DOCSLIB.ORG

THINK AGAIN! MYTHS, MISCONCEPTIONS and REALITY CHECKS Innovative LED QSC

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THINK AGAIN! MYTHS, MISCONCEPTIONS and REALITY CHECKS Innovative LED QSC a ISSUE 205 APRIL 2019 WWW.MOBILEBEAT.COM THINK AGAIN! MYTHS, MISCONCEPTIONS AND REALITY CHECKS Innovative LED www.innovativeledsales.com QSC .................... www.qsc.com THINK AGAIN! PLAYLIST TECH TALK .................................................................. 6 Ben Stowe, CTS FEATURE ..................................................................... 8 By Staci Nichols FEATURE ....................................................................12 By Kevin Freese A DIFFERENT BEAT .....................................................14 By Stu Chisholm FEATURE ....................................................................16 ADVERTISERS By Magi Graziano Audio-Technica www.audio-technica.com 9 MOBILE MATTERS...................................................... 18 DJ Trivia www.djtrivia.com 15 By Matt Martindale iDJPool www.idjpool.com 11 BRILLIANT DEDUCTIONS ............................................21 Innovative LED www.innovativeledsales.com 2 Mixware www.mixware.net 5 By Mark E. Battersby Mobile Beat Las Vegas www.mobilebeatlasvegas.com 26 PRODJFILES .............................................................. 22 PCDJ www.pcdj.com 13 By Mike Cordeiro QSC www.qsc.com 3 SOCIAL MEDIA KNOWHOW ......................................... 25 Wedding Word Search Call 970-302-0747 25 By Vanessa Joy Publisher Events Director Editorial Assistant / Ryan Burger Jake Feldman Writer Mobile Beat Circulation Manager Rebecca Burger Editor-in-Chief Kitty Harr Events Director Emeritus Dan Walsh Michael Buonaccorso TO ADVERTISE IN MOBILE BEAT OR EXHIBIT AT A MOBILE BEAT EVENT, CALL 515-986-3344 x300 OR EMAIL [email protected] 4 MOBILEBEAT.COM ▷ APRIL 2019 Mixware www.mixware.net TECH TALK Think Again...(Part 1) TECH MISCONCEPTIONS CORRECTED, PART 1 Ben Stowe, CTS TECH TALK Think Again... TECH MISCONCEPTIONS CORRECTED, PART 1 By Ben Stowe, CTS 6 MOBILEBEAT.COM ▷ APRIL 2019 perhaps most unbelievable to me is that 27 years into my career uring the past two-and-a-half decades I have I am still explaining that DMX cable and mic cable are different. D presented, written articles, appeared in videos This one just keeps hanging around, and I don’t know why. Perhaps and have made myself available on industry forums to because both use a 3-pin XLR (at least for most DJ level DMX help DJs better understand how their gear works and fixtures) and the cables otherwise look and feel similar. As my mom get better performance from it. Through the course used to tell me, looks are only skin deep (and trust me, I’m beautiful of answering their questions, I have encountered on the inside, but obviously I didn’t get this job on my good looks). some prevailing myths and I’d like to try to clear I think my mom said that just to make me feel better… but anyway the air a bit on some of them. Here are some of the back to DMX cable. most common misconceptions and misinformation DMX is a digital signal. That’s its first name in fact, Digital. As I find within the DJ industry. I titled this “Part such, it prefers to run on a cable with different capacitive, inductive and resistive properties than an analog signal like microphones. 1” because I’m quite certain there will be more. DMX cable also has different shielding as it is more vulnerable to WATTS = LOUDNESS high frequency interference like RFI. This is not to say that DMX is better than mic cable, it’s just better at carrying a DMX signal. Each This is perhaps the most prevalent and pervasive misunderstanding is built to serve a specific purpose and carry a specific signal. in our industry. I think many DJs ask how many watts a speaker is simply because they don’t know what else to ask. Hopefully reading SIZE MATTERS this article will help you ask more meaningful questions to get the It’s not a myth… at least not when talking about cables and volt speaker that will suit your needs best. drop. All cables present resistance to the signal, and that resistance There is a relationship between watts (power) and loudness is greater when the gauge of the cable is a higher number. The (decibels), but it’s a logarithmic one that critically depends on the higher the gauge number the smaller the cable. For example, a 24 initial sensitivity of the loudspeaker. Since we only gain 3dB every AWG (American Wire Gauge) cable has a diameter of 0.0226 inches, time we double the amount of power we have, it is essential that whereas a 12 AWG wire has a diameter of 0.0808. A very substan- the speaker is as efficient as possible. An example I use in seminars tial difference, especially when we consider cross-sectional area. 24 demonstrates that a 400 Watt speaker with a sensitivity of 101 dB AWG is 0.2 mm2 and 12 AWG is 3.31 mm2. 1M/1W is actually louder than a 1000 Watt speaker with a sensitivity This size difference is reflected in a reduction in resistance to of 96 dB 1M/1W. the flow of electricity. Resistance is different from impedance but Ultimately, it’s decibels that we hear, not watts. There are far for the purpose of this article a simple definition is adequate. 12 more important considerations when choosing a speaker, like AWG has a resistance of approximately 0.002 Ω per foot and 24 frequency response, coverage pattern, weight, decibel output, and AWG 0.026 Ω. This results in a substantial difference in the loss of appearance. Watts are essentially only important for understanding a signal when carried across this wire. That loss is increased with how much power will be needed to run the loudspeaker to its full amperage. This is especially meaningful with passive loudspeakers potential. and power cords. SPEED OF SOUND To summarize, when choosing an extension cord the amperage and the length will determine what is adequate. For a 100’ cable if While the speed of sound is affected by temperature and humidity, sending 2 amps at 120v I can use a 16 AWG cord, but if sending 15 it does not change with frequency. Bass waves move at exactly the amps at 120v I need a 12 AWG cord. If attempting to send that 15 same speed as high frequency waves. Could you imagine what amps 200’ I now need a 10AWG cord, and at 300’ I don’t recommend would happen if that were not the case and you were 200’ back doing it at all. At that point a different power distribution system at a concert? It would sound terrible. My son and I tested this for should be employed. a science fair project, and even though I empirically knew that the speed was the same, the process of scientifically testing and [ I’ve put together a handy, quick reference chart for extension proving this was a fun one. cord sizing and if you contact me ([email protected]) I would be happy to send it to you. ] WIRELESS DMX If you have a misconception you’d like confirmed or clarified, DMX was widely adopted as a standard method of controlling suggest it to the editors and perhaps we’ll break it down in a lights by the early 1990s, and is essentially universal even to this sequel. day. However, the methods of making DMX wireless are not. There are prevailing protocols, but there is no standard. These protocols are proprietary and not interchangeable. Chauvet DFi is different Ben Stowe’s love for electronics began early on and led to from ADJ WiFly is different from Eternal is different from WDMX. years of schooling in electricity, electronics, robotics and lasers. They simply won’t work together. Fast-forward to today, and Ben has built NLFX Professional, a premier gear supplier, and his AV installs have been featured DMX CABLE VS MIC CABLE in almost every major industry trade magazine. He holds a Some of the things in this article might be unbelievable to you (like number of certifications and accreditations, including the InfoComm CTS. the idea that an increase from 1 watt to 2 watts gives you the same 3dB increase in loudness as 1000 watts to 2000 watts), but what is MOBILEBEAT.COM ▷ APRIL 2019 7 FEATURE To Sync or Not to Sync THE CONTROVERSIAL BUTTON DIVIDING DJS By Staci Nichols “No successful DJ or mix artist has ever felt threatened by the sync UNDERSTANDING THE PLAYERS: PERSONALITY DJS VS button or the growth of technology.” - Pri Yon Joni MIXING DJS The anti-sync-button crowd believes using the sync button means egardless of whether you use the sync button or a DJ is lazy or unskilled. Mostly they are looking at the DJs who use R not, you have no doubt heard the strong sentiments controllers, play full songs—usually radio edits, and do the same simple fade to mix between each song. In my experience, these of the so-called “DJ purists” against it. If you are new type of DJs are “personality DJs.” They entertain by dancing with the to DJing, the notorious button labeled “sync” will crowd, playing games, and acting as a host—in addition to playing automatically match the tempo of your incoming song music. Personality DJs do not aim to entertain with fancy transi- with the tempo of your outgoing one. If both tracks are tions, and the people who hire them are generally not expecting playing, hitting “sync” a set full of scratching and trick mixes. The anti-sync- will make the beats line button crowd are typically up. Sync does not match mixing DJs who entertain the “1” of song A to the with creative music pairings “1” of song B. It does and song transitions—many of them have little to no not know where two microphone or hosting skills songs should be mixed since it’s not their focus. together. It doesn’t Instead of shaming one side know if two songs are or the other by measuring compatible to blend them with the wrong ruler, let’s simply understand our together.
Load more

Recommended publications
  • Cue Point Aesthetics: the Performing Disc Jockey In
    CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE By Benjamin De Ocampo Andres A Thesis Presented to The Faculty of Humboldt State University In Partial Fulfillment of the Requirements for the Degree Master of Arts in Sociology Committee Membership Dr. Jennifer Eichstedt, Committee Chair Dr. Renee Byrd, Committee Member Dr. Meredith Williams, Committee Member Dr. Meredith Williams, Graduate Coordinator May 2016 ABSTRACT CUE POINT AESTHETICS: THE PERFORMING DISC JOCKEY IN POSTMODERN DJ CULTURE Benjamin De Ocampo Andres This qualitative research explores how social relations and intersections of popular culture, technology, and gender present in performance DJing. The methods used were interviews with performing disc jockeys, observations at various bars, and live music venues. Interviews include both women and men from varying ages and racial/ethnic groups. Cultural studies/popular culture approaches are utilized as the theoretical framework, with the aid of concepts including resistance, hegemony, power, and subcultures. Results show difference of DJ preference between analog and digital formats. Gender differences are evident in performing DJ's experiences on and off the field due to patriarchy in the DJ scene. ii ACKNOWLEDGEMENTS First and Foremost, I would like to thank my parents and immediate family for their unconditional support and love. You guys have always come through in a jam and given up a lot for me, big up. To "the fams" in Humboldt, you know who you are, thank you so much for holding me down when the time came to move to Arcata, and for being brothers from other mothers. A shout out to Burke Zen for all the jokes cracked, and cigarettes smoked, at "Chinatown." You help get me through this and I would have lost it along time ago.
    [Show full text]
  • ENDER's GAME by Orson Scott Card Chapter 1 -- Third
    ENDER'S GAME by Orson Scott Card Chapter 1 -- Third "I've watched through his eyes, I've listened through his ears, and tell you he's the one. Or at least as close as we're going to get." "That's what you said about the brother." "The brother tested out impossible. For other reasons. Nothing to do with his ability." "Same with the sister. And there are doubts about him. He's too malleable. Too willing to submerge himself in someone else's will." "Not if the other person is his enemy." "So what do we do? Surround him with enemies all the time?" "If we have to." "I thought you said you liked this kid." "If the buggers get him, they'll make me look like his favorite uncle." "All right. We're saving the world, after all. Take him." *** The monitor lady smiled very nicely and tousled his hair and said, "Andrew, I suppose by now you're just absolutely sick of having that horrid monitor. Well, I have good news for you. That monitor is going to come out today. We're going to just take it right out, and it won't hurt a bit." Ender nodded. It was a lie, of course, that it wouldn't hurt a bit. But since adults always said it when it was going to hurt, he could count on that statement as an accurate prediction of the future. Sometimes lies were more dependable than the truth. "So if you'll just come over here, Andrew, just sit right up here on the examining table.
    [Show full text]
  • Three Solitudes and a DJ: a Mashed-Up Study of Counterpoint in a Digital Realm
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 4-26-2013 12:00 AM Three Solitudes and a DJ: A Mashed-up Study of Counterpoint in a Digital Realm Anthony B. Cushing The University of Western Ontario Supervisor Dr. Norma Coates The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Anthony B. Cushing 2013 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Musicology Commons Recommended Citation Cushing, Anthony B., "Three Solitudes and a DJ: A Mashed-up Study of Counterpoint in a Digital Realm" (2013). Electronic Thesis and Dissertation Repository. 1229. https://ir.lib.uwo.ca/etd/1229 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. THREE SOLITUDES AND A DJ: A MASHED-UP STUDY OF COUNTERPOINT IN A DIGITAL REALM (Thesis format: Monograph) by Anthony B. Cushing Graduate Program in Music A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Anthony Cushing 2013 ii Abstract This dissertation is primarily concerned with developing an understanding of how the use of pre-recorded digital audio shapes and augments conventional notions of counterpoint. It outlines a theoretical framework for analyzing the contrapuntal elements in electronically and digitally composed musics, specifically music mashups, and Glenn Gould’s Solitude Trilogy ‘contrapuntal radio’ works.
    [Show full text]
  • Traktor Kontrol S4 Manual English
    Manual Disclaimer The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu- ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments. “Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru- ments GmbH. Mac, Mac OS, GarageBand, Logic, iTunes and iPod are registered trademarks of Apple Inc., registered in the U.S. and other countries. Windows, Windows Vista and DirectSound are registered trademarks of Microsoft Corporation in the United States and/or other countries. All other trade marks are the property of their respective owners and use of them does not im- ply any affiliation with or endorsement by them. Document authored by: Native Instruments GmbH Software version: 2.6.4 (09/2013) Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product. Contact Germany Native Instruments GmbH Schlesische Str. 29-30 D-10997 Berlin Germany www.native-instruments.de USA Native Instruments North America, Inc. 6725 Sunset Boulevard 5th Floor Los Angeles, CA 90028 USA www.native-instruments.com Japan Native Instruments KK YO Building 3F Jingumae 6-7-15, Shibuya-ku, Tokyo 150-0001 Japan www.native-instruments.co.jp © Native Instruments GmbH, 2013. All rights reserved.
    [Show full text]
  • NES Index of Occupation Codes
    UK Data Archive Study Number 6689 - Annual Survey of Hours and Earnings: Secure Access NEW EARNINGS SURVEY INDEX OF OCCUPATIONS WITH NES OCCUPATION CODES A Able seaman 506 Adviser: conti nued Abstractor, press cuttings 218 statistical 111 Accompanist 151 ta.x 108 Account executive, advertising t echnical - Engineer agency 114 consultancy and advice Accountant technical service 178 budget 106 training 130 company 106 Advisory officer cost 106 University Appoi ntments Boar d 147 cost and \vorks 106 Advocate, practisi ng in courts 102 financial 106 Aerialist 151 management 106 Aerodynamicist 159 public 106 Ae rographe r turf 281 ceramics 466 Acupuncturist 135 excluding ce rami cs 467 Accounta~t of Court, Scotlan~ 102 Agent Accountants 106 area, construction 192 Accounting and claculating assi stant, construction 192 machine operators 228 builder's 192 Acetoner 540 business transfer 116 Acid \vorker, pottery 385 chartering 245 Ac~~i siti on officer, forest~r 211 commission, betti ng 281 Acrobat 151 contractor's 192 Actor 151 enquiry, private 251 Actuary 111 estate Addresser, envelope, manuscript 219 property management and Adjudicator, national insurance negotiation 116 regulations 122 property negotiation 245 Adjudicators nee 122 export commission 245 Adjuster import commission 245 average 107 i nsurance 245 ,compass, marine 429 l and 116 lift 462 literary 156 loss 107 manufacturer's machine, envelope 385 alcohol ic drinks 244 weight, excluding fine bal<mce 462 clothes 244 Administrator domestic appliances 244 dental 136 export 245 general
    [Show full text]
  • CLAY-THESIS.Pdf (1.531Mb)
    80s BABIES: HOW MEMBERS OF HIP HOP’S THIRD GENERATION UNDERSTAND AND PARTICIPATE IN THE CULTURE A Thesis by CHARITY CLAY Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE August 2009 Major Subject: Sociology 80s BABIES: HOW MEMBERS OF HIP HOP’S THIRD GENERATION UNDERSTAND AND PARTICIPATE IN THE CULTURE A Thesis by CHARITY CLAY Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Approved by: Chair of Committee, Reuben A. Buford May Committee Members, Jane Sell Kimberly Brown Head of Department, Mark Fossett August 2009 Major Subject: Sociology iii ABSTRACT 80s Babies: How Members of Hip Hop’s Third Generation Understand and Participate in the Culture. (August 2009) Charity Clay, B.S., DePaul University Chair of Advisory Committee: Dr. Reuben A. Buford May This study used in-depth interviews with members of Hip Hop culture nationwide currently entering adulthood; those between 21-30. Its purpose being to learn what they understand Hip Hop culture to be, what it means to them and their identity and how in contributes to assessment of its history, present and predictions about its future. The project yielded 25 interviews with participants sharing various, at times contradictory, views about what Hip Hop culture is, the current condition of the culture, and its future direction and the salience it has for their identities. This research extends the current literature on Hip Hop by suggesting that it has grown to be a multi- generational culture and furthermore, begins the process of understanding the dynamics of cultural understanding and transformation within Hip Hop while it is still a burgeoning culture.
    [Show full text]
  • CREATIVITY and INNOVATION in the MUSIC INDUSTRY Creativity and Innovation in the Music Industry
    CREATIVITY AND INNOVATION IN THE MUSIC INDUSTRY Creativity and Innovation in the Music Industry by PETER TSCHMUCK Institute of Culture Management and Culture Science, University of Music and Performing Arts Vienna, Austria A C.I.P. Catalogue record for this book is available from the Library of Congress. ISBN-10 1-4020-4274-4 (HB) ISBN-13 978-1-4020-4274-4 (HB) ISBN-10 1-4020-4275-2 (e-book) ISBN-13 978-1-4020-4275-1 (e-book) Published by Springer, P.O. Box 17, 3300 AA Dordrecht, The Netherlands. www.springer.com Printed on acid-free paper Printed with the support of the Austrian Ministery of Education, Science, and Culture All Rights Reserved © 2006 Springer No part of this work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the Publisher, with the exception of any material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Printed in the Netherlands. TABLE OF CONTENTS Preface ix Acknowledgements xi Introduction xiii 1. Aim and Structure of the Book xiii 2. Implications of Culture Institutions Studies xvi Chapter 1: The Emergence of the Phonographic Industry 1 Within the Music Industry 1. The Phonograph as Business Machine 1 2. “Coin-in-the-Slot:”-Machine 6 3. Records and Gramophones 9 4. “Herr Doctor Brahms Plays the Piano” 15 Chapter 2: The Music Industry Boom until 1920 19 1.
    [Show full text]
  • Traktor Kontrol S2 Manual English
    Manual Disclaimer The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu- ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments. “Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru- ments GmbH. Mac, Mac OS, GarageBand, Logic, iTunes and iPod are registered trademarks of Apple Inc., registered in the U.S. and other countries. Windows, Windows Vista and DirectSound are registered trademarks of Microsoft Corporation in the United States and/or other countries. All other trade marks are the property of their respective owners and use of them does not im- ply any affiliation with or endorsement by them. Document authored by: Native Instruments GmbH Software version: 2.6.4 (09/2013) Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product. Contact Germany Native Instruments GmbH Schlesische Str. 29-30 D-10997 Berlin Germany www.native-instruments.de USA Native Instruments North America, Inc. 6725 Sunset Boulevard 5th Floor Los Angeles, CA 90028 USA www.native-instruments.com Japan Native Instruments KK YO Building 3F Jingumae 6-7-15, Shibuya-ku, Tokyo 150-0001 Japan www.native-instruments.co.jp © Native Instruments GmbH, 2013. All rights reserved.
    [Show full text]
  • The History of Rock Music - the Eighties
    The History of Rock Music - The Eighties The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) DJs, Rappers, Ravers (These are excerpts from my book "A History of Rock and Dance Music") One of the problems with the 1980s was that, by the end of the decade, a "rocker" was as obsolete a social and musical figure as a pop singer had been in 1956. During the 1980s three revolutions took hold of popular music: the emergence of disc-jockeys as a creative force (in particular in techno music), the advent of hip-hop (and therefore of the "rapper"), and the marriage of industrial music, heavy metal and hardcore (generically associated with the "cyber-punk" culture). Rap-music 1979-87 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The idea of rapping was imported into New York by the Jamaican immigrants, who were already familiar with "toasting" (a reggae artist talking in rhyme over the instrumental sections of a record). Some of them became disc-jockeys ("dj") that traveled around New York carrying their "sound system" to perform at block parties. In 1975 in the Bronx of New York, one of them, Clive "Hercules" Campbell, or "Kool Herc", started making music with two turntables out of breakbeats (the instrumental breaks of a song that focused on the rhythm section, the favorite part of the song for most dancers), while another young black man of the Bronx, Theodore "Grand Wizard" Livingstone was accidentally discovering the "skratching" sound of a turntable.
    [Show full text]
  • Chaz Bobby Seale in Da Club Willie Nelson
    MUSICARTPOLITICSCULTURE DJrap DREDG CHAZ IDIOT PILOT L.A.’S GRAFF-ART LEGEND AUTOLUX BOBBY SEALE DJ CRAZE PANTHER FOR LIFE USA $3.99 | CANADA $4.99 | ISSUE 4 THE REBIRTH MR. LIF IN DA CLUB SIERRA CLUB’S HEAD-HONCHO PLATINUM PIED PIPERS TELEPOPMUSIK WILLIE NELSON WWW.WAVMAG.COM JOHN KELLEY BIOWILLIE SAYS “FILL ‘ER UP!” WHAT HAVE YOU DONE?!? TABLE OF CONTENTS MUSICARTPOLITICSCULTURE well i’ll be...here we are now 4 issues deep 05 Q|U|I|C|K|B|I|T|E|S PUBLISHERS into this thing...and my what a wayz you all 40*(/3(:/)9662 have allowed us to come. if you remember 104:<336: 07 ;/,4<23(:/@)96: correctly, our first issue was just 18 very quick JOHN KELLEY EDITOR-IN-CHIEF months ago, glossy cover, newsprint innards. >(:044<23(:/@ now look at what you’ve gone and created! 08 DREDG ASSOCIATE EDITORS this baby is growing quite nicely into a well- 40*(/3(:/)9662 TPJHO'^H]THNJVT rounded adult. we knew we could count on 10 DJ CRAZE 104:<336: you beautiful lot to parent and nurture this QPT'^H]THNJVT thing correctly. i know we’ve still got a long 12 :0465,.9(@ PLATINUM PIED PIPERS ZPTVUP[H'^H]THNJVT ways to go, but it’s those minds, YOUR minds, ART DIRECTOR & WEB DESIGN that are going to help us shape the future 14 :/(+04<23(:/@ we want to live in, and we here at WAV AUTOLUX ZOHKP'^H]THNJVT feel blessed to have been surrounded by 9,:0+,5;(9;0:; 1(:654(:*6> such a progressive and conscious thinking 16 TIGA MARKETING crowd.
    [Show full text]
  • Lecture Outlines
    CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s Lecture Outlines Lecture 1: The Outlaws: Progressive Country Music I. The Outlaws: Progressive Country Music A. During the late 1960s and early 1970s, mainstream country music was dominated by 1. the slick Nashville sound, 2. hardcore country (Merle Haggard), and 3. blends of country and pop promoted on AM radio. B. A new generation of country artists was embracing music and attitudes that grew out of the 1960s counterculture; this movement was called progressive country. 1. Inspired by the honky-tonk and rockabilly mix of Bakersfield country music, singer-songwriters (Bob Dylan), and country rock musicians (Gram Parsons) 2. Progressive country performers wrote songs that were more intellectual and liberal in outlook than their contemporaries’ songs. 3. Artists were more concerned with testing the limits of the country music tradition than with scoring hits. CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s 4. The movement’s key artists included a) Willie Nelson, b) Kris Kristopherson, c) Tom T. Hall, and d) Townes Van Zandt. 5. These artists were not polished singers by conventional standards, but they wrote distinctive, individualist songs and had compelling voices. 6. They developed a cult following, and progressive country began to inch its way into mainstream (usually in the form of cover versions). a) “Harper Valley PTA” (1) Original by Tom T. Hall (2) Cover version by Jeannie C. Riley; Number One pop and country (1968) b) “Help Me Make It through the Night” (1) Original by Kris Kristofferson (2) Cover version by Sammi Smith (1971) C.
    [Show full text]
  • Phd Appendices
    Durham E-Theses Commentary on the Portfolio of Compositions submitted for the degree of PhD in Music Composition, University of Durham by Mariam Rezaei, 2016 REZAEI, MARIAM How to cite: REZAEI, MARIAM (2017) Commentary on the Portfolio of Compositions submitted for the degree of PhD in Music Composition, University of Durham by Mariam Rezaei, 2016, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11968/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Appendices to the Commentary on the Portfolio of Compositions submitted for the degree of PhD in Music Composition University of Durham by Mariam Rezaei Contents of Appendices Appendices Music Tracklist Page 3 Chapter 1 1. A Guide To Turntablism and Turntable Notation Page 4 Chapter 2 2. Skratch Exercises Page 20 2.1 Skratch Ex. 1 - Baby Skratch Combos Page 21 2.2 Skratch Ex 2 - Baby Skratch Combos 2 Page 22 2.3 Skratch Ex.
    [Show full text]