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John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums. -
The Aesthetics of 5.1 Surround
Barbour Applying Aural Research, 1 Applying Aural Research: the aesthetics of 5.1 surround Jim Barbour School of Social and Behavioural Sciences, Swinburne University email: [email protected] art to illustrate some of the aural possibilities. Despite Abstract significant limitations inherent in the 5.1 surround Multi-channel surround sound audio offers a richer sound specification, it is the position of this paper that perceptual experience than traditional stereo it represents an opportunity to deliver an exciting and reproduction, recreating three-dimensional aural immersive aural experience to a consumer today. soundfields. Understanding the limitations of human auditory perception and surround sound technology 2 Consumer Surround may assist the exploration of acoustic space as an For many decades, it has been a goal of many expressive dimension. audio practitioners to deliver the immersive, three- dimensional soundfield of the real world, or of their 1 Introduction creative imagination, to listeners in their home Research and development into new digital audio environment. software and hardware has resulted in multi-channel digital audio recording technology that allows the 2.1 Quad: 1970s creation of immersive aural environments reproduced The development of multi-track tape recorders in by multiple loudspeakers arranged around and above the 1970’s led to successful experiments with four the listening position. The audio delivery platform channel quadraphonic recording, which succeeded in offered by the Digital Versatile Disc has provided the capturing and reproducing a high quality three- facility for musicians, composers and sound designers dimensional soundfield in a controlled studio to produce three-dimensional audio works in studio environment. -
Jon Batiste and Stay Human's
WIN! A $3,695 BUCKS COUNTY/ZILDJIAN PACKAGE THE WORLD’S #1 DRUM MAGAZINE 6 WAYS TO PLAY SMOOTHER ROLLS BUILD YOUR OWN COCKTAIL KIT Jon Batiste and Stay Human’s Joe Saylor RUMMER M D A RN G E A Late-Night Deep Grooves Z D I O N E M • • T e h n i 40 e z W a YEARS g o a r Of Excellence l d M ’ s # m 1 u r D CLIFF ALMOND CAMILO, KRANTZ, AND BEYOND KEVIN MARCH APRIL 2016 ROBERT POLLARD’S GO-TO GUY HUGH GRUNDY AND HIS ZOMBIES “ODESSEY” 12 Modern Drummer June 2014 .350" .590" .610" .620" .610" .600" .590" “It is balanced, it is powerful. It is the .580" Wicked Piston!” Mike Mangini Dream Theater L. 16 3/4" • 42.55cm | D .580" • 1.47cm VHMMWP Mike Mangini’s new unique design starts out at .580” in the grip and UNIQUE TOP WEIGHTED DESIGN UNIQUE TOP increases slightly towards the middle of the stick until it reaches .620” and then tapers back down to an acorn tip. Mike’s reason for this design is so that the stick has a slightly added front weight for a solid, consistent “throw” and transient sound. With the extra length, you can adjust how much front weight you’re implementing by slightly moving your fulcrum .580" point up or down on the stick. You’ll also get a fat sounding rimshot crack from the added front weighted taper. Hickory. #SWITCHTOVATER See a full video of Mike explaining the Wicked Piston at vater.com remo_tamb-saylor_md-0416.pdf 1 12/18/15 11:43 AM 270 Centre Street | Holbrook, MA 02343 | 1.781.767.1877 | [email protected] VATER.COM C M Y K CM MY CY CMY .350" .590" .610" .620" .610" .600" .590" “It is balanced, it is powerful. -
Ai 13 U Ivis
AI_13 U IVIS Rabbit," and Alison Mosshart THE JOY JESSIE J glistens on Lennon & McCartney's FORMIDABLE Who You Are "Tomorrow Never Knows," while The Big Roar Producers: various Björk's "Army of Me" is sub- Producers: The Joy Lava/Universal Republic jected to an aggressive remix Formidable, Neak Menter, Release Date: April 12 that blends perfectly with the Rich Costey The latest product of London's star - new tracks. The soundtrack's Canvasback/Atlantic making BRIT School arrives in America most tender moment begins Release Date: March 15 with no shortage of at -home hype: Even before the U.K. with a male voice, Yoav, who Anyone who saw the Joy For - release of her debut album, "Who You Are," Jessie J won trades verses packed with vul- midable's blistering set at Bill- the BBC's Sound of 2011 poll and the Critics' Choice BRIT nerability with Browning on the board's South by Southwest Award, and when it came out last month in the United Pixies' "Where Is My Mind ?" showcase in late March knows Kingdom, the set debuted at No. 2 -right behind fellow Amid a rush of male- targeted that this Welsh trio doesn't do BRIT brat Adele's "21." Like that "Chasing Pavements" female power, it's the rare mo- anything small. Even the band's singer, Jessie J owns a big voice rich with old -soul intensity. ment that asks the audience to 2009 indie debut mini -LP, "A Here, she uses it most powerfully in "Mamma Knows Best," pause for reflection. -
I the ROLE of MUSIC THEORY in MUSIC PRODUCTION AND
THE ROLE OF MUSIC THEORY IN MUSIC PRODUCTION AND ENGINEERING by GEORGE A. WIEDERKEHR A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts September 2015 i THESIS APPROVAL PAGE Student: George A. Wiederkehr Title: The Role of Music Theory in Music Production and Engineering This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Music and Dance by: Jack Boss Chair Stephen Rodgers Member Lance Miller Member and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2015 ii © 2015 George A. Wiederkehr This work is licensed under a Creative Commons Attribution (United States) License. iii THESIS ABSTRACT George A. Wiederkehr Master of Arts School of Music and Dance September 2015 Title: The Role of Music Theory in Music Production and Engineering Due to technological advancements, the role of the musician has changed dramatically in the 20 th and 21 st centuries. For the composer or songwriter especially, it is becoming increasingly expected for them to have some familiarity with music production and engineering, so that they are able to provide a finished product to employers, clients, or listeners. One goal of a successful production or engineered recording is to most effectively portray the recorded material. Music theory, and specifically analysis, has the ability to reveal important or expressive characteristics in a musical work. -
SC Clav User Guide
SONICCOUTURE CLAV USER GUIDE www.soniccouture.com email : [email protected] SONICCOUTURE CLAV USER GUIDE SONICCOUTURE CLAV CONTENTS INSTALLATION ABOUT THE CLAV THE KONTAKT INSTRUMENT INSTRUMENT PANEL OPTIONS PANEL EFFECTS PANEL SUPPORT E.U.L.A www.soniccouture.com email : [email protected] SONICCOUTURE CLAV USER GUIDE INSTALLATION 1. Put the ‘SC Clav’ folder somewhere safe on your system (C drive) or main Macintosh Hard Drive. You can move the library folder to a separate HD after you have authorized it. If you do not own Kontakt 5, you will need to download and install the free Kontakt player which you can do here: Kontakt Player Download Link TO ADD THE LIBRARY AND AUTHORIZE IN KONTAKT 1. In Kontakt or Kontakt Player open the Browser on the left (the folder Icon at the top). 2. In the Libraries tab at the top of the Browser go to "Add Library" 3. Click and use the dialogue window to navigate to and point Kontakt to the location of the Soniccouture Clav>Library folder. This will add it to the Kontakt Library list AND to the Service Center. 4. If Kontakt asks you to Activate the library, the NI Service Center program will launch and you will need your serial number to authorize Clav. If Kontakt doesn't ask you to authorize, you can force it to by clicking the little "Activate" button in the upper right corner of our Clav Library pane, in the Browser/Libraries list. It will then prompt you to launch the Service Center. (You will find your serial number in the email you were sent when you purchased. -
Death Cab for Cutie
ISSUE #41 MMUSICMAG.COM ISSUE #41 MMUSICMAG.COM Q&A Did that affect the album? Were you happy with the results? How did you fi nd Dave Depper? I don’t think so. It wasn’t like there was This being our fi rst record with an outside Dave has been a friend of ours for a long any bad blood, but we didn’t tell Rich that producer, it’s kind of a transitional record. I time, and he’s been a noted northwest Chris was leaving the band until after the really enjoyed working with Rich throughout. musical fi gure for a long time. When we were record was done—just because we didn’t He did a phenomenal job with the album— thinking of who we were going to play with, want exactly what you’re talking about to fi tting some of the newer demos, the way I’d he was literally the fi rst person we thought happen. It was better for the record and written the songs, with the stuff we’d already of. It was that kind of thing where we didn’t better for everybody. But it wasn’t a dramatic recorded with Chris in the summer of 2013. waste a lot of time thinking, “Oh, my God, or loaded-gun experience—it was more like, When we had the fi nal versions we knew what will we do?” We just thought, “OK, who “OK, let’s do the work.” In some ways, it Rich had been the right man for the job and shall we get in?” Dave was the fi rst person was like Chris was a very familiar session he brought the best out of us and the songs. -
11C Software 1034-1187
Section11c PHOTO - VIDEO - PRO AUDIO Computer Software Ableton.........................................1036-1038 Arturia ...................................................1039 Antares .........................................1040-1044 Arkaos ....................................................1045 Bias ...............................................1046-1051 Bitheadz .......................................1052-1059 Bomb Factory ..............................1060-1063 Celemony ..............................................1064 Chicken Systems...................................1065 Eastwest/Quantum Leap ............1066-1069 IK Multimedia .............................1070-1078 Mackie/UA ...................................1079-1081 McDSP ..........................................1082-1085 Metric Halo..................................1086-1088 Native Instruments .....................1089-1103 Propellerhead ..............................1104-1108 Prosoniq .......................................1109-1111 Serato............................................1112-1113 Sonic Foundry .............................1114-1127 Spectrasonics ...............................1128-1130 Syntrillium ............................................1131 Tascam..........................................1132-1147 TC Works .....................................1148-1157 Ultimate Soundbank ..................1158-1159 Universal Audio ..........................1160-1161 Wave Mechanics..........................1162-1165 Waves ...........................................1166-1185 -
Grammy Award Winners Created with Avid's Proven and Trusted, Industry
Grammy award winners created with Avid’s proven and trusted, industry‐ leading audio solutions Album of the Year, Record of the Year, and Song of the Year! January 28, 2014 Avid Customers Take Center Stage at the 56th Annual GRAMMY® Awards Avid Customers Take Center Stage at the 56th Annual GRAMMY® Awards Award winners created with Avid’s proven and trusted, industry-leading audio solutions include Album of the Year, Record of the Year, and Song of the Year Avid® (NASDAQ: AVID) today congratulated its many award-winning and nominated customer at the 56th Annual GRAMMY® Awards for their outstanding achievements in the recording arts At the ceremony on January 26 in Los Angeles, the preeminent peer-recognized awards for music excellence were bestowed on numerous artists, producers and engineers who use Avid audio solutions. Avid audio professionals created GRAMMY Award winners including Album of the Year Rando Access Memories by Daft Punk, Record of the Year Get Lucky by Daft Punk and Pharrell Williams, and Song of the Year Royals by Joel Little and Ella Yelich O’Connor (Lorde). GRAMMY Award nominee for Producer of the Year Ariel Rechtshaid has produced records spanning indie/alternative, hip-hop, reggae and R&B. His 2013 releases include Best Alternativ Music Album, Vampire Weekend’s Modern Vampires of the City, as well as Haim’s Days Are Gone, Snoop Lion’s Reincarnated, and Sky Ferreira’s Night Time, My Time. “The GRAMMY nomination for Producer of the Year is an honor,” he said. “I share it with all the artists I’ve bee fortunate enough to make music with. -
While Crafting Songs for the Fray's Third Album
THE SHINS Album: „Port Of Morrow“ (VÖ 16.3.2012) Drei Alben in zehn Jahren - The Shins gehören ganz offensichtlich nicht zu jenen Bands, die ihre Umwelt mit Veröffentlichen zuspammen. Mit einer Wartezeit von fünf (!) Jahren, die seit dem Grammy-nominierten Lonyplayer „Wincing The Night Away“ ins Land gegangen sind, wurde die Geduld ihrer zahlreichen Fans diesmal allerdings auf eine ziemlich harte Probe gestellt. Ein wenig Trost spendete in der Zwischenzeit u.a. das Broken Bells-Debütalbum, das Sänger und Songwriter James Mercer zusammen mit dem Musiker und Produzenten Danger Mouse aufnahm. Nun steht der Erscheinungstermin des vierten Shins-Albums endlich fest: „Port Of Morrow“ wird hierzulande ab dem 16. März erhältlich sein. Die zehn Songs des Album, darunter die Vorabsingle „Simple Song“, entstanden im vergangenen Jahr in Los Angeles und Portland unter der Regie von Greg Kurstin (Lily Allen, Peaches, P!nk, The Flaming Lips, Marina And The Diamonds u.a.), der zu einigen Stücken auch Keyboards, Gitarre und Bass beisteuerte. Gemischt wurde „Port Of Morrow“ von Rich Costey (Muse, Franz Ferdinand, Bloc Party etc.). Wie gewohnt wurden alle Songs des Albums von James Mercer geschrieben, der neben Gitarre und Gesang auch an Steelgitarre, Percussion und Glockenspiel zu hören ist. Außerdem wirkten Joe Plummer, Janet Weiss, Dave Hernandez, Marty Crandall, Eric D. Johnson, Ron Lewis und Nik Freitas an den Aufnahmen mit. Das Coverartwork stammt von Jacob Escobedo, zu dessen Klientel in den vergangenen Jahren u.a. Gnarls Barkley, Broken Bells, Vampire Weekend und R. Kelly zählten. Die ersten Konzerte im Rahmen der Veröffentlichung von „Port Of Morrow“ geben The Shins im April 2012 in den USA (13.04. -
Secrets of the Mix Engineers
INSIDE TRACK Secrets Of The Mix Engineers: Jake Sinclair & Claudius Mittendorfer What do you get if you cross Frank Sinatra and Queen? Producer Jake Sinclair and mixer Claudius Mittendorfer helped Panic! At The Disco’s Brendon Urie find out... PAUL TINGEN size. When drummer Spencer Smith left the involved “playing trombone with old jazz band in April 2015, Urie found himself faced guys for 10 years during my high school hile almost every conceivable with writing and recording a new album as days. I also played guitar since I was seven amalgamation of genres the only remaining band member. Given or eight and then learnt to play keyboards W has been tried in these his Sinatra-meets-Queen vision, his choice and drums. But it was the schooling in postmodern mashup times, eyebrows were of collaborator seems odd at first sight: trombone-playing and reading bass clefs raised when Panic! At The Disco frontman young musician and producer Jake Sinclair is that helped me more than anything in my Brendon Urie declared that the act’s latest best-known for his work with rock and pop musical development.” album, Death Of A Bachelor, blended the acts like Weezer, Fall Out Boy, P!nk, Taylor When he was 18, Sinclair moved to influences of Frank Sinatra and Queen. Swift, Sia and 5 Seconds Of Summer. Charleston, South Carolina, where he The album’s lead singles, ‘Victorious’ and However, Sinclair had worked as was a member of a band called the Films, ‘Hallelujah’, recall the latter band, being engineer, mixer and occasional co-writer whose second album was produced by hyper-intense pop-rock songs framed in on two previous Panic! albums, and so Urie Butch Walker. -
User Manual Clavinet V - Welcome to Clavinet V! 3 1.2
USER MANUAL Special Thanks DIRECTION Frédéric Brun Kevin Molcard DEVELOPMENT Pierre Pfister (project Baptiste Aubry Samuel Limier Matthieu Courouble manager) Baptiste Le Goff Germain Marzin Raynald Dantigny Corentin Comte (lead) Pierre-Lin Laneyrie Mathieu Nocenti Stefano D'Angelo Valentin Lepetit Benjamin Renard DESIGN Glen Darcey Morgan Perrier Greg Vezon Shaun Elwood Sebastien Rochard SOUND DESIGN Jean-Baptiste Arthus Pierre Pfister Paolo Apollo Negri Victor Morello Nori Ubukata Christian Laffitte MANUAL Randy Lee Morgan Perrier Matthieu Courouble © ARTURIA SA – 2017 – All rights reserved. 11 Chemin de la Dhuy 38240 Meylan FRANCE www.arturia.com Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Arturia. The software described in this manual is provided under the terms of a license agreement or non-disclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. No part of this manual may be reproduced or transmitted in any form or by any purpose other than purchaser’s personal use, without the express written permission of ARTURIA S.A. All other products, logos or company names quoted in this manual are trademarks or registered trademarks of their respective owners. Product version: 1.0 Revision date: 29 November 2017 Thank you for purchasing Clavinet V! This manual covers the features and operation of Arturia’s Clavinet V, the latest in a long line of incredibly realistic virtual instruments. Be sure to register your software as soon as possible! When you purchased Clavinet V you were sent a serial number and an unlock code by e-mail.