Jimihendrixexperience Original.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Jimihendrixexperience Original.Pdf JHE Manual v4.1 9/19/05 3:12 PM Page 1 JHE Manual v4.1 9/19/05 3:12 PM Page 2 DECLARATION OF CONFORMITY Warning Manufacturer’s Name: DigiTech® Manufacturer’s Address: 8760 S. Sandy Parkway Sandy, Utah 84070, U.S.A. For your protection, please read the following: declares that the product: Important Safety Instructions ™ Product name: Jimi Hendrix Experience 1. Read these instructions. Product option: all (requires Class II power 2. Keep these instructions. adapter that conforms to the 3. Heed all warnings. requirements of EN60065, EN60742, or equivalent.) 4. Do not use this apparatus near water. 5. Clean only with dry cloth. conforms to the following Product Specifications: 6. Do not block any ventilation openings. Install in Safety: IEC 60065 (1998) accordance with the manufacturer’s instructions. 7. Do not install near any heat sources such as radiators, EMC: EN 55013 (1990) heat registers, stoves, or other apparatus (including EN 55020 (1991) amplifiers) that produce heat. Supplementary Information: 8. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, The product herewith complies with the requirements of the Low and the point where they exit from the apparatus. Voltage Directive 73/23/EEC and the EMC Directive 89/336/EEC 9. Unplug this apparatus during lightning storms or when as amended by Directive 93/68/EEC. unused for long periods of time. Vice-President of Engineering - MI 10. No user serviceable parts inside. Refer all servicing to 8760 S. Sandy Parkway qualified service personnel. Servicing is required when Sandy, Utah 84070, U.S.A. Date: November 22, 2004 the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been European Contact: Your local DigiTech Sales and Service spilled or objects have fallen into the apparatus, the Office or apparatus has been exposed to rain or moisture, does Harman Music Group not operate normally, or has been dropped. 8760 South Sandy Parkway 11.WARNING:To reduce the risk of fire or electric shock, Sandy, Utah, 84070 U.S.A. do not expose this apparatus to rain or moisture. Ph: (801) 566-8800 Fax: (801) 568-7583 12. Refer to labels on the unit, including bottom cover, or other markings and pertinent information. JHE Manual v4.1 9/19/05 3:12 PM Page 3 Congratulations and special thanks from D i g i Te c h ® for choosing the Jimi Hendrix Experi e n c e ™ A rtist Series Pe d a l. DigiTech’s philosophy for developing products begins with the desire to provide every guitarist with the best-sounding, most creative tools possible. To this end, our revolutionary Production Modeling™ was designed to help reproduce the studio and live sounds and effects of an artist as heard on their recordings. This includes modeling the speaker cabinets, microphones with their placements, pre/post effects, and the recording engineer’s magic all in one pedal. The Jimi Hendrix ExperienceTM Artist Series Pedal was conceived in conjunction with the Hendrix family and Eddie Kramer, Jimi’s engineer at Olympic and Electric Lady Studios.To capture Jimi’s tones we first identified and then modeled all the key components within the signal path, including MarshallTM Super LeadTM and FenderTM BassManTM amps, Dallas ArbiterTM Fuzz FaceTM, Roger MayerTM OctaviaTM, UnicordTM UnivibeTM, and VoxTM Clyde McCoy WahTM pedals.We then finished it off with Production Modeling to capture seven distinctive tones from classic Jimi recordings. JHE Manual v4.1 9/19/05 3:12 PM Page 4 Included Items The DigiTech® Jimi Hendrix Experience™ Artist Series Pedal includes the following items: • DigiTech Jimi Hendrix Experience Artist Series Pedal • Artist Series Pedal Gig Bag • Jimi Hendrix Artist Series Guitar Pick • PS0913B Power Supply • This Owner’s Manual • DigiTech Warranty Card • DigiTech Brochure Please make sure that all of these items have been included before you get started. JHE Manual v4.1 9/19/05 3:12 PM Page 5 Set-Up Directions Follow these set up directions before use: 1.Turn the volume down on the amplifier/mixer you are connecting to. 2. Connect the pedal output to the amplifier/mixer input. (Please refer to the Mode Diagrams on the following pages.) 3. Connect the guitar to the pedal input. 4. Set the Jimi Hendrix Experience™ pedal’s LEVEL control to the minimum position. 5. Connect the power supply to the pedal. 6. Select an Output Mode. (Optional - please refer to the Selecting the Flexible Output ModeTM section.) 7.Turn up your amplifier/mixer level to your desired listening level. 8.Turn on the effect by pressing the TOE or HEEL SWITCH and gradually turn up the Jimi Hendrix Experience’s LEVEL control to the desired listening level. JHE Manual v4.1 9/19/05 3:12 PM Page 6 1. OUT 1 (AMP) Connect this output jack to your guitar amplifier. (Please refer to the Flexible Output ModesTM section for more information.) 2. OUT 2 (MIXER) T h i s output has been specifically t a i l o red for use with a full range audio system and is designed to be plugged dire c t ly into a mixer or re c o rding device for optimal p e r fo r m a n c e . (Please refer to the Flexible Output Modes section for more information.) 3. (Tip) - GAIN Controls either amp gain or fuzz gain, depending on the model selected. 3. (Ring) - LEVEL Controls the overall output level. JHE Manual v4.1 9/19/05 3:12 PM Page 7 4. INDICATOR LED 7. (Tip) - REVERB This LED indicates the present Controls the reverb level in the mode of the model selected: selected model. OFF=bypass, GREEN=toe mode, RED=heel mode 1,YELLOW=heel 7. (Ring) - CONTROL mode 2. (Please refer to the Model dependent. (Please refer to Control Table, Flexible the Control Table section for Output ModeTM, and more information.) Calibrating the Expression Pedal sections for more 8. MODELS information.) This knob selects one of the seven different signature Jimi Hendrix 5. (Tip) - HIGH tones. Controls the boost/cut of high 1. “Purple Haze” frequencies in the selected model. 2. “Wind Cries Mary” 3. “Foxey Lady” 5. (Ring) - LOW 4. “Little Wing” Controls the boost/cut of low 5. “All Along The frequencies in the selected model. Watchtower” 6. “Voodoo Child (Slight Return)” 6. Power Supply Jack 7. “Star Spangled Banner Connect only the included (Live)”/“Machine Gun” PS0913B (9V AC) power supply to this jack. Note that the Jimi Please refer to the Control Hendrix Experience™ is not Tables for a detailed explanation equipped for battery power. of each model’s controls. JHE Manual v4.1 9/19/05 3:12 PM Page 8 SWITCHES, press firmly on the 9. INPUT heel or toe of the Connect your instrument to this EXPRESSION PEDAL.The jack. INDICATOR LED will change color when the HEEL or 10. FOOTSWITCH TOE SWITCH is activated. Plug in the optional FS3X footswitch here. Please refer to If the EXPRESSION PEDAL’s the Control Tables to see range becomes diminished over what the FS3X can do with the time, it may be necessary to re- Jimi Hendrix ExperienceTM. calibrate the pedal. Please refer to the Calibrating the 11. EXPRESSION PEDAL Expression Pedal section for Serves as a variable control for more information. different effects, depending on the model. Also used for activating the HEEL and TOE SWITCHES, which enable different tones, depending on the model. (Please refer to the Control Tables for more information about the EXPRESSION PEDAL.) To activate the HEEL or TOE JHE Manual v4.1 9/19/05 3:12 PM Page 9 Jimi Hendrix ExperienceTM I/O Diagram JHE Manual v4.1 9/19/05 3:12 PM Page 10 MODEL DESCRIPTIONS MODEL 1. “ P u rple Haze ” Inspired by a dream,“Purple Haze” started a heavy metal avalanche that’s still thundering today. In the intro, Jimi’s guitar takes center stage with a Dallas ArbiterTM Fuzz FaceTM distortion pedal, a MarshallTM 100 watt Super LeadTM amplifier, and an EMT Plate Reverb. The solo adds a Roger MayerTM OctaviaTM pedal to the mix, contributing to the song’s surreal, other-worldly tone. Step on the TOE SWITCH to toggle this model’s intro tone. Step on the HEEL SWITCH to toggle this model’s solo tone. MODEL 2. “ Wind Cries Mar y ” Written in just one day (after an argument with his girlfriend) and recorded in just 20 minutes,“Wind Cries Mary” demonstrates Jimi’s subtler use of effects and his connection to the blues.The intro and solo both feature an EMT Plate Reverb and a Marshall 100 watt Super Lead amplifier, but the solo has more gain. Step on the TOE SWITCH to toggle this model’s intro tone. Step on the HEEL SWITCH to toggle this model’s solo tone. JHE Manual v4.1 9/19/05 3:12 PM Page 11 MODEL 3. “ Foxey Lady” Legend has it Jimi wrote “Foxey Lady” with a specific woman in mind: the future wife of a fellow rock and roll icon.The intro and solo use a Dallas ArbiterTM Fuzz FaceTM distortion pedal, a MarshallTM 100 watt Super LeadTM amp, and an EMT Plate Reverb to generate the churning, searing tones he was looking for. Step on the TOE SWITCH to toggle this model’s intro tone. Step on the HEEL SWITCH to toggle this model’s solo tone. (The solo has more gain and a thicker bottom end.) MODEL 4. “Little Wing” Jimi and Eddie Kramer (his recording engineer) continued to redefine what a guitar could sound like on “Little Wing,” using a Marshall 100 watt Super Lead amp, an EMT Plate Reverb, and a custom-built rotary speaker to add a unique swirling quality to the song’s intro.
Recommended publications
  • The Vox Continental
    Review: The Vox Continental ANDY BURTON · FEB 12, 2018 Reimagining a Sixties Icon The original Vox Continental, rst introduced by British manufacturer Jennings Musical Industries in 1962, is a classic “combo organ”. This sleek, transistor-based portable electric organ is deeply rooted in pop-music history, used by many of the biggest rock bands of the ’60’s and beyond. Two of the most prominent artists of the era to use a Continental as a main feature of their sound were the Doors (for example, on their classic 1967 breakthrough hit “Light My Fire”) and the Animals (“House Of The Rising Sun”). John Lennon famously played one live with the Beatles at the biggest-ever rock show to date, at New York’s Shea Stadium in 1965. The Continental was bright orange-red with reverse-color keys, which made it stand out visually, especially on television (which had recently transitioned from black-and-white to color). The sleek design, as much as the sound, made it the most popular combo organ of its time, rivaled only by the Farsa Compact series. The sound, generated by 12 transistor-based oscillators with octave-divider circuits, was thin and bright - piercing even. And decidedly low-delity and egalitarian. The classier, more lush-sounding and expensive Hammond B-3 / Leslie speaker combination eectively required a road crew to move around, ensuring that only acts with a big touring budget could aord to carry one. By contrast, the Continental and its combo- organ rivals were something any keyboard player in any band, famous or not, could use onstage.
    [Show full text]
  • Dec. 22, 2015 Snd. Tech. Album Arch
    SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London.
    [Show full text]
  • Jimihendrixexperience-SP Original
    DECLARACION DE CONFORMIDAD Precaución: Instrucciones de seguridad Felicidades y gracias de parte de D i g i Te c h ® por elegir el Pedal de la ® Nombre del fabricante: DigiTech Para su seguridad, lea lo siguiente: ™ Dirección del fabricante: 8760 S. Sandy Parkway serie A r tist Jimi Hendrix Experience . Sandy, Utah 84070, U.S.A. 1. Lea estas instrucciones. declara que el producto: 2. Cumpla con lo indicado en estas instrucciones. 3. Siga todas las advertencias. Nombre del producto: Jimi Hendrix ExperienceTM 4. No utilice este aparato cerca del agua. La filosofía de DigiTech en lo referente al diseño de aparato comienza con la 5. Limpie esta unidad solo con un trapo seco. idea de dotar a cada guitarrista de las herramientas más innovadoras y con 6. No bloquee ninguna de las ranuras de ve n t i l a c i ó n . Instale el Opciones del producto: todas (requiere adaptador de aparato de acuerdo a las instrucciones del fabricante. corriente de clase II que cumpla mejor sonido posibles. En este sentido, nuestra revolucionaria tecnología con los requisitos de EN60065, 7. No instale este aparato cerca de fuentes de calor como EN60742, o equivalente). radiadores, calentadores u otro aparato (incluyendo Production Modeling™ fue creada para ayudar a reproducir los sonidos amplificadores) que produzcan calor. cumple con las siguientes especificaciones de producto: 8. Evite que el cable de corriente pueda quedar aplastado o de estudio y directo y los efectos de músicos concretos, tal como se retorcido, especialmente en los conectores, receptáculos o en escuchan en sus discos. Esto incluye el modelado de recintos acústicos de Seguridad: IEC 60065 (1998) el punto de salida del aparato.
    [Show full text]
  • The Racialization of Jimi Hendrix Marcus K
    Eastern Michigan University DigitalCommons@EMU Senior Honors Theses Honors College 2007 The Racialization of Jimi Hendrix Marcus K. Adams Follow this and additional works at: http://commons.emich.edu/honors Part of the African American Studies Commons Recommended Citation Adams, Marcus K., "The Racialization of Jimi Hendrix" (2007). Senior Honors Theses. 23. http://commons.emich.edu/honors/23 This Open Access Senior Honors Thesis is brought to you for free and open access by the Honors College at DigitalCommons@EMU. It has been accepted for inclusion in Senior Honors Theses by an authorized administrator of DigitalCommons@EMU. For more information, please contact lib- [email protected]. The Racialization of Jimi Hendrix Abstract The period of history immediately following World War Two was a time of intense social change. The nde of colonialism, the internal struggles of newly emerging independent nations in Africa, social and political changes across Europe, armed conflict in Southeast Asia, and the civil rights movement in America were just a few. Although many of the above conflicts have been in the making for quite some time, they seemed to unite to form a socio-political cultural revolution known as the 60s, the effects of which continues to this day. The 1960s asw a particularly intense time for race relations in the United States. Long before it officially became a republic, in matters of race, white America collectively had trouble reconciling what it practiced versus what it preached. Nowhere is this racial contradiction more apparent than in the case of Jimi Hendrix. Jimi Hendrix is emblematic of the racial ideal and the racial contradictions of the 1960s.
    [Show full text]
  • Arturia Farfisa V User Manual
    USER MANUAL ARTURIA – Farfisa V – USER MANUAL 1 Direction Frédéric Brun Kevin Molcard Development Samuel Limier (project manager) Pierre-Lin Laneyrie Theo Niessink (lead) Valentin Lepetit Stefano D'Angelo Germain Marzin Baptiste Aubry Mathieu Nocenti Corentin Comte Pierre Pfister Baptiste Le Goff Benjamin Renard Design Glen Darcey Gregory Vezon Shaun Ellwood Morgan Perrier Sebastien Rochard Sound Design Jean-Baptiste Arthus Jean-Michel Blanchet Boele Gerkes Stephane Schott Theo Niessink Manual Hollin Jones Special Thanks Alejandro Cajica Joop van der Linden Chuck Capsis Sergio Martinez Denis Efendic Shaba Martinez Ben Eggehorn Miguel Moreno David Farmer Ken Flux Pierce Ruary Galbraith Daniel Saban Jeff Haler Carlos Tejeda Dennis Hurwitz Scot Todd-Coates Clif Johnston Chad Wagner Koshdukai © ARTURIA S.A. – 1999-2016 – All rights reserved. 11, Chemin de la Dhuy 38240 Meylan FRANCE http://www.arturia.com ARTURIA – Farfisa V – USER MANUAL 2 Table of contents 1 INTRODUCTION .................................................................... 5 1.1 What is Farfisa V? ................................................................................................. 5 1.2 History of the original instrument ........................................................................ 5 1.3 Appearances in popular music ......................................................................... 6 1.3.1 Famous Farfisa users and songs:..................................................................... 7 1.4 What does Farfisa V add to the original? .........................................................
    [Show full text]
  • Five Kingdoms
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2008 Five Kingdoms Kelle Groom University of Central Florida Part of the Creative Writing Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu 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, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Groom, Kelle, "Five Kingdoms" (2008). Electronic Theses and Dissertations, 2004-2019. 3519. https://stars.library.ucf.edu/etd/3519 FIVE KINGDOMS by KELLE GROOM M.A. University of Central Florida, 1995 B.A. University of Central Florida, 1989 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing/Poetry in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Fall Term 2008 Major Professor: Don Stap © 2008 Kelle Groom ii ABSTRACT GROOM, KELLE . Five Kingdoms. (Under the direction of Don Stap.) Five Kingdoms is a collection of 55 poems in three sections. The title refers to the five kingdoms of life, encompassing every living thing. Section I explores political themes and addresses subjects that reach across a broad expanse of time—from the oldest bones of a child and the oldest map of the world to the bombing of Fallujah in the current Iraq war. Connections between physical and metaphysical worlds are examined.
    [Show full text]
  • U1 P1 Squarebass U2 P1 Para Vox U1 P2 Cascades U2
    U1 P1 SquareBass U2 P1 Para Vox U1 P2 Cascades U2 P2 MiniVogueBass U1 P3 Pro Soloist U2 P3 SpaceKoto U1 P4 Washy Strings U2 P4 ArcaneSanctum U1 P5 DSI-ra Rydm U2 P5 Hold Key Down U1 P6 BoneDryBass U2 P6 FreezPop Arps U1 P7 GlassyGlisses U2 P7 Prophet Bass U1 P8 HolloLead U2 P8 Lyra Pad U1 P9 Dirty FM U2 P9 Suspect Seq U1 P10 Plonklets U2 P10 Imploder U1 P11 HedgeHunterBass U2 P11 FM BaSS U1 P12 Karimbaloid U2 P12 Ghostly U1 P13 SanturSolo U2 P13 OB Lead U1 P14 Model P Bass U2 P14 Growling Lead U1 P15 Northcoast U2 P15 Tine Smith U1 P16 DnB Loop U2 P16 WT Organ U1 P17 Gargantua U2 P17 Basic D Bass U1 P18 ParaOrgan U2 P18 CompuRhythm U1 P19 Chill Check-In U2 P19 Sad Solo U1 P20 VeloSync U2 P20 CalcuPluck U1 P21 Fretless U2 P21 Pulsar U1 P22 GB Groves U2 P22 SliderLead U1 P23 Trance Induction U2 P23 Tensions U1 P24 Let It Sizzle U2 P24 Funktion 2AM U1 P25 Light Metal Hits U2 P25 Sine in Space U1 P26 Para4Canon U2 P26 TrashBell U1 P27 Bassline U2 P27 DynamicBrass U1 P28 ParaBrass U2 P28 Jaffa Lead U1 P29 Space Chimes U2 P29 ThumpBass U1 P30 Pulse Bomb U2 P30 Para Glurp U1 P31 Spy Level 23 U2 P31 PolyRezSaws U1 P32 ShimmeryArp U2 P32 HP Sweep Solo U1 P33 House Chord U2 P33 Moving East U1 P34 Outer Space Cow U2 P34 Vanilla Analog U1 P35 Blompy U2 P35 Knarly Voice U1 P36 Synth Cello? U2 P36 Crystal Echoes U1 P37 Demon's Breath U2 P37 Buchlier U1 P38 Sky Shimmer U2 P38 Taste Of Sugar U1 P39 ParaLead U2 P39 Son Of Dropped U1 P40 Grecian U2 P40 ThroatySolo U1 P41 Jekyll & Hyde U2 P41 Super Sync Lead U1 P42 Seq Echo U2 P42 Super Pixels U1 P43 OneOscTrip
    [Show full text]
  • Joey Leone Songlist
    Joey Leone’s Chop Shop Playlist (see note at bottom of playlist *) Classic Country Ring of Fire Folsom Prison Blues Walk the Line Working Man Blues Truck Driving man Six Days on the Road Guitars, Cadillacs, Lonesome me Eastbound and Down Poke Salad Annie Summertime Blues These Boots are Made for Walking Act Naturally Sit Here and Drink Boy Named Sue Rocky Top Sugarfoot Rag Hey Good Looking Cocaine Blues Gentle on My Mind Wichita Lineman Cheating Heart Southern Rock Sweet Home Alabama Simple Man Free Bird The Breeze One Way Out Midnight Rider Statesboro Blues Cripple Creek Take it Easy Peaceful Easy Feeling Classic Rock Sultans of Swing Money For Nothing La Grange Just Got Paid I’m Your Captain Born on The Bayou Proud Mary Bad Moon Rising Lodi Running Down A Dream LocoMotive Breath Roadhouse Blues LA Woman Love Me Two Times Back Door Man Old Man Rocking in the Free World Down By the River Jeepster Bang a Gong I Shot The Sheriff Secret Agent Man Stuck in the Middle Go Your Own Way Listen to the Music Behind Blue Eyes Pinball Wizard Mississippi Queen Jenny 8675309 Hard Rock Blitzkreig Bop I Wanna Be Sedated Breaking the Law You Got Another Thing Coming Anarchy in the UK War Pigs Paranoid Planet Caravan Fly Away Ace of Spades Day of The Eagle Smells Like Teen Spirit Come As You Are Fight For Your Right to Party ROLLING STONES jumping jack flash gimme shelter cant always get what u want let it bleed sympathy for the devil dead flowers wild horses angie 2000 light years from home no expectations love in vein satisfaction live with me honky tonk
    [Show full text]
  • Designing for the Ears As Well As for the Eyes
    Inspicio architecture 26 Sushi & Tapas restaurant, Surfside, Florida, 2015. Photo: WSDG Designing for the Ears as Well as for the Eyes By Howard Sherman orris J. Kaplan is a very hands-on businessman. A successful real estate developer and innovative res- M taurateur/entrepreneur, his career track is marked by imaginative ventures. Last year, Kaplan and his wife Sandra began laying the groundwork for a new Miami-area restaurant. A longtime fan of master chef Fernando Chang’s culinary tal- ents, Kaplan was confident there would be a strong demand for Chef Chang’s specialty—Kosher sushi and Peruvian dishes. Kaplan invested considerable time collaborating on the bill of fare and the interior design of his new restaurant. In addition to the menu, one of his primary concerns was acoustics. An avid “foodie,” Kaplan had long avoided dining in restaurants with noise levels so high they intruded on his guests’ ability to enjoy a simple conversation along with their meal. Kaplan made a promise to himself. Diners at his new restaurant would be able to discuss their food (and other topics) without having to shout at the top of their lungs. Coincidentally, as he formulated his plans for what was to be- come “26 Sushi & Tapas” in Surfside, Florida, Kaplan was also involved in building two new Miami area synagogues. During the course of a series of visits to those construction sites, he became aware of an unusually quiet ambience. Building sites are typically noisy environments and neither of these work sites would ever be mistaken for a library, but Kaplan discovered a sound clarity that was unusual enough to spark an investiga- tion.
    [Show full text]
  • Resolution Magazine
    Craft Rest; recorded Florence Welch for Florence and The Machine’s ‘Wish That You Were Here’ song Phil Joly for the Tim Burton film Miss Peregrine’s Home for Peculiar Children and recorded The Kills’ Ash & Ice release. Resolution Magazine caught up RUSSELL COTTIER talks to the Grammy-winning with Joly in amongst the hustle and bustle of SXSW Austen, Texas to talk studios, mics and Electric Lady man management. hil Joly has recently broken out as a producer/mixer, but he has a wealth of experience and more major label artist P credits than you could shake a stick at. The Strokes, Lana Del Rey, Daft Punk, John Legend and The Rolling Stones to name a few. With nine years under his belt at the world- famous Electric Lady Studios, working his way up to Chief Engineer, Joly certainly has the chops and a fresh take on how larger studios fit into the modern workflow. In 2017, Phil won both a Latin Grammy and a Grammy for recording Residente’s self-titled album in the Best Urban Album category and in the Best Latin Rock, Alternative or Urban Album respectively. Most recently, Joly has been engineering with August Greene (a ‘supergroup’ composed of rapper Common, jazz pianist Robert Glasper and drummer Karriem Riggins). He also mixed Gabriel Garzón-Montano Golden Wings, mixed five songs on Coyle Girelli’s Love Kills; recorded Paul McCartney for the Charlotte Gainsbourg album / ‘If I sit under this Chic album cover, one day I’ll get to record Nile Rogers…’ 34 / April 2019 I worked for Electric Lady for nine years You had built up a good credits list by this total, I was chief engineer for five.
    [Show full text]
  • In the Middle of 1970, Curtis Mayfield Quit the Impressions and Began One of the Most Groundbreaking and Successful Solo Careers in History
    In the middle of 1970, Curtis Mayfield quit the Impressions and began one of the most groundbreaking and successful solo careers in history. Nothing happened to force his hand—no dramatic falling out or heated argument. In his customary seat-of-the-pants way, he simply picked up the phone one evening, called fellow Impression Fred Cash, and said, “Fred, I’m going to try to go on my own and see what I can do. You and Sam [Gooden] can do the same thing. Y’all go on your own and see what you can do.” Fred called Sam and told him the news, and that was it. My father left the group. Fred, Sam, and the Impressions, three of the most important forces in my father’s life for more than a decade, no longer occupied his mind. The boyhood dreams, the endless miles traveled on tour, the lonely nights trying to steal sleep in motel beds, the harmonizing and fraternizing all came to an end. Dad struggled with the decision. For years, the three Impressions were so close that if you saw one of them, you usually saw the other two. They spent more time with each other than they did with their own wives. Yet, my father had the ability to turn off his emotions and make cold, calculated business decisions when he felt it necessary. Recalling this side of him, my brother Tracy says, “You saw a good and evil. The evil part came out when it was about business. I always separated the parent from the businessperson.
    [Show full text]
  • Power of Rock ‘N Roll
    LEARNING THROUGH THE POWER OF ROCK ‘N ROLL AT SCHOOL OF ROCK, CLASSIC ROCK WORK HARD, ROCK OUT IS THE FOUNDATION OF INSTRUCTION Learning music in a lesson room is just the beginning, School of Rock offers a variety of dynamic music instruction and artist development programs to engage students of all skill because we get kids playing on stage as quickly as levels, from beginner to intermediate/advanced and also adults. possible. This real-life experience pushes them to do Little Wing Rookies Rock 101 Performance their best, helping them master skills more quickly Seasonal Camps AllStars Guest Professor Series and thoroughly than stuffy old music lessons. As both rockers and educators, School of Rock’s experienced The ALLSTARS PROGRAM is the highest level of achievement for a instructors are passionate about creating a legacy of School of Rock student. Achieved through an annual audition music for the future by helping your kids succeed in process, the top 2.5% of students nationwide get the opportunity music and beyond. to take their skills on the road for a summer tour, headlining iconic venues and festivals across the U.S. Teaching More Than Music The GUEST PROFESSOR SERIES lets students interact and learn from School of Rock teaches guitar, bass, vocals, professional artists through intimate and interactive concerts, workshops, and master classes. keyboards, drums, and combines weekly private NOTABLE GUEST PROFESSORS music lessons with group band rehearsals to prepare Josh Homme (Queens of the Stone Age) Joey Santiago (Pixies) students
    [Show full text]