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ATTENTION All Planets of the Solar Federationii'
i~~30 . .~,.~.* ~~~ Welcome to the latest issue of 'Spirit'. From this issue we are reverting to quarterly publication, hopefully next year we will go back to bi-monthly, once the band are active again. Please join me in welcoming Stewart Gilray aboard as assistant editor. Good luck to Neil Elliott with the Dream Theater fan zine he is currently producing, Neil's address can be found in the perman ant trades section if you are interested. Alex will be appearing at this years Kumbaya Festival in Toronto on the 2nd September, as .... with previous years this Aids benefit show will feature the cream of Canadian talent, Vol 8 No 1 giving their all for a good cause. Ray our North American corespondent will be attending Published quarterly by:- the show (lucky bastard) he will be fileing a full report (with pictures) for the next issue, won't you Ray? Mick Burnett, Alex should have his solo album (see interview 23, Garden Close, beginning page 3) in the shops by October. Chinbrook Road, If all goes well the album should be released Grove Park, in Europe at the same time as North America. London. Next issue of 'Spirit' should have an exclus S-E-12 9-T-G ive interview with Alex telling us all about England. the album. Editor: Mick Burnett The band should be getting back together to Asst Editor: Stewart Gilray begin work writing the new album in September. Typist: Janet Balmer Recording to commence Jan/Feb of next year Printers: C.J.L. with Peter Collins once more at the helm. -
ZOOM 505 Patches
ZOOM 505 Patches AC/DC-Angus Young distortion clean c9 bL 5 a9 41 of of 26 AC/DC-Angus Young early c9 bL 20 9 20 of h1 24 AC/DC-Angus Young general of od 18 a8 of of r4 24 AC/DC-Angus Young rhythm of od 29 9 of of h4 27 AC/DC-Angus Young "Thunderstruck" intro c4 mt 30 9 30 c2 h3 30 acoustics 12-strings haunting c4 ry 10 9 p1 p9 d1 30 acoustic bright of ac 20 9 of p7 of 30 acoustic bright/12-string simulator c4 ac 27 9 12 c2 d1 29 acoustic clean 1 -- ac 30 -- 48 -- -- -- acoustic clean 2 L1 ac -- a9 of of of of acoustic clean 3 of ac 28 of 29 d7 h2 20 acoustic "Eleven Tea" c9 ac 15 of p9 d9 of 27 acoustic groove c9 ac 30 9 45 c1 h9 -- acoustic jazz c2 ac 1 9 15 p7 h1 28 acoustic Kansas "Dust in the Wind" c8 ac -- 8 18 c6 h7 23 acoustic mellow of ac 10 6 45 of r1 ? acoustic rhythm of ac 30 of 46 c6 of 26 acoustic solo 1 c9 ac -- 8 22 c4 h7 26 acoustic solo 2 of ac 22 of 20 c1 h1 30 acoustic solo 3 c1 of -- 4 25 c2 -- 24 acoustic tweaked L5 ac 20 6 50 of of -- Aerosmith/Joe Perry distortion rhythm c1 dt 28 /29 9 24 ? h1 25 alternative L1 Ld 30 7 24 of of 20 ambience heavy a9 fu 30 a9 p4 54 d9 21 bass clean ambient L9 of -- a1 1 c1 of 30 bass simulator 1 c2 ac 30 9 1 p1 of 30 bass simulator 2 c8 ac 3 a6 3 p1 h2 23 bass simulator 3 c2 ac 1 9 15 p1 h1 28 BB King of od 13 of 40 of of 30 BB King acid of ry 23 of of f2 r1 20 Beatles circa 1963 c1 ry 12 1 15 of r2 27 Beatles "Day Tripper" bass fuzz c2 fu 7 a9 1 p1 h7 18 Biohazard distortion c1 bL 30 a9 48 of of 19 Black Sabbath "Dehumanizer" of dt 30 1 40 of of 30 Black Sabbath "Master of Reality" -
Rush's Lyrical Rhetoric of Oppression and Liberation
Relevant Rhetoric, Vol. 7 (2016): Rush’s Lyrical Rhetoric of Oppression and Liberation Rush’s Lyrical Rhetoric of Oppression and Liberation: Extending “Freedom Songs” into the Progressive Rock Genre Brett A. Barnett Associate Professor of Communication Slippery Rock University of Pennsylvania [email protected] Relevant Rhetoric, Vol. 7 (2016): Rush’s Lyrical Rhetoric of Oppression and Liberation 2 On April 18, 2013, members of the Canadian power trio Rush were among the artists inducted into the Rock and Roll Hall of Fame, a well-deserved honor that was long overdue. Formed in August 1968, Rush would join artists like Pink Floyd and Yes in shaping the music movement that would come to be categorized as “progressive” rock, or “prog rock,” a rock music sub-genre that Rush. Photo credit: By Enrico Frangi (Uploaded by User:Jonasz) [Public domain], via Wikimedia Commons also developed in the late 1960s.1 As reflected in the music of Rush, progressive rock involves more advanced musical forms, including an expanded instrumental palette and increased com- plexity in terms of instrumentation, as well as more sophisticated lyrical themes ranging from unconventional subject matter to increased social commentary. After years playing on the Toronto music scene, Rush formed their own label, Moon Records, and shortly thereafter released their first album, Rush, in 1974.2 Rush’s self-titled debut album did not garner much attention until Cleveland’s WMMS (100.7 FM), widely regarded as one of the most influential rock radio stations in North America, -
How Is Rush Canadian?
Rush and Philosophy 2nd pages 3/11/11 1:56 PM Page 287 21 How Is Rush Canadian? DURRELL BOWMAN Given Canada’s relatively small population (twenty-one million in 1969, thirty-four million in 2009), many—but certainly not all—of the nation’s more ambitious musicians have pursued at least some of their career activities in the US and other foreign parts. Rush mainly demonstrates “Canadianness” by combining such British and American influences as progressive rock, hard rock, and indi- vidualism. However, the band has also included more specifically Canadian references across its long career. CanCon The Canadian government implemented specific content—or “CanCon”—regulations in 1971, and broadcasters were then required to include certain percentages of Canadian material. For music, at least two of a song recording’s four main categories of Music, Artist, Production, and Lyrics (“M-A-P-L”) must be “Canadian” according to citizenship or location. The interpretation of this changed after 1991, due to a “scandal” involving Bryan Adams failing to qualify as Canadian because of co-writing certain songs, such as “(Everything I Do) I Do it For You” ( Waking up the Neighbours and Robin Hood: Prince of Thieves , both 1991), with such non-Canadians as Mutt Lange and Michael Kamen. (Spelling the word “neighbours” in the Canadian way apparently didn’t help.) The outcome is that even though Shania Twain similarly co- wrote the songs on Come on Over (1997) with her then-husband Mutt Lange and did not record any of this music in Canada, her album and its songs by that point qualified as Canadian. -
Lifeson Arrives Stage Center with Rush
March 31 , 1982 Listings The most complete guide to rock on the road , plus : radio and TV '14 AC/OC listings, Top 20, book and film The Aussie band that seemed reviews, "In and out of the studio" doomed to cult status-only in the and more 70s has become one of the big gest groups of the '80s. How'd they do it? Circus Word Find -(text by Richard Hogan; color Puzzling game for fans photos by Mark Weiss) -(Steven Dean Pastis) Front Pages News from the rock & roll scene -(Lisa Robinson) 16 Pink Floyd Genesis/Allman "Dateline : Rock & Roll ," a flash back of rock history. This month, Brothers-Stage March 1973: Pink Floyd eclipses Pass rock records with The Dark Side of Genesis play to just 1,000 people, the Moon and that's the way they wanted it. -(Philip Bashe) Usually seen in huge arenas, the group booked itself into the 990- Wordspinners seat Savoy Cabaret in New York JO .Contest City to record a live LP. Also: the Review a new Warner Bros . LP, Allman Brothers Band pu.blish it in Circus Magazine -(Steve Weitzman) and win a great prize Longplayers J 1 .Joan Jett Reviews of the new LPs by the A Runaway who's gotten a sec Cars, Kiss, Ozzy Osbourne, J. ond chance, Joan Jett combats Geils Band, Lindsey Buckingham, her past more -(Philip Bashe) -(John Swenson, George Arthur) JJ Rush Back Pages Alex Lifeson tells how the band Inside information on the rock recorded and mixed Exit . Stage scene Left -(Lou O'Neill) -(John Swenson) Rush Poster 52 Music Gear J4 This month's section includes Circus (ISSN 0009-7365) is pub drummer Steve Smith of Journey lished monthly by Circus Enter J6 Kiss talking about the importance of prises Corporation, 419 Park Ave This month Circus Magazine goes practice; an in-depth look at cym nue South, New York, N.Y. -
Circus Magazine/Shure Modern Circus/ 31 Music Makers Awards 1981
disappointing after the rasping " Evil Walks" and the infectious, Stones-like riffs of "COD." While the band's current approach is well-suited to its arena level of popularity, its calculation has replaced the edge of maniacism and sense of humor that by John Swenson the group once stood for. Even though they've progressed individually as musicians, it may well be that ACIDC have lost the identity AC/DC salute the British blues with which the late lead singer Bon Scott infused them. Stewart returns to classic form Rush - Exit... Stage Left (Mercury) At first glance this album may seem like just another Christmas-time live two-record package. But Exit .. Stage Left represents the coming of age of Canada's greatest band and one of the finest heavy-metal outfits to come out of the '70s proliferation of that style. The difference between this record and the first Rush live LP , All the World's a Stage, shows just how far the band has come in the last few years. Stage was an energetic but somewhat leaden account of the band's live strengths at a time when the members of Rush will now freely admit they were struggling. The sound quality of that first live record disappointed them, but the record consolidated their audience at a crucial point and gave them breathing space to come up with a fresh approach to their sound, which proved to be the turning point in A C/DC bang out quivering blues that serve as vehicles for Angus Young's Rush's career. -
Press Release: Uptown Music Collective Kicks Off Performance
Press Release: Uptown Music Collective kicks off performance season with a tribute to Rush Who: The Uptown Music Collective (a 501 (c) 3 Non‐Profit School of Music) What: Permanent Waves: The Music of Rush Where: The Community Arts Center (220 West Fourth St. Williamsport, Pa 17701) When: November 18th & 19th, 2016 at 7:30pm Tickets: $15.00 in advance & $20.00 at the door. Available at Alabaster Coffee, K&S Music, the Community Arts Center Box Office, Buttorff’s Hardware, Service 1st Federal Credit Union, Rupert's Specialty Meats, and the Uptown Music Collective Contact: Jared Mondell ([email protected], 570‐329‐0888, uptownmusic.org) Release: On Friday and Saturday, November 18th and 19th, the Uptown Music Collective will kick off its 2016‐2017 performance season with its presentation of Permanent Waves: The Music of Rush. The two‐night performance will feature students from the schools Special Performance Group 1, who range in age from 11 to 18, performing songs from every era of the iconic rock band Rush’s long career. Including hit songs like Tom Sawyer, Spirit of the Radio, Closer to the Heart and Limelight, performed alongside classic Rush album tracks like the 2112 Overture, Freewill, YYZ, Working Man, and more. The show will take place at the Community Arts Center in Williamsport and will include one of the largest professional stage, sound, and light shows in Collective history. This show is sponsored in part by State Farm Agent, Kellen Moore. Rush is a Canadian rock band formed in 1968 in Toronto, Ontario. The band is composed of bassist, keyboardist, and lead vocalist Geddy Lee; guitarist and backing vocalist Alex Lifeson; and drummer, percussionist, and lyricist Neil Peart. -
Grokking Rush
SKYLAIRE ALFVEGREN GROKKING RUSH AMONG THEIR MANY UNHERALDED ACCOMPLISHMENTS, GEDDY LEE ET AL ARE THE ONLY ROCK BAND CITED IN THE JOURNAL OF AYN RAND STUDIES. Discussed: Trash Cans, The Stealth of True Cool, L-U-V, The Large Hadron Collider, Morse Code, The Exploited Lyrical Motif of Us v. Them, New Age Soccer Moms, Honeydew n 1968, bassist/vocalist Geddy cal percussionist this side of Keith Moon, Lee, guitarist Alex Lifeson, and and a poet to boot, thus helping to create a drummer John Rutsey began musical unit that would go on to polarize performing in the church base- rock aficionados like no other. ments and high-school audito- Largely snubbed by the mainstream Iriums of suburban Toronto. Heavily influ- rock press, Rush is a complete aural anom- enced by Cream, Led Zeppelin, and Deep Purple, they aly. Jurassic rock radio keeps them in light rotation along- released a self-titled debut in March 1974, marked as much side the corpses of AC/DC, the Who, and the Stones. by Lee’s four-string dexterity as by his vocals—which They received only a sputter of ’80s MTV attention, Rolling Stone would later refer to as a “dog-calling falsetto.” even with a collection of epic, high-concept videos.1 Two weeks before the group’s first U.S. tour, Rutsey fell ill. A soft-spoken farm-equipment salesman by the name 1 These include the eerie, Jan Švankmajer–esque “Mystic Rhythms,” the lavish, of Neil Peart auditioned for the spot, his drums trans- Monopoly-themed sets, and the (at the time) state-of-the-art computer graph- ported in trash cans. -
Textu(R)Al Undercoding and the Music of the Rock Band Rush: String Quartets, Death Metal, Trip-Hop, and Other Tributes Durrell Bowman
Textu(r)al Undercoding and the Music of the Rock Band Rush: String Quartets, Death Metal, Trip-Hop, and other Tributes Durrell Bowman Rush Pre-professional period (1968-69) Original members included: Alex Lifeson (b. 1953), John Rutsey (b. 1953) Other early member: Geddy Lee (b. 1953) Early professional period (1969-74: one single, one album) Lee, Lifeson, Rutsey; mainly original songs by 1971 (Led Zeppelin influence) Single: “Not Fade Away” (1973, cover version of original by Buddy Holly, 1957-58) Album: Rush (1974, recorded 1973), including “Working Man” (written in 1971) 1974 – 2004 period (28 albums; 22 U.S. gold, platinum, or multi-platinum, 142 songs) Geddy Lee’s virtuosic bass playing and countertenor (high, falsetto-related) singing Alex Lifeson’s precise-yet-tuneful guitar playing Neil Peart’s (b. 1952) elaborately constructed drumming and lyrics 1974-78 (after Rush, five more studio albums, one live album, one anthology) individualism & progressive (“art”) rock influences, with heavy metal & hard rock example: “2112” (title suite from 2112, 1976) examples: “Closer to the Heart,” “Xanadu,” “Cygnus X-1” (A Farewell to Kings, 1977) example: “The Trees” (from Hemispheres, 1978) 1980-89 (six studio albums, one live album) toning down the more extreme individualism and “prog” (progressive) features other influences (post-punk, jazz-rock, synth-rock, music technology) examples: Permanent Waves (1980, including “The Spirit of Radio,” “Freewill”) Moving Pictures (1981, incl. “Tom Sawyer,” “Red Barchetta,” “YYZ,” “Limelight”) Signals -
Ultlmate EASY PLAY-ALONG |GUITAR
Alfred’s ULTIMATE EASY PLAY-ALONG | GUITAR Six Songs with Full TAB, Play-Along Tracks, and Lesson Videos The DVD contains In addition to video lessons, the DVD contains our exclusive For your convenience, the detailed video lessons TNT 2 software that you can use to hear professional included disc contains for every song in the sound-alike recordings of every song in the book, alter the sound-alike and play-along book. It will play in a instrument and vocal mixes of the recordings for practice, MP3s of each song. These standard DVD player loop playback, and change keys and tempos. extras are in the “DVD-ROM or in a computer with Materials” folder—see the a DVD drive. For installation, insert the DVD into a computer, navigate TNT 2 instructions at left to to Computer or My Computer, right-click on the disc drive find that folder. icon, and select Open or Explore. (Mac users can simply double-click the DVD icon that appears on the desktop.) Open the “DVD-ROM Materials” folder, then the “TNT 2” folder, and double-click on the installer file. Installation may take up to 15 minutes. TNT 2 SYSTEM REQUIREMENTS Windows Macintosh 7, Vista, XP OS 10.4 and higher (Intel only) QuickTime 7 or higher QuickTime 7 or higher 1.8 GHz processor or faster 1.6 GB hard drive space, 2 GB RAM minimum 1.6 GB hard drive space, 2 GB RAM minimum DVD drive for installation DVD drive for installation Speakers or headphones Speakers or headphones Internet access required for updates Internet access required for updates Produced by Alfred Music Publishing Co., Inc. -
UDLS: Friday, Sept 23, 2011 Murray Patterson What You See
UDLS: Friday, Sept 23, 2011 Murray Patterson What you see... I typical 70's band (formed in 1968 actually) I solid, timeless rock band { one of their initial inspirations: Led Zeppelin (example: What You're Doing) I well-known songs include: Limelight, Tom Sawyer, (maybe 2112, Subdivisions) What you see... I typical 70's band (formed in 1968 actually) I solid, timeless rock band { one of their initial inspirations: Led Zeppelin (example: What You're Doing) I well-known songs include: Limelight, Tom Sawyer, (maybe 2112, Subdivisions) In Pop Culture I some pretty weird dudes: sort of nerdy, outcast I lyrics: Subdivisions, The Body Electric I tour with Kiss (interview with Gene Simmons) I not mainstream, but has a huge cult following: quoted as \the most successful cult band next to Kiss" I featured in: Family Guy, South Park, Futurama, an episode of Trailer Park Boys, and in the movie \I Love you Man" I great documentary on the band { Rush: Beyond the Lighted Stage Wikipedia Sez: Rush is a Canadian rock band formed in August 1968, in the Willowdale neighbourhood of Toronto, Ontario. The band is composed of bassist, keyboardist, and lead vocalist Geddy Lee, guitarist Alex Lifeson, and drummer and lyricist Neil Peart. The band and its membership went through a number of re-configurations between 1968 and 1974, achieving their current form when Peart replaced original drummer John Rutsey in July 1974, two weeks before the group's first United States tour. Since the release of the band's self-titled debut album in March 1974, Rush has become known for its musicianship, complex compositions, and eclectic lyrical motifs drawing heavily on science fiction, fantasy, and philosophy, as well as addressing humanitarian, social, emotional, and environmental concerns. -
RUSH ... Albums & Lyrics
Finding My Way – RUSH track 1 – 5:06 You’ve done me no right, but you’ve done me some wrong. Yeah, oh yeah! Left me lonely each night Ooh, said I, while I sing my sad song. I’m comin’ out to get you. Ooh, sit down. Look out! I’m comin’. I’m comin’ out to find you. Whoa, whoa. Ooh, yeah. Ooh yeah. Look out! I’m comin’. Findin’ my way! Whoa, yeah. I’ve been gone so long I’m runnin’, I’ve lost count of the years. findin’ my way back home. Well, I sang some sad songs, I’m comin’. oh yes, and cried some bad tears. Ooh, babe, I said I’m runnin’. Whoa, babe, I said I’m comin’ Look out! I’m comin’. to get you, mama. Whoa, whoa. Said I’m runnin’. Look out! I’m comin’. Whoa, yeah. Ooh, babe, I said I’m comin’ for you, babe. I’m runnin’, I said I’m runnin’. finding my way back home. Ooh yes, babe, I said I’m comin’ Oh yeah! to get you, babe. I said I’m comin’. Yeah, oh yeah! Ooh, yeah. Ooh, said I, I’m findin’, I’m comin’ back to look for you. I’m findin’ my way back home. Ooh, sit down. Well, I’ve had it for now, I’m goin’ by the back door. livin’ on the road. Ooh, yeah. Ooh yeah. Ooh, yeah. Findin’ my way! Ooh, yeah. Findin’ my way! I Need Some Love – RUSH track 2 – 2:19 I’m runnin’ here, I’m runnin’ there.