DOCSLIB.ORG

Ur %Tic. Ikwriti•Geoibil. 6

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ur %Tic. Ikwriti•Geoibil. 6 , iL t t im MARIA GANDER JPL/UREI 8500 PALP OA PLY , NoRTHRIDGE CA 91329 " W rIt ci t ta • ;I A A i treauko, 1 • G-Sel 113 1 1 3 t t i r iI • 46-k ttig gigel t6' tl ' " a. F,Ctektreeritu ttmt ft*:311a. t t I t t I ! I l i ' I aI lii Ca- lki 4 h, le beAthe *b o w l* ur %tic. ikwriti•geoibil.it 4 3 0 01, 4 4 k WON 6 Itisheirirtrie r.. e.inne. 1 iterjt aittit rlail bliliff!.7i ..r 7-511 0itati,woftill.litli:_iii/r.5:11-1.1,11:i („ 5iIr --------,-:' ' ir t 1 tt ,k World's • .L most fir •mile ir`o• frequent - Shcwo Actual Irk Size er! Model ATI:15311/W Model AT853R Sure you'll see °the, brands hanging around from time to Quiet Please time, but when it comes to self- Our advanced electronics and supporting miniature condens- capsule design insure very lo% tern, and output from every ers, the Audio-Technica AT853 self-noise. Listen carefully to microphone in the a.:ea. You get seres, now in its foi_rth genera- ours and to theirs. You'll hear the same great sotmd above the tior., has been the Dver whehning theirs. And so will your criti- choir, mounted on a lectern, or chcice of both contractcrs and cal customers. used to reinforce rr,...sical instru- enc. users for years. ThE reason ments. Sound system operation is smple: It works s well. And New AT853R High Output and EQ are simplifi 3 d for superior, for some very impor:arr: reasons. Remote Power Model trouble-free day-to-day results. Full Choice of The standard AT853a output Very Refined Sound Pickup Patterns level is higher :han most others But the AT853 .R phantom-only Over the years we've been able When it comes to pickup pattern model eliminates the battery to fine-tune every aspect of the choice, the UniPcint" AT853 compartment and offers up to AT853 series. You can readily series is by far the most flexible. 3dB more sensitivity. hear the difference engineered Choose from cardioid, Ir,rpercar- Two more compro- into this tiny microphone. It's a dioid, subcarclioid or even an mises avoided! difference that speils customer omnidirectional pattern, simply satisfaction and builds your Consistency, by inserting a different good reputation. capsule. Test them all HYPERCARDIOID Consistency, Install the very h E st. The on-site in minutes. Consistency Audio-Technica AT E53 submini- That's flexibility The AT853 ature condenser microphones simply not series is part of that started a revolation in sound. available from a complete Available in the U.S. and Canada the others. UaiPoint system from Audio-Technica U.S., Inc., SUBCP_RDIOID of matched 1221 Commerce Dr_t-e, Stow, OH miniature microphones 44224. Phone (216) E86-2600 and accessories. The result is Fax (216) 686-0719_ In Canada consistent response, polar pat- call (800) 258-8552 OMNIDIRECT IONAL aucho-technica INNOVATION PRECISION INTEGRITY Circle 11 on Reader Service Card May/June1993 Vol. 27, No. 3 serving: recording, broadcast and sound contracting fields magazine THE RECORDING ENGINEER 6 Cover Story: The Post Group at Disney-MGM Studios by John Barilla Come with us to Orlando, Florida, where among the famous theme parks lies a sophisticated post production outfit. 17 Audio, Video, Stage and Lodging All under One Roof by Randy Savicky A super studio in an old NYC building. See page 6 21 Masterdisk—Re-Visited by Larry Zide Disk mastering is alive and well, and there's a changing future. 34 Historical Perspectives: by Peter Hammar and Don Osofske Return with us to the real beginnings of recording video and audio on tape. Ea THE ELECTRONIC COTTAGE 13 Hot Tips: Photo Opportunities in the Studio: by John Barilla 11.chniques and tips to help get you into this growing field. 32 Just a Mic and a Mac by Shelley Herman See page 13 He does it all at home, but he gets it onto good-selling CDs. DEPARTMENTS 2 Calendar 10 New Products 52 Buyer's Guide: Power Amplifiers 63 Classified 65 PPH About the Cover • Rob Hill is the Senior Audio Engineer at The Post Group at Dis- ney-MGM in Orlando, Florida. See our story on page 6. Calendar EQ60 Checklist YES NO, Switchable Notch Filters o oli" Parametric Controls o rii/ Digital o dr/ Built-in Analyzer o OK- MakesAnalogamd,re the Coffee wC ,ii/k* , . /oEV [Vo Editor/Publisher Ultra low Distortion clr'- o Ultra low Noise o Larry Zide Easy to Use EY" o • Sound in Entertainment: Sounds Great ctK' o Scecifying and DesigningAudio Associate Publisher Only 2 Flashing LEDs o Systems to Create Sound Envi- ronments is the long title of a se- Elaine Zide • 1 441 +1 0 +1+1 * *1 441144 +1 * • ries of seminars, sessions and exhibits that will take place Novem- w so oo Senior Editor • Ilaiift agi +Inlyaga l mplinit ber 13-15 at the Orange Country Convention Center in Orlando, John Barilla When ultra low noise (-98dB), sonic ac- Florida. The conference is supple- curacy and ease of use are your main pre. requisites in a Graphic Equalizer, you mented by the LDI93 show. Exhib- owe it to yourself to check out the EQ60, its will be open 10:00 am to 6:00 pm from: November 13th, 14th, and 15th Contributing Editors 1993. LDI93 is sponsored by Light- Bruce Bartlett I / N W Mr ing Dimensions magazine. For in- formation call Jacqueline Tien at Drew Daniels M W / Wi A 212 677-5997 or fax 212 677-3857. Systems You can write them at 135 Fifth Ave- Robyn Gately PO Box 842, Silverado CA 92676-0842 nue, New York, NY 10010 Len Feldman Phone 714-649 2346, Fax 714-649 3064 • It's not too early nor too late to start thinking about the 95th AES Shelley Herman Convention, which will be held Circle 14 on Reader Service Card Brent Harshbarger this year on October_7AOth inNew Dan Mockensturm EXCELLENCE is the result of uncompromising National Advertising Sales dedication to quality and service. Manager JRF is proud of its reputation as a leader in the field of magnetic hf-ads. Our technical and engineering staff is committed to providing David W. Frankel the finest products and services: 4 Wilton Crest • Magnetic Head Refurbishing Wilton CT 06897 • Optical/Digital Assembly Alignment 203 834-9936 • Full line of replacement heads IN STOCK • MCl/Sony parts dealer db, The Sound Engineering Magazine (ISSN 0011- • 3M parts dealer 7145) is published bi-monthly by db Magazine Publishing • Technical Assistance Company, Entire contents copyright 1993 by db Publish- ing Company, 293 Commack Road. Suite 1010, Com- • Fast,reliable service that's mack, NY 11725.Telephone: (516)586-6530. db Magazine is published for individuals and firms in professional audio unmatched for quality recording, broadcast audio-visual. sound reinforcement- contracting, consultants, video recording, film sound, etc. Application for subscription should be made on the sub- scription form in the rear of each issue. Subscriptions are $18.00 per year ($28.00 per year outside U.S. Posses- sions, $21.00 per year in Canada)and payable in U.S. funds. Single copies are $3.50 each. Editorial. Publishing, L:11M and Sales offices are at 203 Commack Road, Suite 1010, Commack NY 11725. Second Class postage paid at Com- MAGNETIC SCIENCES mack. NY 11725 and an additional mailing office. Post- master: Form 3579 should be sent to db Magazine,203 Commack Road, Suite 1010, Commack, NY 11725. Responsive to the needs of the recording industry, we at JRF feel Trademarked names are editorially used throughout this issue. Rather than place a trademark symbol next to there can be no substitute for EXCELLENCE. each occurrence, we state that thus') names are t..3er.loniy I in an editorial fashion and to the uenefit of the trademark owner, and that there is no intention of trader ',Irk infringe- 249 Kennedy Road • P.O. Box 121 • Greendell, NJ 07839 ment. Tel.: (201) 579-5773 • Fax: (201)579-6021 mow 2 db May/June 1993 1993 May/June db 2 Circle 15 on Reader Service Card The ELAR Audio Library Handbook of The Microphone Sound System Design. .Handbook. • John Ear& The Books You Need To Be A Better Professional • John Eargle'sHandbook of Sound System • The New Recording Studio Handbook by • If you are a professional in audio and use Design has the answers to those needs you John Woram and Alan P. Kefauver is for microphones in any aspect of you r work, you have for accurate technical information everyone involved in recording. It is already need John Eargle's definitive The Micro- about sound reinforcement. It contains established as the "bible" for learning all the phone Handbook. Amon gx t topics every thing from a small church to Madison basics of the recording studio operation. covered are: Usin p tively, Square Garden, from live sound for 60,000 This includes the latest in the many kinds of directional c tir gmote power- to canned sound for 600. Chapters: High- noise reduction, analog recording, digital ing of hones, se nsi t ivi ty rat- Frequency Speaker Systems, Mid-Fre- recording from multi-track to R-DAT, what ings a at they mean, proximity and quency Speaker Systems, Low-Frequency they are and how you use SMPTE and distance effects, multi-microphone inter- Speaker Systems, Dividing Networks, Cen- MIDI time codes, signal-processing equip- ference problems, stereo microphone tech- tral Loudspeaker Arrays, Distributed Sys- ment, microphones and loudspeakers niques, speech and music reinforcement, tems, Paging Systems, Microphones, —All (monitors), and all about the new auto- studio microphone techniques, and so this and more.
Load more

Recommended publications
  • December 1992
    VOLUME 16, NUMBER 12 MASTERS OF THE FEATURES FREE UNIVERSE NICKO Avant-garde drummers Ed Blackwell, Rashied Ali, Andrew JEFF PORCARO: McBRAIN Cyrille, and Milford Graves have secured a place in music history A SPECIAL TRIBUTE Iron Maiden's Nicko McBrain may by stretching the accepted role of When so respected and admired be cited as an early influence by drums and rhythm. Yet amongst a player as Jeff Porcaro passes metal drummers all over, but that the chaos, there's always been away prematurely, the doesn't mean he isn't as vital a play- great discipline and thought. music—and our lives—are never er as ever. In this exclusive interview, Learn how these free the same. In this tribute, friends find out how Nicko's drumming masters and admirers share their fond gears move, and what's tore down the walls. memories of Jeff, and up with Maiden's power- • by Bill Milkowski 32 remind us of his deep ful new album and tour. 28 contributions to our • by Teri Saccone art. 22 • by Robyn Flans THE PERCUSSIVE ARTS SOCIETY For thirty years the Percussive Arts Society has fostered credibility, exposure, and the exchange of ideas for percus- sionists of every stripe. In this special report, learn where the PAS has been, where it is, and where it's going. • by Rick Mattingly 36 MD TRIVIA CONTEST Win a Sonor Force 1000 drumkit—plus other great Sonor prizes! 68 COVER PHOTO BY MICHAEL BLOOM Education 58 ROCK 'N' JAZZ CLINIC Back To The Dregs BY ROD MORGENSTEIN Equipment Departments 66 BASICS 42 PRODUCT The Teacher Fallacy News BY FRANK MAY CLOSE-UP 4 EDITOR'S New Sabian Products OVERVIEW BY RICK VAN HORN, 8 UPDATE 68 CONCEPTS ADAM BUDOFSKY, AND RICK MATTINGLY Tommy Campbell, Footwork: 6 READERS' Joel Maitoza of 24-7 Spyz, A Balancing Act 45 Yamaha Snare Drums Gary Husband, and the BY ANDREW BY RICK MATTINGLY PLATFORM Moody Blues' Gordon KOLLMORGEN Marshall, plus News 47 Cappella 12 ASK A PRO 90 TEACHERS' Celebrity Sticks BY ADAM BUDOFSKY 146 INDUSTRY FORUM AND WILLIAM F.
    [Show full text]
  • UC San Diego UC San Diego Electronic Theses and Dissertations
    UC San Diego UC San Diego Electronic Theses and Dissertations Title Investigation of bit patterned media, thermal flying height control sliders and heat assisted magnetic recording in hard disk drives Permalink https://escholarship.org/uc/item/3nd3d29b Author Zheng, Hao Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Investigation of Bit Patterned Media, Thermal Flying Height Control Sliders and Heat Assisted Magnetic Recording in Hard Disk Drives A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Engineering Sciences (Mechanical Engineering) by Hao Zheng Committee in charge: Professor Frank E. Talke, Chair Professor David J. Benson Professor Eric Fullerton Professor Philip E. Gill Professor Hidenori Murakami 2011 Copyright Hao Zheng, 2011 All rights reserved. This dissertation of Hao Zheng is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2011 iii to my parents Yanping Duan and Guangyuan Zheng iv TABLE OF CONTENTS Signature Page ............................................................................................................... iii Dedication .................................................................................................................... iv Table of Contents ..........................................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • February 1983
    VOL. 7 NO. 2 Cover Photo by Rick Malkin FEATURES JEFF PORCARO After having been an in-demand studio drummer for sev- eral years, Jeff Porcaro recently cut back on his studio activities in order to devote more energy to his own band, Toto. Here, Jeff describes the realities of the studio scene and the motivation that led to Toto. by Robyn Flans 8 CLEM BURKE If a group is going to continue past the first couple of albums, it is imperative that each member grow and de- velop. In the case of Blondie, Clem Burke has lived up to the responsibility by exploring his music from a variety of directions, which he discusses in this recent conversation with MD. by Rick Mattingly 12 DRUMS AND EDUCATION Jazz Educators' Roundtable / Choosing a School — And Getting ln / Thoughts On College Auditions by Rick Mattingly and Donald Knaack 16 BILLY HIGGINS The Encyclopedia of Jazz calls Billy Higgins: "A subtle drummer of unflagging swing, as at home with [Ornette] Coleman as with Dexter Gordon." In this MD exclusive, Billy talks about his background, influences and philoso- phies. by Charles M. Bernstein 20 LARRY BLACKMON Soul Inspiration by Scott Fish 24 Photo by Gary Evans Leyton COLUMNS STRICTLY TECHNIQUE EDUCATION Open Roll Exercises PROFILES by Dr. Mike Stephens 76 UNDERSTANDING RHYTHM SHOP TALK Half-Note Triplets Paul Jamieson by Nick Forte 28 RUDIMENTAL SYMPOSIUM by Scott Fish . 36 A Prescription For Accentitus UP AND COMING CONCEPTS by Nancy Clayton 78 Anton Fig Visualizing For Successful Performance by Wayne McLeod 64 by Roy Burns 34 TEACHER'S FORUM Introducing The Drum Solo NEWS ROCK PERSPECTIVES by Harry Marvin 86 Same Old 16ths? UPDATE by John Xepoleas 48 by Robyn Flans 94 INDUSTRY 96 ROCK 'N' JAZZ CLINIC EQUIPMENT Developing Your Own Style by Mark Van Dyck 50 PRODUCT CLOSE-UP DEPARTMENTS Pearl Export 052-Pro Drumkit EDITOR'S OVERVIEW 2 ROCK CHARTS by Bob Saydlowski, Jr.
    [Show full text]
  • Historical Development of Magnetic Recording and Tape Recorder 3 Masanori Kimizuka
    Historical Development of Magnetic Recording and Tape Recorder 3 Masanori Kimizuka ■ Abstract The history of sound recording started with the "Phonograph," the machine invented by Thomas Edison in the USA in 1877. Following that invention, Oberlin Smith, an American engineer, announced his idea for magnetic recording in 1888. Ten years later, Valdemar Poulsen, a Danish telephone engineer, invented the world's frst magnetic recorder, called the "Telegraphone," in 1898. The Telegraphone used thin metal wire as the recording material. Though wire recorders like the Telegraphone did not become popular, research on magnetic recording continued all over the world, and a new type of recorder that used tape coated with magnetic powder instead of metal wire as the recording material was invented in the 1920's. The real archetype of the modern tape recorder, the "Magnetophone," which was developed in Germany in the mid-1930's, was based on this recorder.After World War II, the USA conducted extensive research on the technology of the requisitioned Magnetophone and subsequently developed a modern professional tape recorder. Since the functionality of this tape recorder was superior to that of the conventional disc recorder, several broadcast stations immediately introduced new machines to their radio broadcasting operations. The tape recorder was soon introduced to the consumer market also, which led to a very rapid increase in the number of machines produced. In Japan, Tokyo Tsushin Kogyo, which eventually changed its name to Sony, started investigating magnetic recording technology after the end of the war and soon developed their original magnetic tape and recorder. In 1950 they released the frst Japanese tape recorder.
    [Show full text]
  • Video and the Origins of Electronic Photography Revised
    Video and the Origins of Electronic Photography Peter Sachs Collopy Published in translation as “La vidéo et les origines de la photographie électronique,” Transbordeur: Photographie histoire société 3 (2019): 26–35. Over the last two decades, electronic media have usurped their photochemical predecessors. Most of what we now call photography is produced by light striking a charge-coupled device rather than silver halide crystals. Electronic imaging technology has largely replaced both still and moving image film. We’ve come to associate this technological revolution with digital media, programmable machines capable of reducing many forms of information—including the light captured by electronic sensors—into a single binary representation. “The general digitization of channels and information,” argues Friedrich Kittler, “erases the differences among individual media.… Inside the computers themselves everything becomes a number: quantity without image, sound, or voice.… A total media link on a digital base will erase the very concept of medium.”1 Digitization was not, though, the moment at which photography began to share a medium with sound and quantification. Our current association of the digital with progress can distract us from the historical fact that the most sophisticated electronic technologies have often been analog ones, processing information as continuous variations in voltage or current and recording it as continuous variations in magnetic fields. The discourse of the digital can also obscure continuities between electronic media, preventing us from seeing how much analog and digital modes of representing information have in common. Rather than thinking of the recent decline of film as a process of digitization, we might just as productively see it as a culmination of the rise of electronic photography, a phenomenon that has introduced into our visual experience not only the digital but also the analog.
    [Show full text]
  • Giving Every Child a Place to Belong
    2020 JOURNAL giving every child a place to belong... 2019 Annual Report Enclosed To my JAFCO family, Driving into the JAFCO Children’s Village these past few months, I observed myself having what I thought to be a strange reaction to being in a leadership role during a global pandemic. On a personal level of course, I was devasted by the enormous, unprecedented loss of life and suffering happening in our world, and I found myself thinking about that a lot, especially while I drove to work on roads that were visibly empty. But then each and every day, something very odd happened the moment I swiped my access control card on the call box at the JAFCO Children’s Village entry gate. One would think that being responsible for three sites in Florida and one in Philadelphia, thousands of children and families, including 28 children living on campus, plus worrying about the health and safety of all of our staff and their families, over $1m in cancelled or re-scheduled fundraising events, our inevitable year-end funding deficit, finding enough masks and hand sanitizer and so much more, you would think that I would feel extremely worried, anxious and stressed. But on the contrary, the moment that I took my seat at my desk in my office and looked out of the window with a beautiful view of the Village, I felt an immediate sense of peace and calm and hopefulness. The pandemic was “gone”. I noticed this and privately I will share with you that I was concerned that maybe I wasn’t taking things seriously enough.
    [Show full text]
  • Manual of Analogue Sound Restoration Techniques
    MANUAL OF ANALOGUE SOUND RESTORATION TECHNIQUES by Peter Copeland The British Library Analogue Sound Restoration Techniques MANUAL OF ANALOGUE SOUND RESTORATION TECHNIQUES by Peter Copeland This manual is dedicated to the memory of Patrick Saul who founded the British Institute of Recorded Sound,* and was its director from 1953 to 1978, thereby setting the scene which made this manual possible. Published September 2008 by The British Library 96 Euston Road, London NW1 2DB Copyright 2008, The British Library Board www.bl.uk * renamed the British Library Sound Archive in 1983. ii Analogue Sound Restoration Techniques CONTENTS Preface ................................................................................................................................................................1 Acknowledgements .............................................................................................................................................2 1 Introduction ..............................................................................................................................................3 1.1 The organisation of this manual ...........................................................................................................3 1.2 The target audience for this manual .....................................................................................................4 1.3 The original sound................................................................................................................................6
    [Show full text]
  • Il Software Di Riferimento
    Il software di riferimento Marco Fullone Il fondatore e front man degli Steely Dan è dai primi anni Settanta un personaggio tra i più amati dell’area colta del rock e la sua musica (con o senza Steely) è l’emblema della ricerca estetica e dell’anticonformismo. Il mondo musicale di Fagen è da sempre ispirato al jazz ma filtrato da un gusto di melodia e struttura tipicamente pop, e quando si parla di pop nel suo caso si definisce l’essenza più sofisticata e ricercata di uno stile che ha fatto la fortuna del sound FM losangelino. A ben guardare un album capolavoro come “The Nightfly” appare ancora oggi ben inquadrato nella sua apoca e la caratterizza fortemente, un po’ come avvenne nel 1967 per "Sgt. Pepper's Lonely Hearts Club Band" anche se, per ammissione dello stesso Fagen, l’album si ispirava ad un altro periodo della vita americana, gli anni Sessanta di Eisenhower e Kennedy e al mondo notturno della radio in onde medie (anche la copertina è passata alla storia, recentemente imitata anche da Fiorello per la copertina di Rolling Stone italiano). Di questo album si continua a parlare ancora oggi come di un capitolo fondamentale nell’evoluzione della musica Ha compiuto 25 anni “The The Nightfly Trilogy Nightfly” di Donald Fagen, uno Box 7 Disc Set Comprende i seguenti album: The Nightfly Grammy-nomination “Album of the Year 1982” degli album seminali del pop Winner of the Grand Prix du Disque jazz e forse uno dei dischi più Kamakiriad Grammy-nomination “Album of the Year 1983” Morph the Cat Grammy Winner “Best Surround Sound 2006” rappresentativi degli anni Plus CD di Rarità 10 Extra (B side, live e unreleased demo tracks) Ottanta.
    [Show full text]
  • Sound Evidence: an Archaeology of Audio Recording and Surveillance in Popular Film and Media
    Sound Evidence: An Archaeology of Audio Recording and Surveillance in Popular Film and Media by Dimitrios Pavlounis A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Screen Arts and Cultures) in the University of Michigan 2016 Doctoral Committee: Associate Professor Sheila C. Murphy, Chair Emeritus Professor Richard Abel Professor Lisa Ann Nakamura Associate Professor Aswin Punathambekar Professor Gerald Patrick Scannell © Dimitrios Pavlounis 2016 For My Parents ii ACKNOWLEDGMENTS My introduction to media studies took place over ten years ago at McGill University where Ned Schantz, Derek Nystrom, and Alanna Thain taught me to see the world differently. Their passionate teaching drew me to the discipline, and their continued generosity and support made me want to pursue graduate studies. I am also grateful to Kavi Abraham, Asif Yusuf, Chris Martin, Mike Shortt, Karishma Lall, Amanda Tripp, Islay Campbell, and Lees Nickerson for all of the good times we had then and have had since. Thanks also to my cousins Tasi and Joe for keeping me fed and laughing in Montreal. At the University of Toronto, my entire M.A. cohort created a sense of community that I have tried to bring with me to Michigan. Learning to be a graduate student shouldn’t have been so much fun. I am especially thankful to Rob King, Nic Sammond, and Corinn Columpar for being exemplary scholars and teachers. Never have I learned so much in a year. To give everyone at the University of Michigan who contributed in a meaningful way to the production of this dissertation proper acknowledgment would mean to write another dissertation-length document.
    [Show full text]
  • STEELY DAN - from Page 2 Thursday, July 25 Sunday, July 28 and the Americans a Few Months Later
    -------------------- Calendar • Karaoke & DJs ------------------- STEELY DAN - From Page 2 Thursday, July 25 Sunday, July 28 and the Americans a few months later. Jay Black, the Jay of Jay and the Americans, called Becker and Fagen Starkweather and Manson. ANGOL A FORT WA YNE Skip’s Party Place — Rock Star Karaoke, 8 p.m. After Dark — Dance videos & karaoke, 9:30 p.m. That was in 1971. Later in 1971 in New York Becker and Fagen met AUBURN Checkerz Bar & Grill — American Idol Karaoke w/TJ, 7 p.m. the producer Gary Katz. When Katz got a job at ABC Records in Los 4 Crowns — Shotgun Prod. Karaoke, 10 p.m. Crooners Karaoke Bar — House KJ, 9 p.m. Angeles, he invited the duo to come along as songwriters. Attempts to Mimi’s Retreat — Karaoke, 8 p.m. Tycoon’s Cabaret and Grill — Shooting Star Prod. w/Nacho, 9 find a suitable band to perform their increasingly complex tunes failed, so FORT WA YNE p.m. Arena Bar & Grill — American Idol Karaoke w/Jay, 8 p.m. they put together a group of studio musicians, including Denny Dias and Crooners Karaoke Bar — House KJ, 9 p.m. Jeff “Skunk” Baxter on guitar, Jim Hodder on drums and David Palmer Deer Park Irish Pub — Bucca Karaoke w/Bucca, 10 p.m. Monday, July 29 Latch String Bar & Grill — Ambitious Blondes Ent., 10 p.m. on vocals. Katz produced, Becker played bass and Fagen played keys FORT WA YNE North Star Bar & Grill — Karaoke w/Michael Campbell, 8 p.m. and sang, reluctantly. (On a few songs Fagen’s voice reminds me of Al- After Dark — Karaoke, 10:30 p.m.
    [Show full text]
  • Big Sid” Catlett: the Development of Modern Jazz Drumming Style”
    ARTIMISI, ANTHONY B., D.M.A. The Study of Jeff Porcaro's Musical Style and the Development of an Analytical Model for the Study of Drum Set Style in Popular Music. (2011) Directed by Dr. David Nelson and Dr. Kristopher Keeton. 206 pp. Jeffrey Thomas Porcaro was one of the preeminent drummers from the middle of the 1970‘s through his untimely passing on August 5, 1992. He was a founding member of the Grammy Award winning band, Toto, and the list of albums on which his drumming appears includes six hundred ninety-three entries. His willingness to help others and commitment to excellence made a lasting impact on the drumming community and the music industry as a whole. The goal of this research was to complete an analysis of Porcaro‘s drumming style. In order to accomplish this goal, a model was developed that allowed for the analysis of drum set performance based on Robert Breithaupt‘s article entitled ―Musical Considerations for Drumset Improvisation.‖ This article identified nine strategies teachers can use with young students regarding drum set improvisation. Seven of these strategies were used to form a comparative analytical model of musical elements which created a summary of drumming style implemented on Jeff Porcaro for the purposes of this paper: Dynamics, Rate of Strokes, Accents, Rests and Rhythmic Figures, Unisons, Hand-to-Foot Distribution and Special Effects. Porcaro‘s peers and colleagues identified six songs as being representative of his drumming: Boz Scaggs‘s ―Lowdown,‖ ―Lido Shuffle,‖ ―Gimme the Goods‖ and ―Jojo,‖ Steely Dan‘s ―Gaucho,‖ and Toto‘s ―Rosanna.‖ The analytical model applied to the choruses of these songs shows that Porcaro manipulated the different musical elements in a variety of way in order to build to a musical peak during the final chorus of each song.
    [Show full text]