DOCSLIB.ORG

Dj and Electronic Music Production

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dj and Electronic Music Production DJ AND ELECTRONIC MUSIC PRODUCTION A Faculty of Tai Poutini Polytechnic ABOUT MAINZ Make some noise at MAINZ and kick-start your music will have a strong practical focus. You can study at your career. MAINZ has an enviable reputation for its high- own pace with part-time study options available for quality programmes covering all aspects of the music some subjects. industry. When you study at MAINZ, you will join a Our programmes are supported by industry, responsive community of like-minded people dedicated to music. to industry needs and approved by the New Zealand Whether you choose audio engineering, live sound, event Qualifications Authority. MAINZ has campuses in management, music performance or DJ, your learning Auckland Central and Christchurch. PROGRAMME OVERVIEW There has never been a better time to enter the field of being a professional DJ or electronic music producer. It is now a multi-million dollar industry, but also highly competitive. The tutors on DJEMP have a combined total of over 50 years industry experience, and are all still highly active both locally and internationally in the fields of DJing and production. The aim of the one-year, full-time DJEMP programme is to hone your craft in the areas of DJing and production, and ultimately prepare you for life as a self-employed contractor in the music industry. MAKE SOME NOISE 0800 265 526 | www.mainz.ac.nz | fb.com/mainzmusic PROGRAMME INFORMATION A STUDENT WHO HAS COMPLETED DJEMP401 DJEMP TECHNOLOGY THIS PROGRAMME WILL: This course begins by teaching students how to “mix” using • Be able to demonstrate technical skill in a range of DJ styles vinyl records. After these foundation skills are established, and perform solo or as part of a performance group to an we explore the world of mixing music through digital DJing. industry standard Platforms used: Technics turntables, CDJs, DJ controllers, DJ • Have the DJ and communication skills needed to work in a mixers. variety of industry and musical contexts Software used: Serato DJ, Native Instruments Traktor. • Be able to demonstrate basic knowledge of music history and knowledge of basic music theory as it relates to DJing DJEMP402 DJEMP SKILLS and electronic music production This course focuses on the performance side of what it is • Be able to use their understanding of technology related to to be a DJ: Broadcasting & Turntablism. You will focus on their work as a DJ to discuss developments in contemporary broadcast radio and our tutors will show you the essential digital DJ technology skills including: Scratching, Cutting, Beat juggling and much more. • Be able to demonstrate studio, electronic and live music production skills including basic music keyboard skills Platforms used: Technics turntables, CDJs, DJ controllers, DJ and the ability to set up and operate small PA and lighting mixers. systems Software used: Serato DJ, Native Instruments Traktor. • Have basic business skills and a professional attitude to DJEMP403 ELECTRONIC MUSIC PRODUCTION 1 their music business (including book-keeping and costing) Electronic Music Production 1 shows you the core basics • Be able to demonstrate marketing, communication and self- of using a DAW (Digital Audio Workstation). We focus on promotion skills Ableton Live, and within this course you will develop an • Be able to identify health and safety issues in relation to the understanding of the core principles of Ableton Live as DJ Industry and apply safe practice well as developing your skills in relation to MIDI, Drum • Have the skills and knowledge to participate actively in Programming, Sampling and Remixing. the DJ and music industries as full-time or part-time Software used: Ableton Live. professional performers and electronic music producers Other equipment used: Drum machines (Native Instruments and/or move on to further training in the areas of audio Machine, Akai MPC), performance controllers (Akai APC40), engineering, music and event management, or other careers midi keyboards, analog synths and more. in the creative sector • Be able to confidently apply for enrolment in a more DJEMP404 ELECTRONIC MUSIC PRODUCTION 2 advanced DJ, audio or music programme EMP 2 builds on what has been established in DJEMP403: This is where you will develop your production skills and begin to develop your own body of production work. You will also start to get a deeper understanding of mixing your tracks, processing and effects. Software used: Ableton Live. Other equipment used: Drum machines (Native Instruments Machine, Akai MPC), performance controllers (Akai APC40), midi keyboards, analog synths and more. DJEMP405 MUSIC THEORY This course aims to give producers who may not have traditional music training some basic skills in relation to music theory to help them with their productions. Software used: Ableton Live. MUS403 CONTEMPORARY MUSIC IN CONTEXT This course is aimed towards giving you a wider understanding of the context that music exists in: We will focus on the history of DJ and electronic music, and also look at the unique cultural contexts on music and arts in Aotearoa. MUS404 MUSIC PERFORMANCE 1 This course is aimed towards gearing you up for the world of showcasing yourself in a live performance context. You will look at sound systems and how live PA’s work, before moving on to an end of year showcase of your original electronic music productions in a live context. Software used: Ableton Live. Other equipment used: Drum machines (Native Instruments Machine, Akai MPC), performance controllers (Akai APC40), midi keyboards, analog synths and more. MUS407 MUSIC INDUSTRY STUDIES This course takes a close look at the inner workings of our industry. Our hope is that most of our graduates will go on to be self-employed DJs and producers. This course will give you the skills required to do this: looking at financial planning, taxation, copyright, as well as basic marketing and event planning. This is a taste of what awaits in your Programmes and courses may differ in 2017/2018 subject to NZQA approval. professional life in the music industry. For more information and fee breakdown go to www.mainz.ac.nz.
Load more

Recommended publications
  • RECORDING I/O RECORDING I/O Tubeopto8™
    TM artproaudio.com TABLE OF CONTENTS RECORDING I/O RECORDING I/O TubeOpto8™ . 03 Creating Audio Solutions Since 1984 PREAMPS & COMPRESSORS ART is a company comprised of musicians, ProChannel II . 04 VoiceChannel™ . 05 EIGHT CHANNEL MICROPHONE PREAMP WITH ADAT LIGHTPIPE engineers and recording enthusiasts. Pro MPAII . 06 Digital MPAII . 07 The ART TubeOpto8™ is the ideal Eight Channel incredible sonic transparency or for the tube stage to be dialed in for Over the last three decades, we have been striving DPSII / TPSII . 08 input / output expander for any ADAT Lightpipe warming effects and soft clipping. Each channel has wide range LED to redefine the performance versus price barrier Pro VLA II . 09 equipped audio interface, direct-to-disc recorder or meters monitor the preamp output levels while clip indicators monitor with a series of innovative new audio products DAW. Eight high quality second generation discrete microphone-preamp peak levels. designed with the needs of the musician in mind. PROJECT SERIES Class–A vacuum tube microphone preamps are USB DualPre . 10 packaged in a single rack space unit with eight channel 24-bit digital I/O. ADAT Lightpipe I/O handles eight channels of 24-bit audio input and With a full line of vacuum tube preamplifiers and USB DualTubePre . 11 output at either 44.1 or 48 kHz sample rates. Wordclock in and thru-puts compressors that deliver incredible warmth and USB Phono Plus / USBMix . 12 Every input on the TubeOpto8™ offers full control of the signal path with allow multiple TubeOpto8™ units to be synced together in complex character; innovative and highly effective audio TubeMPPS USB / / TubeMPPS .
    [Show full text]
  • Final Copy 2019 01 31 Charl
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Charles, Christopher Title: Psyculture in Bristol Careers, Projects and Strategies in Digital Music-Making General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Psyculture in Bristol: Careers, Projects, and Strategies in Digital Music-Making Christopher Charles A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Ph. D.
    [Show full text]
  • Performance in EDM - a Study and Analysis of Djing and Live Performance Artists
    California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses Capstone Projects and Master's Theses 12-2018 Performance in EDM - A Study and Analysis of DJing and Live Performance Artists Jose Alejandro Magana California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes_all Part of the Music Performance Commons Recommended Citation Magana, Jose Alejandro, "Performance in EDM - A Study and Analysis of DJing and Live Performance Artists" (2018). Capstone Projects and Master's Theses. 364. https://digitalcommons.csumb.edu/caps_thes_all/364 This Capstone Project (Open Access) is brought to you for free and open access by the Capstone Projects and Master's Theses at Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. Magaña 1 Jose Alejandro Magaña Senior Capstone Professor Sammons Performance in EDM - A Study and Analysis of DJing and Live Performance Artists 1. Introduction Electronic Dance Music (EDM) culture today is often times associated with top mainstream DJs and producers such as Deadmau5, Daft Punk, Calvin Harris, and David Guetta. These are artists who have established their career around DJing and/or producing electronic music albums or remixes and have gone on to headline world-renowned music festivals such as Ultra Music Festival, Electric Daisy Carnival, and Coachella. The problem is that the term “DJ” can be mistakenly used interchangeably between someone who mixes between pre-recorded pieces of music at a venue with a set of turntables and a mixer and an artist who manipulates or creates music or audio live using a combination of computers, hardware, and/or controllers.
    [Show full text]
  • PCM 90 Digital Reverberator User Guide Unpacking and Inspection After Unpacking the PCM 90, Save All Packing Materials in Case You Ever Need to Ship the Unit
    PCM 90 Digital Reverberator User Guide Unpacking and Inspection After unpacking the PCM 90, save all packing materials in case you ever need to ship the unit. Thoroughly inspect the PCM 90 and packing materials for signs of damage. Report any shipment damage to the carrier at once; report equipment malfunction to your dealer. Precautions Save these instructions for later use. Follow all instructions and warnings marked on the unit. Always use with the correct line voltage. Refer to the manufacturer's operating instructions for power requirements. Be advised that different operating voltages may require the use of a different line cord and/or attachment plug. Do not install the unit in an unventilated rack, or directly above heat producing equipment such as power amplifiers. Observe the maximum ambient operating temperature listed in the product specification. Slots and openings on the case are provided for ventilation; to ensure reliable operation and prevent it from overheating, these openings must not be blocked or covered. Never push objects of any kind through any of the ventilation slots. Never spill a liquid of any kind on the unit. This product is equipped with a 3-wire grounding type plug. This is a safety feature and should not be defeated. Never attach audio power amplifier outputs directly to any of the unit's connectors. To prevent shock or fire hazard, do not expose the unit to rain or moisture, or operate it where it will be exposed to water. Do not attempt to operate the unit if it has been dropped, damaged, exposed to liquids, or if it exhibits a distinct change in performance indicating the need for service.
    [Show full text]
  • Controllers As Musical Instruments, Controllerism As Musical Practice
    Controllers as Musical Instruments, Controllerism as Musical Practice – Practices of a new 21st Century musical culture – Guillermo de Llera Blanes Dissertação em Ciências Musicais na especialidade de EtnomusicoloGia , A , CAL CULTURE PRACTICES OF 2017 Guillermo de Llera Blanes CONTROLLERS AS MUSICAL 21ST CENTURY ,MUSI INSTRUMENTS, CONTROLLERISM AS MUSICAL PRACITCE, Setembro, 2017 1 Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências Musicais, especialidade de Etnomusicologia, realizada sob a orientação científica do Professor Doutor João Soeiro de Carvalho. 2 Dedicated to my promised one and to the little Controllerists at home. Acknowledgements It is with the utmost gratitude that I thank my brother, the anthropologist Ruy Blanes for his unwavering support, sympathetic guidance and most of all, his humor. His knowledge was a lifeline, for I could always count on his informed opinion, but his greatest aid was in letting me make my own mistakes, and then hinting at various ways to resolve them. It showed me that he was convinced that I was capable of finding my way out of the dead ends, and would overcome the trials and tribulations of writing a thesis. Thank you for believing in me, my brother. To my dear advisor, professor João Soeiro de Carvalho, I have nothing but words of gratitude. You showed unbridled gusto in my research and helped me trod along with unending patience, aware of my limitations in time, experience and knowledge. It was with great delight that I experienced our joint (ad)venture, and I am indebted to you for your kindness, your wisdom and your empathy.
    [Show full text]
  • SOND 3 28007 Workbook
    Resources for Performing Arts Technology Unit Standard 28007 – Select and apply a range of processes to enhance sound in a performance context Level 3 6 Credits By Duncan Ferguson Learning Ideas Limited Learning Ideas Limited PO Box 21-246 Christchurch New Zealand www.learningideas.co.nz Copyright © 2013 Learning Ideas Limited All rights reserved. This digital resource may be reproduced only for students within the school that purchased it. Notice of Liability The information in this book is distributed on an “as is” basis, without warranty. Every effort has been made to make sure all aspects of the question and answer guides are consistent with the guidelines as set out by the New Zealand Qualifications Authority in February 2013. However, it is likely that these guidelines will change over time. Learning Ideas Limited accepts no responsibility for inconvenience caused as a result of any subsequent changes that may affect the accurateness of information in this book. Introduction Welcome to the Learning Ideas Limited workbook for the new SOND 3 unit standard – Demonstrate and apply knowledge of sound for a performance context using control and enhancement processes. This unit standard is a continuation of the SOND 1 (26687) and SOND 2 (27703) unit standards. The focus of these has been to use Live PA and Recording systems for a variety of ‘performance contexts’. The main focus of this standard is for students to build upon their experience and knowledge and to bring it all together to produce a much higher quality ‘product’. This standard starts with a lot of the theory behind how sound travels and how we perceive it.
    [Show full text]
  • STUDIO DESIGN &John Storyk, Beth Walters and a Life of Science with Style
    Alphabetland: X Is Back! ★ Classic Tracks: ‘We Are the World’ ★ Producer Dave Cobb ★ Acoustic Materials June 2020 \\ mixonline.com \\ $6.99 >ALSO THE CLASS OF 2020 The Year’s Hottest New Studios >REVIEWED AUDIO DESIGN DESK 1.2 WORKSTATION MASSENBURG DESIGNWORKS MUSIC PRODUCTION • LIVE SOUND • SOUND FOR PICTURE MDWEQ6-AAX PLUG-IN SERENDIPITY STUDIO DESIGN &John Storyk, Beth Walters and a Life of Science With Style 06.20 Contents Volume 44, Number 6 MUSIC TECHNOLOGY FEATURES 10 Surprise 32 Technology Surprise! Showcase: Acoustic There’s a New Materials Album From X BY THE MIX EDITORS BY BARBARA 34 New Products: Studio and Live Sound SCHULTZ 14 Classic Tracks: ”We Are the World,” 36 Review: Audio Design Desk 1.2 Unity, Passion, Workstation Commitment and BY MIKE LEVINE the Power of Music 40 Review: BY ROBYN FLANS Massenburg DesignWorks MDWEQ6-AAX 16 On the Cover: John Storyk DEPARTMENTS Plug-in and the Next 50 Years BY BARRY RUDOLPH BY TOM KENNY 6 From the Editor: The Nexus of Art, 42 Back Page Blog: Architecture and Technology Live Streaming From Home, Better 20 The Class of 2020: A Studio 8 Current: Funk Studios Adds Duality; Audio From Zoom Design Showcase of the dCS Legends Honors Cherney BY MIKE LEVINE AND STEVE LA CERRA Year’s Top Studios BY THE MIX EDITORS On the Cover: For more than 50 years, the inimitable John Storyk, who designed Electric Lady Studios for Jimi Hendrix in 1969, has helped shaped the very look and functionality of the modern studio. Pictured here with his wife, Beth Walters, 30 The Musician’s Producer: pictured here on West Lake, Hangzhou, China.
    [Show full text]
  • 13924 Inners 7/8/01 2:56 Pm Page 2
    THE SOUNDCRAFT GUIDE TO MIXING Soundcraft Registered Community Trade Mark / RTM No. 000557827 SOUNDCRAFT HARMAN INTERNATIONAL INDUSTRIES LTD. CRANBORNE HOUSE, CRANBORNE ROAD, POTTERS BAR, HERTS, EN6 3JN, UK. TEL: +44 (0)1707 665000 FAX: +44 (0)1707 660742 EMAIL: [email protected] SOUNDCRAFT USA 1449 DONELSON PIKE, NASHVILLE TN 37217, USA TEL: 1-615-360-0471 FAX: 1-615-360-0273 EMAIL: [email protected] www.soundcraft.com Soundcraft reserves the right to improve or otherwise alter any information supplied in this document or any other documentation supplied hereafter. E&OE 08/01 Part No. ZL0439 13924 Inners 7/8/01 2:56 pm Page 2 THE SOUNDCRAFT GUIDE TO MIXING – CONTENTS SECTION 1: STARTING OUT SECTION 4: PA MIXING A What does a Mixer do? 3 A Introduction, A Typical Live Performance; Microphones, B Guidelines in Choosing a Mixer. 3 Cables and Connections, Connecting External Effects and Processors, Setting Up, Ringing Out: Nulling Room C The Controls - A Description. 3 Acoustics, Setting the Mix, Avoiding Feedback. 17 Mono Inputs, Stereo Inputs, Subgroups, the Master Section. B Larger Performances; Medium Venues, Large Sized Venues. 20 D Signal Flow. 7 C Recording Live. 22 SECTION 2: CONNECTING SECTION 5: CONTENTS EQUIPMENT TO YOUR MIXER OTHER APPLICATIONS A Input Devices. 8 B Equipment requiring Inputs and Outputs. 9 A Monitor mixing. 23 C Output Devices. 9 B Submixing. 24 SECTION 3: SECTION 6: IN THE STUDIO MIXING TECHNIQUES A Essentials and Ergonomics. 25 A Choosing the Right Microphone; 10 B Tape Machines and Recording media. 25 Microphone types, Condenser, Dynamic, C The Console.
    [Show full text]
  • Consonance at the Intersection of Composition and Performance
    The Blipvert Method: Consonance at the Intersection of Composition and Performance WILLIAM NORTHLICH1 The confluence of composition and performance is a compelling phenomenon which confronts many 21st century electronic music artists, brought about primarily through an independent “DiY” ethos to creativity and the ubiquity of advanced musical, and non-musical, technology. Techniques of software programming, improvisation, reconstitution of electric and acoustic instruments, sampling, and manipulation of audio in a live setting (to name a few) may all find a place in an artist’s methodology regardless of style. It may be even be said that the techniques employed by an artist delineate the style itself, e.g. “controllerism,” “turntablism,” “live PA,” etc. The following paper offers an in-depth structural analysis of the composition and performance fundamentals of BlipVert, a pseudonym under which I have been presenting electronic music to the general public for almost two decades. The BlipVert composition “New Choomish,” from BlipVert’s 2010 release “Quantumbuster Now” (Eat Concrete Records, NL), is examined as a construct which manifests an expressive faculty in both live and studio environments, consequently demonstrating a profoundly synthesized framework of sonic and gestural principles. Keywords: composition, performance, improvisation, movement, building-blocks, Northlich, BlipVert, New Choomish “BlipVert,” a pseudonym under which I have been producing and performing electronic music since 2001, represents a personalized musical aesthetic which synthesizes composition and performance by means of spontaneity, i.e. improvisation. Spontaneity in fact exemplifies the purpose of my “instrumental” choices in live performance and their subsequent relation to my compositional procedures. Bruno Nettl determines degrees of musical decision-making in improvisation as dependent on the “size of the building blocks” available to the musician, and “the larger the blocks, the greater the internal variability” (1974, 15).
    [Show full text]
  • TECHNEWS Words: MICK WILSON
    TECHNEWS words: MICK WILSON TECH TALK — OLIVIER GIACOMOTTO Definitive co-boss talks studio gear and producing for film. p.138 IN THE STUDIO We sit down with the legendary DJ Jazzy Jeff. p.141 MASTERS OF THE UNIVERSE Two top tech giants have come together to create the formidable Radius 2 mixer… JAM HOT? asterSounds is one of comes with a CV to die for in terms of and home set-ups are all benefiting Getting to grips with Native those cool companies that mixer design. He was responsible for from the delights of high definition makes bespoke bits of engineering Richie Hawtin’s recently audio. DJs and music lovers are Instruments’ Maschine Jam. kit to aid in the practice launched PLAYdifferently MODEL 1 now looking at the equipment side p.140 M of listening to good music with the DJ production mixer, as well as being of things in order to complete the best gear possible. It goes to great head designer for Allen & Heath’s high definition audio signal chain. lengths to ensure that when it delivers Xone range of mixers for over fifteen Media players are now coming with a product, it will give the user the years — thought that would grab your technology that delivers the purest highest standard in audio quality. The attention! sound, with vinyl and analogue lovers company explores every avenue in The union (excuse the pun) of these still benefiting from the warmth order to achieve this goal. One such two companies is what some would that come with these standards. avenue of exploration is teaming up term a thing of beauty.
    [Show full text]
  • Arizona Department of Education Career and Technical Education Recommended Equipment List Program: Music and Audio Production CIP#: 10.0200.00
    Arizona Department of Education Career and Technical Education Recommended Equipment List Program: Music and Audio Production CIP#: 10.0200.00 NOTE: The following items and descriptions are the recommended equipment guidelines for each CTE Music and Audio Production program. Please note that this list of recommended items does not necessarily need to be supported financially by Federal Perkins or State Priority funding sources. In many cases, local school district funds are used to purchase items on a regular basis (i.e. furniture, consumables, etc.) Further, please understand that this is not an exhaustive list. Local program and business needs may necessitate the purchase of additional equipment and software resources, as may the rapidly-changing nature of the industry-specific technologies used in the program. Please contact ADE-CTE Program Specialist for Business and Marketing Education & Communication Media Technologies, Elena Sobampo ([email protected]), if you have questions regarding the appropriateness of any item you are considering for addition to your CTE Music and Audio Production program. Recommended Equipment and Software CLASSROOM Item Notes Both macOS and Windows computer workstations are acceptable, provided the *Computer workstation should computer hardware, graphics hardware, sound/audio hardware, RAM, hard-disk include audio interface (two space, and operating system software are capable of efficiently running all installed channels i/o minimum.) The software applications and supporting any and all attached peripherals. audio interface should be licensed/approved by Digital Consult the product specifications for all program-specific software applications to Audio Workstation (DAW) ensure that computer workstations meet minimum recommended hardware manufacturer to work with DAW.
    [Show full text]
  • BLANKS MUST BE FILLED COMPLETELY the Proposal Must Include All Specifications, Description, Model Number, Quotation, Cost, S
    Student Technology Fee j Surplus Request Form Fiscal Year 2007-08 Northwestern State University of Louisiana ALL BLANKS MUST BE FILLED COMPLETELY Prepared by: Jacob Mitchell Theta Nu Chapter Kappa Kappa Psi For: CAPA MUSIC DepartmentiUnit: CAP A MUSIC College: Liberal Arts Campus: Natchitoches Which NSTEP Goals/Objectives does this project meet? 1,2,5 Requested equipment will be locatedlinstalledlhoused? Building: 225A Room 122 Are department property policies and procedures in place for requested equipment? Yes e responsible for property control of the requested equipment? Bill Brent Date: Signature: ~~'Ifl1-P!:.~::::=""----------- 5", /5/0/ g $18,335.13 Budget Attached (circle one): YESINO Proposal delivered to Student Technology located in Watson Library, Room 113. Date ___ The proposal must include all specifications, description, model number, quotation, cost, state contract number, and vendor for each item. If the proposal does not include all requested information, it will be retuned to requestor. 1. Describe target audience. All Students at Northwestern State University who are enrolled in music courses. Specifically this will impact music majors, choir students and graduate students, by allowing them to utilize the pianos we currently have and this will also help all percussion members and "pit" members to perform at the football games. 2. Describe project/initiative for which you are requesting funds. We are asking for the few remaining items to complete a previous grant that was awarded through STAT to help amplify the percussion at the football games and also for seven computer upgrades for pianos that were purchased over twenty years ago with a board of regions grant.
    [Show full text]