Posts Tagged ‘technology-’

Jason Newsted Talks to Full Metal Jackie

NewstedHeavyMetal.com Former Metallica bassist Jason Newsted was the guest on Full Metal Jackie’s radio show this past weekend. Newsted spoke about his new band, Newsted, and their new EP titled ‘Metal.’ He also explained how the sounds of the previous bands he has been in throughout the years influenced his new music and much more. Read Full Metal Jackie’s interview with Jason Newsted below: We’re here to talk about the new EP ‘Metal.’ Tell us as a player, what’ s most exhilarating about Newsted being a trio? It covers a lot of new territory for me so it’s a fresh start and I have to do a brand new start because I climbed the mountain with Metallica and I stepped off right there when we were up at the top and that’s we’re I get to come into this as far as the approach to everything. So the freshest part is new ground, being lead vocalist, singing my songs, my lyrics, in front of people, playing bass and guitar. I composed all the music on guitar, played all the rhythm guitars on the music and some bass but it’s all my stuff from the get go and then my guys came in and made it what it is now. It’s very personal this time, kind of different in that way. How is it to hear your music being played by other people; is it hard to not want to control it or do you allow these other players to inject their own creativity? I’ve been playing long enough with these guys, Jesus Mendez Jr. on drums, he’s from Fresno and Jessie Farnsworth was from Connecticut, now he’s from Fresno; he plays guitar and stuff actually he plays everything. We switch back and forth between guitar and bass. Jesus started working for Metallica at the end of the ‘90s as a local California road crew guy and then he was their drum tech. We started making music about 10 or 11 years ago and then he brought Jessie in about five years ago. We started melding our stuff together and getting to know each other for about five years and then last September or so after I put it all together pretty much on my iPad and gave them the music. They brought back their stuff and they have paid enough dues and they make their own records – Jessie Farnsworth has his own albums where he fronts his own back, he’s a way better singer than me, a way better guitar player than me already so they have their own ground that they cover and they stand on their own. When they come in to do their thing it’s like, “Man, can you please make it better because I certainly can’t play as good as you play.” So, it’s like they’ve paid as much dues as anybody else but they haven’t gotten the recognition that they deserve, yet – but it’s coming. Obviously, a four year period of physical rehabilitation following surgery on both shoulders limits your ability to play an instrument. Not being able to play how did that in turn change the way you listened and appreciated music? Wow, that’s great insight – just like anytime you lose something in life that is so valuable you appreciate that much more, I think that’s an obvious thing but when you taste it for real it really becomes magnified. I was always able to rig up a thing like a very thin Parker guitar or something in between my sling to keep my chops up a little bit but I could no where even get close to being the monster or do what I really wanted to dig in on any instrument for that matter. I took my loudness to canvas and I started painting – I had left shoulder, right shoulder back and fourth for about a four year period. Each time you do something as serious as that – time for it to rehabilitate and be good enough to let the other one go and take over becomes a crazy little cycle I got into. Fortunately, we caught it three times back and fourth like that but it’s a really tricky thing, it takes a long time to get it back especially when it’s used so much and I really overuse those parts of myself in the years. I’m getting it back about 95 percent now and feeling strong again but the painting is what came from it. I also became as good with each hand, all the paintings are done with both hands now and the instruments are a little better because I can use both hands the same so I’m trying to make some pretty wicked lemonade out of it. Everything for a reason, man, somehow it was all mapped out and everything that’s happened, everything that has transpired, I put all those paintings together – between 800 and 1100 pieces between 2005 and 2010 when I did my first art show in San Francisco, three different studios across the country. I took the loud expression of my music and put it on a canvas and just changed the medium but now I’m back to what I know best because I’m able again and the timing of things, it’s magnificent really. I’d like to talk about the timing of the 12 years of Metallica, being away – it was 12 years ago this week that we had a meeting that they announced it to people that we were going to do what we were going to do and that I was going to step out. Now that the dust has settled and we look back, they have a great band that’s once again dominating the universe, I have a cool band that I’m really happy about that makes me feel like I’m 19 again. I’m really pretty jacked up about the purity of it and the word for this week is Rawesomness – the rawesomness of the Newsted ‘Metal’ EP and the music itself. James [Hetfield] is healthy and clear-eyed and stronger than he’s ever been and I’m healthy again too and all that came from that decision so whether it stung a little bit – yes it did in the beginning, it was traumatic but now that’s all that happened, looking back it’s a beautiful thing. Fantastic things have transpired. Just talking a little bit about Metallica, which is more than a band, it’s an institution. What’s the most valuable thing that taught you how you now approach writing, performing and distributing music? Wow, Metallica taught me so much and the first and most important thing is the work ethic, road dog thing – never wanting to be the weak link, always keeping yourself strong for the performance, everything revolves around the show, that always comes first. The professionalism that I got from those guys and from their whole camp because it goes all the way around, the same people have worked for Metallica for decades and there’s a reason for that. If they didn’t work for them for that long it wouldn’t be Metallica being around for that long and it’s a cycle. Everybody has to do their job as good as the next guy from the light guy to the carpenter guy to the guitar player to the drum tech – everybody is that same team and they’ve known each other forever and ever and that’s what makes it what it is. Having the same people, it doesn’t take a lot of people – if you have good people in the positions that know what they’re doing and assume their role and do what they do and not try to do the other guy’s thing or anything like that. That’s the main thing right there are work ethic and once you find the people that you gel with keep them close and you can build something. When everybody has a stake in it, everybody’s willing to put a lot more forth to make it happen so all of those things business wise, presenting music to people, always going big – I don’t know if I did but Metallica always did. The distribution of music these days is so considerably different and I’m learning every minute now as I’ve opened myself up to social media. I haven’t really been neck deep into it and really involved since the middle of a Voivod record since 2007, 2008 and the last release I did with them was 2009 so I haven’t really been in a place to think about all the social media stuff Michel [Langevin] ‘Away’ from Voivod always handled that stuff. I find myself almost 10 weeks into it now, I’m learning that there is a small percentage of the old avenues that still exist – that I knew and grew up on and that Metallica taught me and there is a whole slew, twice that, that has new avenues and I’m learning as we go here in this new place. I’m getting neck deep in it with this thing, it’s old school music in a new place. Because of the 30 years we worked and going around with Metallica, Voivod, Ozzy and all of these things, I’ve built a certain reputation and following with all those bands, as part of those bands to get people to respond to what I’m doing now because this is what they’ve wanted from me. Somehow the timing is just right but I can only do what I can do, it’s old-school metal because that’s what I am. All of the experiences that I’ve had with all the musicians and all the times and different styles has brought me here – it’s like a certain culmination, a certain regurgitation of all that stuff and being influenced by all those people. The distribution thing, now I’m learning as I go. I think I have something to work with, people seem to be responding to it really well – positively actually overwhelmingly right now because I can hear everybody. You used to have to go on foot to say something to them and talk to them and say “Hi” before I got that response and we went to those places and that’s the only way I could know how they felt about the music – I went to 40 or 50 countries with Metallica. Now you just go online and it’s not even a matter of going up to someone and saying, “What did you think?” Right, even though I enjoy all of that stuff and I will continue to do that kind of connection with fans,this thing is my new re-connection with fans in a way that I could never do before. I’m in one place and I’m able to get across to everybody, what’s happening and they respond to it. It’s so eye opening, it gives me hope that if you do it right. As long as you let people know you’re going to be where you’re going to be to jam or your music is going to be in a certain place for them to share – they’re going to go for it because of all the hard work that we’ve done. So that distribution thing, I’m trying to let the kids help me because we got to No. 1 a debut with this thing on the iTunes Metal Charts with a four man crew out of my garage. So that in itself, the fans, the people, they’re the ones that really spread this around and I see how powerful that is now, it’s a whole different thing. I’d like to talk about that more actually, what I’ve learned about that, the technology thing. I’m feeling like the music is the calling card, the music is the head of the spear and it has to get everybody’s attention and once you have that calling card in their hand, in their ear, in their pocket, in their earbuds, then they’re going to come to the show, then they’re going to want to start sharing. If you make them feel a part of it then they’re going to come and share it, that’s what Metallica always did forever and still does, perpetually – making everyone feel a part of why and where they are, everybody does it together, it’s a big family, a big army. That’s undeniable, people are very loyal in that way so taking the music out to the people, having some cool merchandise together so everybody can share it and be a part of it in that way and fly the flag and keep the metal alive and all that – that’s how you got to keep the music on the road and pay the musicians you want to pay and that kind of thing. That’s all I really want to do with this, the people screamed me back into this, but for real when we did the 30th anniversary thing with Metallica, that’s what brought me back into it so when I do this for the fans and they’re responding so much it makes me want to do it more. I just want to take it to the people again. I know that’s what has to happen now, it’s a single based thing where people and the short attention span and that – I’m testing the waters because I don’t know what the waters are mostly. So I put these four songs out to see how people were going to respond and if anyone gives a snot anymore and it seems like people do. We recorded 11 songs total, we’re going to release them in batches and if people dig them then try to get a full LP out with the last EP with nice vinyl and stuff – that’s my plan. If I can get that through and share that with people, then that’s going to be really cool. I want to have it on CD, I ultimate want to have it on vinyl – the separate EP and the final one. We have to do it from the ground up like this because you have to take it to the people and selling the CDs at the show and all those kinds of things are the only way we were going to get back any money from the music. I think if you’re going to put it online and share it with people that way – you get the downloads you can and then once it does whatever it does, you shouldn’t try to really fight it – just present the best source material that you can, try to have it be representative and let it do its thing. Would Newsted exist today had you not taken part in Metallica’s 30th Anniversary Celebration in San Francisco at the end of 2011? I would say that the Newsted band as serious as it has become now and the commitment we’ve made to it would not have been in this form if I has not been invited by Lars [Ulrich] to come and play with Metallica at the 30th Anniversary on December 2011, four nights over one week – each night got louder and louder. You ask anybody that was there and I’m just observing this is what took place, when we came on it got really loud and they were chanting in every dialect you could figure out, every language. It was crazy and wild and I hadn’t tasted that sweetness for a long, long time – when you’re addicted to the chemicals that are released when you play in front of 50,000 people or 20,000 people or 10,000 people and with the confidence you have with something like Metallica and you get dosed with that time after time after time, you’re addicted, you’re done. People say “Adrenaline junkie” it’s flippin’ real, so I came down from that – it took me 12 years to come down from that addiction. When I tasted it again, it was like the first time I hit it and that’s why I’m back again – just like that. The people called me back into it, I’m doing it because they did. We know how good ‘The Black Album’ did and does – I do what I want to do and anybody that knows me knows that I make my own path about things. I’m doing this because I want to do this for the people, this time and they keep responding to me like this, I was to take it to them that much more. If it hadn’t been for those shows when those people gave me that energy I would have not chased what I’m chasing now. I’m happy that Newsted does exist today and looking forward to more to come for you. Welcome back. [Laughs] Thank you very much, it really is great to be back. It’s overwhelming and I feel young again with it. I think the fountain of youth is within music or something where you find you have a purpose like that – fortunately this stuff has a lot of juice and you get to pump up your heart a lot. I’m still the same fighting weight I was all the times I’ve played, I’ve always kept that metal alive even when I was just painting and the whole thing I still kept that juice going. Now it’s back and I have an opportunity to show off a little bit or maybe something I’ve been storing for a long time and I didn’t even know it. A lot of the stuff came to me as channeling, I know what that’s about when you get into the painting and you let it become what it’s going to become – you are the conduit but that it what happened. On half of these songs I was the conduit and the deal about the way it sounds, why it sounds the way it sounds, it’s the immediacy of it. Even where the songs are a little bit heavier, held back a little slower tempo or that kind of thing they still have this immediacy to them. I had the iPad, with the GarageBand thing – it was new to me but I could do the simple recording on there, I built those songs on there, it was right there in front of me. I had my guitar I could do everything, boom change to bass, change to drums, as it came to me on the moment – I hadn’t had that before. All of the things we’ve done at the Chop House Studio, all of those jams for all of those bands for all of those years, everything’s mic’d up you just rock and record it as a jam then I got that machine and I focused on writing these songs. It just came to me, like that. We used to have our guy Gio back in the day with Metallica, he would carry six cases into my hotel room for me, keyboards, bass, guitars, mixing desks, speakers, power amps now I can do songs on my phone with one instrument or the iPad. The immediacy of that enabled me to channel that stuff that quick and that’s why it sounds like it does, there is a certain primal simplicity to it. It ain’t ground breaking, it ain’t innovative, none of that kind of stuff. It’s just old school metal like I was building the whole time as I went through the different bands. There’s flavors of every band I ever got to jam with in that thing. By the time everybody hears all 11 of this offering recorded in that pocket – 11 songs in two weeks, when they hear all of that stuff and all the interludes and all the flavors and textures – there’s one big song that finishes off that is the frosting and it’s long. I can’t remember how many tracks we ended up doing but it was many – I’m thinking past 140 and it was just layers of all kinds of craziness, I never thought anything would come out that kind of epic-y thing. Once people hear all that stuff they’ll see “Okay that snarl is from Snake in Voivod” because that is such an influence and great teacher without even knowing that he did and “That’s from Hetfield and that’s from Zakk [Wylde] and that’s from Flotsam” that’s what’s going to happen “and that’s from Black Sabbath” because they’re the great teachers “and that’s from Motorhead” and those are the two biggest comments so far. Motorhead is the number one comment, that’s the best compliment you can give me because if there wasn’t Lemmy [Kilmister] there’s not me. He plays with a pick through a guitar amp that’s how I started that’s what I do now. I didn’t know he did what he did until I found out then it made it okay for me to do it. So it’s a big deal, that’s where I’m at with it, it’s just stuff that my great teachers have brought back out and the flavors that I got to experience through time with my privileged opportunities. Full Metal Jackie will welcome High on Fire frontman Matt Pike to her program this coming weekend. She can be heard on radio stations around the country — for a full list of stations, go to fullmetaljackieradio.com .

‘Ghost Adventures’ Host Zak Bagans + Lords of Acid’s Praga Khan Create Spirit-Filled ‘NecroFusion’ Disc

Zak Bagans Entertainment Most know Zak Bagans as the host of the Travel Channel paranormal series, ‘Ghost Adventures,’ but he’s taking his expeditions a step further by teaming with Lords of Acid’s Praga Khan to create a spirit-filled album called ‘NecroFusion.’ The newly released album features eleven new songs that tell the stories of departed souls who have yet to cross over into the afterlife. Armed with his SB7 Spirit Box, Bagans has been able to record “electronic voice phenomena,” known as EVP, over the years and he’s showcased some of those cases on ‘Ghost Adventures.’ However, the idea came about over time for Bagans to translate those voices in a different kind of way, and that’s where Khan came into the fold. Loudwire caught up with Bagans, who shared how the idea initially came about, if he thinks that by making the album he’s helping some of the spirits to cross over, and he shares one of his more terrifying experiences researching spirits at a music store. Can you discuss how the idea to record this album came about and how you ended up working with Praga Khan from Lords of Acid? The idea behind ‘NecroFusion’ came about when Praga Khan of Lords of Acid contacted me after I started making a bunch of Twitter posts about how big a fan I was. Lords of Acid was my favorite band in high school and Praga is a true pioneer of that style of electronic music. He’s done songs for films like ‘Austin Powers,’ ‘Basic Instinct,’ [and] ‘Virtuosity.’ He’s a legend. I started tweeting how I was a big fan of Lords of Acid, and his manager contacted me and asked if I wanted to do vocals for a song called ‘Paranormal Energy’ on the band’s ‘Deep Chills’ album. Apparently Praga was experiencing some paranormal events in his studio in Brussels, and things just fell into place. So I went down to L.A., I recorded with Chris Vrenna from Nine Inch Nails and Marilyn Manson and we did that song, it turned out really good, it hit the Top 5 in the Electronic music charts, it was a big hit. After that, it’s been revolutionary, and my paranormal research with these spirit voices that I’ve been getting — I use a couple of different devices, the SB7 Spirit Box, and also a digital recorder. About two years ago, we started getting absolutely insane, crystal-clear, intelligent voices from the dead. I tried debunking it. I’m very skeptical of our own evidence until we find those logical explanations to prove it as paranormal. Once we were able to put these voices up on a wavelength so you can see the waveform in an audio program, you can see that the spirit voices were laid on top of these sweeps through the Spirit Box, so we eliminated it as any contamination. The voices were intelligent, we had voices give us details about a murder-rape that happened in the 1970s in Denver that we shared with the Denver police department, and they were absolutely astounded by the findings. I’ve had another spirit tell me what color light that was making our electro-magnetic detector go off, and I established visual communications. So it’s 100 percent, and now that I know I’m documenting these spirit voices, I thought it would be a great way for the most powerful vocal messages of our time to be combined with music, the most powerful way to send a message. If you think about it, when you listen to music — music makes you cry, it makes you happy, it makes you dance, it makes you mad, those are the same emotions that I experience when I feel the energy of a spirit when I’m contacting the spirit and communicating with it. So it’s a full supernatural experience while you listen to these songs. Praga obviously has the musical background with Lords of Acid, but many of the samples he’s using came from you and what you’ve recorded. How much input did you have into deciding what would and would not be used for the record and can you talk about the process of putting the songs together? I had a lot of input on every song. Ideally, every single spirit chose the lyrics for every single track. At times, I would be sitting doing hundreds and hundreds of sessions because you don’t always get spirit voices. Over the course of a year, I did hundreds of sessions, maybe in one session at one haunted location I’d ask 150 questions, I’d get no response. Another time I’d ask another 150 questions and maybe I’d get a spirit response from two questions. So I had to take those two questions and use them for a song, and I never knew which questions would be answered by the spirit. That’s why I say that the spirits answered the questions and chose the lyrics for the songs. What’s really interesting is that once I got the spirit voices, I would then tell Praga the emotions that I was feeling during that time, because when I communicate with spirits, I feel that spirit’s energy. They don’t have a body. They don’t have a mouth. It’s just their energy. And so, if the spirit was angry, if it was sad, I would feel that energy. I would explain that to Praga and together we would choose the right tone and tempo of the music and the display and the presentation, so that the listener could be calibrated with that emotional level, that experience of when I was communicating with that spirit, and the emotion from the tone of the spirit, so it’s a full, emotional, personal experience. The spirit voices are complimented by the music that is establishing the emotional tone originally set by the spirit. So, you have the full-on experience. And you never know, you’re listening to these spirit voices, and the spirit may know that you’re listening to the music and their voices, so you’re really helping the spirit to be at rest and have closure and maybe be free from being trapped, just by your listening to the song. The music has so many different purposes. Obviously you’re used to hearing the electronic voice phenomena that you’ve recorded over the years, but what was it like the first time you heard it put to music? The first time I heard the EVPs put into music, it was awesome. On my show, ‘Ghost Adventures,’ you just hear the voice. You’re not there so you don’t get the full experience. You don’t feel the energy of that spirit that’s talking to you. I like to say it’s like being in a bubble – you lose track of time, you lose track of everything. It’s like being in the afterlife, but you’re still alive. You can feel that, and it’s actually a great feeling. Sometimes it’s scary as s—, too. But the first time I heard it in music, it put me back in that moment of feeling the energy when I captured the voice. The spirit voices are immortalized through the music, but the music brings you that emotional energy as well, what I feel when I talk to those spirits. So I’m bringing that full, first experience to you as you listen to it. Having completed the ‘NecroFusion’ album, do you think that it’s helped any of those whose voices are heard on the disc or was this just an interesting thing to put music to? Yes, I believe I’m helping these spirits to possibly be free from being trapped, being stuck here by allowing their voices to be heard. If you think about it, I believe a lot of spirits are trapped, because they’ve been trying for 100, 200, 300 years to tell somebody a clue to their unsolved murder, or just something they need to say or they want to contact someone. So now, with the evolution of technology, I believe that’s to my benefit. The technology that I’m using, we’re able now to tap into these spirit frequencies and listen to them. It’s no different from a cell phone, or being able to send a picture or a video through space. This technology is now allowing us to tap into these frequencies and hear these spirits, and I think it’s helping these spirits. On the track ‘Sing for Me,’ where you hear the female sing — when I was conversing with her — I tried for months to get a spirit to sing a song, and once this woman did — you can even hear her go, “I … sing …,” and then she gives us a note. I don’t know what she’s singing, but during that moment, I remember I was very emotional, extremely emotional. And the tone of the music in that song reflects my emotional experience when it was happening. I believe that putting these spirit voices in this music is helping to free them because their voices are finally being heard. Not only that, but I’ve already gotten tons of feedback from people saying ‘thank you so much, I had a friend who committed suicide, you’re now giving me that closure that I needed to know that there’s an afterlife.’ I’m helping the dead and I’m helping the living with this music. You talk about many of your demonic encounters happening at Bobby Mackey’s Music World, and in particular one case that inspired the song ‘Poor Pearl’  (as seen in the video below). Would you discuss your research into Pearl and your thoughts after hearing the demonic response to whether or not she was fine? For some reason, my investigations at Bobby Mackey’s, Pearl Bryan was very sad. We did an investigation there, and one of the EVPs we captured, you hear a girl crying, and they you hear a male voice going, ‘Precious … No.’ Pearl Bryan was murdered by her boyfriend –- Scott Jackson and Alonzo Walling were two devil worshippers who killed Pearl –- it was a documented case. When they were being hung in the gallows, they said that they would forever haunt Bobby Mackeys [the building that today is Bobby Mackey’s club was a slaughterhouse when the murder was committed). I believe that it is those two spirits who haunt that building today. I believe that the EVP we recorded there was Pearl, and it makes me sad to think that she may be being held hostage there, that she’s trapped there, being held there by these two evil spirits. I believe that these two spirits opened a portal to all of the demonic attacks that have taken place at Bobby Mackeys. Bobby Mackey is a strange guy. He doesn’t believe in the hauntings there, yet he’s had 19 sworn affidavits from police officers, clergy, officials who have signed their names to having had paranormal experiences there that were all demonic. But Bobby is the only one who hasn’t had a paranormal experience — the only one who doesn’t believe in it — yet every single person in his family has had severe experiences there. So I thought it would be a great idea for him to do a song with me and dedicate it to Pearl Bryan, so that’s what we did. I actually documented a voice, I believe that the spirits of Scott Jackson and Alonzo Walling have followed me, have attached themselves to me, having caused my demonic possession at Bobby Mackeys, to where I had to have a demonic exorcism performed on me. It’s been a horrific place. At one point during the investigation and on the song, I said ‘I think Pearl is safe now…’ and unexpectedly, we got a crystal-clear voice that said, ‘Is she?’ mocking me in a sarcastic manner, and I believe it was the voice of one of the two guys who killed her and chopped her head off and threw it down the basement’s well that was used by the slaughterhouse to drain all of the blood into the Licking River. So I believe that they opened up that place to hell. I believe that they came through and said, ‘Is she?’ What was the most interesting track on this album for you and can you explain why it stands out? ‘Demonator.’ I did that song to say ‘f-you’ to the demons who have wreaked havoc in my life. The track starts with two EVPs who were captured during a live event. These EVPs were witnessed by about 25 people as they were captured in real time by a Spirit Box. My friend Tara, her daughter’s voice came through saying ‘mommy’ and Tara immediately knew it was her daughter who was back home. That’s what they like to do, these demons, they like to f–k with you, mess with you, they like to mock your voices. The second voice you’ll hear on ‘Demonator’ goes ‘Guys, be careful.’ That’s MY voice that was captured at the event as well. The problem was, I was in the basement doing an investigation with 15 people, and that voice was captured upstairs with Dave Schrader [fellow paranormal investigator] and another group of people, and the demon was mocking me and used my voice. So I thought it would record a track and dedicate it to all those demons who tried scaring me with these voices. Now I use these voices in a badass song called ‘Demonator.’ You can pick up Zak Bagans Vs. Praga Khan’s ‘NecroFusion’ album via iTunes here . Watch Zak Bagans Talking About His Connection With Spirits

AC/DC’s ‘Highway to Hell’ Used to Test New Military Drone Technology

Kevin Mazur, Getty Images We all know how awesome AC/DC ‘s music is, but their classic hard rock anthems appeal to people from all walks of life. Even British engineers rock out to ‘Highway to Hell’ while they’re on the job! They just happen to be using the song to test new laser technology for in-flight drones. You may remember a story that broke earlier this year, when AC/DC’s ‘Thunderstruck’ was blasted at immense volume at an Iranian nuclear power plant thanks to a computer hacker . Now, British engineers have chosen AC/DC for military drone testing … sound like a conspiracy, Dave Mustaine ? In fact, the laser technology that was tested using ‘Highway to Hell’ is being developed to make drones lighter and operate longer without having to refuel. EADS Innovation Works in Newport, UK, are working on the laser reflector, which they call ‘Dazzle.’ Since we’re not all that bright when it comes to complex engineering, check out this description of the laser reflector courtesy of Gizmodo : After the laser beam enters the reflector, it passes through a transparent switch, called a light modulator, that adds the digital zeroes and ones of the video data to the beam. The light then hits a mirror and is reflected back to the spot it came from – carrying the video data. The tech will allow a speed boost to 1 gigabit per second – easily allowing faster delivery of HD video, which struggles to top 20 megabits per second with radio frequencies. Scientist Yoann Thueux is that man who chose ‘Highway to Hell’ for the inaugural testing of the laser technology. “It was on my iPod and I thought it would be a good song to go first because I know it completely by heart,” says Thueux. “I’d be the first to tell if the technology was not working properly on playback.” As for the next song to be beamed into a drone, Thueux hopes to use one of his own band’s tracks, although Frank Sinatra’s ‘Fly Me to the Moon’ has also been suggested. [button href=”http://loudwire.com/acdc-back-in-black-album-grammy-hall-of-fame/” title=”AC/DC’s ‘Back in Black’ Album Inducted Into Grammy Hall of Fame” align=”center”]