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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
The Guardian, Week of June 22, 2020
Wright State University CORE Scholar The Guardian Student Newspaper Student Activities 6-22-2020 The Guardian, Week of June 22, 2020 Wright State Student Body Follow this and additional works at: https://corescholar.libraries.wright.edu/guardian Part of the Mass Communication Commons Repository Citation Wright State Student Body (2020). The Guardian, Week of June 22, 2020. : Wright State University. This Newspaper is brought to you for free and open access by the Student Activities at CORE Scholar. It has been accepted for inclusion in The Guardian Student Newspaper by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. Acknowledge, Engage, Educate: WSU’s response to Juneteenth Makenzie Hoeferlin June 22, 2020 Juneteenth, a day set aside to celebrate the freedom after the abolishment of slavery, has turned into a day to recognize and educate communities about the systemic racism and injustice that still exists in our country today. Wright State University (WSU) used Juneteenth this year to acknowledge the actions that still need to be taken and to share the dedication of staff, faculty and students to fight injustice and move toward a more inclusive campus. Diversity and resilience Juneteenth takes place on June 19 and is the anniversary of the day Texan slaves were told that they were free, two and a half years after the signing of the emancipation proclamation. President Edwards sent a letter to the community in which she acknowledged Juneteenth and recognized that actions towards eradicating injustice are long overdue. “As important as Juneteenth is in the annals of U.S. -
Download This List As PDF Here
QuadraphonicQuad Multichannel Engineers of 5.1 SACD, DVD-Audio and Blu-Ray Surround Discs JULY 2021 UPDATED 2021-7-16 Engineer Year Artist Title Format Notes 5.1 Production Live… Greetins From The Flow Dishwalla Services, State Abraham, Josh 2003 Staind 14 Shades of Grey DVD-A with Ryan Williams Acquah, Ebby Depeche Mode 101 Live SACD Ahern, Brian 2003 Emmylou Harris Producer’s Cut DVD-A Ainlay, Chuck David Alan David Alan DVD-A Ainlay, Chuck 2005 Dire Straits Brothers In Arms DVD-A DualDisc/SACD Ainlay, Chuck Dire Straits Alchemy Live DVD/BD-V Ainlay, Chuck Everclear So Much for the Afterglow DVD-A Ainlay, Chuck George Strait One Step at a Time DTS CD Ainlay, Chuck George Strait Honkytonkville DVD-A/SACD Ainlay, Chuck 2005 Mark Knopfler Sailing To Philadelphia DVD-A DualDisc Ainlay, Chuck 2005 Mark Knopfler Shangri La DVD-A DualDisc/SACD Ainlay, Chuck Mavericks, The Trampoline DTS CD Ainlay, Chuck Olivia Newton John Back With a Heart DTS CD Ainlay, Chuck Pacific Coast Highway Pacific Coast Highway DTS CD Ainlay, Chuck Peter Frampton Frampton Comes Alive! DVD-A/SACD Ainlay, Chuck Trisha Yearwood Where Your Road Leads DTS CD Ainlay, Chuck Vince Gill High Lonesome Sound DTS CD/DVD-A/SACD Anderson, Jim Donna Byrne Licensed to Thrill SACD Anderson, Jim Jane Ira Bloom Sixteen Sunsets BD-A 2018 Grammy Winner: Anderson, Jim 2018 Jane Ira Bloom Early Americans BD-A Best Surround Album Wild Lines: Improvising on Emily Anderson, Jim 2020 Jane Ira Bloom DSD/DXD Download Dickinson Jazz Ambassadors/Sammy Anderson, Jim The Sammy Sessions BD-A Nestico Masur/Stavanger Symphony Anderson, Jim Kverndokk: Symphonic Dances BD-A Orchestra Anderson, Jim Patricia Barber Modern Cool BD-A SACD/DSD & DXD Anderson, Jim 2020 Patricia Barber Higher with Ulrike Schwarz Download SACD/DSD & DXD Anderson, Jim 2021 Patricia Barber Clique Download Svilvay/Stavanger Symphony Anderson, Jim Mortensen: Symphony Op. -
March 4Th 1999
California State University, San Bernardino CSUSB ScholarWorks Coyote Chronicle (1984-) Arthur E. Nelson University Archives 3-4-1999 March 4th 1999 CSUSB Follow this and additional works at: https://scholarworks.lib.csusb.edu/coyote-chronicle Recommended Citation CSUSB, "March 4th 1999" (1999). Coyote Chronicle (1984-). 447. https://scholarworks.lib.csusb.edu/coyote-chronicle/447 This Newspaper is brought to you for free and open access by the Arthur E. Nelson University Archives at CSUSB ScholarWorks. It has been accepted for inclusion in Coyote Chronicle (1984-) by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. The Coyote NICLE Echoes From The Highlands VOLUME 33, ISSUE 15 CALIFORNIA STATE UNIVERSITY, SAN BERNARDINO March 4, 1999 Mayor Judith Valles: A Vision on Education By D'Lorah DeBarge Staff Writer Valles believes that it is incum policy, to assist me in that task bent upon the three education lev force. Dr. Nabil Razzouk, has been The city of San Bernardino els, namely K-12, San Bernardino very helpful in my task force for wants to develop a plan for local Valley College and CSUSB to co the business community, and Dr. education to bring up the head operate. She wants a "seamless Lee Hansen is helping us develop count. Apparently, education fig tlow" from kindergarten through a business plan..,I recognize and ures cited in the press suggest that university. reach to the university more and too few students in the San Ber Furthermore, she wants to ad more." nardino City School district, don't dress the widely-held notion that Valles extended an open invita make it to college. -
The Record Producer As Nexus: Creative Inspiration, Technology and the Recording Industry
The Record Producer as Nexus: Creative Inspiration, Technology and the Recording Industry A submission presented in partial fulfilment of the requirements of the University of Glamorgan/Prifysgol Morgannwg for the degree of Doctor of Philosophy by Michael John Gilmour Howlett April 2009 ii I certify that the work presented in this dissertation is my own, and has not been presented, or is currently submitted, in candidature for any degree at any other University: _____________________________________________________________ Michael Howlett iii The Record Producer as Nexus: Creative Inspiration, Technology and the Recording Industry Abstract What is a record producer? There is a degree of mystery and uncertainty about just what goes on behind the studio door. Some producers are seen as Svengali- like figures manipulating artists into mass consumer product. Producers are sometimes seen as mere technicians whose job is simply to set up a few microphones and press the record button. Close examination of the recording process will show how far this is from a complete picture. Artists are special—they come with an inspiration, and a talent, but also with a variety of complications, and in many ways a recording studio can seem the least likely place for creative expression and for an affective performance to happen. The task of the record producer is to engage with these artists and their songs and turn these potentials into form through the technology of the recording studio. The purpose of the exercise is to disseminate this fixed form to an imagined audience—generally in the hope that this audience will prove to be real. -
Recording Secrets for the Small Studio This Page Intentionally Left Blank Recording Secrets for the Small Studio
Recording Secrets for the Small Studio This page intentionally left blank Recording Secrets for the Small Studio Mike Senior First published 2015 by Focal Press 70 Blanchard Road, Suite 402, Burlington, MA 01803 and by Focal Press 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Focal Press is an imprint of the Taylor & Francis Group, an informa business © 2015 Mike Senior The right of Mike Senior to be identifi ed as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notices Knowledge and best practice in this fi eld are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. Product or corporate names may be trademarks or registered trademarks, and are used only for identifi cation and explanation without intent to infringe. Library of Congress Cataloging in Publication Data Application submitted ISBN: 978-0-415-71670-3 (pbk) ISBN: 978-1-135-87950-5 (ebk) Typeset in ITC Giovanni Std By MPS Limited, Chennai, India, www.adi-mps.com To my parents. -
Proceedings S T E P U P
PROCEEDINGS S T E P U P. S TA N D O U T. 1 Table of Contents 2009 National Officers ............................................................................................... 77 Ag-Entreprenuers ............................................................................................................2 Agricultural Proficiency Winners ............................................................................. 15 Agriscience Fair Awards ............................................................................................... 9 Agriscience Student of the Year ................................................................................8 Agriscience Teacher of the Year .................................................................................8 American Degree Recipients ....................................................................................45 American Star Winners ............................................................................................... 25 Band and Chorus Participants .................................................................................69 Candids ............................................................................................................................. 79 Career Development Event Winners ......................................................................10 Days of Service Candids ............................................................................................. 78 Delegates .........................................................................................................................70 -
2011 Newsletter
THE SHIPLEYS OF MARYLAND NEWSLETTER VOL. XXXIV No. 1 A Publication of The Shipleys of Maryland April 2011 offer- the entire four volume 2002/2010 set is available From Our President for $135 (plus shipping and MD sales tax). We’ve in- Paul A. Shipley cluded an order form with all the pertinent details as part of a separate enclosure included in the newsletter Greeting Cousins, package. Have you been wondering when Our second piece of exciting news is the pending es- the next Shipley newsletter tablishment of “The Shipleys of Maryland Room” at would be coming your way? the Historical Society of Carroll County (HSCC), Well, we delayed publication which will fulfill a long standing desire for our organi- somewhat so we could bring you zation to have a central repository for family informa- word of two exciting new devel- tion that can be made available for research. The room opments for our organization– will be dedicated in memory of Dorothy Shipley first, we’ve completed the publication of the 2010 Sup- Granger, whose files are owned by the HSCC and will plement 1 to The Shipleys of Maryland 2002 and sec- form the initial core of the collection. ond, we’ve accepted an offer to establish a Shipley Room at the Historical Society of Carroll County, MD. The process had its start about a year and a half ago, when Timmi Pierce, Executive Director of the HSCC, The 2010 Supplement 1 to The Shipleys of Maryland was a co-speaker at our Annual Luncheon. Based on 2002 represents the culmination of the efforts of our this introduction to the Shipleys of Maryland, she kept book editor, John M. -
WHO's WHO in POP LP ENGINEERING the Following Is a List of ENGINEERS Credited on at Least One Album in the Top Pop 100 Charts from January 1997 to the Present
WHO'S WHO IN POP LP ENGINEERING The following is a list of ENGINEERS credited on at least one album in the Top Pop 100 Charts from January 1997 to the present.. (Please note that, due to computer restraints, ENGINEERS are NOT credited on an album that has more than 4 ENGINEERS listed)) This listing includes the ENGINEER'S Name (# of records credited) "Album Title" - Artist/ Other ENGINEERS credited on the record. 4th Disciple(2) - "Silent Weapons For Quiet Wars"- Killarmy-/ + "Heavy Mental"- Killah Priest-/Troy Mike Dean(3) - "Picture This"- Do Or Die-/ The Legendary Traxster + "The Untouchable"- Scarface-/ + Hightower Bob Power 4th Disciple "My Homies"- Scarface-/ Brian Ackley(1) - "Christmas Live"- Mannheim Steamroller-/ John Dee(1) - "Dig Your Own Hole"-The Chemical BrothersVSteve Dub Tim Holmes John Dee Oliver Adams(1) - "Our Little Secret"- Lords Of AcidVPeer Rave Michael Denten(1) - "An Eye For An Eye"- RBL Posse-/ The Enhancer Chuck Ainlay(1) - "Blue Clear Sky"-George StraitVSteve Tillisch Ian Devaney(1) - "Lisa Stansfield"-Lisa StansfieldVAidan McGovern Peter Mokran John Alagia(1) - "Live At Red Rocks 8.15.95"-Dave Matthews BandVDan Healy Jeff Thomas Nick Didia(2) - "Blue Sky On Mars"-Matthew Sweet-/ + "Yield"- Pearl JamVBrendan O'Brien Ken Allardyce(l) - "Nimrod"- Green Day-/ Brian Dobbs(2) - "Eight Arms To Hold You"- Veruca Salt-/ + "Reload"- Metallica-/Randy Staub Mike Carlos Alvarez(1) - "Tango'-Julio Iglesias-/ Fraser Slamm Andrews(1) - "Turn The Radio Off"- Reel Big Fish-/ Kevin Globerman Tony Dofat(1) - "Waterbed Hev"- Heavy D.-/ Kenneth Lewis Jamie Staub Greg Archilla(2) - "Disciplined Breakdown"- Collective Soul-/ + "Yourself Or Someone Like You"- Jimmy Dougias(3) - "Ginuwine...The Bachelor"- Ginuwine-/ + "Supa Dupa Fly"-Missy 'Misdemeanor1 Matchbox 20-/Jeff Tomei Matthew Serletic Elliott-/ Timbaland + "Welcome To Our World"-Timbaland & Mag-oo-/ Dave Aron(1) - "Last Man Standing"- MC Eiht-/DJ Muggs Alan Douglas(1) - "Pilgrim"-Eric Clapton-/ "Ben 0. -
WHO's WHO in POP LP ENGINEERING the Following Is a List of ENGINEERS Credited on at Least One Album in the Top Pop 100 Charts from January 1998 to the Present
WHO'S WHO IN POP LP ENGINEERING The following is a list of ENGINEERS credited on at least one album in the Top Pop 100 Charts from January 1998 to the present.. (Please note that, due to computer restraints, ENGINEERS are NOT credited on an album that has more than 4 ENGINEERS listed)) This listing includes the ENGINEER'S Name (# of records credited) "Album Title" - Artist/ Other ENGINEERS credited on the record. 4th Disciple(1) - 'Heavy Mental'- Killah Priest-/Troy Hightower Bob Power 4th Disciple Alan Douglaa(1) - "Pilgrim"-Eric Clapton-/ Dave Aaron(i) - "40 Dayz & 40 Nightz"- XzibitVRichard 'Segal' Huredia Greg Droman(l) - "I Don't Want To Miss A Thing'-Mark Chesnutt-/ Josh Abrams(1) - "Something For Everybody"-Baz Luhrmann-/ Michael Dumas(1) - "A Long Way Home'-Dwight Yoakam-/ Dusty Wakeman David Leonard Conley Abrams 111(1) - "Let's Ride'-Montell Jordan-/Annie Mae Catalino Claude Achille Kevin Davis Charles Dye(2) - "Growing Pains'-Billie Myers-/ Michael Brauer Greg Calbi + "Red Voodoo" -Sammy Claude Achille(1) - "Let's Ride'-Montell JordanVAnnie Mae Catalino Kevin Davis Hagar-/Toby Wright Tom McWilliams Brian Ackley(l) - "The Christmas Angel"- Mannheim Steamroller-/ Dave Cwirko Dan Charette Jim Ebert(1) - "Blurring The Edges'-Meredith BrooksVGeza X John Agnello(1) - "Wide Swing Tremolo"- Son VolWDavid Barbe Jack Joseph Puig Brett EliasonM) - "Live On Two Legs'- Pearl Jam-/ John Aguto(1) - "Still In The Game'-Keith SweatVKarl Heilbron Kevin 'KD' Davis Geoff Emerick(1) - "Vertical Man'-Ringo Starr-/Scott Gordon Chuck Ainlay(3) - "One Step At ATime'-George Strait-/ + "If You See Him"-Reba McEntire-/ + "Always Chad Evan«(1) - "Kennedy Center Homecoming: A Celebration Of Our Faith & Heritage"-Bill & Gloria Never The Same'-George Strait-/ Scotch Ralston Gaither-/ John Alagia(i) - "Live At Luther College'-Dave Matthews Band & Tim Reynolds-/Jeff Thomas Stephen Fitzmaurice(l) - "Human Being"- Seal-/ Tim Weidner Richard Lowe Stevo Albini(1) - 'Walking Into Clarksdale"-Jimmy Page & Robert Plant-/ Paul Hicks FloodM) - "Is This Desire?"-P.J. -
Introduction
INTRODUCTION Le but du mixage musical est d’arriver à un «équilibre sonore » comme le souligne l’ingénieur du son Christof Déjean : « Par principe, on considère qu’un bon mixage permet d’entendre tout ce qui a été préalablement enregistré . C’est à la fois une vision extrêmement réductrice et une loi quasi incontournable »1 Un équilibre subjectif : « le seul critère en ce domaine est l’impression que l’on retire de l’écoute »2 Cet équilibre sonore dépend, selon moi, de deux paramètres : le rendu « spectrale » et le rendu « volumique » du mixage. Sauf volonté délibérée ou choix artistique, le rendu spectral du mixage doit par son rapport à l’oreille de l’auditeur ne rien susciter de « non-naturel », la présence de creux ou de bosses fréquentiels flagrants pour l’oreille est donc à éviter ou à corriger. La clarté est effectivement le but comme le souligne l’ingénieur du son Bobby Owsinski : « L’essentiel [dans le mixage musical en général] est de veiller à ce que toutes les fréquences soient bien représentées . Cela sous-entend que tous les aigus étincelants et les basses puissantes doivent être là . Parfois, des fréquences médiums doivent être atténuées . La clarté est votre but . » 3 Concernant le paramètre du volume, l’hypothèse d’une inconstance volumique des différentes sections (couplet, refrain…) d’un mixage musical pourrait poser problème à l’auditeur se 1 Déjean Christof, article « faire naître le silence », playrecord magazine, juillet 1997, p.39 2 Ibid. , p.46 3« Essentially, what you’re trying to accomplish is to make sure that all the frequencies are properly represented. -
Transcript of Interview with Professional Drummer
TRANSCRIPT OF INTERVIEW WITH PROFESSIONAL DRUMMER, MUSIC TECHNOLOGIST, MAGAZINE PUBLISHER, AND AUTHOR, DAVID FRANGIONI DREAMPATH PODCAST, EPISODE 44 April 22, 2020 Host: Bryan Smith Bryan Smith: David Frangioni, welcome to the podcast. Thanks for making time for me. David Frangioni: Oh, it's my pleasure, Bryan. Thank you for having me. Great to be here, everyone. Bryan Smith: Yeah, we'll I've done some research on you and your background and, and there is so much to unpack. Your bio is just amazingly eclectic and layered. So, let me start off by just asking you to tell us: What was your calling in terms of finding the drums as your instrument of choice? David Frangioni: You know, I wish I knew. It's, you know, if we go, even before I was born, my, my parents- my dad was in World War II. They got married, right? They met and got married right after that. All they wanted was a family there of Italian descent, and family was everything to them. And it took them almost 20 years of trying to have children. They had my brother, my older brother, by three years, they don't know how or why they could have kids, but they just all of a sudden had my brother; then they had me three years later. And in that process of my being very, very young, like literally a year, a year and a half, somewhere drum showed up around the house. I don't know if it's because I was banging on things and giving them an inkling that that was an interest, or if they brought it to me.