DOCSLIB.ORG

Perkusista, Lipiec-Sierpień 2012

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Perkusista, Lipiec-Sierpień 2012 PAWEŁ OSTROWSKI – TRIOLE ARTUR MALIK PREZENTUJE: TOMAS CELIS SANCHEZ TuTu poczytaszpoczytasz sobie i kukupiszpisz ten nunumermer lipiec/sierpień 4/2012 (23) N AZY G A MAGAZYNM NUMER 4/2012 (23) LIPIEC/SIERPIEŃ www.MagazynPerkusista.pl Johnson RIHANNA • Portnoy Portnoy RISE AGAINST • Krawczyk MIKE PORTNOY! RAZ DWA TRZY FABRYKA MEINL GRZEGORZ KRAWCZYK • Olejarz Prezentujemy: Paiste, DW, DrumCraft, Tama, Roland • Barnes LUCASS I XDT • Jackson Jackson 4/2012 (23) Płyta TESTY AUDIO WARSZTATY w środku ľDrumCraft VIDEO Paiste ľ Warsztaty Video m:,&=(1,$ ľTama ]7RPNLHPRVRZVNLP AUDIO .RPSOHWZDUV]WDWöZ *U]HJRU]D.UDZF]\ND • Sanchez Cena 15,50 zł (w tym 5% VAT) I JEGO PERKUSIŚCI ISSN 1899-7732 INDEKS 246 670 KOLEJNY ZNAKOMITY PLAKAT DLA PRENUMERATORÓW! Nakład 9.000 egz. Na raz Dwumiesięcznik wydawany przez AVT Korporacja sp. zo.o. itam po raz ostatni… wdwumie- ul. Leszczynowa 11, 03-197 Warszawa tel. 022 257 84 99, fax 022 257 84 00, www.avt.pl sięczniku! Po ostatniej deklaracji, e-mail: [email protected] Wjaką zamieściłem we wcześniejszym WYDAWCA numerze, panie zdziału prenumeraty naszego Tomasz Wróblewski, tel. 0 609 45 45 60 e-mail: [email protected] wydawnictwa, które zawsze mają pełne ręce REDAKCJA roboty (mamy wszakże 32 tytuły regularne) dały Redaktor naczelny: Maciej Nowak e-mail: [email protected] mi do zrozumienia, żebym więcej takich nume- Wojciech Andrzejewski, Szymon Ciszek, Łukasz Chmieliński, rów nie robił. Ludzie dzwonią ipytają: „Oco „Kajko”, Miłosz „Loszmi” Krauz, Marcin Kubicki, chodzi?!” Wyjaśniam teraz wszystkim wszem Tomasz „Łosiu” Łosowski, Przemek Łucyan, Artur Malik, Michał „Fazi” Matusiak, Wojciech Okoń, Iwona Oleksiuk, iwobec, że niniejszy numer Perkusisty jest ostat- Paweł Ostrowski, Jacek Pelc, Piotr „Pniaken” Pniak, „Salemia”, nim wformie dwumiesięcznika iod września Paweł „Bitew” Sapija. ruszamy jako regularny miesięcznik. Będzie się SEKRETARZ REDAKCJI wiązać ztym szereg zmian, które szykujemy od Ewa Owczarek jakiegoś czasu, azmiana cyklu wydawniczego REKLAMA Ewa Owczarek, tel. 022 257 84 87, fax 022 257 84 32 będzie doskonałą okazją, by zmiany te Wam e-mail: [email protected] przedstawić. Jak widzą to regularni czytelnicy, INTERNATIONAL SALES MANAGER nasza redakcja zawsze jest na imprezach typu Maja Gilewska, phone: +48 (22) 257 84 71 fax: +48 (22) 257 84 32 e-mail: [email protected] NAMM czy Messe, bez żadnych tanich sztuczek ipseudo relacji jesteśmy obecni wśród najlepszych bębniarzy iproducentów sprzętu na świecie. Tam też zauważyliśmy, że Perkusista to rozpoznawal- SZEF PIONU AVT ONLINE Marta Zaczek, tel. 022 257 84 76 e-mail: [email protected] ny tytuł ifakt, że Simon Phillips wstrzymuje wręcz kilkusetmetrową kolejkę fanów po autografy PERKUSISTA CD ifotkę tylko po to, żeby pogadać znami, że ekipa Paiste na nasz widok wyciąga całe zapasy piwa Krzysztof Maszota, e-mail: [email protected] zlodówki, że chłopaki zIstanbul Agop nawet już oto nie pytają, tylko wystawiają, co mają, że Nagrania testów: Paweł Sapija Chad Smith wykrzykuje do nas zdaleka, otoczony fanami: „Wy szaleni Polacy!”, że Eric Singer GRAFIKA ISKŁAD wciąż czeka na okładkę magazynu znaszymi polskimi kobietami, że John Good zDW usadawia nas Filip Ostrowski przy swoim służbowym stoliku iprzekłada wywiady po to, żeby zapytać co unas słychać, że ekipa PRENUMERATA Kierownik działu prenumeraty: Herman Grosbart Meinla nie wypuści nas, jeżeli nie wejdziemy do nich na zaplecze, żeby coś zjeść, że Virgil Donati tel. 022 257 84 22, fax 022 257 84 00 wścieka się sepleniąc, bo nie dostał ostatniego numeru wktórym on jest, że Derek Roddy prosi, e-mail: [email protected] żeby posiedzieć znim wgarderobie (to już nie na targach), bo samemu nie lubi, że Dave Lombardo ADRES REDAKCJI ul. Leszczynowa 11, 03-197 Warszawa wyżera mi podczas kolacji golonkę ztalerza, bo przecież on „tłustego nie jada” itd. itp. Wzwiąz- tel. 022 257 84 99, fax 022 257 84 00 ku ztym, atakże wzwiązku ztym, co pisałem wparu „na raz” wcześniej doszliśmy do wniosku, ADRES DO KORESPONDENCJI że należy iść do przodu ikorzystając znadarzających się okoliczności równać do najlepszych na AVT Korporacja „Perkusista” świecie… Ba, nawet próbować być lepszym! Oczywiście podejrzewam, że uniektórych pojawi się ul. Leszczynowa 11, 03-197 Warszawa e-mail do redakcji: [email protected] drobny uśmieszek politowania, jednak nie moją winą jest, że ich jestestwo oparte jest obrak wiary WITRYNA INTERNETOWA: imalkontenctwo. Polak potrafi imoże, iku nieszczęściu właśnie tych wszystkich zakompleksionych www.magazynperkusista.pl, www.facebook.com/MagazynPerkusista czarnowidzów widać kolejne mniejsze lub większe sukcesy. Wiadomym jest, że do kraju zniemiec- Wydawca serwisów Online: Szymon Narożniak kimi drogami, norweskim socjalem iszwajcarskim porządkiem jest nam jeszcze daleko, ale jak nie e-mail: [email protected] zaczniemy podążać sami wtym kierunku to nikt nas wlektyce nie zawiezie. Inwestujmy wnaszą Redakcja: Szymon Kubicki e-mail: [email protected] przyszłość, wnasze marzenia. Zamiast kupić sobie wypasiony apartament iekstra auto, ideal- ne, żeby polansować pod hotelem uGołębiewskiego, zainwestujmy jeszcze ten raz, żeby nagle INDEKS 246 670 ISSN 1899-7732 Nakład 9.000 egz. nie obudzić się zręką wnocniku lub na starość powiedzieć jedną znajgorszych rzeczy wmoim Prawa autorskie do artykułów opubli- kowanych wtym numerze magazynu mniemaniu: „Żałuję, że wtedy tego nie zrobiłem…” Teraz czas na nas, czas utwierdzić wszystkich „Perkusista” pochodzących zmiesięcz- wkraju iza jego granicami, że wPolsce magazyny Gitarzysta iPerkusista to czasopisma, na które nika „Rhythm” należą do Future plc group. Wszystkie prawa zastrzeżone. Więcej informacji zawsze można liczyć ze względu na jakość ikompetencje. Dlatego też od września, moi drodzy, od na temat magazynów publikowanych przez września uderzamy zpodwójną siłą! Hellyeah! Future plc group znajdziesz na stronie www.futurenet.co.uk Maciej Nowak Wydawnictwo AVT oraz redakcja „Perkusista” nie ponoszą odpo- Redaktor Naczelny wiedzialności za treść zamieszczanych reklam, ogłoszeń ianonsów. Redakcja rezerwuje sobie prawo do dokonywania skrótów iadiustacji nadesłanych tekstów. Wszystkie nazwy produktów Dave McClain Jacek Pelc wykorzystane wredakcyjnej części pisma należą do ich prawnych Fot. Simon Lees Fot. Piotr Markowski Dave McClain Jacek Pelc PAWEŁ OSTROWSKI – TRIOLE ARTUR MALIK PREZENTUJE: TOMAS CELIS SANCHEZ właścicieli izostały użyte wyłącznie wcelach informacyjnych Tu poczytasz sobie i kukupiszpisz l ten numer AZYN G A iedukacyjnych. Wszystkie ceny podane wczęści redakcyjnej MAGAZYNM NUMER 4/2012 (23) LIPIEC/SIERPIEŃ pisma są rekomendowanymi cenami detalicznymi brutto, chyba www.MagazynPerkusista.pl www.MagazynPerkusista.p RIHANNA że zaznaczono inaczej. Przedruk, reprodukcja ipowielanie mate- RISE AGAINST riałów opublikowanych wdrukowanym ielektronicznym wydaniu MIKE PORTNOY! RAZ DWA TRZY FABRYKA MEINL GRZEGORZ KRAWCZYK „Perkusista” bez pisemnej zgody Wydawcy zabronione. Prezentujemy: Paiste, DW, DrumCraft, Tama, Roland LUCASS I XDT Fot. Simon Lees Fot. LIPIEC/SIERPIEŃ 4/2012 4/2012 (23) Okładka Płyta TESTY AUDIO WARSZTATY w środku ľDrumCraft VIDEO Paiste ľ Warsztaty Video m:,&=(1,$ ľTama ]7RPNLHPRVRZVNLP AUDIO Fot. Piotr Markowski .RPSOHWZDUV]WDWöZ *U]HJRU]D.UDZF]\ND Cena 15,50 zł (w tym 5% VAT) ISSN 1899-7732 INDEKS 246 670 Fot. Dave Benett/Hulton Archive/ Wydawnictwo AVT Korporacja Sp. zo.o. I JEGO PERKUSIŚCI Nakład 9.000 egz. Plakaty LIPIEC/SIERPIEŃ 4/2012 KOLEJNY ZNAKOMITY PLAKAT DLA PRENUMERATORÓW! należy do Izby Wydawców Prasy Getty Images/Flash Press Media lipiec/sierpień 2012 PERKUSISTA 5 W NUMERZE ZOKŁADKI: 16 Michael Jackson ijego perkusiści SZKOŁA PERKUSISTY: 12 98 Ghostbuster, Triole cz.1 100 Artur Malik prezentuje: Tomas Celis Sanchez WIZJA LOKALNA: 78 Tama Silverstar 81 Roland V-Drums Tutor DT-1 82 DrumCraft Liquid Chrome 7 83 DW 5000 AD-4 84 Paiste Boomer WYWIADY NUMERU: 28 28 Mike Portnoy 40 Lucass 52 Henryk Miśkiewcz 54 Jacek Olejarz/Leszek Palczak 60 Grzegorz Krawczyk 68 Chris Johnson 72 Brandon Barnes PONADTO: 16 10 Klasycznie Jak Ptak Proletaryat 12 Wizyta wfabryce Meinl Cymbals 86 PKS 88 Warsztaty Lucassa wAvant Drum Shop 90 Warsztaty Lucassa wDrum Center 92 Eliminacje Przystanku Woodstock 94 Czarek Konrad wDrum Center 96 VIII Festiwal Rytmu Drum Battle wLegnicy 106 Do przemyślenia – Szymon Ciszek 40 ORAZ: 5 Na raz 8-9 Groove 103 Spis fi rm 104 Prenumerata PLAKAT dla prenumeratorów: Dave McClain, Jacek Pelc NA PŁYCIE: 4/2012 (23) Warsztaty zTomkiem Łosowskim wDrum Store Seria warsztatów zGrześkiem Krawczykiem TESTY AUDIO WARSZTATY ľDrumCraft VIDEO ľPaiste Warsztaty Video Testy sprzętu m:,&=(1,$ ľTama ]7RPNLHPRVRZVNLP AUDIO .RPSOHWZDUV]WDWöZ 83 *U]HJRU]D.UDZF]\ND Przykłady ćwiczeń „Ghostubsters” 6 PERKUSISTA lipiec/sierpień 2012 GROOVE-KLASYCZNIE JAK PTAK PROLETARYAT Jak wyglądała historia powsta- Całość zabrzmiała bardzo dynamicznie, pamiętam, jakich membran italerzy Jak wyglądała atmosfera na- nia utworu? pulsowała ioddychała naturalnie. użyłem do nagrania tej płyty. grań i w ogóle całej sesji IV? Bardzo dobrze pamiętam historię po- Jednogłośnie taką postać postanowili- Na tomach miałem Remo Emperor Ogólnie atmosfera była pracowita. wstania piosenki Jak Ptak, ponieważ po śmy zachować. Sam początek piosenki Coated, na bębnie basowym Emperor Każdy wyciskał zsiebie siódme poty, by pierwsze to moja ulubiona piosenka, grany na tomach wpostaci crescendo Coated plus Remo Muffl e Ring, na wer- uzyskać brzmienie, jakie nosił od dawna apo drugie ta piosenka ma baaardzo ztowarzyszeniem
Load more

Recommended publications
  • An Incredible New Sound for Engineers
    An Incredible New Sound for Engineers Bruce Swedien comments on the recording techniques and production HIStory of Michael Jackson's latest album by Daniel Sweeney "HIStory" In The Making Increasingly, the launch of a new Michael Jackson collection has taken on the dimensions of a world event. Lest this be doubted, the videos promoting the King of Pop's latest effort, "HIStory", depict him with patently obvious symbolism as a commander of armies presiding over monster rallies of impassioned followers. But whatever one makes of hoopla surrounding the album, one can scarcely ignore its amazing production values and the skill with which truly vast musical resources have been brought to bear upon the project. Where most popular music makes do with the sparse instrumentation of a working band fleshed out with a bit of synth, "HIStory" brings together such renowned studio musicians and production talents as Slash, Steve Porcaro, Jimmy Jam, Nile Rodgers, plus a full sixty piece symphony orchestra, several choirs including the Andrae Crouch Singers, star vocalists such as sister Janet Jackson and Boys II Men, and the arrangements of Quincy Jones and Jeremy Lubbock. Indeed, the sheer richness of the instrumental and vocal scoring is probably unprecedented in the entire realm of popular recording. But the richness extends beyond the mere density of the mix to the overall spatial perspective of the recording. Just as Phil Spector's classic popular recordings of thirty years ago featured a signature "wall of sound" suggesting a large, perhaps overly reverberant recording space, so the recent recordings of Michael Jackson convey a no less distinctive though different sense of deep space-what for want of other words one might deem a "hall of sound".
    [Show full text]
  • The Bruce Swedien Recording Method Free
    FREE THE BRUCE SWEDIEN RECORDING METHOD PDF Bruce Swedien,Bill Gibson | 304 pages | 16 Oct 2013 | Hal Leonard Corporation | 9781458411198 | English | Milwaukee, United States The Bruce Swedien Recording Method - Recording - Harmony Central Bruce Swedien has been the engineer of choice for Michael Jackson and his producer Quincy Jones, among many others. By the age of 14 he was spending his holidays recording all comers, and even set up his own radio station to broadcast the results to the neighbourhood! At 19 he'd already worked for Tommy Dorsey and was setting up his own commercial studio in an old cinema in his home town of Minneapolis. Go The Bruce Swedien Recording Method what it sounds like in the studio and listen to the music. Off The Bruce Swedien Recording Method go to the studio, and Quincy hands over his score to the copyists. It still gives me the chills to think about it! Don't you believe it! One slice of hindsight on the subject from Quincy Jones has always particularly intrigued me: "We had to leave space for God to walk through the room. One of the original track sheets from the Thriller albums. However, despite the busting of the 'black box' myth, there are indeed fundamental ways in which the Acusonic approach affected the sound of Thriller, and indeed its predecessor. It was just incredible. As he comments in his new book, In The Studio With Michael Jackson: "These true stereo images add much to the depth and clarity of the final production. Stereo mics are vastly overrated.
    [Show full text]
  • Find Doc \ Bruce Swedien: in the Studio with Michael Jackson
    YJ2V6U5Q62K4 \\ Doc # Bruce Swedien: In the Studio with Michael Jackson (Paperback) Bruce Swedien: In th e Studio with Mich ael Jackson (Paperback) Filesize: 8.29 MB Reviews Here is the finest publication i have read through until now. I am quite late in start reading this one, but better then never. I am just easily can get a pleasure of studying a created publication. (Morgan Bashirian) DISCLAIMER | DMCA VT3UBYGGTLT7 ^ PDF Bruce Swedien: In the Studio with Michael Jackson (Paperback) BRUCE SWEDIEN: IN THE STUDIO WITH MICHAEL JACKSON (PAPERBACK) Hal Leonard Corporation, United States, 2009. Paperback. Condition: New. Language: English . Brand New Book. (Book). No one was closer to Michael Jackson at the height of his creative powers than Bruce Swedien, the five-time Grammy winner who, with Jackson and producer Quincy Jones, formed the trio responsible for the sound of Jackson s records records that topped the charts and shook the world. Friend, co-creator, and colleague, Bruce Swedien was a seasoned recording engineer plucked from a job at legendary Universal Audio in Chicago when he began working with Michael Jackson and Quincy Jones on the soundtrack to The Wiz, and he was the master technician who gave the records their sound as the trio progressed to Jackson s greatest triumphs, O the Wall and the iconic, history-making Thriller, which revolutionized music and video and fixed Jackson in culture as the King of Pop. In the Studio with Michael Jackson is the chronicle of those times, when everything was about the music, the magic, and the amazing talent of a man who changed the face of pop music and culture forever.
    [Show full text]
  • Michael Jackson's Gesamtkunstwerk
    Liminalities: A Journal of Performance Studies Vol. 11, No. 5 (November 2015) Michael Jackson’s Gesamtkunstwerk: Artistic Interrelation, Immersion, and Interactivity From the Studio to the Stadium Sylvia J. Martin Michael Jackson produced art in its most total sense. Throughout his forty-year career Jackson merged art forms, melded genres and styles, and promoted an ethos of unity in his work. Jackson’s mastery of combined song and dance is generally acknowledged as the hallmark of his performance. Scholars have not- ed Jackson’s place in the lengthy soul tradition of enmeshed movement and mu- sic (Mercer 39; Neal 2012) with musicologist Jacqueline Warwick describing Jackson as “embodied musicality” (Warwick 249). Jackson’s colleagues have also attested that even when off-stage and off-camera, singing and dancing were frequently inseparable for Jackson. James Ingram, co-songwriter of the Thriller album hit “PYT,” was astonished when he observed Jackson burst into dance moves while recording that song, since in Ingram’s studio experience singers typically conserve their breath for recording (Smiley). Similarly, Bruce Swedien, Jackson’s longtime studio recording engineer, told National Public Radio, “Re- cording [with Jackson] was never a static event. We used to record with the lights out in the studio, and I had him on my drum platform. Michael would dance on that as he did the vocals” (Swedien ix-x). Surveying his life-long body of work, Jackson’s creative capacities, in fact, encompassed acting, directing, producing, staging, and design as well as lyri- cism, music composition, dance, and choreography—and many of these across genres (Brackett 2012).
    [Show full text]
  • Twin Cities Funk & Soul
    SEPTEMBER 25, 2012 I VOLUME 1 I ISSUE 1 DEDICATED TO UNCOVERING MUSIC HISTORY WILLIE & THE PROPHETS BAND OF KUXL JACKIE BUMBLEBEES OF PEACE THIEVES RADIO HARRIS 99 SECRET STASH ISSUE 1: TWIN CITIES FUNK & ANDSOUL MUCH SEPTEMBER MORE 25, 2012 The Philadelphia Story (AKA Valdons) mid 70s courtesy Minnesota Historical Society. Photo by Charles Chamblis. Left to right: Maurice Young, Clifton Curtis, Monroe Wright, Bill Clark Maurice McKinnies circa 1972 courtesy Minnesota Historical Society. Photo by Charles Dance contest at The Taste Show Lounge, Minneapolis late 70s courtesy Minnesota Historical Chamblis. Society. Photo by Charles Chamblis. 02 SECRET STASH VOLUME 1 - ISSUE 1: TWIN CITIES FUNK & SOUL SEPTEMBER 25, 2012 INTRODUCTION It was three years ago that we launched Secret Stash Records. About a year and a half lat- er, we started working on what would eventually become our biggest release, Twin Cities Funk & Soul: Lost R&B Grooves From Minneapolis/St. Paul 1964-1979. What follows is our attempt to share with you some of the amazing stories, history, and photos that have been so gracious- ly shared with us during the course of producing a compilation of soulful tunes from our hometown. ..... R&B, soul, and funk music in the Twin Cities of Minneapolis and St. Paul, Minnesota went through dra- matic changes during the 1960s and 1970s. Predating these changes, a vibrant jazz scene beginning in the 1920s laid the groundwork with several players being instrumental in helping teach young local R&B mu- sicians how to play. However, many of the early R&B pioneers, including Mojo Buford, Maurice McKin- nies, and Willie Walker, came to Minnesota from other states and brought the music with them.
    [Show full text]
  • George P. Johnson Negro Film Collection LSC.1042
    http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections.
    [Show full text]
  • Louis Johnson by E.E
    Thumbs Of Lion EL DEC o Thunder SA BY CC STER The Hard-Hitting Legacy Of Louis Johnson By E.E. Bradman 22 bassplayer.com / september2015 Johnson with Leo Fender The Ernie Ball Music Man In an era saturated wIth StingRay: monstrously influential players, Louis Early Days Johnson streaked across the sky as few others did. With a wide array of techniques at his By JOnaTHan Herrera command, a signature tone, and unmatched intensity, Johnson managed to balance ridic- Few players are more ulously successful, concurrent careers as a associated with a bass than Louis Johnson and his Music Man StingRay. The kinship went beyond versatile studio musician at the top of his a visual aesthetic—the StingRay’s uniquely bright, slightly scooped tone was a driving force behind game and an in-your-face bass superstar. Johnson’s kinetic and pioneering slap style. We asked a handful of experts about the development of As a session wiz, Louis contributed classic the StingRay and Johnson’s involvement: Sterling Ball (CEO of Ernie Ball Music Man), Dudley Gimpel bass parts to albums by a long list of jazz, funk, (head of Ernie Ball Music Man R&D), and Music Man collector Dave Jeffrey. R&B, fusion, pop, and rock luminaries. As a certified bass hero, Louis—known around the What were Leo Fender’s and Tom White’s goals with the StingRay bass? world as “Thunder Thumbs”—was the catalyst Sterling Ball Leo was hard of hearing, so he liked a bright sound. Bright sounded normal to him. that inspired a million thumpers: Even in the Leo was happiest with the design of the pickup and bridge.
    [Show full text]
  • Bruce Swedien: in the Studio with Michael Jackson Free
    FREE BRUCE SWEDIEN: IN THE STUDIO WITH MICHAEL JACKSON PDF Bruce Swedien,Quincy Jones | 194 pages | 28 Jul 2009 | Hal Leonard Corporation | 9781423464952 | English | Milwaukee, United States In the Studio with Michael Jackson by Bruce Swedien With a title Bruce Swedien: In the Studio with Michael Jackson reads, "In the Studio with Michael Jackson," one would expect interesting and new anecdotes about the singer. But instead, you get NONE of that!! That is the honest truth In the Studio with Michael Jackson. Bruce SwedienMichael Jackson. No one was closer to Michael Jackson at the height of his creative powers than Bruce Swedien, the five-time Grammy winner who, with Jackson and producer Quincy Jones, formed the trio responsible for the sound of Jackson's records records that topped the charts and shook the world. Friend, co-creator, and colleague, Bruce Swedien was a seasoned recording engineer plucked from a job at legendary Universal Audio in Chicago when he began working with Michael Jackson and Quincy Jones on the soundtrack to The Wizand Bruce Swedien: In the Studio with Michael Jackson was the master technician who gave the records their sound as the trio progressed to Jackson's greatest triumphs, Off the Wall and the iconic, history-making Thrillerwhich revolutionized music and video and fixed Jackson in culture as Bruce Swedien: In the Studio with Michael Jackson King of Pop. In the Studio with Michael Jackson is the chronicle of those times, when everything was about the music, the magic, and the amazing talent of a man who changed the face of pop music and culture forever.
    [Show full text]
  • |FREE| the Bruce Swedien Recording Method
    THE BRUCE SWEDIEN RECORDING METHOD EBOOK Author: Bruce Swedien, Bill Gibson Number of Pages: 304 pages Published Date: 16 Oct 2013 Publisher: Hal Leonard Corporation Publication Country: Milwaukee, United States Language: English ISBN: 9781458411198 Download Link: CLICK HERE The Bruce Swedien Recording Method Online Read Generally speaking, jazz may be treated in a similar way to classical music. Posted on September 22, Celebrating over 50 years of audio excellence worldwide, Audio-Technica is a leading innovator in transducer technology, renowned for the design and manufacture of microphones, wireless microphones, headphones, mixers, and electronics for the audio industry. The range of instantly recognizable vocal personality is astonishing. Good choral recorded sound is best achieved by using as The Bruce Swedien Recording Method microphones as possible, with the singers placed well back from the microphones. Delicate timbral shading is easily accomplished by a well-trained vocalist, as well as an amazingly wide dynamic range. April 26, The singers The Bruce Swedien Recording Method from 6 inches or less to 2 inches or more from the mikes. Forzato Submitted 10 months ago The Master of Mixing If you want to know how to not only mix properly write down to the science it all starts on day 1 at the recording stage. As a rule of thumb, you can figure four or five singers require two mikes and ten singers, five mikes. Talking with Bruce: Part 2. Rated 4. Bruce Swedien has been the engineer of choice for Michael Jackson and his producer Quincy Jones, among many others. Hearing those excellent vocalists sing in good acoustical surroundings The Bruce Swedien Recording Method my ear a benchmark that has been impossible for me to ignore.
    [Show full text]
  • About Mitchell Coleman Jr. Fans of Slammin' Yet Radio-Ready, Jazz-Funk Fusion, Will Rejoice Upon the Discovery of Bassist/Com
    About Mitchell Coleman Jr. Fans of slammin’ yet radio-ready, Jazz-Funk Fusion, will rejoice upon the discovery of bassist/composer Mitchell Coleman Jr.! Coleman, a disciple of the Stanley Clarke, Larry Graham, Louis Johnson and Marcus Miller schools of The Throwdown, is still in awe of the success of the 2016 release of his debut CD, Perception. Perception is described as Mitchell’s second musical journey of self-exploration – which fulfilled Mitchell’s lifelong dream of expressing the music that’s been in his heart since he began thumpin’ basses at the tender age of 10. Coleman is excited to announce the release of his new single “Euphoria”, from his third album Gravity. “Euphoria” features Hiroshi Upshur on keys and synth, guitarist Josh Sklair, pianist Michael B. Sutton and backing vocals by Dionyza Sutton. “This single is a get down dirty danceable smash with Mitchell Thumpin at his best! Get ready for the radio release date, slated for July 24th. J”Euphoria” is available now via iTunes. The new CD Gravity, will be released independently released in August 2017 on Mitchell’s own Soul Revelations Records label. Once again partnering with veteran Motown producer Michael B. Sutton and the First Lady of Smooth Jazz Gail Jhonson, Gravity displays Mitchell’s musical growth at a whole new level. His experimental sound genre-hops from Jazz to Hip Hop to R&B proving his versatility as an artist. The new album brings the listener closer into every unfolding genius mindset of Mitchell Coleman Jr. as displayed in the infectious track “Transcendence” and the ethereal title Track “Gravity”.
    [Show full text]
  • Rufus with Chaka Khan Camouflage Mp3, Flac, Wma
    Rufus With Chaka Khan Camouflage mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Camouflage Country: Japan Released: 2004 Style: Soul, Rhythm & Blues, Disco MP3 version RAR size: 1927 mb FLAC version RAR size: 1668 mb WMA version RAR size: 1523 mb Rating: 4.3 Votes: 746 Other Formats: MP4 MPC VOC AIFF AA MOD RA Tracklist Hide Credits Better Together 1 3:41 Written-By – Lalomie WashburnWritten-By, Arranged By [Rhythm], Bass – Tony Maiden Jigsaw 2 3:55 Written-By – Chaka KhanWritten-By, Arranged By [Rhythm], Bass – Tony Maiden Secret Friend 3 3:58 Written-By – Allee Willis, Bobby Watson, Rene Moore-Angela Winbush*, Tony Maiden Music Man (The D.J. Song) 4 3:50 Written-By – David Wolinski*, John Robinson True Love 5 3:42 Written-By – David Wolinski* Sharing The Love 6 4:02 Written-By – Kevin Murphy Quandary 7 4:50 Written-By – Chaka KhanWritten-By, Arranged By [Rhythm], Bass – Tony Maiden Lilah 8 4:05 Written-By – Allee Willis, David Wolinski* Losers In Love 9 3:06 Written-By – Danny Seraphine*, David Wolinski* Highlight 10 Engineer [Assistant] – Ron AlvarezRecorded By – John StronachWritten-By – Bobby Watson, 3:14 Rene Moore-Angela Winbush* Companies, etc. Record Company – UM³/USM Japan Marketed By – Universal Music K.K. Distributed By – Universal Music K.K. Credits Arranged By [Horns, Strings], Horns – Jerry Hey Arranged By [Vocals], Guitar, Vocals – Tony Maiden Arranged By [Vocals], Vocals – Chaka Khan Backing Vocals – Lalomie Washburn Backing Vocals, Keyboards – Rene Moore-Angela Winbush* Bass – Bobby Watson Design
    [Show full text]
  • Louis Johnson
    LOUIS JOHNSON Approfondimenti a cura di Riccardo Pantella LOUIS JOHNSON “ THUNDER-THUMBS “ Quando si parla della tecnica dello Slap spesso vengono in mente i soliti nomi di grandi musicisti, ad esempio Larry Graham che si sostiene ne sia l’inventore. Ma è impossibile parlare di questa tecnica e non citare Louis Johnson, che di certo è stato uno dei pionieri ed ha contribuito a svilupparne la tecnica. Per via del suo stile distintivo venne soprannominato Thunder-Thumbs. Da non sottovalutare le sue numerose collaborazioni come session man. Tra le più importanti potremmo citare l’album “Thriller” di Michael Jackson. Probabilmente ciò che ha dato un grande contributo alla sua carriera è stata la sua ampia musicalità e senso ritmico. BIOGRAFIA Nato a Los Angeles il 13 Aprile del 1955, Louis fin da subito mostrò un forte interesse per la musica. Suo padre regalò presto una chitarra a lui e a suo fratello George, che subito cominciarono a suonare a turno. Louis era attratto dalle note gravi e cominciò a suonare le linee di basso che ascoltava sui dischi di artisti come James Brown, The Temptations and The Supremes.. Fu così che suo padre decise di regalargli un basso, e passò poco tempo prima che Johnson cominciò a strappare e percuotere le corde per dare più groove a ciò che suonava. Tutto questo si è evoluto nella tecnica dello Slap, rendendolo un musicista di fama mondiale. Mentre era ancora a scuola a Los Angeles, insieme al fratello George e il cugino Alex Weir formarono i “Three Plus One”. Band che si è subito evoluta in un contesto professionale condividendo palchi con artisti come The Supremes e Bobby Womack.
    [Show full text]