards shows, such as the ESPYs, the Country Music Awards, and the Oscars. These are some of the most prestigious broadcasts on television, and it can be easy to forget how much work goes into what you hear at home. While millions are riveted to the visual drama and eye candy happening on-screen, it’s Abbott’s job to run a team that juggles hundreds of audio channels, microphones, and sometimes thousands of inputs across multiple stages, all to make sure that you hear every voice and instrument with clarity and precision.
As a member of the Recording Academy (and a Governor on the Chicago Chapter Board), I wanted to know what goes into making the Grammys sound great ahead of this Sunday’s show. Here’s what happens behind the scenes to make the audio for music’s biggest night run as smoothly as possible.
This interview has been edited and condensed for clarity.
How far in advance do artists plan their Grammy performances?
A lot of the performances are not defined until they almost show up onstage. All of the artists are trying to make their own statement and their own impact on it. Some acts don’t even want to tell you what they’re doing ahead of time. After artists have d, they don’t allow changes because they have to lock down what we’re doing. Making sure everyone from lighting to assistant directors to sound is on the same page is a big deal.
There are tens of millions of people watching the Grammys, and artists can sell 300,000 units after the show. It’s a whole different market model now, though. It’s all streaming, so you don’t have the same element of exposure. But it’s a career-defining moment when you get nominated for a Grammy and it’s on TV. It’s timeless for your career.
You’re the audio coordinator for the Grammys. What does that mean?
Mixing is 5 percent of what I do. I interface with all the artists, reps, and engineers for the show. I’m kind of a fulcrum. There’s the bands and the producers telling me what they want to do, and then there’s trying to settle on what they can do.
Artists have grandiose ideas, and all of these ideas will be fluttered about, but they have to think about the capability of the room, the stage, the timing of the segment, and how long it takes to set it up. All of these are factors to be taken into consideration prior to showing up on site. Then, when you get on site, there’s still a lot of minutiae and details to get worked out. Like they can’t have cables running up and down a stage if there are set pieces coming in and out during the performance.
What’s an example of a performance where an artist had a grand vision that had to be mitigated?
Sam Smith came in and said, “Oh they want 40 strings.” There were all these string players and singers in an arc around the stage all playing to each other. I have a limited amount of time to set that up. Do they use clip-on mics that are catching the sound of the violin? Or do they put up ribbon mics that catch multiple players at once? They wanted mics up there so it looked live, even though some of it was pre-recorded.
My first inclination is that it has to be failure-proof. In this case, people are not going to be able to tell if it’s live or not. You need to pre-record those strings, which is something they would never normally do, but in this instance, the division in the content has exceeded what they can do, so they try to pre-record them. Well, they also want them live. They ended up using the ribbon mic, which has an 8 polar pattern.
Another act wanted 12 background vocals, and for them all to have microphones, and they wanted them live. I said, “You know, they’re moving all over the stage and the performance is going to get marginalized. I think you need to pre-record them.” And they did. Then they showed up and said they wanted them live, and I said they can’t do it.
I’m the guy that has to make these decisions based on what I know. An artist’s rep might have a sense of what they want, but I know in execution, they can’t pull it off. I can’t get 12 vocal mics on top of all the other mics working at the same time because it’s just too complicated.
I have to mitigate expectations to a degree, but I also have to embrace them. At the end of the day, as they leave the Grammys, I want them to think they got the best of what they wanted to come across on the show. If they go away happy, I’ve done my job. Producers will send me gifts. I’ve gotten some very, very nice headphones.
Nice headphones… a lot of them?
You know those Rubbermaid tins?
Oh, come on. Filled with headphones?
Yeah. I probably have four of those. It’s stupid how many headphones I get. It’s great! I love it! I use Audio-Technicas. I like those the best, and on planes, I prefer Bose.
What would you say is the most challenging circumstance for you? Is it when you have to focus on one voice at a time?
My observation is when you have a piano up on a stage and that’s your only instrumentation and in the case of, say, an Adele where they had a problem with the piano mic, you have nowhere to go.
Now, in that case, they had both the voice and also the strings, and the strings were the problem. But musically, you’d rather hear the actual strings than a recording. There’s a difference in piano sounds from a Bösendorfer, which is like an earthquake with its low register, to a Steinway, which is traditionally kind of a dark-sounding piano, to a Yamaha which is more bright and strident, to a Fazioli. All these things have very different tones and timbres, and the live performance makes a difference.
So do you not have any redundancy for Grammy performances?
We have redundancy. In each of their systems — they have two — there is redundant playback. It triggers seamlessly because they take the timecode out of the primary machine, and they feed it to a gated input in the switch. So if the first machine stops, it automatically switches to the second machine.
That’s standard operating procedure for all their music playbacks and all their video clip playbacks. There is a large amount of failure mitigation that is in place because all the failures that we’ve experienced before, not only in this show but in other shows. They have methodologies, but when you combine humans and technology, it’s inevitable something will fail.
Given that there is going to be failure, why would you not ask everyone to provide a pre-recorded version of their set?
It would admit that there’s going to be failure, first off. There is a value in failure mitigation. For example, they have one spare microphone, and if the mic dies, the stage manager is the only one who has that microphone, and he knows when to go out and hand it to somebody.
I was doing a show many years ago where I had Chubby Checker onstage, and he started clapping with the microphone in his hand. All of a sudden the battery went flying out the back, and two people with mics came out from stage left and two people with mics from stage right, and I was like, “Noooo!” That was a learning experience.
I think you lose the moment. Isn’t this what being live is all about? It’s the train wreck. I mean it’s the basis of reality television. The reason people watch reality television is because they want to see a meltdown. At some point, people watching a music show want to see a failure.
We had a failure with Metallica and Lady Gaga in 2017, and I got raked over the coals for that. But you know what they do now? CBS shows that clip as a promo for this year’s show. It shows Gaga and James Hetfield singing together on one mic! Now, had his mic not died, that moment wouldn’t have happened. That’s the live moment you can’t get on a sterile, pre-recorded track.
So you know, to a degree, how things are going to run, and you have to allow for improvisational moments.
You put processes in place and hope for the best. There’s something about live television that can’t be replicated in a Netflix-streamed show or even a comedy show that they’ve recorded and edited.
It sounds like there are a lot of moving parts. How many stages are there?
There are the main left and right stages. And then there’s a center dish stage that’s very small, about 12 feet in diameter, and a passerelle downstage. So there are four performance areas in total. And all of those have unknown cables going to them during setup because they never know who’s going to sing on what stage at what time. They have to be prepared when we’re building the show to make sure they have enough connectivity with all of those positions, which they do.
What’s the transition process like between performances on different stages?
First, you have to get everything off the stage that finished. That takes three to five minutes. And then you have to put things back up on the stage, which is another three to five minutes. It’s another one to two minutes to check everything once it’s set up.
So each transition takes about 10 to 15 minutes. But then they also do transitions between stages. It’s a very fast-paced show in the sense that a lot of set changes are going on. It’s heavily matrixed, and you have to be very cognizant of what else is going on at the same time so you don’t do things like inadvertently pull patches.
How many people are on your team?
I’ve got 46 people that work with me split up over nine workstations. Everything from comms to RF coordination to signal connectivity to the mix positions. On top of that, there are probably another 22 stagehands.
Where is everyone located?
There are two trucks outside that are 53-foot expandos. Those are the audio and video production facilities. They’re called Summit A and Summit B. Then there are two trucks where all the music mix is being done. The rest is inside — front of house, on the sides, and so on.
Why are all of these trucks outside?
There’s no room. There are typically anywhere from 55 to 60 53-foot trailers bringing equipment in and out, plus all the bands’ equipment for a show that’s about four hours long. There are 18 performances — some bands bring in all their gear, and some they get from an outside company — so they have to keep a path to get things in and out.
So how does audio get from inside the theater to the trucks?
Everything goes upstage right to an analog split system. That then gets cross patched into the front of house sound system and stage monitors. That’s a DiGiCo console platform. They utilize the OPTOCORE fiber network for all that signal connectivity. It’s analog in and then digital out to the PA speakers. And on each stage is a fall back mixer that has about 120 channels. Then the same splitter system sends the music up to two mix trucks that have 168 channels each. It’s the same basic signal just split and shipped into Multichannel Audio Digital Interface (MADI) protocol. Then everything is shipped by fiber to the Summit production truck, which handles all the microphones, the audience mics, the RF mics, everything.
How many channels, inputs, and outputs are you managing in total?
We have 24 MADI, 64 channel paths, 128 AES, 192 analog. That’s 192 channels in, 192 channels out. And then there are five stage boxes that have over 400 channels in and 80 channels out. That’s just one truck. I haven’t gone to the music mix. I haven’t gone to the front of house. Just one example: there are roughly 1,800 inputs that the mics are distributed to. It’s massive. That’s why you have people who have done it 15 years in a row.
Is it a very small pool of people who do audio for these high-profile events?
It’s a very specialized niche, and yes, the people who are consistently doing the shows, it’s a small group. The current crop of people I work with for the Grammys have a combined 500 years of live broadcast experience.
Is that because of the level of expertise that’s needed, or is it because you can’t have any fuck-ups and you need people you trust?
Well first off, there is always going to be failure. You can’t create a 100 percent no-failure situation. It’s impossible. Like I said, any time there’s a human and technology involved, there’s going to be a potential for failure no matter what.
Everybody knows their place. They all know the rundown, the timeline, the schedule, and what’s expected. They show up on time. Of course, their skill sets are essentials needed for a show of this magnitude. But it takes a certain personality to work under stress and not fold up like a cheap beach chair.
One of the things I do is tell people, I want you to put your hand on the console for 30 seconds. When you raise it off, if it’s wet, you shouldn’t be doing this. You’re not in the right state of mind to do this because you’re stressed. When you’re mixing a live show, you’re in a zen state of mind, and you know what you need to do. It’s all very structured and disciplined.
How has the technology changed for doing audio for live shows?
When I was in the ‘80s working for a network, a lot of this technology didn’t exist. They were using analog consoles. They started using digital consoles around 1994, but they were still connected by analog paths. In 2011, they started using digital consoles, which were connected by a fiber ring array.
The expectations are that you can do things quicker because of the automation and digital capabilities. With a lot of the shows I did, they used to get an “ESU” day, which is “everybody sets up” or “everyone shows up” for eight hours. Then we’d do a run-through and go home. And now they come in at 2 o’clock in the afternoon and start rehearsals immediately because they know that they can program the consoles.
Depending on the type of show, I sometimes take the initiative to come in with a basic template. Like with the ESPY awards, I’ll come in and recall the snapshot from last year and start building from there. I’m doing the music, I’m doing the production mix, I’m doing the recording. It’s a fairly complex show, and the amount of time it would take me to build it again would be... all day. But then sometimes there are problems where you come back a year later and question the decisions you made. You have to backwards-interrogate to see what you’re doing and make sure you’re not leaving a mine for yourself later on.
I use spreadsheets extensively and databases. I’ve got databases for plans going back 30 years. I have hard copies, but they’re also on my computer with all the specs, all the mics used. It’s empirical data that helps me anticipate needs.
What are your favorite speakers?
I’ve been doing this since the ‘70s, and I have specific companies that are part of my audio DNA. I call it audio DNA because these are the tools that I’ve used for years and years. I’m a big fan of JBL. I have JBL in my home. I listen to JBL as much as I can because I know what it sounds like, and the great thing about JBL is they developed speaker systems that all utilize the same type of high-frequency horn. They have such a smooth response. The physics of horns are very complicated. The sweetness and the air that comes from the JBL horns, it’s the best.
The Grammys are generally held in the same space every year. Do you still have to tune the speakers every time?
The sound system is about the same every year, due to weight restrictions, set elements, and everything else. But this year, we’re using a new type of JBL speaker, the A12. Last year, they used the VTX 25. So the processors require different settings, and we’re better off starting from scratch.
But the procedurals are the same. They set up a variety of mics to measure reverberation in the room. You array mics in about 10 different locations in the venue and do measurements, so the front row has the same acoustical energy as 10 rows back, as 20 rows back, and so on. The goal is to have a smooth response so every seat’s covered.
There’s a lot of challenge in the room because there’s a hard surface at the back. They try to steer the energy away from that, into just the seats. In the VIP boxes around the perimeter, there’s glass, and you get some artifacts from bounce and reflection at high frequencies. Any big room is a challenge. The low frequencies bounce around and high frequencies reflect pretty heavily. There are a lot of trade-offs with how they lay things out. They try to place speakers where they get the least amount of artifacts.
So yeah, in a perfect world, if the front of house console snapshot from two years ago is called back up, it should be 90 percent of the way there. Down to the EQ from the podium mics, handheld mics, and so on. To that degree.
How long does it take to set up the system?
We go in on Monday to start loading in. They continue on Tuesday into Wednesday. Then they go into rehearsals for three days, and the show is Sunday.
Can you give me some raw numbers for the Grammys? How many mics, how many speakers, how many instruments?
Microphones vary from show to show. I think on this one, it’s in the neighborhood of about 350. For the microphones, there are 3,300 cross patches done over a five-day period of inputs. They use roughly 48 RF microphones, and then 24 transmitters with 75 receiver belt packs.
There are several PA system clusters, 16 deep of JBL A12s. There are four main front clusters, then there are three delay clusters — to make up for the sound traveling to the back of the house — and then there are some ring satellite speakers up high around the top seating area.
Then there are probably another 12 deep times two of dual 18-inch subwoofers. Probably 20 front fill speakers across the front. They’re all JBL speakers.
Are you using the theater’s existing sound system?
We don’t use the theater’s existing system because it’s not arrayed where their seats are. The speaker system they have in there is for when they have basketball and hockey, and they seat people on the floor. The way their speakers are physically hung doesn’t fit their seating plan. They have to bring in everything new. Their speakers are generally not in the way, and they’re flown high enough that we’re not impacted by them being in the way.
What technologies are coming down the road for live broadcast audio?
The next challenge is going to be Dante. The producers won’t pay for the price point needed to do the transition and / or have the manpower.
What is Dante?
Well, they started off sending audio with copper wires that they termed as analog. It’s warm and fuzzy. You can feel it. It’s hot. Now, they have fiber, which is nine pieces of glass with light shooting through it that can handle a myriad of signals at once. To now IP addressing, which is what Dante is.
We’re in the networking stage of connectivity through signals. And that is a whole level of management of skill sets that you have to have in place on top of the existing firmament that they use. My producers don’t want to pay for those people. I have a hard time getting them to understand that they have to use digital RF microphones as opposed to analog because of the Federal Communications Commission reallocating the RF spectrum by selling off the bandwidth that they use.
What does the FCC have to do with the type of equipment you use onstage?
The FCC regulates the use of RF. Anything that’s broadcast over the airwaves, they regulate. They’ve auctioned off bandwidth to the telephone and communications companies, which diminishes the frequencies that they can use for their microphones. I think it was two years ago, it first hit the brick wall where they realized they can’t run as much RF simultaneously as we’d like to because the frequencies aren’t available.
It just continues. They put deadlines on when certain bandwidths are going to be cut off. I believe 600 MHz is dead to us. It’s been allocated to public utilities, for wireless broadband services. 4G and 5G networks require bandwidth to get these devices to work. So the FCC is allocating these frequency bands to be auctioned off for billions of dollars.
Do you think that all of this effort is actually worth it? You would, by the sound of it, save so many headaches if you were going to pre-record all this stuff.
Music is tribal. From the Stone Age to African drums to Roman amphitheaters that were built so you didn’t need amplification to Gothic cathedrals where the Gregorian chants were long and sustained because of the amount of reverberation in the room to this day and age where people still connect with all of those same things. If they pre-recorded it, and you played it back as an album, there’d be no soul. It wouldn’t appeal to people.
If you just play a track and the artist sings to it, there’s no spontaneity. There’s no emotion. It’s milquetoast. A live performance is so unpredictable from night to night to night. You’re always going to have nuanced differences, and it’s never going to be the same.
There’s nothing like the visceral thrill of mixing live music. When I used to work live tours with almost 200,000 people, it was one of the most invigorating things to hear all these people clap and applaud at the end of the song. Thousands of people all dancing and bouncing at the same time is a tribal experience. You can only do that with live music.
Disclosure: Dani Deahl is a voting member of the Recording Academy and has an unpaid position as Governor on the Recording Academy’s Chicago Chapter Board.
When IBM first debuted its Watson system on the game show Jeopardy! in 2011, it was like something out of science fiction. Here was a computer that could not only understand spoken questions, but answer them faster and more accurately than the best human players. Nobody had ever seen anything even remotely like it before.
Today, less than a decade later, artificial intelligence has been transformed from the incredible to something approaching the mundane. Not only do they have capabilities that are similar to the original Watson system on their phones, they can access top-notch resources from a number of companies, often for free.
Yet probably the biggest difference from those early days of Watson is how AI has evolved from a system to a stack. Much like the evolution from mainframes to personal computers with personal computers, companies now can access different components to build a system designed specifically for their business. Here's what you need to know to make it work for you.
Acquiring Data Resources
What makes artificial intelligence different than earlier technologies is that the system learns as data is fed into it. So data is like the fuel that makes the whole thing work. That's why Josh Sutton, CEO of Agorai, a platform that helps companies build AI applications for their business, calls data, "most valuable business asset that does not reside on a balance sheet."
"The first thing I suggest a company asks is 'what value can I create with AI?'" Sutton told me. "From there, you can figure out what data you need to drive those applications, what data assets you already have, what you can generate and what you need to buy. I would also look at what data I have that may be valuable to others, but not of strategic value to me, that I can use to generate a revenue stream."
He also points out that because AI algorithms can adapt the way the application works to the data you feed it, these technologies are much more accessible to small and medium sized businesses who can't afford expensive consultants to customize an entire system for them.
David Schatsky, a Managing Director at Deloitte who focuses on emerging technology trends, also points out that advances in synthetic data techniques are making it possible to train a system even in industries where actual data is hard to obtain. So even in highly regulated industries very high performance can be obtained for a reasonable cost.
"In healthcare, for example, where much of the data is protected, it's very difficult to access the data they need to create a good model using machine learning. However, new techniques like synthetic data generation allow us sidestep that problem so they can build systems that automate processes and improve performance" he told me.
Advancing Both Software And Hardware
In the Master Algorithm, the renowned machine learning researcher Pedro Domingos explains that there are five basic machine learning approaches, including neural networks, vector machines, genetic algorithms and inductive learning algorithms. IBM's Watson, in fact, combined a number of these approaches to beat human contestants on Jeopardy!
Since 2011, in part because of the excitement that Watson generated, all of these approaches have advanced significantly. For example, Google's Brain project was able to increase significantly increase the number of layers in a neural network system, which made its algorithms much more accurate.
Another important area of advancement is in hardware. The chipmaker Nvidia's expertise in graphics processors has helped it dominate the market for AI chips. However, companies like Google and Microsoft are creating their own chips specifically designed to run their algorithms. IBM developed neuromorphic chips which mimic the design of the human brain which, because they use very little power, have the potential to bring AI capabilities to edge computing.
Most business never see these technologies directly, but their advancement is what drives the capabilities of AI applications. It is one level up the stack that business value begins to be created.
While algorithms and hardware are important, what makes applications useful is their ability to mimic human intelligence. Things like machine vision, language analysis, document summarization and process automation are the basic building blocks of any intelligent system.
Often, these can be accessed for free through open source platforms, such as Shogun, or through the cloud computing platforms of the major tech firms. For example, Amazon, Google and IBM all make API's available to developers. Often these are used as a loss leader for their cloud platforms, so are free to anybody who wants to use them.
Working with these capabilities directly takes significant expertise. However, even amateurs with little or no technical skills can access them through no-code platforms. So, for instance, a marketing manager who wants to build a simple chatbot can access API's for natural language processing and text-to-speech capability without writing a single line of code.
Where business value really begins to be created is when these capabilities are bundled into solutions and then trained on data for a particular task. Increasingly, for tasks that are fairly common, there are pre-trained models that can plug into existing systems, with relatively little need for expensive integration.
"What we're seeing with their clients is that there a lot of well defined problems where there is no need to reinvent the wheel," Schatsky of Deloitte told me. "So pre-trained models can be enormously helpful in automating basic processes. That frees up resources that can be focused on more specialized systems and can help create a true competitive advantage."
Creating Business Solutions
What's most important for business leaders to know is that AI is no longer some kind of "gee whiz" technology, but increasingly a key to competing effectively in today's marketplace. As the technology continues to evolve from complex integrated systems to a modular stack, even small and medium enterprises will find that they need to adopt these capabilities or fall behind.
"What most business leaders aren't always aware of, but are quickly waking up to, is that there are an untold number of industry and process specific AI applications that can accelerate their business," Sutton says. He points to firms like Primer.ai, which summarizes massive data sets into analyst reports for financial companies and Daisy Intelligence, which optimizes supply chains for retail companies, as just two examples.
"At Agorai, we're focused on helping to connect those businesses to the companies offering solutions that can help them," he told me. "What I tell business leaders is that AI is useful for tasks you understand well enough that you could do them if you had enough people and enough time, but not so useful if you couldn't do it with more people and more time. It's a force multiplier, not a magic box."
Schatsky of Deloitte sees many of the same trends. "There is a relentless pace of progress, the tools are getting better, the models are getting better and the systems are getting better and we're seeing companies achieve real results. It's still early days, but the future is really exciting," he says.
Lena Feygin is an experienced DevOps leader for Taboola, the world’s largest content discovery platform that enables publishers and advertisers to increase audience engagement by delivering personalized content to users. Her software development career led her to the emerging DevOps industry over eight years ago and she was hooked. Lena formed the first DevOps initiative at Hewlett-Packard Enterprise in the research and development group, and since then has become a leading force behind implementing DevOps at the companies she works for.
I am an experienced DevOps leader, release engineer and continuous integration (CI) and continuous delivery (CD) architect with over a decade of experience in software industry. My current role is leading a release engineering team in Taboola, based in Israel. I also have a B.Sc. in computer science and an MBA in management.
I started my career as a full stack developer in a small internet company. However, after a very short time, I was pulled into build, CI/CD processes, and automation tasks. There was no DevOps just yet back then, but in 2011, when DevOps was already rising, I received a green light to form the first DevOps team and to lead the DevOps initiative in the R&D group in HPE. Since then I’ve defined myself as a DevOps leader and enjoy driving DevOps initiatives tremendously.What character traits/habits make you successful in DevOps?
I believe that in order to be successful in DevOps you need to have these traits:
I think a DevOps leader must have a great technical skill set: always learn new technologies, be progressive, have a clear technical vision. However, it is also super important to have a winning team and great personal skills in order to be able to inspire developers to follow your lead. It is crucial to build a diverse team of engineers that have a different skill set and come from different technical backgrounds.What are some lessons you have learned on your DevOps career journey?
In the many years of my career I believe I learned several very important lessons:
Start small, but keep the big picture in mind.
Some of the biggest failures that I’ve encountered in my career were due to over-architecture or trying to build an overly complicated system. You should always start small and keep the big picture in mind. Break any project into small steps. First, build something basic and make sure it works. Review it with the customer. You might realize in an early stage that the idea is not working or the customer is not satisfied. This is actually what Agile development is all about; however, they as people still have the tendency to overcomplicate things. So they should always keep in mind: baby steps!
Anything you create should be treated as code, versioned and trackable. Even if it is a feature, configuration or deployment process, or anything else that comes to mind - same rule applies. So many changes happen during the day and it is sometimes challenging to keep up. It is also quite hard to keep documentation up to date. Write clear code, add comments and/or small readme file where necessary and push to source control.
If you find yourself executing the same process more than twice, automate it! Even if you wrote the best documentation for the process or installed the server entirely by the book, things change. The process might get updated and someone will forget to update the documentation. Also, documentation can just get lost in the streams of online data. Your “flawless” server might fall into the wrong hands, and someone might just install something new manually and not document. Here you have a beautiful snowflake on your hands: a server that no one knows how it was installed/configured. Automate! Add clear comments if necessary in your automation code. Don’t create snowflakes!What do you look for in a great company/boss/mentor?
I want the company that I work for to be modern, progressive, fast-paced and successful. I want the R&D manager to understand the necessity of stable and reliable CI/CD processes (that can decrease time to market tremendously). I want my job to be challenging and I want to be able to learn new things all the time. In addition, as a woman, it is also very important to me that the company treats both women and men equally.
As for my boss/mentor, I’m looking for a strong leader that has technical background and wants to push things forward: always innovate, always on the move, always changing. I want to know that I have her/his full support and that she/he knows how to push through obstacles.
It is also very important to remember that they are all human. People are what drives technology forward. Therefore, I would like my manager to have great people skills and to be able to adopt to different individualities, backgrounds, and goals. I was lucky enough to work with some amazing managers, real role models during my career. They still keep in touch and they often help each other out, even though they do not work in the same company anymore. I see the role of a manager as one of the most important aspects in workplace. This is one of the reasons why I invest a lot of effort in my team, so they can be the best team there can be.Any closing thoughts?
I think that DevOps became more Dev then Ops in the last years, since almost everything they do can be coded nowadays. I think that’s probably why modern companies are shifting the teams’ roles from classic DevOps to Release Engineering.
I feel less connected to the Ops part, although I do it quite a lot. My dream of a perfect DevOps practice is to implement stable, reliable and self-service processes, so developers do not need to interact with the team on a daily basis. Also, I find DevOps to be one of the most interesting fields in R&D. They get to be involved in almost every R&D aspect: any feature, any service, any process — all have to go through DevOps team, either for CI/CD or build or monitoring or something else. They are the ones that set the tone in R&D: they define release processes, they create gates for merges, deployments, etc.
Another big plus, in my perspective, is that DevOps keeps evolving rapidly and changing all the time, which makes us to learn new technologies all the time.
Unfortunately, there are not many women in this field. I am usually the only woman in the DevOps group in every company I’ve worked for so I hope my personal success in DevOps will inspire some women to consider that path as well. If you have read this far, make the next step: go talk to your DevOps team! Learn what they do. Perhaps you will find your next dream job.
Editor’s Note: Photo credited to Maria Pulver.
devops ,women in tech , ,leadership ,lessons learned
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Network-General [12 Certification Exam(s) ]
NetworkAppliance [39 Certification Exam(s) ]
NI [1 Certification Exam(s) ]
NIELIT [1 Certification Exam(s) ]
Nokia [6 Certification Exam(s) ]
Nortel [130 Certification Exam(s) ]
Novell [37 Certification Exam(s) ]
OMG [10 Certification Exam(s) ]
Oracle [279 Certification Exam(s) ]
P&C [2 Certification Exam(s) ]
Palo-Alto [4 Certification Exam(s) ]
PARCC [1 Certification Exam(s) ]
PayPal [1 Certification Exam(s) ]
Pegasystems [12 Certification Exam(s) ]
PEOPLECERT [4 Certification Exam(s) ]
PMI [15 Certification Exam(s) ]
Polycom [2 Certification Exam(s) ]
PostgreSQL-CE [1 Certification Exam(s) ]
Prince2 [6 Certification Exam(s) ]
PRMIA [1 Certification Exam(s) ]
PsychCorp [1 Certification Exam(s) ]
PTCB [2 Certification Exam(s) ]
QAI [1 Certification Exam(s) ]
QlikView [1 Certification Exam(s) ]
Quality-Assurance [7 Certification Exam(s) ]
RACC [1 Certification Exam(s) ]
Real-Estate [1 Certification Exam(s) ]
RedHat [8 Certification Exam(s) ]
RES [5 Certification Exam(s) ]
Riverbed [8 Certification Exam(s) ]
RSA [15 Certification Exam(s) ]
Sair [8 Certification Exam(s) ]
Salesforce [5 Certification Exam(s) ]
SANS [1 Certification Exam(s) ]
SAP [98 Certification Exam(s) ]
SASInstitute [15 Certification Exam(s) ]
SAT [1 Certification Exam(s) ]
SCO [10 Certification Exam(s) ]
SCP [6 Certification Exam(s) ]
SDI [3 Certification Exam(s) ]
See-Beyond [1 Certification Exam(s) ]
Siemens [1 Certification Exam(s) ]
Snia [7 Certification Exam(s) ]
SOA [15 Certification Exam(s) ]
Social-Work-Board [4 Certification Exam(s) ]
SpringSource [1 Certification Exam(s) ]
SUN [63 Certification Exam(s) ]
SUSE [1 Certification Exam(s) ]
Sybase [17 Certification Exam(s) ]
Symantec [134 Certification Exam(s) ]
Teacher-Certification [4 Certification Exam(s) ]
The-Open-Group [8 Certification Exam(s) ]
TIA [3 Certification Exam(s) ]
Tibco [18 Certification Exam(s) ]
Trainers [3 Certification Exam(s) ]
Trend [1 Certification Exam(s) ]
TruSecure [1 Certification Exam(s) ]
USMLE [1 Certification Exam(s) ]
VCE [6 Certification Exam(s) ]
Veeam [2 Certification Exam(s) ]
Veritas [33 Certification Exam(s) ]
Vmware [58 Certification Exam(s) ]
Wonderlic [2 Certification Exam(s) ]
Worldatwork [2 Certification Exam(s) ]
XML-Master [3 Certification Exam(s) ]
Zend [6 Certification Exam(s) ]
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