Elmore is a village in Ottawa and Sandusky counties in the U. S. state of Ohio. The population was 1,410 at the 2010 census; the Ottawa County portion of Elmore is part of the Toledo Metropolitan Statistical Area, while the Sandusky County portion is part of the Fremont Micropolitan Statistical Area. Elmore is located at 41°28′12″N 83°17′32″W. According to the United States Census Bureau, the village has a total area of 0.81 square miles, all land. As of the census of 2010, there were 1,410 people, 558 households, 389 families residing in the village; the population density was 1,740.7 inhabitants per square mile. There were 592 housing units at an average density of 730.9 per square mile. The racial makeup of the village was 96.4% White, 0.5% African American, 0.2% Native American, 0.1% Asian, 0.6% from other races, 2.1% from two or more races. Hispanic or Latino of any race were 5.7% of the population. There were 558 households of which 33.0% had children under the age of 18 living with them, 58.4% were married couples living together, 8.6% had a female householder with no husband present, 2.7% had a male householder with no wife present, 30.3% were non-families.
27.8% of all households were made up of individuals and 15.4% had someone living alone, 65 years of age or older. The average household size was 2.53 and the average family size was 3.08. The median age in the village was 38.6 years. 27.2% of residents were under the age of 18. The gender makeup of the village was 48.7% male and 51.3% female. As of the census of 2000, there were 1,426 people, 588 households, 406 families residing in the village; the population density was 1,716.6 people per square mile. There were 606 housing units at an average density of 729.5 per square mile. The racial makeup of the village was 97.48% White, 0.14% African American, 0.28% Native American, 1.47% from other races, 0.63% from two or more races. Hispanic or Latino of any race were 4.28% of the population. There were 588 households out of which 32.8% had children under the age of 18 living with them, 57.1% were married couples living together, 9.5% had a female householder with no husband present, 30.8% were non-families.
28.4% of all households were made up of individuals and 18.0% had someone living alone, 65 years of age or older. The average household size was 2.43 and the average family size was 2.98. In the village, the population was spread out with 26.3% under the age of 18, 7.3% from 18 to 24, 29.0% from 25 to 44, 20.8% from 45 to 64, 16.6% who were 65 years of age or older. The median age was 38 years. For every 100 females there were 88.9 males. For every 100 females age 18 and over, there were 84.7 males. The median income for a household in the village was $40,172, the median income for a family was $48,550. Males had a median income of $38,958 versus $24,688 for females; the per capita income for the village was $18,786. About 3.5% of families and 5.5% of the population were below the poverty line, including 7.4% of those under age 18 and 4.5% of those age 65 or over. Elmore is located in what used to be known as the Black Swamp, a sprawling area of marsh that covered the majority of northwest Ohio, was inhabited by Native Americans until the 19th century.
It is believed that the Portage River, which runs alongside the village, most derives its name from early explorers who were forced to portage or carry their canoes and boats around the river's intermittent shallows and rapids. German settlers during the first half of the 1800s began the long process of draining the land and clear cutting the dense forest exposing the nutrient rich soil, along with a once thriving railroad, provided the foundation for the village’s early growth and development. Elmore was surveyed and platted on 2/10/1851; the land surrounding Elmore is tabletop flat. Several sawmills in the vicinity provided the badly needed "planks" for the muddy "plank road", designated as U. S. Route 20, between Fremont and Perrysburg, Ohio; the Ohio Turnpike replaced US 20 as the main avenue across northern Ohio, but is still used. The building of the turnpike in the 1950s affected every town along US 20, illustrated by abandoned motels and restaurants along its course. Elmore was the site of the original manufacture of the Elmore automobile, one of the first companies bought up by W.
C. Durant to form General Motors; the nearby beryllium plant is a key player in nuclear power, nuclear weaponry, space program technology. Present-day Elmore is a small community with a business district that has struggled to achieve success in recent years; the New York Central railroad has been gone for many decades, the village has faced challenges related to a decreased transportation role after construction of the Ohio Turnpike, which bypassed the village. However, the increasing ease of modern travel and the construction of a Turnpike interchange in 1997 have created new opportunities for the village. Many locals commute to Toledo or other near-by cities and towns for work while the village promotes itself as a place for others to play. In recent years, the presence of several new stores has brought some success to the downtown area as a destination and village leaders have attempted to cultivate that image with various measures such as old-fashioned street posts and a refurbished train depot.
In recent years, the annual Portage River Festival, various other local events, a well known headless motorcycle-riding ghost are what tend to bring people into the area. In 2011, Elmore attracted national news coverage for its unique mayoral race featuring incumbent Lowell Krumnow
The lead vocalist in popular music is the member of a group or band whose voice is the most prominent in a performance where multiple voices may be heard. The lead singer either sets against the ensemble as the dominant sound. In vocal group performances, notably in soul and gospel music, early rock and roll, the lead singer takes the main vocal part, with a chorus provided by other band members as backing vocalists. In rock music, the lead singer or solo singer is the front man or front woman, who may play one or more instruments and is seen as the leader or spokesman of the band by the public; as an example in rock music, Freddie Mercury was the lead singer of Queen. In soul music, Smokey Robinson was the lead singer of The Miracles, it is uncertain when the term "lead vocals" was first used, but it may have emerged in the late 1930s, when rich vocal interplay with multiple voices where one or more voices may dominate began to impact on North American popular music, dominated by solo vocals.
The practice of using a lead singer in vocal groups, has a longer history: an early form is the "call and response" found in work songs and spirituals sung by African-American slaves. Songs of the late nineteenth century used a leading solo voice, followed by a choral response by other singers; as the style developed through early commercial recordings and performances in the early 20th century, the role of the lead vocalist became more established, although popular groups of the 1930s and 1940s such as the Ink Spots and the Mills Brothers used different lead singers on different songs rather than keeping the same lead singer throughout. By the 1950s, singers such as Sam Cooke and Clyde McPhatter took on more defined roles as lead singers, by the end of the decade credited group names changed to reflect the leading roles of the main vocalists, with examples such as Frankie Lymon & the Teenagers and Dion & the Belmonts. Academic David Horn has written:The influence of US rhythm and blues recordings may well be a crucial one in the assimilation of the format of lead singer plus backing group into the guitar-based British'beat' groups of the 1960s, in US groups such as The Beach Boys.
From these various points - including Motown - it went on to become a standard device in much rock and pop music. In some bands - most famously, The Beatles - the role of lead singer alternated, while in others - for example, Herman's Hermits - one lead singer dominated. There are as many styles of lead singer as there are styles and genres of music. However, the lead singer of a group or band is the main focus of audiences' attention; the lead vocalist of band is sometimes called the "front man" or "front woman," as the most visible performer in a group. While most bands have a singular lead singer, many others have dual lead singers, or other member of the band that sing lead on particular songs. While the lead singer defines the group's image and personality to the general public, this is not always the case. In modern rock music, the lead singer is but not always the band's leader and spokesperson. While lead singers or spokespersons for any musical ensembles can be called a front man, the term is used widely in rock music.
Since the position has an expanded role from simple lead vocalists, there have been cases in which the front man for a band is someone other than the lead vocalist. For example, while the lead vocalist for the band Fall Out Boy is guitarist Patrick Stump, the bassist and lyricist, Pete Wentz, is called the front man, both in the media and by the band members themselves, since he represents the band in most interviews and contributes most to the band's image in the popular media. Another example is Angus Young of AC/DC, the band's lead guitarist, co-leader with his brother Malcolm Young. In many bands, such as The Who, Led Zeppelin, Living Colour, The Stone Roses and Oasis, the lead guitarist may share spokesman responsibilities with the lead singer; this is derived from that guitarist's specific role as a co-songwriter, co-founder and/or co-vocalist. In some cases, there are two frontmen, such as Alice in Chains, with singer Layne Staley sharing vocal duties with guitarist Jerry Cantrell, or Underoath, with singers Spencer Chamberlain and Aaron Gillespie sharing vocal duties.
Another example is Blink-182, in which vocal duties are split between bassist Mark Hoppus and guitarist Tom DeLonge. Hoppus carries out most media either by himself or together with DeLonge, while the band's other member, drummer Travis Barker remains quiet. Linkin Park had two vocalists as well, Mike Shinoda and Chester Bennington, both considered as frontmen. Another example is the thrash metal band Metallica, in which James Hetfield and Lars Ulrich share the spokesperson duties for being both founders and the only members who have never left the band. List of lead vocalists
The bass guitar is a plucked string instrument similar in appearance and construction to an electric guitar, except with a longer neck and scale length, four to six strings or courses. The four-string bass is tuned the same as the double bass, which corresponds to pitches one octave lower than the four lowest-pitched strings of a guitar, it is played with the fingers or thumb, or striking with a pick. The electric bass guitar has pickups and must be connected to an amplifier and speaker to be loud enough to compete with other instruments. Since the 1960s, the bass guitar has replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary from one style of music to another, the bassist plays a similar role: anchoring the harmonic framework and establishing the beat. Many styles of music include the bass guitar, it is a soloing instrument. According to the New Grove Dictionary of Music and Musicians, an "Electric bass guitar a Guitar with four heavy strings tuned E1'-A1'-D2-G2."
It defines bass as "Bass. A contraction of Double bass or Electric bass guitar." According to some authors the proper term is "electric bass". Common names for the instrument are "bass guitar", "electric bass guitar", "electric bass" and some authors claim that they are accurate; the bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds. In the 1930s, musician and inventor Paul Tutmarc of Seattle, developed the first electric bass guitar in its modern form, a fretted instrument designed to be played horizontally; the 1935 sales catalog for Tutmarc's electronic musical instrument company, featured his "Model 736 Bass Fiddle", a four-stringed, solid-bodied, fretted electric bass guitar with a 30 1⁄2-inch scale length, a single pick up. The adoption of a guitar's body shape made the instrument easier to hold and transport than any of the existing stringed bass instruments; the addition of frets enabled bassists to play in tune more than on fretless acoustic or electric upright basses.
Around 100 of these instruments were made during this period. Audiovox sold their “Model 236” bass amplifier. Around 1947, Tutmarc's son, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948. However, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender and George Fullerton developed the first mass-produced electric bass guitar; the Fender Electric Instrument Manufacturing Company began producing the Precision Bass in October 1951. The "P-bass" evolved from a simple, un-contoured "slab" body design and a single coil pickup similar to that of a Telecaster, to something more like a Fender Stratocaster, with a contoured body design, edges beveled for comfort, a split single coil pickup; the "Fender Bass" was a revolutionary new instrument for gigging musicians. In comparison with the large, heavy upright bass, the main bass instrument in popular music from the early 1900s to the 1940s, the bass guitar could be transported to shows.
When amplified, the bass guitar was less prone than acoustic basses to unwanted audio feedback. In 1953 Monk Montgomery became the first bassist to tour with the Fender bass guitar, in Lionel Hampton's postwar big band. Montgomery was possibly the first to record with the bass guitar, on July 2, 1953 with The Art Farmer Septet. Roy Johnson, Shifty Henry, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from upright bass to the Fender Precision Bass around 1957; the bass guitar was intended to appeal to guitarists as well as upright bass players, many early pioneers of the instrument, such as Carol Kaye, Joe Osborn, Paul McCartney were guitarists. In 1953, following Fender's lead, Gibson released the first short-scale violin-shaped electric bass, with an extendable end pin so a bassist could play it upright or horizontally. Gibson renamed the bass the EB-1 in 1958. In 1958, Gibson released the maple arched-top EB-2 described in the Gibson catalogue as a "hollow-body electric bass that features a Bass/Baritone pushbutton for two different tonal characteristics".
In 1959 these were followed by the more conventional-looking EB-0 Bass. The EB-0 was similar to a Gibson SG in appearance. Whereas Fender basses had pickups mounted in positions in between the base of the neck and the top of the bridge, many of Gibson's early basses featured one humbucking pickup mounted directly against the neck pocket; the EB-3, introduced in 1961 had a "mini-humbucker" at the bridge position. Gibson basses tended to be smaller, sleeker instruments with a shorter scale length than the Precision. A number of other companies began manufacturing bass guitars during the 1950s: Kay in 1952, Hofner and Danelectro in 1956, Rickenbacker in 1957 and Burns/Supersound in 1958. 1956 saw the appearance at the German trade fair "Musikmesse Frankfurt" of the distinctive Höfner 500/1 violin-shaped bass made using violin construction techniques by Walter Höfner, a second-generation violin luthier. The design was known popularly as the "Beat
Screamo is an aggressive subgenre of emo that emerged in the early 1990s, emphasizing "willfully experimental dissonance and dynamics." It was pioneered by San Diego bands Heroin and Antioch Arrow and developed in the late 1990s by bands from the East Coast of the United States such as Orchid, Pg. 99. Screamo is influenced by hardcore punk and characterized by the use of screamed vocals. Lyrical themes include emotional pain, death and human rights. "Screamo" has been mistakenly used as an umbrella term for any music that features screamed vocals. While the genre was developing in the early 1990s, it was not called "screamo." Chris Taylor, lead vocalist for the band Pg. 99, said "we never liked that whole screamo thing. During our existence, we tried to venture away from the fashion and tell people,'Hey, this is punk.'" Jonathan Dee of The New York Times wrote that the term "tends to bring a scornful laugh from the bands themselves." Lars Gotrich of NPR Music made the following comment on the matter in 2011: In the 2000s the term "screamo" began being used loosely to describe any use of human vocal instrument growled-word vocals in music.
It has been applied to a wide variety of genres unrelated to the original screamo scene. Juan Gabe, vocalist for the band Comadre, alleged that the term "has been kind of tainted in a way in the States." Derek Miller, guitarist for the band Poison the Well noted the term's constant differing usages and jokingly stated that it "describes a thousand different genres." According to Jeff Mitchell of Iowa State Daily, "there is no set definition of what screamo sounds like but screaming over once deafeningly loud rocking noise and quiet, melodic guitar lines is a theme affiliated with the genre." Bert McCracken, lead singer of The Used, stated that screamo is a term "for record companies to sell records and for record stores to categorize them." Screamo arose as a distinct music genre in 1991, in San Diego, at the Ché Café, including bands such as Heroin and Antioch Arrow. Gravity Records and Ebullition Records released this more expressive descendant of emo; the scene is noted for its distinctive fashion sense, inspired by mod culture.
As with emo, the term screamo carries some controversy among participants. Many groups from the East Coast were influential in the continual development and reinvention of the style, including Orchid, Pg. 99, City of Caterpillar, Jeromes Dream, Circle Takes the Square, Hot Cross, Ampere. By 1995, the term "screamo" drifted into the music press in the journalism of Jim DeRogatis and Andy Greenwald, by the mid-2000s, the term was being applied to many newer bands. Screamo bands such as The Used, Finch, Thursday and Silverstein developed a newer period of screamo in the 21st century. Thursday cited the post-punk band Joy Division, the post-hardcore band Fugazi as important influences, but took cues from the alternative rock styles of Radiohead, U2, The Cure. Many of these bands took influence from bands At the Drive-In. In contrast to the do-it-yourself screamo bands of the 1990s, screamo bands such as Thursday and The Used have signed multi-album contracts with labels such as Island Def Jam and Reprise Records.
However, this style's connection to the genre has been disputed, with some referring to it as "MTV screamo" or "pop-screamo", many bands more being categorized as post-hardcore or metalcore. Alternative Press describes pop screamo as "metal-influenced riffs and aggressive, high-end screams filled song’s verses, while soaring melodies carried choruses to new unattained heights."The term "post-screamo" has been used loosely to describe a wide variety of music in the 2000s and, influenced by traditional screamo. In a review of City of Caterpillar's influence on the genre, reporter Jason Heller of Vice writes "Call it post-screamo, if you must. Okay, maybe don’t do that. But.... The early 00s weren't the end of an anything so corny, it was just a transition."In the mid-2000s the style of early screamo regained vitality, with American bands like Comadre, Off Minor, Hot Cross releasing records on independent labels. The contemporary screamo scene has remained active in Europe, with bands such as Amanda Woodward, Louise Cyphre, Le Pré Où Je Suis Mort, La Quiete, Daïtro, Raein all being prime examples of their scene.
Fluff Fest, held in Czechia since 2000, was in 2017 described by Bandcamp Daily as a "summer ritual" for many fans of screamo in Europe. In the early 2010s the term "screamo" began to be reclaimed by a new crop of do-it-yourself bands, with many screamo acts, like Loma Prieta, Pianos Become the Teeth, La Dispute, Touché Amoré releasing records on large independent labels such as Deathwish Inc. In 2011 Alternative Press noted that La Dispute is "at the forefront of a traditional-screamo revival" for their critically acclaimed release Wildlife, they are a part of a group of stylistically similar screamo-revival bands self-defined as "The Wave," made up of Touché Amoré, La Dispute, Pianos Become the Teeth, Make Do and Mend. As well as, California's Deafheaven, who formed in 2010, having been described as screamo, in a style similar to that of Envy. Alternative Press has cited a "pop screamo revival" along with this, with bands like Before Their Eyes, The Ongoing Concept, Too Close to Touch and I Am Terrified.
In August 2018, Noisey writer Dan Ozzi declared that it was the "Summer of Screamo" in a month-long series documenting screamo acts pushing the genre forward following the decline in popularity of "The Wave," as well as the reunions of seminal bands such as P
In the music industry, a single is a type of release a song recording of fewer tracks than an LP record or an album. This can be released for sale to the public in a variety of different formats. In most cases, a single is a song, released separately from an album, although it also appears on an album; these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular. In other cases a recording released. Despite being referred to as a single, singles can include up to as many as three tracks; the biggest digital music distributor, iTunes Store, accepts as many as three tracks less than ten minutes each as a single, as does popular music player Spotify. Any more than three tracks on a musical release or thirty minutes in total running time is either an extended play or, if over six tracks long, an album; when mainstream music was purchased via vinyl records, singles would be released double-sided.
That is to say, they were released with an A-side and B-side, on which two singles would be released, one on each side. Moreover, only the most popular songs from a released album would be released as a single. In more contemporary forms of music consumption, artists release most, if not all, of the tracks on an album as singles; the basic specifications of the music single were set in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercially produced musical recordings. Gramophone discs were manufactured in several sizes. By about 1910, the 10-inch, 78 rpm shellac disc had become the most used format; the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The crude disc-cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, a high rotation speed was necessary to achieve acceptable recording and playback fidelity.
78 rpm was chosen as the standard because of the introduction of the electrically powered, synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm. With these factors applied to the 10-inch format and performers tailored their output to fit the new medium; the 3-minute single remained the standard into the 1960s, when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recorded songs. The breakthrough came with Bob Dylan's "Like a Rolling Stone". Although CBS tried to make the record more "radio friendly" by cutting the performance into halves, separating them between the two sides of the vinyl disc, both Dylan and his fans demanded that the full six-minute take be placed on one side, that radio stations play the song in its entirety; as digital downloading and audio streaming have become more prevalent, it has become possible for every track on an album to be available separately.
The concept of a single for an album has been retained as an identification of a more promoted or more popular song within an album collection. The demand for music downloads skyrocketed after the launch of Apple's iTunes Store in January 2001 and the creation of portable music and digital audio players such as the iPod. In September 1997, with the release of Duran Duran's "Electric Barbarella" for paid downloads, Capitol Records became the first major label to sell a digital single from a well-known artist. Geffen Records released Aerosmith's "Head First" digitally for free. In 2004, Recording Industry Association of America introduced digital single certification due to significant sales of digital formats, with Gwen Stefani's "Hollaback Girl" becoming RIAA's first platinum digital single. In 2013, RIAA incorporated on-demand streams into the digital single certification. Single sales in the United Kingdom reached an all-time low in January 2005, as the popularity of the compact disc was overtaken by the then-unofficial medium of the music download.
Recognizing this, On 17 April 2005, Official UK Singles Chart added the download format to the existing format of physical CD singles. Gnarls Barkley was the first act to reach No.1 on this chart through downloads alone in April 2006, for their debut single "Crazy", released physically the following week. On 1 January 2007 digital downloads became eligible from the point of release, without the need for an accompanying physical. Sales improved in the following years, reaching a record high in 2008 that still proceeded to be overtaken in 2009, 2010 and 2011. Singles have been issued in various formats, including 7-inch, 10-inch, 12-inch vinyl discs. Other, less common, formats include singles on Digital Compact Cassette, DVD, LD, as well as many non-standard sizes of vinyl disc; the most common form of the vinyl single is the 45 or 7-inch. The names are derived from its play speed, 45 rpm, the standard diameter, 7 inches; the 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs.
The first 45
Audio mixing (recorded music)
In sound recording and reproduction, audio mixing is the process of combining multitrack recordings into a final mono, stereo or surround sound product. In the process of combining the separate tracks, their relative levels are adjusted and balanced and various processes such as equalization and compression are applied to individual tracks, groups of tracks, the overall mix. In stereo and surround sound mixing, the placement of the tracks within the stereo field are adjusted and balanced. Audio mixing techniques and approaches vary and have a significant influence on the final product. Audio mixing techniques depend on music genres and the quality of sound recordings involved; the process is carried out by a mixing engineer, though sometimes the record producer or recording artist may assist. After mixing, a mastering engineer prepares the final product for production. Audio mixing may be performed on digital audio workstation. In the late 19th century, Thomas Edison and Emile Berliner developed the first recording machines.
The recording and reproduction process itself was mechanical with little or no electrical parts. Edison's phonograph cylinder system utilized a small horn terminated in a stretched, flexible diaphragm attached to a stylus which cut a groove of varying depth into the malleable tin foil of the cylinder. Emile Berliner's gramophone system recorded music by inscribing spiraling lateral cuts onto a vinyl disc. Electronic recording became more used during the 1920s, it was based on the principles of electromagnetic transduction. The possibility for a microphone to be connected remotely to a recording machine meant that microphones could be positioned in more suitable places; the process was improved when outputs of the microphones could be mixed before being fed to the disc cutter, allowing greater flexibility in the balance. Before the introduction of multitrack recording, all sounds and effects that were to be part of a record were mixed at one time during a live performance. If the recorded mix wasn't satisfactory, or if one musician made a mistake, the selection had to be performed over until the desired balance and performance was obtained.
With the introduction of multi-track recording, the production of a modern recording changed into one that involves three stages: recording and mixing. Modern mixing emerged with the introduction of commercial multi-track tape machines, most notably when 8-track recorders were introduced during the 1960s; the ability to record sounds into separate channels meant that combining and treating these sounds could be postponed to the mixing stage. In the 1980s, home recording and mixing became more efficient; the 4-track Portastudio was introduced in 1979. Bruce Springsteen released the album Nebraska in 1982 using one; the Eurythmics topped the charts in 1983 with the song "Sweet Dreams", recorded by band member Dave Stewart on a makeshift 8-track recorder. In the mid-to-late 1990s, computers replaced tape-based recording for most home studios, with the Power Macintosh proving popular. At the same time, digital audio workstations, first used in the mid-1980s, began to replace tape in many professional recording studios.
A mixer is the operational heart of the mixing process. Mixers offer a multitude of inputs, each fed by a track from a multitrack recorder. Mixers have 2 main outputs or 8. Mixers offer three main functionalities. Summing signals together, done by a dedicated summing amplifier or, in the case of a digital mixer, by a simple algorithm. Routing of source signals to external processing units and effects. On-board processors with equalizers and compressors. Mixing consoles can be intimidating due to the exceptional number of controls. However, because many of these controls are duplicated, much of the console can be learned by studying one small part of it; the controls on a mixing console will fall into one of two categories: processing and configuration. Processing controls are used to manipulate the sound; these can vary in complexity, from simple level controls, to sophisticated outboard reverberation units. Configuration controls deal with the signal routing from the input to the output of the console through the various processes.
Digital audio workstations can perform many mixing features in addition to other processing. An audio control surface gives a DAW the same user interface as a mixing console; the distinction between a large console and a DAW equipped with a control surface is that a digital console will consist of dedicated digital signal processors for each channel. DAWs can dynamically assign resources like digital audio signal processing power, but may run out if too many signal processes are in simultaneous use; this overload can be solved by increasing the capacity of the DAW. Outboard gear and software plugins can be inserted into the signal path to extend processing possibilities. Outboard gear and plugins fall into two main categories: Processors – these devices are connected in series to the signal path, so the input signal is replaced with the processed signal. Examples include dynamic processing. However, some processors are used in parallel, as is the case in techniques such as parallel compression/limiting and sidechain equalization.
Effects – these can be considered as any unit that has an effect upon the signal, the term is used to describe units that are connected in parallel to the sig
The Heartless Control Everything
The Heartless Control Everything is the third EP from the American post-hardcore band The Chiodos Bros known as Chiodos. It was released January 2003 on the label Search and Rescue Records. Craig Owens, Matt Goddard and some of the band members are big fans of Square-Enix's popular selling PS2 video game Kingdom Hearts, the title is a nod towards it since the villains in the game are called Heartless. "Compromise of 1984" – 4:29 "Rainclouds for Eyeballs" – 3:04 "Ravishing Matt Ruth" – 2:43 "Vacation to Hell" – 2:58 "The Lover and the Liar" – 5:02 "Hathaway Lane" – 2:15 "Bulls Have Horns" – 4:44 Craig Owens: Vocals Bradley Bell: Keyboard and Backing Vocals Chip Kelly: Guitar Pat McManaman: Guitar Matt Goddard: Bass Crosby Clark: Drums At the beginning of "The Lover and the Liar" there are fast-spoken, backwards lyrics that when reversed again are revealed to be "How does it feel to know that you've taken someone's smile?". Spoken by lead singer Craig Owens. Official artist website Official record label website