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Malcolm Chisholm: an Evaluation of Traditional Audio Engineering
Butler University Digital Commons @ Butler University Scholarship and Professional Work - Communication College of Communication 2013 Malcolm Chisholm: An Evaluation of Traditional Audio Engineering Paul Linden Butler University, [email protected] Follow this and additional works at: https://digitalcommons.butler.edu/ccom_papers Part of the Audio Arts and Acoustics Commons, and the Communication Technology and New Media Commons Recommended Citation Linden, Paul, "Malcolm Chisholm: An Evaluation of Traditional Audio Engineering" (2013). Scholarship and Professional Work - Communication. 137. https://digitalcommons.butler.edu/ccom_papers/137 This Article is brought to you for free and open access by the College of Communication at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - Communication by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Journal of the Music & Entertainment Industry Educators Association Volume 13, Number 1 (2013) Bruce Ronkin, Editor Northeastern University Published with Support from Malcolm Chisholm: An Evaluation of Traditional Audio Engineering Paul S. Linden University of Southern Mississippi Abstract The career of longtime Chicago area audio engineer and notable Chess Records session recorder Malcolm Chisholm (1929-2003) serves as a window for assessing the stakes of technological and cultural develop- ments around the birth of Rock & Roll. Chisholm stands within the tradi- tional art-versus-commerce debate as an example of the post-World War II craftsman ethos marginalized by an incoming, corporate-determined paradigm. Contextual maps locate Chisholm’s style and environment of audio production as well as his impact within the rebranding of electri- fied Blues music into mainstream genres like Rock music. -
I AM BRIAN WILSON Brian Wilson October 11Th, 2016
I AM BRIAN WILSON Brian Wilson October 11th, 2016 OVERVIEW: As a cofounding member of The Beach Boys in the 1960s, Brian Wilson created some of the most groundbreaking and timeless music ever recorded. Derailed in the 1970s by mental illness, excessive drug use, and the shifting fortunes of the band’s popularity, Wilson came back again and again over the next few decades, surviving and ultimately thriving. In his memoir entitled I Am Brian Wilson, he details the exhilarating highs and lows of his life from his failing memory, including the sources of his creative inspiration throughout the decades. - - - - - - - - - EARLY LIFE: Brian Wilson was born on June 20th, 1942 to Audree and Murry Wilson. Growing up in Hawthorne, California, Wilson exhibited unusual musical abilities, such as being able to hum the melody from When the Caissons Go Rolling Along after only a few verses had been sung by his father before the age of one. Surprisingly, a few years later, he was discovered to have diminished hearing in his right ear. The exact cause of this hearing loss is unclear, though theories range from him simply being born partially deaf to a blow to the head from his father, or a neighborhood bully, being to blame. While Wilson’s father was a reasonable provider, he was often abusive. A minor musician and songwriter, he also encouraged his children in this field in numerous ways. At an early age, Brian was given six weeks of lessons on a toy accordion and, at seven and eight, sang solos in church with a choir. -
Model LA-610 Channel Strip
Model LA-610 Channel Strip Universal Audio Manual Number 65-0901 Revision 1.00 Universal Audio, Inc. www.uaudio.com 330 Encinal St. Santa Cruz, CA 95060 (831) 466-3737 voice (831) 466-3775 fax www.uaudio.com The LA-610 Channel Strip Thank you for purchasing the LA-610 Channel Strip. This unit combines a modified channel of our 2-610 Mic Pre with an LA2A style T4 Optical Compressor. Our 610 was inspired by the microphone preamp section of the 610 tube console designed by my father, M.T. “Bill” Putnam, in the 1950s. The 610 was a rotary-control console and was the first console of the modular design. Although technologically simple compared to modern consoles, the 610 possessed a warmth and character that kept it in demand for decades. As a prominent part of my father’s United/Western studios, the 610 was used on many classic recordings by Frank Sinatra and Sarah Vaughan. The Beach Boys Pet Sounds, the Doors LA Woman, and Van Halen’s debut album were all recorded on the 610. The legendary Wally Heider used the 610 in his remote truck for many of his best-known live recordings. At Ocean Way Studios (formerly United), the 610 is lovingly preserved and still used in Studio B. The T4 Compressor element in the LA-610 is identical to the circuit components housed inside the T4 optical cell used on the legendary LA- 2A compressor. The heart and soul of the LA-2A is mostly a result of this special optical gain control element. -
Psaudio Copper
Issue 133 MARCH 29TH, 2021 Copper has a new look! So does the rest of the PS Audio website, the result of countless hours of hard work. There's more functionality and easier access to articles, and additional developments will come. There will be some temporary glitches and some tweaks required – like high-end audio systems, magazines sometimes need tweaking too – but overall, we're excited to provide a better and more enjoyable reading experience. I now hand over the column to our esteemed Larry Schenbeck: Dear Copper Colleagues and Readers, Frank has graciously asked if I’d like to share a word or two about my intention to stop writing Too Much Tchaikovsky. So: thanks to everyone who read and enjoyed it – I wrote it for you. If you added comments occasionally, you made my day. I also wrote the column so I could keep learning, especially about emerging creatives and performers in classical music. Getting the chance to stumble upon something new and nourishing had sustained me in the academic world – it certainly wasn’t the money! – and I was grateful to continue that in Copper. So why stop? Because, as they say, there is a season. It has become considerably harder for me to stumble upon truly fresh sounds and then write freshly thereon. Here I am tempted to quote Douglas Adams or Satchel Paige, who both knew how to deliver an exit line. But I’ll just say (since Frank has promised to leave the light on), goodbye for now. The door is open, Larry, and we can’t thank you enough for your wonderful contributions. -
Universal Audio 4-710D User Guide
Model 4-710d Four-Channel Tone-Blending Mic Preamplifier Universal Audio Part Number 65-00051 Revision A Universal Audio, Inc. Customer Service & Tech Support: +1-877-MY-UAUDIO Business, Sales & Marketing: +1-866-UAD-1176 www.uaudio.com Notices This manual provides general information, preparation for use, installation and operating instructions for the Universal Audio Model 4-710d. Disclaimer The information contained in this manual is subject to change without notice. Universal Audio, Inc. makes no warranties of any kind with regard to this manual, including, but not limited to, the implied warranties of merchantability and fitness for a particular purpose. Universal Audio, Inc. shall not be liable for errors contained herein or direct, indirect, special, incidental, or consequential damages in connection with the furnishing, performance, or use of this material. Copyright © 2011 Universal Audio, Inc. All rights reserved. This manual and any associated software, artwork, product designs, and design concepts are subject to copyright protection. No part of this document may be reproduced, in any form, without prior written permission of Universal Audio, Inc. Trademarks 4-710d, 710, Twin-Finity, 4110, 8110, SOLO/110, SOLO/610, 2-610, LA-610, LA-2A, 2-LA2, LA-3A, 6176, 1176LN, 2-1176, 2192, DCS Remote Preamp, UAD and the Universal Audio, Inc. logo are trademarks of Universal Audio, Inc. Other company and product names mentioned herein are trademarks of their respective companies FCC Compliance This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) the device must accept any interference received, including interference that may cause undesired operation. -
Marie Booth: Soprano, Actor, Entertainer
TheThe ViewViewView October 2019 Marie Booth: Soprano, Actor, Entertainer Story on Page 22 Photo by Robert DeLaurenti CONTACT INFORMATION SUN CITY SHADOW HILLS Sun City Shadow Hills Community Association COMMUNITY ASSOCIATION 80-814 Sun City Boulevard, Indio, CA 92203 Hours of Operation www.scshca.com · 760-345-4349 Association Office Homeowner Association (HOA). Ext. 1 Monday – Friday · 9 AM – 12 PM, 1 – 4 PM Montecito Clubhouse Fax . 760-772-9891 First Saturday of the Month · 8 AM – 12 PM Montecito Clubhouse . Ext. 2120 Lifestyle Desk Montecito Fitness Center . Ext. 2111 Daily · 8 AM – 5 PM Santa Rosa Clubhouse Fax. 760-342-5976 Montecito Clubhouse Daily · 6 AM – 10 PM Santa Rosa Clubhouse. Ext. 2201 Shadow Hills Golf Club South . Ext. 2305 Montecito Fitness Center Daily · 5 AM – 8 PM Shadow Hills Golf Club North . Ext. 2211 Santa Rosa Clubhouse Shadows Restaurant . Ext. 2311 Daily · 6 AM – 9 PM Jefferson Front Gate (Phases 1 & 2) . 760-345-4458 Shadows Restaurant Avenue 40 Front Gate (Phase 3) . 760-342-4725 Sunday – Thursday · 8 AM – 6 PM Rich Smetana, General Manager Friday & Saturday · 8 AM – 8 PM Breakfast · 8 – 11 AM [email protected] . Ext. 2102 Lunch · 11 AM – 5 PM Tyler Ingle, Controller Dinner · 5 PM – 8 PM [email protected]. Ext. 2203 Happy Hour · 3 – 6 PM Bob Pantanella, Community Safety Director Golf Snack Bar [email protected] . Ext. 2202 Daily · 6 – 11 AM Jesse Barragan, Facilities Maintenance Director Santa Rosa Bistro [email protected] . Ext. 2403 Daily · 6 AM – 3 PM Connie King, Lifestyle Director Montecito Café [email protected] . -
Salem Leaving Takoma Park
Salem Leaving Takoma Park ~ 43 Years of John Fahey ~ The John Fahey Catalog From The International Fahey Committee Chris Downes, Paul Bryant, Malcolm Kirton, Tom Kremer Thanks to Mitchell Wittenberg and Glenn Jones DISCOGRAPHY...................................................................................................................................................... 4 SUMMARY ............................................................................................................................................................. 4 TRACK LISTING...................................................................................................................................................... 6 THE FONOTONE SESSIONS 1958-1962 ............................................................................................................... 6 BLIND JOE DEATH 1959/1964/1967 ..................................................................................................................... 8 DEATH CHANTS, BREAKDOWNS, AND MILITARY WALTZES 1964/1967........................................................ 8 THE DANCE OF DEATH AND OTHER PLANTATION FAVORITES 1964/67 .................................................... 9 THE TRANSFIGURATION OF BLIND JOE DEATH 1965 ................................................................................... 9 THE EARLY YEARS (FONOTONE) 1965 ............................................................................................................ 10 GUITAR VOLUME 4 THE GREAT SAN BERNARDINO BIRTHDAY -
Universal Audio 6176 Manual
Model 6176 Channel Strip Universal Audio Part Number 65-00053 Universal Audio, Inc. Customer Service & Tech Support: 1-877-MY-AUDIO Business, Sales & Marketing: 1-866-440-1176 www.uaudio.com Notice _____________________________________________________________ This manual provides general information, preparation for use, installation and operating instructions for the Universal Audio 6176. The information contained in this manual is subject to change without notice. Universal Audio, Inc. makes no warranties of any kind with regard to this manual, including, but not limited to, the implied warranties of merchantability and fitness for a particular purpose. Universal Audio, Inc. shall not be liable for errors contained herein or direct, indirect, special, incidental, or consequential damages in connection with the furnishing, performance, or use of this material. Copyright © 2009 Universal Audio, Inc. All rights reserved. This manual and any associated software, artwork, product designs, and design concepts are subject to copyright protection. No part of this document may be reproduced, in any form, without prior written permission of Universal Audio, Inc. Trademarks 6176, 1176LN, 2-1176, LA-610, LA-2A, 2-LA-2, LA-3A, 2-610, 710, 4110, 8110, SOLO/110, SOLO/610, 2192, DCS Remote Preamp, UAD and the Universal Audio, Inc. logo are trademarks of Universal Audio, Inc. Other company and product names mentioned herein are trademarks of their respective companies Contents of This Box This package should contain: One 6176 Tube Preamplifier / Compressor • 6176 Operating Instructions • IEC Power Cable • • Registration Card ii A Letter From Bill Putnam, Jr. _____________________________________________________________ Thank you for purchasing the 6176 Channel Strip. The 6176 combines a modified channel of our 2-610 vacuum tube microphone preamplifier with our 1176LN all discrete solid state FET-based limiter / compressor. -
Historic Resources Survey Report Hollywood Redevelopment Plan Area
Historic Resources Survey Report Hollywood Redevelopment Plan Area Prepared for: CRA/LA, a Designated Local Authority Prepared by: Architectural Resources Group, Los Angeles, CA GPA Consulting, Los Angeles, CA Historic Resources Group, Pasadena, CA January 28, 2020 Table of Contents Project Overview 1 Survey Methodology Summary 1 Project Team 3 Survey Area 3 Survey Methodology 8 Designated Resources 10 Historic Context 11 Summary of Findings 54 Summary of Property Types 54 Summary of Contexts and Themes 60 Recommendations for Further Study 89 Selected Bibliography 90 Appendices Appendix A: Individual Resources Appendix B: Non‐Parcel Resources Appendix C: Historic Districts and Planning Districts Appendix D: Designated Resources Appendix E: Survey Maps Project Overview This Historic Resources Survey Report (Survey Report) has been completed for CRA/LA, a Designated Local Authority, for the Hollywood Redevelopment Project Area. This project was undertaken from July 2018 to January 2020 by Architectural Resources Group (ARG), GPA Consulting (GPA), and Historic Resources Group (HRG). This Survey Report provides a summary of the work completed, including a description of the Survey Area; an overview of the field methodology; a summary of relevant contexts, themes, and property types; recommendations for future study; and complete lists and maps of all designated and recorded resources. The report is intended to be used in conjunction with the SurveyLA Field Results Master Report (Master Report), which provides a detailed discussion of SurveyLA methodology and explains the terms used in this report and associated appendices. The Master Report, Survey Report, and appendices are available online at www.surveyla.org. Survey Methodology Summary While this project was not formally completed as part of SurveyLA, it utilized SurveyLA technology and methodology to ensure that the findings enumerated herein are consistent with those of the rest of the Hollywood Community Plan Area (CPA) and elsewhere within the City of Los Angeles. -
The Recording Sessions
Bob Dylan: The Recording Sessions by Michael Krogsgaard, compiled from files available at http://www.punkhart.com/dylan/sessions.html 1 2 Some general information regarding the different sources made available for the study: 1. The Columbia Studios Recording Diaries are books, which for each day of the year (since 1941) list every planned session in the different studios. Information includes: time of the day, name of the studio, name of the producer and the engineers and the name of the artist. For the New York studios one diary is missing, that which covers the period January 1967 to December 1970. For the Nashville studios, the diary for the period 1969 to 1971 is missing. 2. Recording Sheets are lists made during each session and put into each tape box. The sheet records the date, the studio, the artist, which tracks were recorded and the CO number (Columbia's own reference number) for each composition (of which, more later). Each recorded take is marked as complete (C), with a short false start(b) or a long false start (B). It is indicated on these sheet which takes are removed to other tapes for further use. 3. The Tape Boxes themselves also usually contain information about each take and which takes are removed for further use. 4. CO Cards contain information about the CO (CO=Columbia) number and title for each composition and usually also the recording date. The CO numbers are basically a secure identification of each composition but they are not always chronological (for instance: the CO numbers for songs recorded in Nashville are generally higher than CO numbers for songs recorded at the same time in New York), and, confusingly, sometimes one composition has several CO numbers, especially (but not always) if it has been recorded several times at different sessions. -
1176LN Manual V3-090908-DC
Model 1176LN Solid-State Limiting Amplifier Universal Audio Part Number 65-00046 Universal Audio, Inc. Customer Service & Tech Support: 1-877-MY-UAUDIO Business, Sales & Marketing: 1-866-UAD-1176 www.uaudio.com Notice _____________________________________________________________ This manual provides general information, preparation for use, installation and operating instructions for the Universal Audio 1176LN. The information contained in this manual is subject to change without notice. Universal Audio, Inc. makes no warranties of any kind with regard to this manual, including, but not limited to, the implied warranties of merchantability and fitness for a particular purpose. Universal Audio, Inc. shall not be liable for errors contained herein or direct, indirect, special, incidental, or consequential damages in connection with the furnishing, performance, or use of this material. Copyright © 2009 Universal Audio, Inc. All rights reserved. This manual and any associated software, artwork, product designs, and design concepts are subject to copyright protection. No part of this document may be reproduced, in any form, without prior written permission of Universal Audio, Inc. Trademarks Universal Audio, the Universal Audio "diamond" logo, UAD, UAD Series, UAD-1, UAD-2, UAD-2 SOLO, UAD-2 DUO, UAD-2 QUAD, "Powered Plug-Ins", 1176LN, 1176SE, Teletronix, LA-2A, LA-3A, LA-610, LA- 610MkII, 2-1176, 2-610, 6176, 710 Twin-Finity, 2192, 4110, 8110, SOLO/610, SOLO/110, DCS Remote Preamp, Cambridge EQ, DreamVerb, Plate 140, Precision Limiter, RealVerb Pro, Precision Buss Compressor, Precision De-Esser, Precision Maximizer and "Analog Ears | Digital Minds," are trademarks or registered trademarks of Universal Audio, Inc.. Other company and product names mentioned herein are trademarks of their respective owners. -
Journal of the Music & Entertainment Industry Educators Association
Journal of the Music & Entertainment Industry Educators Association Volume 13, Number 1 (2013) Bruce Ronkin, Editor Northeastern University Published with Support from The MEIEA Journal is published annually by the Music & Entertain- ment Industry Educators Association (MEIEA) in order to increase public awareness of the music industry and to foster music business education. The MEIEA Journal provides a scholarly analysis of technological, legal, historical, educational, and business trends within the music indus- try and is designed as a resource for anyone currently involved or interest- ed in the music industry. Topics include issues that affect music industry education and the music industry such as curriculum design, pedagogy, technological innovation, intellectual property matters, industry-related legislation, arts administration, industry analysis, and historical perspec- tives. The MEIEA Journal is distributed to members of MEIEA, univer- sities, libraries, and individuals concerned with the music industry and music business education. Ideas and opinions expressed in the MEIEA Journal do not necessar- ily reflect those of MEIEA. MEIEA disclaims responsibility for statements of fact or opinions expressed in individual contributions. Permission for reprint or reproduction must be obtained in writing and the proper credit line given. Music & Entertainment Industry Educators Association 1900 Belmont Boulevard Nashville, TN 37212 U.S.A. [email protected] www.meiea.org The MEIEA Journal (ISSN: 1559-7334) © Copyright 2013 Music & Entertainment