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Treble Culture
OUP UNCORRECTED PROOF – FIRSTPROOFS, Mon Jul 09 2007, NEWGEN P A R T I FREQUENCY-RANGE AESTHETICS ooxfordhb-9780199913657-part-1.inddxfordhb-9780199913657-part-1.indd 4411 77/9/2007/9/2007 88:21:53:21:53 AAMM OUP UNCORRECTED PROOF – FIRSTPROOFS, Mon Jul 09 2007, NEWGEN ooxfordhb-9780199913657-part-1.inddxfordhb-9780199913657-part-1.indd 4422 77/9/2007/9/2007 88:21:54:21:54 AAMM OUP UNCORRECTED PROOF – FIRSTPROOFS, Mon Jul 09 2007, NEWGEN CHAPTER 2 TREBLE CULTURE WAYNE MARSHALL We’ve all had those times where we’re stuck on the bus with some insuf- ferable little shit blaring out the freshest off erings from Da Urban Classix Colleckshun Volyoom: 53 (or whatevs) on a tinny set of Walkman phone speakers. I don’t really fi nd that kind of music off ensive, I’m just indiff er- ent towards it but every time I hear something like this it just winds me up how shit it sounds. Does audio quality matter to these kids? I mean, isn’t it nice to actually be able to hear all the diff erent parts of the track going on at a decent level of sound quality rather than it sounding like it was recorded in a pair of socks? —A commenter called “cassette” 1 . do the missing data matter when you’re listening on the train? —Jonathan Sterne (2006a:339) At the end of the fi rst decade of the twenty-fi rst century, with the possibilities for high-fi delity recording at a democratized high and “bass culture” more globally present than ever, we face the irony that people are listening to music, with increasing frequency if not ubiquity, primarily through small plastic -
Fanning the Flames: Fandoms and Consumer Culture in Contemporary Japan
FANNING THE FLAMES Fans and Consumer Culture in Contemporary Japan Edited by William W. Kelly Fanning the Flames SUNY series in Japan in Transition Jerry Eades and Takeo Funabiki, editors Fanning the Flames Fans and Consumer Culture in Contemporary Japan EDITED BY WILLIAM W. K ELLY STATE UNIVERSITY OF NEW YORK PRESS Published by State University of New York Press, Albany © 2004 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, address State University of New York Press, 90 State Street, Suite 700, Albany, NY 12207 Production by Kelli Williams Marketing by Michael Campochiaro Library of Congress Cataloging-in-Publication Data Fanning the f lames : fans and consumer culture in contemporary Japan / edited by William W. Kelly. p. cm. — (SUNY series in Japan in transition) Includes bibliographical references and index. ISBN 0-7914-6031-2 (alk. paper) — ISBN 0-7914-6032-0 (pbk. : alk.paper) 1. Popular culture—Japan—History—20th century. I. Kelly, William W. II. Series. DS822.5b. F36 2004 306'.0952'09049—dc22 2004041740 10987654321 Contents List of Illustrations vii Acknowledgments ix Introduction: Locating the Fans 1 William W. Kelly 1 B-Boys and B-Girls: Rap Fandom and Consumer Culture in Japan 17 Ian Condry 2 Letters from the Heart: Negotiating Fan–Star Relationships in Japanese Popular Music 41 Christine R. -
8 MAPS the LIGHT LOUNGE the YARD Popular Bar Is Cruisy Downstairs with 23 Poland Street W1F 8QL Ph: 020 7734 23A Old Compton Street, WC2H 7BA
A B C D E F G H I J K ICON KEY 0071. Mon-Thu 5pm-3am, Fri & Sat 2pm- 10.30am. www.ku-bar.co.uk THE YARD (5,C) fetish-wear, they have everything you Friday and Saturday nights! SEE ADVERT Wells St BEARS HUNKS 3am, Sun 2pm-11.30pm. The stylish Ku sits in the heart of the gay 57 Rupert Street W1D 7PL. Ph: 020 7437 need to feel and look good, including their HEALTH 1 W Ctr St CHICKEN KARAOKE www.freedombarsoho.com village. The baby sister bar offers a more 2652. Mon-Thu ‘til 11.30pm; Fri & Sat ‘til famous selection of sex toys, R18 DVDs, 56 DEAN STREET (5D) COCKTAILS LESBIAN Serves food, relaxed bar to go for intimate and relaxed experience. With midnight. www.yardbar.co.uk lubes, condoms, aromas and gifts! Stuck 56 Dean Street W1D 6AQ. Ph: 020 8846 cocktails. Club downstairs including the three floors, great music and tons of A unique space in the heart of Soho catering for an idea where to party in London? 6699. Mon & Tue 8am-7pm, Wed 12noon- New Oxford St COFFEE PUB Tottenham High Holborn popular Thursday nighter High Heels. drinks offers, drink in style. SEE ADVERT for an upbeat, fashionable gay crowd. Has Visit the store for up to date info on gay 7pm, Thu 8am-7pm, Fri 9am-4pm; Sat Charing Cross Rd DJ SEX Court Road FRIENDLY SOCIETY (5,D) MOLLY MOGGS (4,F) a popular courtyard bar and a dedicated bars, clubs and events. 11am-4pm; Sun closed. -
Issue No. 39 September/October 2016 3 Videogames Have Become Bonafide EYE Entertainment Franchises
Press Play LÉON Lewis Del Mar Luna Aura Marshmello NAO and more THE STORM ISSUE NO. 39 REPORT SEPTEMBER/OCTOBER 2016 TABLE OF CONTENTS 4 EYE OF THE STORM Press Play: How videogames could save the music industry 5 STORM TRACKER Roadies Roll Call, Kiira Is Killing It, The Best and the Brightest 6 STORM FORECAST What to look forward to this month. Award Shows, Concert Tours, Album Releases, and more 7 STORM WARNING Our signature countdown of 20 buzzworthy bands and artists on our radar. 19 SOURCES & FOOTNOTES On the Cover: Martin Garrix. Photo provided by management ABOUT A LETTER THE STORM FROM THE REPORT EDITOR STORM = STRATEGIC TRACKING OF RELEVANT MEDIA Hello STORM Readers! The STORM Report is a compilation of up-and-coming bands and Videogames have become a lucrative channel artists who are worth watching. Only those showing the most for musicians seeking incremental revenue promising potential for future commercial success make it onto our as well as exposure to a captive and highly monthly list. engaged audience. Soundtracks for games include a varied combination of original How do we know? music scores, sound effects and licensed tracks. Artists from Journey (yes, Journey) Through correspondence with industry insiders and our own ravenous to Linkin Park have created gamified music media consumption, we spend our month gathering names of artists experiences to bring their songs to visual who are “bubbling under”. We then extensively vet this information, life. In the wake of Spotify announcing an analyzing an artist’s print & digital media coverage, social media entire section of its streaming platform growth, sales chart statistics, and various other checks and balances to dedicated to videogame music, we’ve used ensure that our list represents the cream of the crop. -
Weirdo Canyon Dispatch 2018
Review: Roadburn Thursday 19th April 2017 By Sander van den Driesche It’s that time of the year again, the After Yellow Eyes it’s straight to the much anticipated annual pilgrimage to Main Stage to see Dark Buddha Rising Tilburg to join with many hundreds of perform with Oranssi Pazuzu as the travellers for Walter’s party at Waste of Space Orchestra, which is Roadburn. As I get off the train the another highly anticipated show, and in heat kicks me right in the face, what a this case one that won’t be played massive difference to the dull and rainy anywhere else (as far as I know). What morning I left behind in Scotland. This happened on that big stage was is glorious weather for a Roadburn phenomenal, we witnessed a near hour Festival! Bring it on! of glorious drone-infused psychedelic proggy doom. In fact, it felt a bit too early for me personally in the timing of the festival to experience such an extraordinarily mind-blowing set, but it was a remarkable collaboration and performance. I can’t wait for the Live at Roadburn release to come out (someone make it happen please!). Yellow Eyes by Niels Vinck After getting my bearings with the new venues, I enter Het Patronaat for the first of my highly anticipated performances of the festival, Yellow Eyes. But after three blistering minutes of ferocious black metal the PA system seems to disagree and we have our first “Zeal & Ardor moment” of 2018. It’s Waste of Space Orchestra by Niels Vinck not even remotely funny to see the On the same Main Stage, Earthless Roadburn crew frantically trying to played the first of their sets as figure out what went wrong, but luckily Roadburn’s artist in residence. -
Various Super Eurobeat Vol. 11 - Extended Version Mp3, Flac, Wma
Various Super Eurobeat Vol. 11 - Extended Version mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Super Eurobeat Vol. 11 - Extended Version Country: Japan Released: 1991 Style: Eurobeat, Hi NRG MP3 version RAR size: 1880 mb FLAC version RAR size: 1742 mb WMA version RAR size: 1641 mb Rating: 4.3 Votes: 388 Other Formats: TTA DMF MP4 MP2 AAC WMA MP3 Tracklist Hide Credits Red Fire 1 –The Big Brother 5:56 Producer, Performer – Dave RodgersWritten-By – Pasquini*, Gulinelli* Sexy Boy, Sexy Toy 2 –Annerley Gordon 6:34 Producer – Dave RodgersWritten-By – A.Gioia*, G.Caria*, S.Oliva* Fight For Your Life 3 –Rick Wild 6:34 Producer – Madd-Starr-FerriniWritten-By – Starr*, Cantlay* Experience 4 –Jimmy Mc Foy 6:36 Producer – Dave RodgersWritten-By – A.Contini*, G.Pasquini* Be With You 5 –Alisha Baker 7:12 Producer, Written-By – Michiel Van Der Kuy Now I Know 6 –Kelly Marshall 6:11 Producer – Avex TraxWritten-By – T. Fuyuno*, Y. Hoshino* Call Me 7 –The System Blow 6:03 Producer – Max CoveriWritten-By – Rosellini*, Baldoni*, Falcus, Vangok Animal Man (I.S.D. Remix) 8 –Rick Wild 5:38 Producer – Madd-Starr-FerriniRemix – I.S.D.Written-By – Starr*, Cantlay* I Wanna Be Your Superman 9 –Gino Caria Producer – Dave RodgersWritten-By – A.Contini*, G.Pasquini*, G.Caria*, 5:35 S.Oliva* Companies, etc. Distributed By – SOHBI Corporation Manufactured By – Avex Trax Phonographic Copyright (p) – Rodgers & Contini Records Phonographic Copyright (p) – Alphabet Record Phonographic Copyright (p) – Made Up Records Phonographic Copyright (p) – Avex Trax Phonographic Copyright (p) – Discomagic Pressed By – Memory-Tech Published By – Contini Edizioni Musicali Published By – Musique Folio Inc. -
Bass House Sample Pack Free
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Fundamentals of the Bass Drum, David L. Collier
TBA Journal - December 2003 Volume 5, No. 2 Fundamentals of the Bass Drum by David L. Collier, Illinois State University Bass Drum, also known as die grosse trammel in German, la grosse caisse in French and la grancassa or gran cassa in Italian is a fantastic instrument once you get involved with it. It is one of the most important instruments in the band or orchestra because of the power it possesses to direct the entire ensemble. Everyone listens to the bass drum and follows it. This means you have incredible power over the music and you have an incredible responsibility. Bass drum players must have impeccable time, must always watch the conductor and must always listen to the ensemble. In addition, the percussionist on bass drum needs a large pallet of sound colors to use in various situations. How is this done? Through changes in technique, stroke, mallet selection and where the head is struck. Diagram 1 Prep & Stroke Techniques • The basic grip is the same as the French Grip that is used when playing timpani. • The thumb is facing toward the ceiling: back of the hand is perpendicular to the floor. • Grip firmly between the thumb and first fingers with the remaining fingers wrapped around the handle of the mallet. Follow Thru • The grip should be firm but not tense. • The Basic stroke should be from the wrist and not from the arm. • Draw a backwards C or a bass clef sign in the air and contact the head at the bottom. • This motion should have a moderate degree of snap to increase the velocity of the mallet. -
The Freesound Loop Dataset and Annotation Tool
THE FREESOUND LOOP DATASET AND ANNOTATION TOOL António Ramires1 Frederic Font1 Dmitry Bogdanov1 Jordan B. L. Smith2 Yi-Hsuan Yang3 Joann Ching3 Bo-Yu Chen3 Yueh-Kao Wu3 Hsu Wei-Han3 Xavier Serra1 1 Music Technology Group, Universitat Pompeu Fabra, Barcelona, Spain 2 TikTok, Lodon, United Kingdom 3 Research Center for IT Innovation, Academia Sinica, Taipei, Taiwan [email protected] ABSTRACT tronic music. Currently, large-scale databases of audio of- fer huge collections of audio material for users to work Music loops are essential ingredients in electronic mu- with. Some databases, like Freesound 1 and Looperman 2 , sic production, and there is a high demand for pre-recorded are community-oriented: people upload their sounds so loops in a variety of styles. Several commercial and com- that other users can employ them in their works. More munity databases have been created to meet this demand, commonly, these collections are commercially oriented: but most are not suitable for research due to their strict li- loops are available to paying costumers, either through a censing. We present the Freesound Loop Dataset (FSLD), subscription service (e.g. Sounds.com, 3 Splice 4 ) or by a new large-scale dataset of music loops annotated by ex- allowing customers to buy packs of loops (e.g. Loopmas- perts. The loops originate from Freesound, a community ters, 5 and Prime Loops 6 ). database of audio recordings released under Creative Com- Despite the number of loops available on these mons licenses, so the audio in our dataset may be redis- databases, the technologies used to analyse and navigate tributed. -
Slugmag.Com 1
slugmag.com 1 SaltLakeUnderGround • Vol. 25 • Issue #310 • October 2014 • slugmag.com ABOUT THE COVER: There’s something out there, right in our back yard—in Ft. Duchesne, Utah, where Publisher: Eighteen Percent Gray Marketing Coordinator: people often report sightings of lights, noises and Editor: Angela H. Brown Robin Sessions voices possibly associated with UFOs. Revel in illus- Managing Editor: Alexander Ortega Marketing Team: Alex Topolewski, Carl Acheson, trator Robin Banks’ sensationalized presentation of Junior Editor: Christian Schultz Cassie Anderson, Cassie Loveless, Ischa B., Janie this Northeastern Utah point of interest. SLUG Senior Office Coordinator:Gavin Sheehan Greenberg, Jono Martinez, Kendal Gillett, Rachel Staff Writer Cody Kirkland went down to investi- Fact Checker: Henry Glasheen Roller, Raffi Shahinian, Robin Sessions, Zac Freeman gate—read his story on pg. 36. Copy Editing Team: Alex Cragun, Alexander Social Media Coordinator: Catie Weimer Ortega, Allison Shephard, Christian Schultz, Cody Distribution Manager: Eric Granato DISCLAIMER: SLUG Magazine does not necessarily Kirkland, Genevieve Smith, Henry Glasheen, Distro: Adam Okeefe, Eric Granato, John Ford, maintain the same opinions as those found in our John Ford, Jordan Deveraux, Julia Sachs, Maria Jordan Deveraux, Julia Sachs, Michael Sanchez, content. We seek to circulate ideas and dialogue Valenzuela, Mary E. Duncan, Shawn Soward, Traci Nancy Burkhart, Nancy Perkins, Nate Abbott, Ricky through quality coverage of contemporary music, art, Grant Vigil, Ryan Worwood, Tommy Dolph, Tony Bassett, action sports and the subcultures therein … except Content Consultants: Jon Christiansen, Xkot Toxsik rollerblading. Content is property of SLUG Magazine— Matt Hoenes Senior Staff Writers: Alex Springer, Alexander Cover Illustration: Robin Banks Ortega, Ben Trentelman, Brian Kubarycz, Brinley please do not use without written permission. -
Copyright by Jessica Lyle Anaipakos 2012
Copyright by Jessica Lyle Anaipakos 2012 The Thesis Committee for Jessica Lyle Anaipakos Certifies that this is the approved version of the following thesis: Celebrity and Fandom on Twitter: Examining Electronic Dance Music in the Digital Age APPROVED BY SUPERVISING COMMITTEE: Supervisor: Shanti Kumar Janet Staiger Celebrity and Fandom on Twitter: Examining Electronic Dance Music in the Digital Age by Jessica Lyle Anaipakos, B.S. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin December 2012 Dedication To G&C and my twin. Acknowledgements This thesis would not have been possible without the guidance, encouragement, knowledge, patience, and positive energy of Dr. Shanti Kumar and Dr. Janet Staiger. I am sincerely appreciative that they agreed to take this journey with me. I would also like to give a massive shout out to the Radio-Television-Film Department. A big thanks to my friends Branden Whitehurst and Elvis Vereançe Burrows and another thank you to Bob Dixon from Seven Artist Management for allowing me to use Harper Smith’s photograph of Skrillex from Electric Daisy Carnival. v Abstract Celebrity and Fandom on Twitter: Examining Electronic Dance Music in the Digital Age Jessica Lyle Anaipakos, M.A. The University of Texas at Austin, 2012 Supervisor: Shanti Kumar This thesis looks at electronic dance music (EDM) celebrity and fandom through the eyes of four producers on Twitter. Twitter was initially designed as a conversation platform, loosely based on the idea of instant-messaging but emerged in its current form as a micro-blog social network in 2009. -
Westminsterresearch Synth Sonics As
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-Skool’ to Trap Exarchos, M. This is an electronic version of a paper presented at the 2nd Annual Synthposium, Melbourne, Australia, 14 November 2016. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 2nd Annual Synthposium Synthesisers: Meaning though Sonics Synth Sonics as Stylistic Signifiers in Sample-Based Hip-Hop: Synthetic Aesthetics from ‘Old-School’ to Trap Michail Exarchos (a.k.a. Stereo Mike), London College of Music, University of West London Intro-thesis The literature on synthesisers ranges from textbooks on usage and historiogra- phy1 to scholarly analysis of their technological development under musicological and sociotechnical perspectives2. Most of these approaches, in one form or another, ac- knowledge the impact of synthesisers on musical culture, either by celebrating their role in powering avant-garde eras of sonic experimentation and composition, or by mapping the relationship between manufacturing trends and stylistic divergences in popular mu- sic. The availability of affordable, portable and approachable synthesiser designs has been highlighted as a catalyst for their crossover from academic to popular spheres, while a number of authors have dealt with the transition from analogue to digital tech- nologies and their effect on the stylisation of performance and production approaches3.