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Pontus Hjelm Wojciech Hoffmann Steve Holt Trond "Teeny" Holter Bernhard Horn Dead by April Turbo 36 Crazyfists Wig Wam Callejon photo by : Robert Norgren Scott Hull Bernt "Flash" Jansen Sven Janssens Jonas Jarlsby Steve Jones Pig Destroyer Wig Wam The End of All Reason Avatar The Faceless Jari Kainulainen Joe Keyser Gav King Jon Kita Siméon Koch Evergrey Skinless Fields of the Nephilim Diecast Eluveitie Jukka Koskinen Andrea Maddalone Tommi Kuri Lanvall Gianni Rojatti Wintersun, Norther, Cain's Offering New Trolls Amberian Dawn Edenbridge The Casual's, Solo Artist Parker Lauzon Fabrizio Leo Eugeny Levin Jani Liimatainen Manu Livertout Evans Blue Eros Ramazzotti, Fiorella Mannoia Alisa Cain's Offering Manu Livertout band Mario Lochert Juan Carlos Martin Lopez Antoine Lussier Jari Mäenpää Christofer Malmström Emergency Gate Mago de Oz Ion Dissonance Wintersun Darkane Guido Block Riccardo eRiK Atzeni Lee McKinney Mark Mitchell Christian Münzner NoiZe Machine Solid Vision, Dominici Born of Osiris Throwdown Obscura, Spawn of Possession Pera Kristian Niemann Per Nilsson Pekka Olkkonen Magnus Olsson Markonee Demonoid Scar Symmetry Stam1na 70 EQ Grafico a 6 Bande La serie Promethean è dotata di equalizzatore grafico a 6-bande per consentire precise regolazioni tonali in ogni contesto. Ciascuna frequenza è stata accuratamente selezionata per offrire la massima efficenza sul suono del vostro basso. L’equalizzatore può essere bypassato tramite lo switch dedicato. Controllo Vibe Controllo tonale tramite il quale è possibile passare da un morbido suono vintage ad un tono più moderno. Lo switch On/Off consente di modificare il carattere sonoro in un istante. (Lo switch On/off può essere controllato tramite il pedale opzionale IFS2X.) Aux/Phones L’ingresso aux consente di suonare con lettori MP3 o CD. L’uscita cuffie è utile per le vostre jam session domestiche o per il sound check durante le prove. Per Farvi Sentire Sempre... Senza Grandi Sforzi Amplificatori per Basso Ibanez Parrebbe impensabile che un amplificatore piccolo possa produrre un Line Out suono corposo, ma la serie di amplificatori per basso Ibanez Promethean L’uscita bilanciata XLR consente di inviare è l’eccezione che conferma la regola. Gli ampli Promethean sono dedicati un segnale bilanciato linea alla console di mixaggio e/o al sistema PA in qualsiasi ai musicisti in continuo movimento. All’interno di una struttura compatta, i contesto live o in studio. Sono inoltre presenti Promethean offrono funzioni CRITICHE concepite per soddisfare svariate gli interruttori di Eq Pre o Post, GND Lift e di controllo del livello per evitare eventuali esigenze live garantendo un suono LOUD!!! I musicisti in tour avranno vita interferenze con altri strumenti. facile grazie agli ampli Promethean! 72 P5110 Amplificatore per Basso Combo • uscita 250W@8Ω/500W@4Ω • cono Cono in Ceramica da 10" , Tweeter Dome • controlli Switch Mute, Gain, Controlli Bassi/Alti EQ Grafico a 6 bande, Controllo Vibe Volume Master • in/out Ingresso, Ingresso Aux, Uscita Cuffie, Uscita Accordatore, Uscita Linea Bilanciata (XLR) Ingresso Pedale Switch (Mute/Vibe) Testata Rimuovibile • cabinet Cabinet Ported Bass Reflection/Sistema Tilt-up (P5110/P5210) • dimensioni 326(L) x 332(P) x 360(H) (mm) • peso 12.5kg La testata dei modelli P5110 e P5210 può essere rimossa senza Il P5110 offre 250W@8Ω. Se utilizzato insieme al cabinet l’ausilio di alcun utensile. Grazie P110C, la potenza totale è di 500W@4Ω. alle dimensioni compatte, il vostro sound potrà seguirvi ovunque! P500H Testata per Basso P5210 Amplificatore per Basso Combo • uscita 250W@8Ω/500W@4Ω • uscita 500W@4Ω • controlli Switch Mute, Gain, Controlli Bassi/Alti • cono 2 Coni in Ceramica da 10” , 2 Tweeter Dome EQ Grafico a 6 bande, Controllo Vibe • controlli Switch Mute, Gain, Controlli Bassi/Alti Volume Master EQ Grafico a 6 bande, Controllo Vibe IFS2X Pedale Switch • in/out Ingresso, Ingresso Aux, Uscita Cuffie, Uscita Volume Master Accordatore, Uscita Linea Bilanciata (XLR) • in/out Ingresso, Ingresso Aux, Uscita Cuffie, Uscita Pedale di switch con alloggiamento in metallo Ingresso Pedale Switch (Mute/Vibe) Accordatore, Uscita Linea Bilanciata (XLR) opzionale per P500H e P5110. (pedale non • dimensioni 280(L) x 265(P) x 57(H) (mm) Ingresso Pedale Switch (Mute/Vibe) incluso e venduto separatamente) • peso 2.9kg • cabinet Cabinet Ported Bass Reflection • dimensioni 332(L) x 376(P) x 711(H) (mm) • peso 24.8kg P110C Cabinet Amplificatore combo per basso con due coni da 10” e 500W di Cabinet P115C • 250W potenza in grado di offrire performance ottimali in qualsiasi contesto, dal piccolo pub al grande club. La testata può essere • 300W • Cono in Neodimio da 10” • Cono in Neodimio da 15” • Tweeter Dome rimossa dal cabinet e trasportata nel caso in cui vogliate • Tweeter Horn • Jack Combo SPEAKON® collegarvi direttamente all’impianto. • Cabinet Ported Bass Reflection/ • Jack Combo SPEAKON® Custodia • Cabinet Ported Bass Reflection Sistema Tilt-up • 604(L) x 450(P) x 620(H) (mm) • 326(L) x 325(P) x 460(H) (mm) Custodia per il P500H. (custodia • 9.5kg • 24.8kg non inclusa e venduta separatamente) P410C Cabinet • 1000W • 4 Coni in Neodimio da 10” • Tweeter Horn • Jack Combo SPEAKON® • Cabinet Ported Bass Reflection BGP511 Custodia • 604(L) x 450(P) x 620(H) (mm) • 34.3kg Custodia per il P5110. (custodia non inclusa e venduta separatamente) *SPEAKON® è un marchio registrato da Neutrik AG 73 La serie di amplificatori per basso SWX Sound Wave è stata creata per il bassista moderno di qualsiasi livello alla ricerca della massima versatilità. Gli ampli SWX offrono un suono potente, naturale e bilanciato; la perfetta combinazione di funzioni consente di modificare il carattere tonale in modo Interruttore Shape Controllo HUE rapido. Suonare con un ampli Sound Wave assicura il groove, Tramite l’interruttore Shape potrete Tutti gli ampli per basso della serie Sound il drive, i toni ed i costi che cercate - sia che desideriate un ottenere il classico suono con alti e bassi Wave SWX offrono il controllo HUE per suono classico, che i più moderni pop, slap e funk. enfatizzati e medi tagliati ricercato ed regolare il carattere tonale globale. utilizzato da moltissimi bassisti. SWX100 Amplificatore per Basso da 100W • uscita 100 Watt • cono 15" con Tweeter Piezo Horn • controlli Shape, Bright, Gain, Bassi, Medi, Alti, Hue, Volume Master, Tweeter, Amplificatore per Basso da 35W Auto-comp con LED SWX35 • in/out Ingresso, Ingresso CD / MP3, Uscita Direct Compressore Automatico • uscita 35 Watt con interruttore Post EQ e GND Lift, Loop Effetti, Integrato • cono 10" Coassiale a 2 Vie Cuffie • cabinet Cabinet Sealed Back Ported Bass Reflection con Tutti gli amplificatori della serie Sound Wave • controlli Shape, Bright, Gain, Bassi, Medi, Alti, Hue, Volume Master, Caster SWX sono dotati di circuiteria di compressione Auto-comp con LED • dimensioni 520(L) x 682(H) x 312(P) (mm) automatica in grado di ridurre le distorsioni, • in/out Ingresso, Ingresso CD / MP3, Uscita Linea, Cuffie • peso 24.2kg mantenendo un suono pulito e potente. (Il modello • cabinet Cabinet Sealed Back con Sistema Tilt-Up SWX20 non è dotato del LED Auto-Comp) • dimensioni 378(L) x 532(H) x 312(P) (mm) • peso 14.2kg SWX65 Amplificatore per Basso da 65W • uscita 65 Watt • cono 12" con Tweeter Piezo • controlli Shape, Bright, Gain, Bassi, Medi, Alti, SWX20 Amplificatore per Basso da 20W Hue, Volume Master, Tweeter, Auto-comp con LED • uscita 20 Watt • in/out Ingresso, Ingresso CD / MP3, Uscita Linea, Loop Effetti, • cono 8" Coassiale a 2 Vie Cuffie • controlli Shape, Bright, Gain, • cabinet Cabinet Sealed Back Bass Reflection con Sistema Tilt-Up Bassi, Medi, Alti, Hue, • dimensioni 422(L) x 632(H) x 312(P) (mm) Auto-comp • peso 18.8kg • in/out Ingresso, Ingresso CD / MP3, Cuffie Interruttore Bright • cabinet Cabinet Sealed Back Interruttore per modalità Normal e • dimensioni 337(L) x 410(H) x 240(P) (mm) • peso 8.6kg Bright per modificare immediatamente il carattere sonoro, dal suono di un basso passivo, ad uno attivo. 74 Pensando ad un amplificatore, qual’è il più grande desiderio di un musicista? Sicuramente molti penseranno ad un suono puro ed avvolgente, unito indubbiamente alla trasportabilità. La serie Ibanez T di amplificatori per chitarra acustica è la risposta a questi desideri, unita alla fenomenale estetica di un amplificatore boutique artigianale. Sia che dobbiate strimpellare in un locale che suonare per una funzione religiosa, il suono offerto dalla nuova serie T sarà in grado di riempire la stanza. In più non dovrete rompervi la schiena per trasportare il vostro ampli. La serie T è stata progettata pensando alla massima trasportabilità. T10 Ampli per Chitarra Acustica da 10W T20 Ampli per Chitarra Acustica da 20W T35 Ampli per Chitarra Acustica da 35W • uscita 10 w • uscita 20 w • uscita 35 w • speaker Speaker da 6.5" • speaker Speaker Coassiale da 8" (con tweeter) • speaker Speaker Coassiale da 10" (con tweeter) • controlli Frequenze Medie, Hue • controlli Equalizzatore a 3 Bande con Regolazione dei Medi, • controlli Equalizzatore a 3 Bande con Regolazione dei Medi, Chorus con Controllo Velocità Modalità Natural/Shaped, Chorus con Controllo Modalità Natural/Shaped, Chorus con Controllo Limiter Integrato, Volume Velocità, Riverbero, Limiter Integrato, Canale Profondità e Velocità, Riverbero, • in/out Ingresso Chitarra, Ingresso CD/AUX Microfonico con Controlli Tonali, Volume Mic, Limiter Integrato, Canale Microfonico con Controlli Cuffie/Uscita Linea Volume Chitarra, Volume Master Tonali, Volume Mic,
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    Ibanez Bass Artist Roster Roger Alcantara – Eternal Now, Barbie Almalbis Jason Jones – Oceano Adrian Alimic – Vanishing Point Louis Jucker – THE OCEAN Sean Andrews – Redemption Jari Kainulainen – Symfonia, Devil's Train Stefan Aschauer – Replica Linus Klausenitzer – Obscura Riccardo eRiK Atzeni – Dominici Kyle Koelsch – Greeley Estates Alexander Avduevsky – Boroff Band Jukka Koskinen – Wintersun, Norther, Amberian Dawn 2012 Bass Catalog Karin Axelsson – Sonic Syndicate Steinar Krokmo – Pagan's Mind Ralph Bach – J.B.O. Hans J Kullock Bagus – Netral Tommi Kuri Chris Ball – Ignominious Incarceration Dan Kurtz – Dragonette, The New Deal Stephane Barbe – Kataklysm Fredrik Larsson – HammerFall, DEATHDESTRUCTION Alexander Basstard – Ecliptica Brandon Leitru – For Today Glen Benton – Deicide, Vital Remains Mario Lochert – Emergency Gate Jett Beres – Sister Hazel Chris Lollis – Nile J.R. Bermuda – Sleeping Giant Michael Low – Thy Art is Murder Adam Blackstone – Eminem, Kanye West, Janet Jackson Kay Lutter – IN EXTREMO Troy Bleich – Into Eternity John 'Slo' Maggard – Unearth Guido Block – Noize Machine Wojciech Mazolewski – Pink Freud Alberto Bollati "El Guapo" – UTEZ, Wine Spirit Jaap Melman – ReVamp Dennis Bradley – Beneath the Massacre Alonso Milano – Cultura Tres Nelson Braxton – The Braxton Brothers, Michael Bolton Tom Murphy – Periphery Stephen "Thundercat" Bruner NA – Street Funk Rollers Raymond Bürgin – P.M.T. - Pre Menstrual Tension Johan Niemann – Evergrey Buzzard – 36 Crazyfists Adam Nitti – Solo Artist Jason C – LOVEX Anders Odden –
  • KUHLMANN-THESIS-2018.Pdf (1.113Mb)

    KUHLMANN-THESIS-2018.Pdf (1.113Mb)

    FEMALE METAL FANS AND THE PERCEIVED POSITIVE EFFECTS OF METAL MUSIC A Thesis Submitted to the College of Graduate and Postdoctoral Studies In Partial Fulfillment of the Requirements For the Degree of Master In the Department of Educational Psychology and Special Education University of Saskatchewan By Anna Noura Kuhlmann Copyright Anna Noura Kuhlmann, January 2018. All rights reserved PERMISSION TO USE In presenting this thesis in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other uses of materials in this thesis in whole or part should be addressed to: Head of the Department of Educational Psychology and Special Education 28 Campus Drive University of Saskatchewan Saskatoon, Saskatchewan, S7N 0X1 Canada OR Dean College of Graduate and Postdoctoral Studies University of Saskatchewan 105 Administration Place Saskatoon, Saskatchewan, S7N 5A2 Canada i ABSTRACT Despite increasing literature that confirms the therapeutic benefits of music, metal music is still stigmatized as sexist, masculine, and detrimental to its fans.
  • Thematic Patterns in Millennial Heavy Metal: a Lyrical Analysis 2012

    Thematic Patterns in Millennial Heavy Metal: a Lyrical Analysis 2012

    University of Central Florida Electronic Theses and Dissertations Masters Thesis (Open Access) Thematic Patterns In Millennial Heavy Metal: A Lyrical Analysis 2012 Evan Chabot University of Central Florida Find similar works at: http://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu Part of the Sociology Commons STARS Citation Chabot, Evan, "Thematic Patterns In Millennial Heavy Metal: A Lyrical Analysis" (2012). Electronic Theses and Dissertations. Paper 2277. This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of STARS. For more information, please contact [email protected]. THEMATIC PATTERNS IN MILLENNIAL HEAVY METAL: A LYRICAL ANALYSIS by EVAN CHABOT B.A. University of Florida, 2011 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Sociology in the College of Sciences at the University of Central Florida Orlando, Florida Fall Term 2012 ABSTRACT Research on heavy metal music has traditionally been framed by deviant characterizations, effects on audiences, and the validity of criticism. More recently, studies have neglected content analysis due to perceived homogeneity in themes, despite evidence that the modern genre is distinct from its past. As lyrical patterns are strong markers of genre, this study attempts to characterize heavy metal in the 21st century by analyzing lyrics for specific themes and perspectives. Citing evidence that the “Millennial” generation confers significant developments to popular culture, the contemporary genre is termed “Millennial heavy metal” throughout, and the study is framed accordingly.