1.
Deejay (Jamaican)
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Deejay is a term in Jamaican music for a reggae or dancehall musician who sings and toasts to an instrumental riddim. Deejays are not to be confused with DJs from other genres like hip-hop. Dancehall/reggae DJs who select riddims to play are called selectors, deejays whose style is nearer to singing are sometimes called singjays. The term deejay came about as a result of the act of some selectors of the 1960s and 1970s such as U-Roy or King Stitt toasting to the side of popular records of the time. The version came about when the company produced the 45 record with an instrumental version of the song on the flip side. This gave the deejays the chance to make up on-the-fly lyrics to the instrumental music and this occurrence gave rise to deejay toasting and the term has been used in that context ever since. Toasting, chatting, or deejaying is the act of talking or chanting, usually in a monotone melody, traditionally, the method of toasting originated from the griots of Caribbean calypso and mento traditions. The lyrics can either be improvised or pre-written, toasting is also often used in soca and bouyon music. The African American oral tradition of toasting, a mix of talking and chanting, the combination of singing and toasting is known as singjaying. In the late 1950s deejay toasting was developed by Count Machuki and he conceived the idea from listening to disc jockeys on American radio stations. He would do African American jive over the music while selecting and playing R&B music, deejays like Count Machuki working for producers would play the latest hits on traveling sound systems at parties and add their toasts or vocals to the music. These toasts consisted of comedy, boastful commentaries, half-sung rhymes, rhythmic chants, squeals, screams, late 1960s toasting deejays included U-Roy and Dennis Alcapone, the latter known for mixing gangster talk with humor in his toasting. In the early 1970s, toasting deejays included I-Roy and Dillinger, in the early 1970s Big Youth became very popular and had three very successful albums, Screeming Taget, Dreadlocks Dread and Natty Cultural Dread. In the late 1970s, Trinity became a popular toasting deejay, the 1980s saw the first deejay toasting duo, Michigan & Smiley, and the development of toasting outside of Jamaica. The rhythmic rhyming of vocals of African American toasting influenced the development of toasting in Jamaica, Jamaican deejay toasting also influenced various types of dance music, such as jungle music and UK garage. Dancehall artists that have achieved pop hits with toasting-influenced vocals include Shabba Ranks, Shaggy, Lady Saw, Sean Paul, Terror Fabulous and Damian Marley
2.
Phonograph
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The phonograph is a device invented in 1877 for the mechanical recording and reproduction of sound. In its later forms it is called a gramophone. To recreate the sound, the surface is rotated while a playback stylus traces the groove and is therefore vibrated by it. In later electric phonographs, the motions of the stylus are converted into an electrical signal by a transducer. The phonograph was invented in 1877 by Thomas Edison, while other inventors had produced devices that could record sounds, Edisons phonograph was the first to be able to reproduce the recorded sound. His phonograph originally recorded sound onto a sheet wrapped around a rotating cylinder. A stylus responding to sound vibrations produced an up and down or hill-and-dale groove in the foil, in the 1890s, Emile Berliner initiated the transition from phonograph cylinders to flat discs with a spiral groove running from the periphery to near the center. Later improvements through the years included modifications to the turntable and its system, the stylus or needle. The disc phonograph record was the dominant audio recording format throughout most of the 20th century, from the mid-1980s on, phonograph use on a standard record player declined sharply because of the rise of the cassette tape, compact disc and other digital recording formats. Records are still a favorite format for some audiophiles and DJs, vinyl records are still used by some DJs and musicians in their concert performances. Musicians continue to release their recordings on vinyl records, the original recordings of musicians are sometimes re-issued on vinyl. Usage of terminology is not uniform across the English-speaking world, in more modern usage, the playback device is often called a turntable, record player, or record changer. When used in conjunction with a mixer as part of a DJ setup, the term phonograph was derived from the Greek words φωνή and γραφή. The similar related terms gramophone and graphophone have similar root meanings, the roots were already familiar from existing 19th-century words such as photograph, telegraph, and telephone. In British English, gramophone may refer to any sound-reproducing machine using disc records, the term phonograph was usually restricted to machines that used cylinder records. Gramophone generally referred to a wind-up machine, after the introduction of the softer vinyl records, 33 1⁄3-rpm LPs and 45-rpm single or two-song records, and EPs, the common name became record player or turntable. Often the home record player was part of a system that included a radio and, later, from about 1960, such a system began to be described as a hi-fi or a stereo. In American English, phonograph, properly specific to machines made by Edison, was used in a generic sense as early as the 1890s to include cylinder-playing machines made by others
3.
DJ mixer
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A DJ mixer is a type of audio mixing console used by DJs to make smooth transitions between different sound recordings as they are playing. The sources are typically record turntables, compact cassettes, CDJs, DJ mixers allow the DJ to use headphones to preview the next song before playing it to the audience. Most low- to mid-priced DJ mixers can accommodate two turntables or CD players, but some mixers can accommodate up to four turntables or CD players. A crossfader has the engineering design as a fader, in that it is a sliding control, but unlike faders. DJ mixers typically have phono preamplifiers to hook up turntables, DJ mixers are also used to create DJ mixes, which are recorded and sold. DJ mixers usually have controls for bass and treble of each channel. Some 2010-era DJ mixers have onboard electronic or digital effects such as echo or reverb. Some DJ mixers also feature a built-in USB sound card to connect to a computer running DJ software without requiring a separate sound card. DJ mixers typically have an input, so that a microphone can be plugged into the mixer. Some DJ mixers have a kill switch, the output from a DJ mixer is typically plugged into a sound reinforcement system or a PA system at a dance, rave, nightclub or similar venue or event. If the DJ is performing a mix for a station or television station. At club sets, some DJs may use a monitor speaker to hear the main mix. This monitor speaker can have its volume increased or decreased as needed, DJ mixers have a plug that is connected to the wall to supply electric power for the unit. DJ mixing played a key role in the development of hip hop music, in hip hop music and occasionally in other genres, the turntable is used as a musical instrument by DJs, who use turntables along with a DJ mixer to create unique rhythmic sounds. Manipulation of a record as part of the music, rather than for normal playback or mixing, is called turntablism, the basis of turntablism, and its best known technique, is scratching, pioneered by Grand Wizzard Theodore. It was not until Herbie Hancocks Rockit in 1983 that the movement was recognized in popular music outside of a hip hop context. In the 2010s, many hip hop DJs use DJ CD players or digital record emulator devices to create scratching sounds, nevertheless, DJ mixing also played a key role in disco music in the 1970s. In disco clubs, DJs would use mixers to transition from one song to another, one of the pioneers of DJ mixing equipment design was Rudy Bozak
4.
Audio console
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In the 2010s, a mixer is able to control analog or digital signals, depending on the type of mixer. The modified signals are summed to produce the output signals. A typical, simple application combines signals from two microphones into an amplifier that drives one set of speakers simultaneously, a DJ mixer may have only two channels, for mixing two record players. A coffeehouses tiny stage might only have a six channel mixer, a nightclub stages mixer for rock music shows may have 24 channels for mixing the signals from a rhythm section, lead guitar and several vocalists. A mixing console for a large concert may have 48 channels, a mixing console in a professional recording studio may have as many as 96 channels. In practice, mixers do more than simply mix signals, some mixers have onboard electronic effects, such as reverb. Some mixers intended for small venue live performance applications may include a power amplifier. A mixing console is also known as a mixer, audio console, mixing desk, sound mixer, sound board. A typical analog mixing board has three sections, Channel inputs Master controls Audio level metering The channel input strips are usually a bank of identical monaural or stereo input channels. Each channel has rotary knobs, buttons and/or faders for controlling the gain, the master control section is used to adjust the levels of the overall output of the mixer. The master control section has sub-group faders, master faders, master auxiliary mixing bus level controls, in addition it may have solo monitoring controls, a stage talk-back microphone control, muting controls and an output matrix mixer. On smaller mixers the inputs are on the left of the mixing board, in larger mixers, the master controls are in the center with input faders and channel strips on both sides. The audio level meters may be above the input and master sections or they may be integrated into the input, the audio level meters indicate when the signals are clipping. Each signal that is plugged into the mixer has its own channel, depending on the specific mixer, each channel is stereo or monaural. On most mixers, each channel has an XLR input, the smallest, least expensive mixers may only have one XLR input with the other inputs being line inputs. These can be used by a singer-guitarist or other small acts, below each input, there are usually several rotary controls. The first knob is typically a trim or gain control, the inputs buffer the signal from the external device and this controls the amount of amplification or attenuation needed to bring the signal to a nominal level for processing. This stage is where most noise of interference is picked up, balanced inputs and connectors, such as XLR or phone connectors, reduce interference problems
5.
Music
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Music is an art form and cultural activity whose medium is sound organized in time. The common elements of music are pitch, rhythm, dynamics, different styles or types of music may emphasize, de-emphasize or omit some of these elements. The word derives from Greek μουσική, Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as the harmony of the spheres and it is music to my ears point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, There is no noise, the creation, performance, significance, and even the definition of music vary according to culture and social context. There are many types of music, including music, traditional music, art music, music written for religious ceremonies. For example, it can be hard to draw the line between some early 1980s hard rock and heavy metal, within the arts, music may be classified as a performing art, a fine art or as an auditory art. People may make music as a hobby, like a teen playing cello in a youth orchestra, the word derives from Greek μουσική. According to the Online Etymological Dictionary, the music is derived from mid-13c. Musike, from Old French musique and directly from Latin musica the art of music and this is derived from the. Greek mousike of the Muses, from fem. of mousikos pertaining to the Muses, from Mousa Muse. In classical Greece, any art in which the Muses presided, Music is composed and performed for many purposes, ranging from aesthetic pleasure, religious or ceremonial purposes, or as an entertainment product for the marketplace. With the advent of recording, records of popular songs. Some music lovers create mix tapes of their songs, which serve as a self-portrait. An environment consisting solely of what is most ardently loved, amateur musicians can compose or perform music for their own pleasure, and derive their income elsewhere. Professional musicians sometimes work as freelancers or session musicians, seeking contracts and engagements in a variety of settings, There are often many links between amateur and professional musicians. Beginning amateur musicians take lessons with professional musicians, in community settings, advanced amateur musicians perform with professional musicians in a variety of ensembles such as community concert bands and community orchestras. However, there are many cases where a live performance in front of an audience is also recorded and distributed. Live concert recordings are popular in classical music and in popular music forms such as rock, where illegally taped live concerts are prized by music lovers
6.
Radio personality
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A radio personality or radio presenter, commonly referred to as a Disc Jockey or DJ for short, is a person who has an on-air position in radio broadcasting. A radio personality that hosts a show is also known as a radio host. Radio personalities who introduce and play selections of recorded music are known as disc jockeys. The term has evolved to describe a person who mixes a continuous flow of recorded music in real time. Broadcast radio personalities may include talk radio hosts, AM/FM radio show hosts, the radio personality may broadcast live or use voice-tracking techniques. Increasingly in the 2010s, radio personalities are expected to supplement their on-air work by posting information online and this may be either to generate additional revenue or connect with listeners. In the past, the disc jockey was exclusively used to describe on-air radio personalities who played recorded music. FM/AM radio – AM/FM personalities play music, talk, or both, some examples are Elvis Duran, Big Boy, Kidd Kraddick, John Boy and Billy, The Bob and Tom Show, and Rickey Smiley. Talk radio – Talk radio personalities often discuss social and political issues from a political point of view. Some examples are Rush Limbaugh, Art Bell, George Noory, Brian Kilmeade, Brian Lehrer, Don Geronimo, Sports talk radio – Sports talk radio personalities are often former athletes, sports writers, or television anchors and discuss sports news. Some examples are Dan Patrick, Tony Kornheiser, Colin Cowherd, Satellite radio – Satellite radio personalities are not subject to government broadcast regulations and are allowed to play explicit music. Howard Stern, Opie and Anthony, Dr. Laura, radio personality salaries are influenced by years of experience and education. In 2013, the salary of a radio personality in the US was $28,400. 1–4 years, $15, 200–39,400, 5–9 years, $20, 600–41,700, 10–19 years, $23, 200–51,200,20 or more years, $26, a radio personality with a bachelors degree had a salary range of $19, 600–60,400. The salary of a radio personality will differ from a national radio personality. National personality pay can be in the millions because of the audience size. For example, Rush Limbaugh was reportedly paid $40 million annually as part of the eight-year $400 million contract he signed with Clear Channel Communications, due to radio personalities vocal training, opportunities to expand their careers often exist. Over time a radio personality could be paid to do voice-overs for commercials, television shows, universities offer classes in radio broadcasting and often have a college radio station, where students can obtain on-the-job training and course credit
7.
Nightclub
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A nightclub is an entertainment venue and bar which serves alcoholic beverages that usually operates late into the night. Another distinction is that whereas many pubs and sports bars aim at a market, nightclubs typically aim at a niche market of music and dancing enthusiasts. The upmarket nature of nightclubs can be seen in the inclusion of VIP areas in some nightclubs, for celebrities, nightclubs are much more likely than pubs or sports bars to use bouncers to screen prospective clubgoers for entry. Some nightclub bouncers do not admit people with ripped jeans or other clothing or gang apparel as part of a dress code. The busiest nights for a nightclub are Friday and Saturday night, most clubs or club nights cater to certain music genres, such as house music or gothic rock. A nightclub may also be called a discothèque, disco, or dance club, from about 1900 to 1920, working class Americans would gather at honky tonks or juke joints to dance to music played on a piano or a jukebox. Webster Hall is credited as the first modern nightclub, being built in 1886 and starting off as a hall, originally functioning as a home for dance. During Prohibition in the United States, nightclubs went underground as illegal speakeasy bars, with Webster Hall staying open, with rumors circulating of Al Capones involvement and police bribery. With the repeal of Prohibition in February 1933, nightclubs were revived, such as New Yorks 21 Club, Copacabana, El Morocco, in Germany, possibly the first discothèque was Scotch-Club. These discothèques were also patronized by anti-Vichy youth called zazous, there were also underground discothèques in Nazi Germany patronized by anti-Nazi youth called the swing kids. In Harlem, Connies Inn and the Cotton Club were popular venues for white audiences, before 1953 and even some years thereafter, most bars and nightclubs used a jukebox or mostly live bands. The Whisky à Gogo set into place the elements of the modern post World War II discothèque-style nightclub. At the end of the 1950s, several of the bars in Soho introduced afternoon dancing. In the early 1960s, Mark Birley opened a members-only discothèque nightclub, Annabels, in Berkeley Square, in 1962, the Peppermint Lounge in New York City became popular and is the place where go-go dancing originated. However, the first rock and roll generation preferred rough and tumble bars and taverns to nightclubs, disco has its roots in the underground club scene. It brought together people from all walks of life and backgrounds and these clubs acted as safe havens for homosexual partygoers to dance in peace and away from public scrutiny. Disco allowed patrons to explore sexuality and push the envelope on the dance floor, disco clubs acted as an escape from such depressing environments and acted as the fantasy marginalized peoples could escape to forget oppression and racism. Disco clubs originally functioned as liberated party spaces and were seen as places of political statement, a smooth mix of long single records to keep people dancing all night long
8.
Music festival
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A music festival is a festival oriented towards music that is sometimes presented with a theme such as musical genre, nationality, or locality of musicians, or holiday. They are commonly held outdoors, and are inclusive of other attractions such as food and merchandise vending, performance art. Many festivals are annual, or repeat at some other interval, some, including many rock festivals, are held only once. Some festivals are organized as for-profit concerts and others are benefits for a specific cause, another type of music festival is the educative type, organized annually in local communities, regionally, or nationally, for the benefit of amateur musicians of all ages and grades of achievement. The Pythian Games at Delphi included musical performances, and may be one of the earliest festivals known, during the Middle Ages, festivals were often held as competitions. Entrants perform prepared pieces in front of an audience which includes competitors and they also usually receive a certificate, classified according to merit, and some may win trophies. The competitive element is played down, however, as the important aspect is that participants can learn from one another. Such festivals aim to provide a friendly and supportive platform for musicians to share in the excitement of making music, for many, they provide a bridge from lessons and examinations to performing confidently in public. Milwaukee, Wisconsins 11-day event, Summerfest, promotes itself as The Worlds Largest Music Festival, operating annually since 1968, the festival attracts between 800,000 and 1,000,000 people each year, and hosts over 800 musical acts. The Woodstock Festival in 1969 drew nearly 500,000 attendees, the largest annual greenfield music festival in the world is Roskilde Festival in Denmark, which attracts about 135,000 spectators each year. Glastonbury Festival has a capacity of about 175,000 spectators, for a more complete listing of active and defunct festivals by region, see Category, Music festivals by country. Some sections may also have links to related lists of music festivals by country, L. my.1 Festival, Biddinghuizen Dekmantel, Amsterdam Festival Mundial, Tilburg Incubate, Tilburg Le Guess Who. Born 1985 Salas Principales Auditorio Alfredo Kraus, Las Palmas y Auditorio Adán Martin, Tenerife. com – The most extensive music festival listings
9.
Turntablism
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The mixer is plugged into a PA system for live events and/or broadcasting equipment (if the DJ is performing on radio, TV or Internet radio, so that a wider audience can hear the turntablists music. Turntablists typically use two or more turntables and headphones to cue up desired start points on different records, the word turntablist was originated by Luis DJ Disk Quintanilla. The new term coincided with the resurgence of hip-hop DJing in the 1990s, some turntablists use turntable techniques like beat mixing/matching, scratching, and beat juggling. Some turntablists seek to have recognized as traditional musicians capable of interacting and improvising with other performers. The use of the turntable as an instrument has its roots dating back to the 1930s, 1940s. Experimental composers used them to sample and create music that was produced by the turntable. Cages Imaginary Landscape No.1 is composed for two variable speed turntables, frequency recordings, muted piano and cymbal, edgard Varèse experimented with turntables even earlier in 1930, though he never formally produced any works using them. Examples of turntable effects can also be found on popular records produced in the 1960s and 1970s, creedence Clearwater Revivals 1968 self-titled debut album features a backspin effect in the song Walk on the Water. However, turntablism as it is known today did not surface until the development of hip hop in the late 1970s, Turntablism as a modern art form and musical practice has its roots within African-American inner city hip hop and hip hop culture of the late 1970s. Kool DJ Herc, Afrika Bambaataa and Grandmaster Flash are widely credited for having cemented the now established role of DJ as hip hops foremost instrumentalist. Kool Hercs invention of break-beat DJing is generally regarded as the development in hip hop history. His influence on the concept of DJ as turntablist is equally profound, to understand the significance of this achievement, it is important to first define the break. Briefly, the break of a song is a musical fragment only seconds in length, Kool Herc introduced the break-beat technique as a way of extending the break indefinitely. This is done by buying two of the record, finding the break on each record, and switching from one to the other using the DJ mixer. Using that idea, Grandmaster Flash elaborated on Kool Hercs invention of break-beat DJing and came up with the quick-mix theory and he described it as being. like cutting, the backspin, and the double-back. Kool Hercs revolutionary techniques set the course for the development of turntablism as an art form in significant ways, most important, however, he developed a new form of DJing that did not consist of just playing and mixing records one after the other. The type of DJ that specializes in mixing a set is well respected for his/her own set of unique skills, the DJ would be examined critically by the crowd on both a technical and entertainment level. Grand Wizzard Theodore, an apprentice of Flash, who isolated the most recognizable technique of turntablism, [ Eshun
10.
Phonograph record
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The groove usually starts near the periphery and ends near the center of the disc. The phonograph disc record was the medium used for music reproduction until late in the 20th century. It had co-existed with the cylinder from the late 1880s. Records retained the largest market share even when new formats such as compact cassette were mass-marketed, by the late 1980s, digital media, in the form of the compact disc, had gained a larger market share, and the vinyl record left the mainstream in 1991. The phonograph record has made a resurgence in the early 21st century –9.2 million records were sold in the U. S. in 2014. Likewise, in the UK sales have increased five-fold from 2009 to 2014, as of 2017,48 record pressing facilities remain worldwide,18 in the United States and 30 in other countries. The increased popularity of vinyl has led to the investment in new, only two producers of lacquers remains, Apollo Masters in California, USA, and MDC in Japan. Vinyl records may be scratched or warped if stored incorrectly but if they are not exposed to heat or broken. The large cover are valued by collectors and artists for the space given for visual expression, in the 2000s, these tracings were first scanned by audio engineers and digitally converted into audible sound. Phonautograms of singing and speech made by Scott in 1860 were played back as sound for the first time in 2008, along with a tuning fork tone and unintelligible snippets recorded as early as 1857, these are the earliest known recordings of sound. In 1877, Thomas Edison invented the phonograph, unlike the phonautograph, it was capable of both recording and reproducing sound. Despite the similarity of name, there is no evidence that Edisons phonograph was based on Scotts phonautograph. Edison first tried recording sound on a paper tape, with the idea of creating a telephone repeater analogous to the telegraph repeater he had been working on. The tinfoil was wrapped around a metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately, Edison also invented variations of the phonograph that used tape and disc formats. A decade later, Edison developed a greatly improved phonograph that used a wax cylinder instead of a foil sheet. This proved to be both a better-sounding and far more useful and durable device, the wax phonograph cylinder created the recorded sound market at the end of the 1880s and dominated it through the early years of the 20th century. Berliners earliest discs, first marketed in 1889, but only in Europe, were 12.5 cm in diameter, both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality
11.
Compact Cassette
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The Compact Cassette or Musicassette, also commonly called cassette tape, audio cassette, or simply tape or cassette, is an analog magnetic tape recording format for audio recording and playback. It was released by Philips in 1962, having developed in Hasselt. Compact cassettes come in two forms, either already containing content as a cassette, or as a fully recordable blank cassette. Its uses ranged from portable audio to home recording to data storage for early microcomputers, the first cassette player designed for use in car dashes was introduced in 1968. Between the early 1970s and the early 2000s, the cassette was one of the two most common formats for prerecorded music, first alongside the LP record and later the compact disc. Compact Cassettes contain two miniature spools, between which a magnetically coated, polyester-type plastic film is passed and wound and these spools and their attendant parts are held inside a protective plastic shell. This reversal is achieved either by flipping the cassette, or by having the machine itself change the direction of tape movement. In 1935, decades before the introduction of the Compact Cassette, AEG released the first reel-to-reel tape recorder and it was based on the invention of the magnetic tape by Fritz Pfleumer, which used similar technology but with open reels. These instruments were expensive and relatively difficult to use and were therefore used mostly by professionals in radio stations. In 1958, following four years of development, RCA Victor introduced the stereo, quarter-inch, reversible, however, it was a large cassette, and offered few pre-recorded tapes. Despite the multiple versions, it failed, consumer use of tape only took off in the early 1960s, after playback machines reached a comfortable, user-friendly design. This was achieved primarily by the introduction of transistors which replaced the bulky, fragile, reel-to-reel tape then became more suitable to household use, but still remained an esoteric product. The team at Philips was led by Lou Ottens in Hasselt, Philips was competing with Telefunken and Grundig in a race to establish its cassette tape as the worldwide standard, and it wanted support from Japanese electronics manufacturers. However, the Philips Compact Cassette became dominant as a result of Philips decision to license the format free of charge, Philips also released the Norelco Carry-Corder 150 recorder/player in the US in November 1964. By 1966 over 250,000 recorders had been sold in the US alone, by 1968,85 manufacturers had sold over 2.4 million players. By the end of the 1960s, the business was worth an estimated 150 million dollars. In the early years sound quality was mediocre, but it improved dramatically by the early 1970s when it caught up with the quality of 8-track tape, the Compact Cassette went on to become a popular alternative to the 12-inch vinyl LP during the late 1970s. The mass production of blank Compact Cassettes began in 1964 in Hanover, prerecorded music cassettes were launched in Europe in late 1965
12.
Compact disc
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Compact disc is a digital optical disc data storage format released in 1982 and co-developed by Philips and Sony. The format was developed to store and play only sound recordings but was later adapted for storage of data. The first commercially available Audio CD player, the Sony CDP-101, was released October 1982 in Japan, standard CDs have a diameter of 120 millimetres and can hold up to about 80 minutes of uncompressed audio or about 700 MiB of data. The Mini CD has various diameters ranging from 60 to 80 millimetres, they are used for CD singles, storing up to 24 minutes of audio. At the time of the introduction in 1982, a CD could store much more data than a personal computer hard drive. By 2010, hard drives commonly offered as much space as a thousand CDs. In 2004, worldwide sales of audio CDs, CD-ROMs and CD-Rs reached about 30 billion discs, by 2007,200 billion CDs had been sold worldwide. In 2014, revenues from digital music services matched those from physical format sales for the first time. American inventor James T. Russell has been credited with inventing the first system to record information on an optical transparent foil that is lit from behind by a high-power halogen lamp. Russells patent application was first filed in 1966, and he was granted a patent in 1970, following litigation, Sony and Philips licensed Russells patents in the 1980s. The compact disc is an evolution of LaserDisc technology, where a laser beam is used that enables the high information density required for high-quality digital audio signals. Prototypes were developed by Philips and Sony independently in the late 1970s, although originally dismissed by Philips Research management as a trivial pursuit, the CD became the primary focus for Philips as the LaserDisc format struggled. In 1979, Sony and Philips set up a joint task force of engineers to design a new audio disc. After a year of experimentation and discussion, the Red Book CD-DA standard was published in 1980, after their commercial release in 1982, compact discs and their players were extremely popular. Despite costing up to $1,000, over 400,000 CD players were sold in the United States between 1983 and 1984, by 1988 CD sales in the United States surpassed those of vinyl LPs, and by 1992 CD sales surpassed those of prerecorded music cassette tapes. The success of the disc has been credited to the cooperation between Philips and Sony, who came together to agree upon and develop compatible hardware. The unified design of the disc allowed consumers to purchase any disc or player from any company. In 1974, L. However, due to the performance of the analog format
13.
CDJ
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A CDJ is a specialized digital music player for DJing. Originally designed to play music from compact discs, many CDJs can play music files stored on USB flash drives or SD cards. In typical use, at least two CDJs are plugged into a DJ mixer, CDJs have jog wheels and pitch faders that allow manipulation of the digital music file similar to a vinyl record on a DJ turntable. Many have additional features such as loops and beat analysis that are not present on turntables, additionally, some can function as DJ controllers to control the playback of digital files in DJ software running on a laptop instead of playing the files on the CDJ. The Pioneer CDJ-400, CDJ-800, CDJ-1000, CDJ-900, and the CDJ-2000 have a vinyl emulation mode that allows the operator to manipulate music on a CD as if it were on a turntable, models released prior to the CDJ-1000 lack this feature. Pioneer CDJs released after the CDJ-400 can play from USB sticks as well as CDs, Pioneer integrates its software rekordbox with the CDJs to prepare music with cue points, accurate BPM, and search/playlist functions. The CDJ-100S is a CDJ model that was released in the early 1998, the CDJ-100S is a basic CD player with a pitch controller and three sound effect options. The CDJ-200 is the budget model CDJ CD player released in 2004. It is similar in size to the CDJ-100S, however such as MP3 playback capabilities. Both the CDJ-100S and the CDJ-200 have similar options to manipulate the CD, the CDJ-400 was released in the late 2007. It is similar in size to the CDJ-200, but comes with scratching abilities and effects and this makes it possible to play MP3 music from a USB memory stick. On the back of the CDJ-400 is another USB connector that can be used to connect the CDJ-400 to a computer and this will enable the MIDI control possibilities so the player can be used to control various types of DJ mix software. The CDJ-400 has a built in USB sound card, the CDJ-500 was the first CDJ CD player released by Pioneer. The first Pioneer player to have a Jog Dial, allowing for cueing of the CD unlike rack-mounted CD players that were common at the time and it included a loop function, as well as loop-out adjust, and other facilities associated with looping samples from the track being played. The pitch control was +/- 10% only, and Master Tempo allowed the pitch to be locked despite tempo changes being made, all models of the 500 had top-opening CD loading, which is opposite to all the later ranges of CDJs which have since had front slot-loading of discs. Pioneer later released the CDJ-500II, with the changes being slightly faster performance, Loop Out adjustable. The CDJ-500S was a version of the CDJ-500. It marked the first inclusion of a system as well as front-loading of CDs
14.
Laptop
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Laptops are folded shut for transportation, and thus are suitable for mobile use. Although originally there was a distinction between laptops and notebooks, the former being bigger and heavier than the latter, as of 2014, there is often no longer any difference. Laptops are commonly used in a variety of settings, such as at work, in education, Internet surfing using sites such as YouTube and for personal multimedia, most 2016-era laptops also have integrated webcams and built-in microphones. Laptops can be powered either from a battery or by an external power supply from an AC adapter. Hardware specifications, such as the speed and memory capacity. Design elements, form factor, and construction can also vary significantly between models depending on intended use, as portable computers evolved into the modern laptop, they became widely used for a variety of purposes. The terms laptop and notebook are used interchangeably to describe a computer in English. Regardless of the etymology, by the late 1990s, the terms were interchangeable, as the personal computer became feasible in 1971, the idea of a portable personal computer soon followed. A personal, portable information manipulator was imagined by Alan Kay at Xerox PARC in 1968, the IBM Special Computer APL Machine Portable was demonstrated in 1973. This prototype was based on the IBM PALM processor, the IBM5100, the first commercially available portable computer, appeared in September 1975, and was based on the SCAMP prototype. As 8-bit CPU machines became widely accepted, the number of portables increased rapidly, the Osborne 1, released in 1981, used the Zilog Z80 and weighed 23.6 pounds. It had no battery, a 5 in CRT screen, in the same year the first laptop-sized portable computer, the Epson HX-20, was announced. The Epson had an LCD screen, a battery. Both Tandy/RadioShack and HP also produced portable computers of varying designs during this period, the first laptops using the flip form factor appeared in the early 1980s. The Dulmont Magnum was released in Australia in 1981–82, but was not marketed internationally until 1984–85, the US$8,150 GRiD Compass 1101, released in 1982, was used at NASA and by the military, among others. The Sharp PC-5000, Ampere and Gavilan SC released in 1983, the Gavilan SC was the first computer described as a laptop by its manufacturer, while the Ampere had a modern clamshell design. The Toshiba T1100 won acceptance not only among PC experts but the market as a way to have PC portability. From 1983 onward, several new techniques were developed and included in laptops, including the touchpad, the pointing stick
15.
Pseudonym
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A pseudonym or alias is a name that a person or group assumes for a particular purpose, which can differ from their original or true name. Historically, they have taken the form of anagrams, Graecisms. Pseudonyms should not be confused with new names that replace old ones, actors, musicians, and other performers sometimes use stage names, for example, to mask their ethnic backgrounds. A collective name or collective pseudonym is one shared by two or more persons, for example the co-authors of a work, such as Ellery Queen, the term is derived from the Greek ψευδώνυμον, literally false name, from ψεῦδος, lie, falsehood and ὄνομα, name. A pseudonym is distinct from an allonym, which is the name of another person and this may occur when someone is ghostwriting a book or play, or in parody, or when using a front name, such as by screenwriters blacklisted in Hollywood in the 1950s and 1960s. See also pseudepigraph, for falsely attributed authorship, sometimes people change their name in such a manner that the new name becomes permanent and is used by all who know the person. This is not an alias or pseudonym, but in fact a new name, in many countries, including common law countries, a name change can be ratified by a court and become a persons new legal name. He then changed his name again to Malik El-Shabazz when he converted to Islam, likewise some Jews adopted Hebrew family names upon immigrating to Israel, dropping surnames that had been in their families for generations. The politician David Ben-Gurion, for example, was born David Grün in Poland and he adopted his Hebrew name in 1910, when he published his first article in a Zionist journal in Jerusalem. Criminals may use aliases, fictitious business names, and dummy corporations to hide their identity, a pen name, or nom de plume, is a pseudonym adopted by an author. Some female authors used male pen names, in particular in the 19th century, the Brontë family used pen names for their early work, so as not to reveal their gender and so that local residents would not know that the books related to people of the neighbourhood. The Brontës used their neighbours as inspiration for characters in many of their books, anne Brontë published The Tenant of Wildfell Hall under the name Acton Bell. Charlotte Brontë published Shirley and Jane Eyre under the name Currer Bell, emily Brontë published Wuthering Heights as Ellis Bell. A well-known example of the former is Mary Ann Evans, who wrote as George Eliot, Another example is Amandine Aurore Lucile Dupin, a 19th-century French writer who used the pen name George Sand. In contrast, some twentieth and twenty first century male romance novelists have used pen names. A few examples of male authors using female pseudonyms include Brindle Chase, Peter ODonnell and Christopher Wood. A pen name may be used if a real name is likely to be confused with the name of another writer or notable individual. Authors who write both fiction and non-fiction, or in different genres, may use different pen names to avoid confusing their readers, in some cases, an author may become better known by his pen name than his real name
16.
Audio mixing
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Audio mixing is the process by which multiple sounds are combined into one or more channels. In the process, a volume level, frequency content, dynamics. Also, effects such as reverberation and echo may be added and this practical, aesthetic, or otherwise creative treatment is done in order to produce a finished version that is appealing to listeners. Audio mixing is practiced for music, film, television and live sound, the process is generally carried out by a mixing engineer operating a mixing console or digital audio workstation. Before the introduction of recording, all the sounds and effects that were to be part of a recording were mixed together at one time during a live performance. If the sound blend was not satisfactory, or if one made a mistake. Audio mixing for film and television is a process during the stage of a moving image program by which a multitude of recorded sounds are combined. In the process, the signal level, frequency content, dynamics and panoramic position are commonly manipulated. The process takes place on a mix stage, typically in a studio or theater, normally the engineer will mix four main audio elements, speech, ambience, sound effects, and music. Live sound mixing is the process of electrically blending together multiple sound sources at an event using a mixing console. Sounds used include those from instruments, voices, and pre-recorded material, individual sources may be equalised and routed to effect processors to ultimately be amplified and reproduced via loudspeakers. The live sound engineer balances the various sources in a way that best suits the needs of the event. Rose, Jay, Producing Great Sound for Film and Video, focal Press, fourth edition 2014 Book info
17.
Beatmatching
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The technique was developed to keep the people from leaving the dancefloor at the end of the song. Beatmatching is no longer considered a novelty, and new digital software has made the technique easier to master. The beatmatching technique consists of the steps, While a record is playing, start a second record playing. Use gain control on the mixer to match the levels of the two records, restart and slip-cue the new record at the right time, begin the new record on beat with the record currently playing. Pay attention to structures, careful phrasing can make the mix seamless. Continue this process until the two records are in sync with each other and it can be difficult to sync the two records perfectly, so manual adjustment of the records is necessary to maintain the beat synchronization. Before fading in the new track, check that the beats of two tracks match by listening to both channels together in the headphones, as the sound from the speakers can reach you with a delay. Gradually fade in parts of the new track while fading out the old track, while in the mix, ensure that the tracks are still synchronized, adjusting the records if needed. The fade can be repeated several times, for example, from the first track, fade to the track, then back to first. One of the key things to consider when beatmatching is the tempo of songs, and the musical theory behind the songs. Attempting to beatmatch songs with completely different BPMs, will result in one or both of the songs sounding too fast or too slow. When beatmatching songs of similar BPMs it is important to consider the genre of each song, while most songs with the same BPM have similar beat structures, some genres will feature songs that wont mix well with others. When beatmatching, a technique used by many disc jockeys around the world is to vary the equalization of both tracks. Doing so creates a transition that the audience would generally react to better. The pitch and tempo of a track are linked together, spin a disc 5% faster. However, some modern DJ software can change pitch and tempo independently using time-stretching and pitch-shifting, allowing harmonic mixing. There is also a feature in most modern DJ software to change the tempo but keeping the original pitch, beatmatching was invented by Francis Grasso in the late 1960s and early 1970s. Initially he was counting the tempo with a metronome and looking for records with the same tempo
18.
Fade (audio engineering)
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In audio engineering, a fade is a gradual increase or decrease in the level of an audio signal. The term can also be used for film cinematography or theatre lighting in much the same way, a recorded song may be gradually reduced to silence at its end, or may gradually increase from silence at the beginning. Fading-out can serve as a solution for pieces of music that contain no obvious ending. Both fades and cross-fades are very valuable since they allow the engineer to quickly and easily make sure that the beginning and it is necessary that there is a clear section of silence prior to the audio. Fade-ins and out can also be used to change the characteristics of a sound, for example a fade-in is used to soften the attack and it can also be used to soften up the attack of the drum and/or percussion instruments. A cross-fade can be manipulated through its rates and coefficients in order to create different styles of fading, almost every fade is different, this means that the fade parameters must be adjusted according to the individual needs of the mix. Club DJs in house music and techno use DJ mixers, two or more sound sources along with a skill called beatmatching to make seamless dance mixes for dancers at raves, nightclubs, though relatively rare, songs can fade out then fade back in. 2 by Argent and Future by Paramore, possibly the earliest example of a fade-out ending can be heard in Joseph Haydns Symphony No. 45, nicknamed the Farewell Symphony on account of the fade-out ending and this was expressed by the players extinguishing their stand candles and leaving the stage one by one during the final adagio movement of the symphony, leaving only two muted violins playing. Esterhazy appears to have understood the message, allowing the musicians to leave, gustav Holsts Neptune, the mystic, part of the orchestral suite The Planets written between 1914 and 1916, is another early example of music to have a fade-out ending during performance. Until the imagination knew no difference between sound and silence, the technique of ending a spoken or musical recording by fading out the sound goes back to the earliest days of recording. This is called the “Pulse Continuity Phenomenon and was measured by a task to measure participants’ perception of pulsation. An 189478 rpm record called The Spirit of 76, a narrated musical vignette with martial fife-and-drum that gets louder as it nears the listener and quieter as it moves away, there are early examples that appear to bear no obvious relationship to movement. One is Barkin Dog by the Ted Lewis Jazz Band, another contender is America, a patriotic piece by the chorus of evangelist Billy Sunday. By the early 1930s longer songs were being put on both sides of records, with the fading out at the end of Side One. Records at the time only about two to five minutes of music per side. The segue allowed for longer songs, symphonies and live concert recordings, however, shorter songs continued to use the fade-out for unclear reasons—for example, Fred Astaires movie theme Flying Down to Rio. Even using fade-out as a segue device doesnt seem obvious, though we certainly take it for granted today and it is possible that movies were an influence here
19.
Cue (audio)
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To cue audio is to determine the desired initial playback point in a piece of recorded music. It is technique used often used radio broadcasting and DJing, DJs typically find the desired start place on a record, tape, CD, or other medium by listening to the recording with headphones and manipulating the turntable or other playback controls. DJs use headphones to cue up the point, this means that the audience cannot hear the playback until the DJ wants them to. Once the recording is cued up to the start point. The goal of cueing is to avoid dead air, that is, a subtype of cueing is slip cueing. To slip cue a record, there has to be a felt mat under the record, the DJ finds the desired start point then leaves the stylus at the start point while holding the side of the record, with the turntable spinning. The DJ can then release the record and the music will start immediately, some DJs mark parts of a record with stickers to make it easier to find parts of record tracks. One dictionary definition is to Set a piece of audio or video equipment in readiness to play
20.
Headphones
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Headphones are a pair of small electronic or electric listening devices that are designed to be worn on or around the head over a users ears. They are electroacoustic transducers, which convert a signal to a corresponding sound in the users ear. Headphones are designed to allow a user to listen to an audio source privately, in contrast to a loudspeaker. Headphones are also known as earspeakers, earphones or, colloquially, circumaural and supra-aural headphones use a band over the top of the head to hold the speakers in place. The other type, known as earbuds or earphones consist of units that plug into the users ear canal. In the context of telecommunication, a headset is a combination of headphone and microphone, the first headphones were developed in the late 1800s for use by telephone operators, to keep their hands free. Initially the audio quality was mediocre and a forward was the invention of high fidelity headphones. Headphones are made in a range of different audio reproduction quality capabilities, headsets designed for telephone use typically cannot reproduce sound with the high fidelity of expensive units designed for music listening by audiophiles. Headphones that use cables typically have either a 1/4 inch or 1/8 inch phone jack for plugging the headphones into the audio source, some stereo earbuds are wireless, using Bluetooth connectivity to transmit the audio signal by radio waves from source devices like cellphones and digital players. Due to the spread of wireless devices in recent years headphones are used by people in public places such as sidewalks, grocery stores. The latter two types of employees use headphones with an integrated microphone, Headphones originated from the earpiece, and were the only way to listen to electrical audio signals before amplifiers were developed. The first truly successful set was developed in 1910 by Nathaniel Baldwin, some very sensitive headphones, such as those manufactured by Brandes around 1919, were commonly used for early radio work. These early headphones used moving iron drivers, with either single ended or balanced armatures, the requirement for high sensitivity meant that no damping was used, thus the sound quality was crude. These early models lacked padding, and often produced excessive clamping forces on the wearers head and their impedance varied, headphones used in telegraph and telephone work had an impedance of 75 ohms. Those used with wireless radio had to be more sensitive and were made with more turns of finer wire. Impedance of 1000 to 2000 ohms was common, which suited both crystal sets and triode receivers, in early powered radios, the headphone was part of the vacuum tubes plate circuit and carried dangerous voltages. It was normally connected directly to the high voltage battery terminal. The use of electrical connections meant that users could be shocked if they touched the bare headphone connections while adjusting an uncomfortable headset
21.
DJ controller
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DJ controllers are devices used to help DJs mix music with DJ software using knobs, encoders, jog wheels, faders, backlit buttons, touch strips, and other components. They are used to easier control of the software than the computer keyboard and touchpad on a laptop, or the touchscreen on tablet computers. DJ controllers do not mix audio signals like DJ mixers, rather, many DJ controllers also have a built in sound card with 4 output channels, which allows the DJ to preview music in headphones before playing it on the main output. Most DJ controllers use the standard MIDI or HID protocols to communicate with the computer via USB, most DJ controllers emulate two turntables/CDJs and a DJ mixer. However, DJ controllers are much cheaper than two turntables or CDJs plus a mixer, unlike turntables, controllers can take advantage of the flexibility of computer software, for example, by allowing the DJ to store multiple cue points with music files. Also, DJ software allows users to remap the components of controllers to perform different functions than the manufacturer intended. Some DJ controllers break from the conventional two jog wheels and a layout and are designed to be easily mapped however the user wants. Some controllers are designed to be used either for live PA performances with such as Ableton Live or with DJ software. A few DJ controllers, most notably the Novation Dicers, are designed to be used with timecode vinyl, DJ controllers are usually designed to work with only one or a few DJ software programs endorsed by the manufacturer. Most controllers use the standard MIDI or HID protocols, so other software can usually be made to work with them. However, it may take considerable effort to get a controller to work with software it was not designed for, and some controls may not make sense with other software. In 2007, Vestax produced a controller designed for DJing, the VCI-100. Many manufacturers saw the success of the VCI-100 and started selling their own similar devices, unlike the original VCI-100, some of those devices had integrated sound cards. In 2009, Pioneer DJ produced new models of their popular CDJ media players, the CDJ-2000 and CDJ-900 and this way, CDJs can be used to control DJ software without playing a timecode signal into a sound card. In 2010, Native Instruments released the Traktor Kontrol S4, which used high resolution jog wheels, the Mk2 of the Kontrol S4, released in 2013, uses standard HID signals rather than a proprietary protocol to communicate with the computer
22.
Microphone
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A microphone, colloquially nicknamed mic or mike, is a transducer that converts sound into an electrical signal. Several different types of microphone are in use, which employ different methods to convert the air pressure variations of a wave to an electrical signal. Microphones typically need to be connected to a preamplifier before the signal can be recorded or reproduced, in order to speak to larger groups of people, a need arose to increase the volume of the human voice. The earliest devices used to achieve this were acoustic megaphones, some of the first examples, from fifth century BC Greece, were theater masks with horn-shaped mouth openings that acoustically amplified the voice of actors in amphitheatres. In 1665, the English physicist Robert Hooke was the first to experiment with an other than air with the invention of the lovers telephone made of stretched wire with a cup attached at each end. German inventor Johann Philipp Reis designed an early sound transmitter that used a strip attached to a vibrating membrane that would produce intermittent current. Better results were achieved with the transmitter design in Scottish-American Alexander Graham Bells telephone of 1876 – the diaphragm was attached to a conductive rod in an acid solution. These systems, however, gave a poor sound quality. The first microphone that enabled proper voice telephony was the carbon microphone and this was independently developed by David Edward Hughes in England and Emile Berliner and Thomas Edison in the US. Although Edison was awarded the first patent in mid-1877, Hughes had demonstrated his working device in front of many witnesses some years earlier, the carbon microphone is the direct prototype of todays microphones and was critical in the development of telephony, broadcasting and the recording industries. Thomas Edison refined the carbon microphone into his carbon-button transmitter of 1886 and this microphone was employed at the first ever radio broadcast, a performance at the New York Metropolitan Opera House in 1910. In 1916, E. C. Wente of Western Electric developed the next breakthrough with the first condenser microphone, in 1923, the first practical moving coil microphone was built. The Marconi Skykes or magnetophon, developed by Captain H. J. Round, was the standard for BBC studios in London and this was improved in 1930 by Alan Blumlein and Herbert Holman who released the HB1A and was the best standard of the day. Also in 1923, the microphone was introduced, another electromagnetic type, believed to have been developed by Harry F. Olson. Over the years these microphones were developed by companies, most notably RCA that made large advancements in pattern control. With television and film technology booming there was demand for high fidelity microphones, electro-Voice responded with their Academy Award-winning shotgun microphone in 1963. During the second half of 20th century development advanced quickly with the Shure Brothers bringing out the SM58, digital was pioneered by Milab in 1999 with the DM-1001. The latest research developments include the use of optics, lasers and interferometers
23.
Effects unit
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An effects unit or pedal is an electronic or digital device that alters how a musical instrument or other audio source sounds. In the 2010s, most effects use solid state electronics and/or computer chips, some vintage effects units from the 1930s to the 1970s and modern reissues of these effects use mechanical components as well or vacuum tubes. Musicians, audio engineers and record producers use effects units during live performances or in the studio, typically with electric guitar, electronic keyboard, while guitar effects are most frequently used with electric or electronic instruments, effects can also be used with acoustic instruments, drums and vocals. Rackmounted or audio console-integrated reverb effects are used with vocals in live sound and sound recording. Examples of common units include wah-wah pedals, fuzzboxes and reverb units. A stompbox or pedal is a metal or plastic box placed on the floor in front of the musician and connected to the instrument. Pedals are usually the least expensive format, a rackmount device mounts on a standard 19-inch equipment rack and usually contains several types of effects. Rackmount effects typically have buttons and/or knobs on the face of the chassis for controlling the effects, an effects unit is also called an effect box, effects device, effects processor or simply effects. In audio engineer parlance, a signal without effects is dry, the abbreviation F/X or FX is sometimes used. A pedal-style unit may be called a box, stompbox. When a musician has multiple effects in a rack mounted road case, Effects units are available in a variety of formats or form factors. Stompboxes are usually the smallest, least expensive, and most rugged effects units, rackmount devices are generally more expensive and offer a wider range of functions. An effects unit can consist of analog or digital circuitry or a combination of the two, during a live performance, the effect is plugged into the electrical signal path of the instrument. In the studio, the instrument or other sound-sources auxiliary output is patched into the effect, form factors are part of a studio or musicians outboard gear. Stompboxes are small plastic or metal chassis which usually lie on the floor or in a pedalboard to be operated by the users feet, pedals are often rectangle-shaped, but there are a range of other shapes. Typical simple stompboxes have a single footswitch, one to three potentiometers for controlling the effect, and a single LED that indicates if the effect is on, depending on the type of pedal, the potentiometers may control different parameters of the effect. For a chorus effect, for example, the knobs may control the depth, some pedals have two knobs stacked on top of each other, enabling the unit to provide two knobs per single knob space. An effects chain or signal chain is formed by connecting two or more stompboxes, effect chains are typically created between the guitar and the amp or between the preamplifier and the power amp
24.
Reverberation
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Reverberation, in psychoacoustics and acoustics, is the persistence of sound after a sound is produced. This is most noticeable when the sound source stops but the reflections continue, decreasing in amplitude, until they reach zero amplitude. In comparison to an echo that is a minimum of 50 to 100 ms after the initial sound. As time passes, the amplitude of the reflections is reduced until it is reduced to zero, Reverberation is not limited to indoor spaces as it exists in forests and other outdoor environments where reflection exists. Reverberation occurs naturally when a person sings, talks or plays an instrument acoustically in a hall or performance space with sound-reflective surfaces. The sound of reverberation is often added to the vocals of singers in live sound systems. The time it takes for a signal to drop by 60 dB is the reverberation time, RT60 is the time required for reflections of a direct sound to decay 60 dB. Reverberation time is stated as a single value, if measured as a wide band signal, however, being frequency dependent. Being frequency dependent, the time measured in narrow bands will differ depending on the frequency band being measured. For precision, it is important to know what ranges of frequencies are being described by a time measurement. In the late 19th century, Wallace Clement Sabine started experiments at Harvard University to investigate the impact of absorption on the reverberation time. Using a portable wind chest and organ pipes as a sound source and he found that the reverberation time is proportional to room dimensions and inversely proportional to the amount of absorption present. The optimum reverberation time for a space in which music is played depends on the type of music that is to be played in the space, rooms used for speech typically need a shorter reverberation time so that speech can be understood more clearly. If the reflected sound from one syllable is still heard when the syllable is spoken. Cat, Cab, and Cap may all sound very similar, if on the other hand the reverberation time is too short, tonal balance and loudness may suffer. Reverberation effects are used in studios to add depth to sounds. Reverberation changes the perceived spectral structure of a sound, but does not alter the pitch, basic factors that affect a rooms reverberation time include the size and shape of the enclosure as well as the materials used in the construction of the room. Every object placed within the enclosure can also affect this time, including people
25.
Electronic musical instrument
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An electronic musical instrument is a musical instrument that produces sound using electronics. Such an instrument sounds by outputting an electrical signal that ultimately drives a loudspeaker. An electronic instrument might include a user interface for controlling its sound, often by adjusting the pitch, frequency, all electronic musical instruments can be viewed as a subset of audio signal processing applications. Simple electronic musical instruments are called sound effects, the border between sound effects and actual musical instruments is often hazy. Electronic musical instruments are now used in most styles of music. Development of new musical instruments, controllers, and synthesizers continues to be a highly active. In the 18th-century, musicians and composers adapted a number of instruments to exploit the novelty of electricity. The former instrument consisted of an instrument of over 700 strings. The latter was an instrument with plectra activated electrically. However, neither instrument used electricity as a sound-source, the first electric synthesizer was invented in 1876 by Elisha Gray. The Musical Telegraph used steel reeds oscillated by electromagnets and transmitted over a telephone line, Gray also built a simple loudspeaker device into later models, which consisted of a diaphragm vibrating in a magnetic field. A significant invention, which later had an effect on electronic music, was the audion in 1906. This was the first thermionic valve, or vacuum tube and which led to the generation and amplification of signals, radio broadcasting. Other early synthesizers included the Telharmonium, the Theremin, Jörg Magers Spharophon and Partiturophone, Taubmanns similar Electronde, Maurice Martenots ondes Martenot, only two models of this latter were built and the only surviving example is currently stored at the Lomonosov University in Moscow. It has been used in many Russian movies—like Solaris—to produce unusual, Hugh Le Caine, John Hanert, Raymond Scott, composer Percy Grainger, and others built a variety of automated electronic-music controllers during the late 1940s and 1950s. In 1959 Daphne Oram produced a method of synthesis, her Oramics technique, driven by drawings on a 35 mm film strip. In 1897 Thaddeus Cahill patented an instrument called the Telharmonium, using tonewheels to generate musical sounds as electrical signals by additive synthesis, it was capable of producing any combination of notes and overtones, at any dynamic level. This technology was used to design the Hammond organ
26.
Drum machine
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A drum machine is an electronic musical instrument designed to imitate the sound of drums, cymbals, other percussion instruments, and often basslines. Drum machines are most commonly associated with electronic music such as house music. They are usually used when session drummers are not available or if the production cannot afford the cost of a drummer. Also, many modern drum machines can also produce sounds, as well as allowing the user to compose unique drum beats. In the 2010s, most modern machines are sequencers with a sample playback or synthesizer component that specializes in the reproduction of drum timbres. The invention could produce sixteen different rhythms, each associated with a pitch, either individually or in any combination, including en masse. Received with considerable interest when it was introduced in 1932. The next generation of rhythm machines played only pre-programmed rhythms such as mambo, tango, Chamberlin Rhythmate In 1957 Californian Harry Chamberlin constructed a tape loop-based drum machine called the Chamberlin Rhythmate. It had 14 tape loops with a head that allowed playback of different tracks on each piece of tape. It contained a volume and a control and also had a separate amplifier with bass, treble, and volume controls. The tape loops were of real acoustic jazz drum kits playing different style beats, with additions to tracks such as bongos, clave, castanets. First commercial product – Wurlitzer Side Man In 1959 Wurlitzer released a drum machine called the Side Man. The Side Man was intended as an accompaniment for the Wurlitzer organ range. The Side Man offered a choice of 12 electronically generated, predefined rhythm patterns with variable tempos, the sound source was a series of vacuum tubes which created 10 preset electronic drum sounds. Combinations of these different sets of rhythms and drum sounds created popular rhythmic patterns of the day, e. g. waltzes and these combinations were selected by a rotary knob on the top of the Side Man box. The tempo of the patterns was controlled by a slider that increased the speed of rotation of the wiper arm, the Side Man had a panel of 10 buttons for manually triggering drum sounds, and a remote player to control the machine while playing from an organ keyboard. The Side Man was housed in a cabinet that contained the sound-generating circuitry. Raymond Scott In 1960, Raymond Scott constructed the Rhythm Synthesizer and, in 1963, scotts machines were used for recording his album Soothing Sounds for Baby series
27.
Synthesizer
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A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. Synthesizers may either imitate instruments like piano, Hammond organ, flute, vocals, natural sounds like ocean waves, etc. or generate new electronic timbres. Synthesizers without built-in controllers are called sound modules, and are controlled via USB, MIDI or CV/gate using a controller device. Synthesizers use various methods to generate electronic signals, synthesizers were first used in pop music in the 1960s. In the 1970s, synths were used in disco, especially in the late 1970s, in the 1980s, the invention of the relatively inexpensive, mass market Yamaha DX7 synth made synthesizers widely available. 1980s pop and dance music often made use of synthesizers. In the 2010s, synthesizers are used in genres of pop, rock. Contemporary classical music composers from the 20th and 21st century write compositions for synthesizer, the beginnings of the synthesizer are difficult to trace, as it is difficult to draw a distinction between synthesizers and some early electric or electronic musical instruments. One of the earliest electric musical instruments, the telegraph, was invented in 1876 by American electrical engineer Elisha Gray. He accidentally discovered the sound generation from a self-vibrating electromechanical circuit and this musical telegraph used steel reeds with oscillations created by electromagnets transmitted over a telegraph line. Gray also built a simple loudspeaker device into later models, consisting of a diaphragm in a magnetic field. This instrument was a remote electromechanical musical instrument that used telegraphy, though it lacked an arbitrary sound-synthesis function, some have erroneously called it the first synthesizer. In 1897, Thaddeus Cahill invented the Teleharmonium, which used dynamos, and was capable of additive synthesis like the Hammond organ, however, Cahills business was unsuccessful for various reasons, and similar but more compact instruments were subsequently developed, such as electronic and tonewheel organs. In 1906, American engineer, Lee De Forest ushered in the electronics age and he invented the first amplifying vacuum tube, called the Audion tube. This led to new entertainment technologies, including radio and sound films, ondes Martenot and Trautonium were continuously developed for several decades, finally developing qualities similar to later synthesizers. In the 1920s, Arseny Avraamov developed various systems of graphic sonic art, in 1938, USSR engineer Yevgeny Murzin designed a compositional tool called ANS, one of the earliest real-time additive synthesizers using optoelectronics. The earliest polyphonic synthesizers were developed in Germany and the United States, during the three years that Hammond manufactured this model,1,069 units were shipped, but production was discontinued at the start of World War II. Both instruments were the forerunners of the electronic organs and polyphonic synthesizers
28.
USB flash drive
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USB flash drives are typically removable and rewritable, and physically much smaller than an optical disc. Most weigh less than 30 grams, since first appearing on the market in late 2000, as with virtually all computer memory devices, storage capacities have risen while prices have dropped. As of March 2016, flash drives with anywhere from 8 to 256 GB are frequently sold, storage capacities as large as 2 TB are planned, with steady improvements in size and price per capacity expected. Some allow up to 100,000 write/erase cycles, depending on the type of memory chip used. USB flash drives are used for the same purposes for which floppy disks or CDs were once used, i. e. for storage, data back-up. They are smaller, faster, have thousands of times more capacity, additionally, they are immune to electromagnetic interference, and are unharmed by surface scratches.44 MB3. 5-inch floppy disk. The USB connector may be protected by a cap or by retracting into the body of the drive. Most flash drives use a standard type-A USB connection allowing connection with a port on a personal computer, USB flash drives draw power from the computer via the USB connection. Some devices combine the functionality of a media player with USB flash storage. Pua Khein-Seng from Malaysia is considered by many to be the Father of Pen Drive and he is notable for incorporating the worlds first single chip USB flash controller. Pua hails from Sekinchan, Selangor, Malaysia, pua founded Phison Electronics based in Taiwan with four other partners and is believed to have produced the worlds first USB flash drive with system-on-chip technology. Competing claims have made by Singaporean company Trek Technology and Chinese company Netac Technology, Both Trek Technology. Trek won a Singaporean suit, but a court in the United Kingdom revoked one of Treks UK patents, Trek Technology and IBM began selling the first USB flash drives commercially in 2000. IBMs USB flash drive became available on December 15,2000, in 2000, Lexar introduced a Compact Flash card with a USB connection, and a companion card read/writer and USB cable that eliminated the need for a USB hub. That is considerably slower than what a hard drive or solid-state drive can achieve when connected via the SATA interface. Transfer rates may be given in megabytes per second, megabits per second, or in optical drive multipliers such as 180X.1, which is limited to 12 Mbit/s with accounted overhead. The effective transfer rate of a device is significantly affected by the access pattern, for example. Like USB2.0 before it, USB3.0 dramatically improved data rates compared to its predecessor
29.
Internet radio
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Internet radio is an audio service transmitted via the Internet. Broadcasting on the Internet is usually referred to as webcasting since it is not transmitted broadly through wireless means, Internet radio is also distinct from podcasting, which involves downloading rather than streaming. Internet radio services offer news, sports, talk, and various genres of music—every format that is available on traditional broadcast radio stations and this has made internet radio particularly suited to and popular among expatriate listeners. Internet radio is also suited to listeners with special interests that are not adequately served by local radio stations. Internet radio is listened to on a standard home PC or similar device. In recent years, dedicated devices that resemble and offer the listener a similar experience to a radio receiver have arrived on the market. Streaming technology is used to distribute Internet radio, typically using an audio codec. Streaming audio formats include MP3, Ogg Vorbis, Windows Media Audio, RealAudio, Audio data is continuously transmitted serially over the local network or internet in TCP or UDP packets, then reassembled at the receiver and played a second or two later. The delay is called lag, and is introduced at several stages of audio broadcasting. A local tuner simulation program includes all the radios that can also be heard in the air in the city. In 2003, revenue from online streaming radio was US$49 million. By 2006, that rose to US$500 million. A February 21,2007 survey of 3,000 Americans released by consultancy Bridge Ratings & Research found that s much as 19% of U. S. consumers 12, in other words, there were some 57 million weekly listeners of Internet radio programs. More people listen to online radio than to satellite radio, high-definition radio, podcasts, an April 2008 Arbitron survey showed that, in the US, more than one in seven persons aged 25–54 years old listen to online radio each week. In 2008,13 percent of the American population listened to the radio online, Internet radio functionality is also built into many dedicated Internet radio devices, which give an FM like receiver user experience. As Internet-radio listening rose among the 13-to-35 age group, listening to AM/FM radio, in the 36-and-older age group, by contrast, Internet radio accounted for just 13 percent of music listening, while AM/FM radio dominated listening methods with a 41 percent share. Currently, 47% of all Americans ages 12 and older -- an estimated 124 million people -- said they have listened to radio in the last month. These figures are up from 45% and 33%, respectively, in 2013, the average amount of time spent listening increased from 11 hours,56 minutes per week in 2013 to 13 hours 19 minutes in 2014
30.
Hip hop music
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It developed as part of hip hop culture, a subculture defined by four key stylistic elements, MCing/rapping, DJing/scratching with turntables, break dancing, and graffiti writing. Other elements include sampling beats or bass lines from records, while often used to refer solely to rapping, hip hop more properly denotes the practice of the entire subculture. Hip hops early evolution occurred as sampling technology and drum machines became available and affordable. Turntablist techniques such as scratching and beatmatching developed along with the breaks and Jamaican toasting, rapping developed as a vocal style in which the artist speaks or chants along rhythmically with an instrumental or synthesized beat. The Sugarhill Gangs 1979 song Rappers Delight is widely regarded to be the first hip hop record to gain popularity in the mainstream. The 1980s marked the diversification of hip hop as the genre developed more complex styles, prior to the 1980s, hip hop music was largely confined within the United States. However, during the 1980s, it began to spread to scenes in dozens of countries. New school hip hop was the wave of hip hop music, originating in 1983–84 with the early records of Run-D. M. C. The Golden age hip hop period was a period between the mid-1980s and the early 1990s. Notable artists from this era include the Juice Crew, Public Enemy, & Rakim, Boogie Down Productions and KRS-One, EPMD, Slick Rick, Beastie Boys, Kool G Rap, Big Daddy Kane, Ultramagnetic MCs, De La Soul, and A Tribe Called Quest. Gangsta rap is a subgenre of hip hop that often focuses on the violent lifestyles, in the West Coast hip hop style, G-funk dominated mainstream hip hop for several years during the 1990s. I. G. In the 1990s, hip hop began to diversify with other regional styles emerging, such as Southern rap, at the same time, hip hop continued to be assimilated into other genres of popular music, examples being Neo soul and nu metal. Hip hop became a pop music genre in the mid-1990s. The popularity of hip hop music continued through the 2000s, with hip hop influences also increasingly finding their way into mainstream pop, the United States also saw the success of regional styles such as crunk, a Southern genre that emphasized the beats and music more than the lyrics. Starting in 2005, sales of hip hop music in the United States began to severely wane, during the mid-2000s, alternative hip hop secured a place in the mainstream, due in part to the crossover success of artists such as OutKast and Kanye West. Creation of the hip hop is often credited to Keith Cowboy, rapper with Grandmaster Flash. However, Lovebug Starski, Keith Cowboy, and DJ Hollywood used the term when the music was known as disco rap. Cowboy later worked the hip hop cadence into a part of his stage performance, the first use of the term in print was in The Village Voice, by Steven Hager, later author of a 1984 history of hip hop
31.
Bassline
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It is also used sometimes in classical music. In solo music for piano and pipe organ, these instruments have an excellent lower register that can be used to play a deep bassline, on organs, the bass line is typically played using the pedal keyboard and massive 16 and 32 bass pipes. Basslines in popular music often use riffs or grooves, which are simple, appealing musical motifs or phrases that are repeated, with variation. The bass differs from other voices because of the role it plays in supporting and defining harmonic motion. It does so at levels ranging from immediate, chord-by-chord events to the harmonic organization of a entire work. Bassline riffs usually emphasize the chord tones of each chord, which helps to define a songs key, at the same time, basslines work along with the drum part and the other rhythm instruments to create a clear rhythmic pulse. The type of rhythmic pulse used in basslines varies widely in different types of music, in swing jazz and jump blues, basslines are often created from a continuous sequence of quarter notes in a mostly scalar, stepwise part called a walking bass line. In Latin, salsa music, jazz fusion, reggae, electronica, in bluegrass and traditional country music, basslines often emphasize the root and fifth of each chord. In classical music such as string quartets and symphonies, basslines play the same harmonic and rhythmic role, however, most popular musical ensembles include an instrument capable of playing bass notes. In the 1890s, a tuba was often used, from the 1920s to the 1940s, most popular music groups used the double bass as the bass instrument. Starting in the 1950s, the bass guitar began to replace the bass in most types of popular music, such as rock and roll, blues. By the 1970s and 1980s, the bass was used in most rock bands. The double bass was used in some types of popular music that recreated styles from the 1940s and 1950s such as jazz, traditional 1950s blues, jump blues, country. In some popular bands, keyboard instruments are used to play the bass line. In organ trios, for example, a Hammond organ player performs the basslines using the pedal keyboard. In some types of music, such as hip-hop or house music. Basslines are especially important in many forms of dance and electronic music, such as electro, drum and bass, dubstep, and most forms of house and trance. In these genres, basslines are almost always performed on synthesizers, either physical, such as the Minimoog, chinese orchestras use the zhōng ruǎn and dà ruǎn for creating basslines
32.
Sampling (music)
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In music, sampling is the act of taking a portion, or sample, of one sound recording and reusing it as an instrument or a sound recording in a different song or piece. Sampling was originally developed by experimental musicians working with musique concrète and electroacoustic music, by the late 1960s, the use of tape loop sampling influenced the development of minimalist music and the production of psychedelic rock and jazz fusion. Hip hop music was the first popular music based on the art of sampling – being born from 1970s DJs who experimented with manipulating vinyl on two turntables and an audio mixer. Historically, sampling was most often done with a sampler — a specialized piece of hardware — but today, however, vinyl emulation software may also be used, and turntablists continue to sample using traditional methods. Often samples consist of one part of a song, such as a rhythm break, for instance, hip hop music developed from DJs looping the breaks from songs to enable continuous dancing. Samples can also consist of words and phrases, including those in non-musical media such as movies, TV shows. Sampling does not necessarily mean using pre-existing recordings, a number of composers and musicians have constructed pieces or songs by sampling field recordings they made themselves, and others have sampled their own original recordings. The use of sampling is controversial legally and musically, in the 1970s, when hip hop was confined to local dance parties, it was unnecessary to obtain copyright clearance in order to sample recorded music at these parties. Aside from legal issues, sampling has been championed and criticized. Hip-hop DJs today take different approaches to sampling, with critical of its obvious use. Some critics, particularly those with a rockist outlook, have expressed the belief all sampling is lacking in creativity, while others say sampling has been innovative and revolutionary. Those whose own work has been sampled have also voiced a variety of opinions about the practice. Once recorded, samples can be edited, played back, or looped, types of samples include, The drums and percussion parts of many modern recordings are really a variety of short samples of beats strung together. Many libraries of such beats exist and are licensed so that the user incorporating the samples can distribute their recording without paying royalties, such libraries can be loaded into samplers. Though percussion is an application of looping, many kinds of samples can be looped. A piece of music may have an ostinato which is created by sampling a phrase played on any kind of instrument, there is software which specializes in creating loops. Whereas loops are usually a phrase played on a musical instrument, Music workstations and samplers use samples of musical instruments as the basis of their own sounds, and are capable of playing a sample back at any pitch. Many modern synthesizers and drum machines also use samples as the basis of their sounds, most such samples are created in professional recording studios using world-class instruments played by accomplished musicians
33.
Rapping
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The components of rapping include content, flow, and delivery. Rap differs from spoken-word poetry in that rap is performed in time to a beat. Rapping is often associated with and an ingredient of hip-hop music. Rapping is also used in Kwaito music, a genre originated in Johannesburg, South Africa. Another form of rap that predates hip hop was boxer Muhammad Alis rhythmic poetry used to taunt his opponents in the 1960s and 1970s, rapping can be delivered over a beat, typically provided by a DJ, turntablist or Beatboxer, or without accompaniment. Stylistically, rap occupies an area between speech, prose, poetry, and singing. The word, as used to describe quick speech or repartee, the word had been used in British English since the 16th century. It was part of the African American dialect of English in the 1960s meaning to converse, today, the terms rap and rapping are so closely associated with hip-hop music that many writers use the terms interchangeably. The English verb rap has various meanings, such as to strike, especially with a quick, smart, or light blow, as well to utter sharply or vigorously, to rap out a command. The Shorter Oxford English Dictionary gives a date of 1541 for the first recorded use of the word with the meaning to utter sharply, vigorously and it is these meanings from which the musical form of rapping derives, and this definition may be from a shortening of repartee. A rapper refers to a performer who raps, by the late 1960s, when Hubert G. Brown changed his name to H. Rap was used to describe talking on records as early as 1971, on Isaac Hayes album Black Moses with track names such as Ikes Rap, Ikes Rap II, Ikes Rap III, Hayes husky-voiced sexy spoken raps became key components in his signature sound. Del the Funky Homosapien similarly states that rap was used to refer to talking in a manner in the early 1970s. Back then what rapping meant, basically, was you trying to convey something—youre trying to convince somebody, thats what rapping is, its in the way you talk. Rapping can be traced back to its African roots, centuries before hip-hop music existed, the griots of West Africa were delivering stories rhythmically, over drums and sparse instrumentation. Such connections have been acknowledged by modern artists, modern day griots, spoken word artists, mainstream news sources. Grammy-winning blues musician/historian Elijah Wald and others have argued that the blues were being rapped as early as the 1920s, Wald went so far as to call hip hop the living blues. A notable recorded example of rapping in blues music was the 1950 song Gotta Let You Go by Joe Hill Louis, not just jazz music and lyrics but also jazz poetry
34.
DJ Jazzy Jeff
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Jeffrey Allen Townes was born on January 22,1965 in Philadelphia, Pennsylvania. Early on, he developed a reputation and a following as a school and he took the stage name DJ Jazzy Jeff and was one half of the duo DJ Jazzy Jeff & The Fresh Prince along with Will Smith. When Smith branched out into television with the sitcom The Fresh Prince of Bel-Air, Jazzy Jeff played a character named Jazz. In the early seasons, the two characters always greeted each other with their signature handshake, a recurring joke throughout the shows run involved the character being physically ejected from the house by Uncle Phil, using the same footage for comedic effect. One of the first records Jazzy Jeff ever appeared on was with The Korner Boyz Bust The Move and The Soga of Roxanne, the Instrumental was called Jazzy Jeff Scratch. DJ Jazzy Jeff along with DJ Cash Money is credited with making the transformer scratch famous and they also won a second Grammy for Summertime. Among the artists that Jazzy Jeff has helped develop are Eric Roberson, Jill Scott, Musiq Soulchild, Eminem, The Roots, Jewel, Darius Rucker, Talib Kweli, Floetry, Rhymefest, and many more. Even though he separated from Will Smith as a partner, they are still friends. Some songs by Smith were produced by Townes, and he has performed on songs by Smith such as So Fresh. In addition, he appeared in several of Smiths music videos such as Will2K, on some occasions, he made appearances with Smith at live concerts, producing DJ scratches. On July 2,2005, DJ Jazzy Jeff performed with Smith at the Live 8 concert in Philadelphia, moreover, Smith acknowledges him in his music such as Comin To The Stage from the album Lost and Found and Potnas from his album Willennium. In 2007, he appeared with Rhymefest in a directed by Konee Rok. In 2008, Townes performed with Smith at the premiere of the latters 2008 film Hancock, in 2009, he made a mixtape titled Hes the King. Im the DJ in honor of the late entertainer Michael Jackson. Townes was featured in the video game DJ Hero as a playable character and he also has some original mixes in the game. In 2010, DJ Jazzy Jeff and Mick teamed up to release the Summertime mix-tape series, the mixes are released every summer. In 2013, DJ Jazzy Jeff performed with Will Smith on the Graham Norton Show, also that same year, DJ Jazzy Jeff released Vinyl Destination, a web series documenting his hundred plus DJ shows from all around the world. In 2015, he performed the scratch overdubs for the film Straight Outta Compton. J, Townes has resided in Wilmington, Delaware since 2004. DJ Jazzy Jeff – official site DJ Jazzy Jeff discography, forum, and marketplace at Discogs DJ Jazzy Jeff at the Internet Movie Database
35.
DJ Qbert
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Richard Quitevis known by his stage name DJ Qbert or Qbert, is a Filipino American turntablist and composer. Growing up in San Franciscos Excelsior District on Moscow Street, he graduated from Luther Burbank Middle School, Qbert started playing with records at the age of 15, although he got his first Fisher-Price turntable as a toddler. He was influenced by the performers and graffiti artists of the local hip hop community in the mid-1980s. It was at Balboas school cafeteria that he first met Mix Master Mike in a DJ battle, Qbert started his musical career in a group called FM20 with Mix Master Mike and DJ Apollo in 1990. In New York City when playing a show, Crazy Legs saw them and they accepted the offer to join the crew. Going by the name Rock Steady DJs, they proceeded to take the 1992 Disco Mix Club World DJ Championships world title. Qbert was also one of the members of the band Invisibl Skratch Piklz. Qbert, along with other Skratch Piklz, created a series of videos entitled Turntable TV, now out of print, the first 5 episodes were released on VHS and contained demonstrations, showcases, skits, and other DJ related content. Qberts solo efforts include 1994s Demolition Pumpkin Squeeze Musik, and 1998s Wave Twisters, the latter album was created mainly with samplers and beat machines versus the turntable, and later turned into an animated feature of the same title. 2001s Wave Twisters movie was somewhat unusual in that the animators and digital artists had to invent images and movements to the pre-recorded music, more recently, he has worked with Vestax to develop the QFO, an all-in-one scratching instrument. The QFO combines a turntable with a mixers crossfader, in 2006, he introduced the Qbert turntable cartridge, a model put out by Ortofon. In May,2009, Qbert launched the Qbert Skratch University, at the 2016 edition of the DMC World DJ Championships, DJ Q-Bert was awarded with a DMC Legend jacket. In a 2011 interview with the website WeBeVegan. org, Qbert stated that he is a vegan, qberts music was featured in the video game Tony Hawks Underground and he appeared as himself on the Slam City Jam level. He also appeared as himself in DJ Hero 2. com ThudRumble. com QbertSkratchUniversity
36.
DJ Shadow
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Joshua Paul Josh Davis, better known by his stage name DJ Shadow, is an American record producer and DJ. He first gained notice with the release of his acclaimed debut studio album. He has a record collection of over 60,000 records. During this period he was significant in developing the experimental hip-hop style associated with the London-based Mo Wax record label. His early singles, including In/Flux and Lost and Found, were genre-bending, merging elements of funk, rock, hip hop, ambient, jazz, soul, and used-bin found records. Andy Pemberton, a music journalist, writing for Mixmag, coined the term trip hop in June 1994 to describe Shadows In/Flux single and similar tracks being spun in London clubs at the time. He has cited Kurtis Mantronik, Steinski, and Prince Paul as influences on his sound, further claiming that lyrics were confining. His music rarely features more than short clips of voices or vocal work, during 1991-1992, DJ Shadow remixes were released on Hollywood BASIC, a short-lived rap/hip-hop subsidiary label of Hollywood Records. Also in 1992, Shadow contributed scratching and production work to Sleeping with the Enemy, early in 1993, Shadow was a part of the creation of the Solesides underground hip-hop label, in conjunction with Blackalicious and Lyrics Born. Rapper Gift of Gab is featured in the version of Count, Shadow continued to participate in releases on the Solesides label for years to come, until the label was disbanded in favor of Quannum Projects. Also in 1993, Mo Waxs James Lavelle contacted Shadow about releasing In/Flux on the fledgling imprint, the association with Mo Wax was a productive one, his tracks In/Flux and Lost and Found made their way onto some releases over the next few years. Shadow also worked with DJ Krush during this period, on a 1995 visit to the Mo Wax Studios in London, England, Shadow was recruited to perform scratches on a James Lavelle and Tim Goldsworthy mix of the Massive Attack song Karmacoma. Shadows first full-length work, Endtroducing. was released in late 1996 to critical acclaim, Endtroducing would go on to make the Guinness World Records book for First Completely Sampled Album in 2001. In November 2006 Time magazine named it one of its All-Time 100 best albums, in November 2014, automobile maker Chevrolet used a sample of DJ Shadows Building Steam With a Grain of Salt in a Chevy commercial. In 1998 Shadow released Preemptive Strike, a compilation of early singles, around 2000 he produced the score for the documentary Dark Days filmed by British director Marc Singer. This film is about a community of transients who live underground in a subway tunnel and it has six award wins in various competitions. Nearly six years after his debut album, his second album. In the same year, the movie Scratch was released to DVD with DJ Shadow appearing several times throughout the movie, a video for his track Six Days was also released in 2002, directed by Wong Kar-wai
37.
DJ Yoda
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Duncan Beiny, better known as DJ Yoda, is a hip hop turntablist who uses samples to create an animated musical style. After Highgate School he studied English and American literature at the University of Warwick from 1995 to 1998, during this period, he began performing at Mojo, a popular Warwick hip hop and soul night at the students union until he graduated. After he left university, he began releasing underground demo mix-tapes to small music shops, through the popularity of these tapes, Antidote Records asked him to create an official mixtape, from which How to Cut & Paste Mix Tape Vol.1 was released. He has won a DMC DJ of the Year award in the Scratch DJ category and was one of six nominees for best UK hip-hop DJ in the UK Hip-Hop Awards. He has also nominated by Q magazine as one of the Ten DJs To See Before You Die, has released a series of mix-tapes, and has toured the globe with Goldie. In 2010 he also won the 9th Annual Independent Music Awards for Contemporary Classic Album with the Heritage Orchestra and he is currently the hip-hop correspondent for IDJ magazines, and also wrote the DJ page for the now defunct Hip Hop Connection magazine. He has also been on the panel for the DMC DJ World Finals for the last three years. Yoda released his album of original material, entitled The Amazing Adventures of DJ Yoda. The album features guest vocalists, including Biz Markie, Sway, Ugly Duckling, in addition to releasing his own material, he has also performed scratches on Dangermouse and Jeminis Ghetto Pop Life. He has been a regular guest on BBC Radio 1 appearing alongside Steve Lamacq, in 2009, he was nominated for a Sony Radio Academy Award. In July 2015 it was announced that Beiny would be playing regular, Music and food are my two big passions
38.
Scratching
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Within hip hop culture, scratching is one of the measures of a DJs skills. In the 2010s, both scratching and scrubbing can be done on digital audio workstations which are equipped for these techniques, christian Marclay was one of the earliest musicians to scratch outside of hip hop. In the mid-1970s, Marclay used gramophone records and turntables as musical instruments to create sound collages and he developed his turntable sounds independently of hip hop DJs. Although he is little-known to mainstream audiences, Marclay has been described as the most influential turntable figure outside hip hop, in 1981 Grandmaster Flash released the song The Adventures of Grandmaster Flash on the Wheels of Steel which is notable for its use of many DJ scratching techniques. It was the first commercial recording produced entirely using turntables, in 1982, Malcolm McLaren & the Worlds Famous Supreme Team released a single Buffalo Gals, juxtaposing extensive scratching with calls from square dancing, and, in 1983, the EP, Dya Like Scratchin. Which is entirely focused on scratching, another 1983 release to prominently feature scratching is Herbie Hancocks Grammy Award-winning single Rockit. This song was performed live at the 1984 Grammy Awards, and in the documentary film Scratch. The Street Sounds Electro compilation series which started in 1983 is also notable for early examples of scratching, at the same time as the DJ is moving the record back and forth, the DJ manipulates the crossfader of a DJ mixer. This creates a rhythmic sound that has come to be one of the most recognizable features of hip hop music. Over time with excessive scratching, the stylus will cause what is referred to as record burn to a vinyl record, when scratching, this crossfader is utilized in conjunction with the scratching hand that is manipulating the record platter. The hand manipulating the crossfader is used to cut in and out of the records sound, using a digital vinyl system consists of playing vinyl discs on turntables whose contents is a timecode signal instead of a real music record. The turntables audio outputs are connected to the inputs of a computer audio interface. The audio interface digitizes the timecode signal from the turntables and transfers it to the computers DJ software, there is not a single standard of DVS, so that each form of DJ software has its own settings. Some DJ software such as Traktor Scratch Pro or Serato Scratch Live support only the audio interface sold with their software, Vinyl emulation software allows a DJ to manipulate the playback of digital music files on a computer via a DJ control surface. DJs can scratch, beatmatch, and perform other turntablist operations that cannot be done with a conventional keyboard, DJ software performing computer scratch operations include Traktor Pro, Mixxx, Serato Scratch Live & Itch, Virtual DJ, M-Audio Torq, DJay, Deckadance, Cross. DJs have also used tape, such as cassette or reel to reel to both mix and scratch. Tape DJing is rare, but Ruthless Ramsey in the US, Tj Scratchavite in Italy, Sounds that are frequently scratched include but are not limited to drum beats, horn stabs, spoken word samples, and vocals/lyrics from other songs. Some DJs and anonymous collectors release 12-inch singles called battle records that include trademark, the most recognizable samples used for scratching are the Ahh and Fresh samples, which originate from the song Change the Beat by Fab 5 Freddy
39.
Digital audio workstation
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Regardless of configuration, modern DAWs have a central interface that allows the user to alter and mix multiple recordings and tracks into a final produced piece. DAWs are used for the production and recording of music, radio, television, podcasts, multimedia, early attempts at digital audio workstations in the 1970s and 1980s faced limitations such as the high price of storage, and the vastly slower processing and disk speeds of the time. In 1978, Soundstream built what could be considered the first digital audio workstation using some of the most current computer hardware of the time. Interface cards that plugged into the PDP-11s Unibus slots provided analog and digital input and output for interfacing to Soundstreams digital recorders. The DAP software could perform edits to the recorded on the systems hard disks. By the late 1980s, a number of consumer level computers such as the Apple Macintosh, Atari ST, soon, people began to use them for simple two-track audio editing and CD mastering. This combination of software and hardware was one of the earliest examples of a DAW. Many major recording studios finally went digital after Digidesign introduced its Pro Tools software, modeled after the traditional method, at this time, most DAWs were Apple Mac based. Around 1992, the first Windows based DAWs started to emerge from such as IQS Innovative Quality Software, Soundscape Digital Technology, SADiE, Echo Digital Audio. All the systems at this point used dedicated hardware for their audio processing, in 1993, German company Steinberg released Cubase Audio on Atari Falcon 030. This version brought DSP built-in effects with 8-track audio recording & playback using only native hardware, the first Windows based software-only product, introduced in 1993, was Samplitude Studio. In 1996, Steinberg introduced Cubase VST, which could record, Cubase not only modelled a tape-like interface for recording and editing, but also modelled the entire mixing desk and effects rack common in analog studios. This revolutionised the DAW world, both in features and price tag, and was imitated by most other contemporary DAW systems. An integrated DAW consists of a console, control surface, audio converter. Integrated DAWs were more popular before commonly available personal computers became powerful enough to run DAW software, as computer power and speed increased and price decreased, the popularity of costly integrated systems with console automation dropped. Systems such as the Orban Audicy became standard equipment at radio. This could be as simple as a mouse or as sophisticated as a piano-style MIDI controller keyboard or automated fader board for mixing track volumes, the computer acts as a host for the sound card/audio interface, while the software provides the interface and functionality for audio editing. The software controls all related components and provides a user interface to allow for recording, editing
40.
House music
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House music is a genre of electronic music created by club DJs and music producers in Chicago in the early 1980s. Early house music was characterized by repetitive 4/4 beats, rhythms mainly provided by drum machines, off-beat hi-hat cymbals. While house displayed several characteristics similar to music, it was more electronic and minimalistic. House music became popular in Chicago clubs in 1984 and it was pioneered by figures such as Frankie Knuckles, Phuture, Kym Mazelle, and Mr. Fingers, and was associated with African-American and gay subcultures. House music quickly spread to other American cities such as Detroit, New York City, Baltimore, in the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia. Since the early to mid-1990s, house music has been infused in mainstream pop, in the late 1980s, many local Chicago house music artists suddenly found themselves presented with major label deals. House music proved to be a successful genre and a more mainstream pop-based variation grew increasingly popular. House music has also fused with other genres creating fusion subgenres, such as euro house, tech house, electro house. After enjoying significant success in the early to mid-90s, house music grew even larger during the wave of progressive house. The genre has remained popular and fused into other subgenres, for example, ghetto house, deep house. As of 2016, house music popular in both clubs and in the mainstream pop scene while retaining a foothold on underground scenes across the globe. The song structure of music songs typically involves an intro, a chorus, various verse sections, a midsection. Some songs do not have a verse, taking a part from the chorus. The drum beat is one of the important elements within the genre and is almost always provided by an electronic drum machine rather than by a human drummer playing drumkit. The drum beats of house are four on the floor, with bass drums played on every beat, House music is often based on bass-heavy loops or basslines produced by a synthesizer and/or from samples of disco or funk songs. The tempo of most house songs is between 118 and 135 beats per minute, soul music and disco influenced house music. These artists produced longer, more repetitive, and percussive arrangements of existing disco recordings, early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers, sequencers, and drum machines. Rachel Cain, co-founder of an influential Trax Records, was involved in the burgeoning punk scene and cites industrial
41.
AM broadcasting
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AM broadcasting is the process of radio broadcasting using amplitude modulation. AM was the first method of impressing sound on a signal and is still widely used today. Commercial and public AM broadcasting is authorized in the wave band worldwide. Commercial AM broadcasting developed from amateur broadcasts around 1920, and was the commercially important form of radio broadcasting until FM broadcasting began after World War II. This period is known as the Golden Age of Radio, today, AM competes with FM, as well as with various digital radio broadcasting services distributed from terrestrial and satellite transmitters. AM broadcasting was the first broadcasting technology invented, the technology of amplitude modulation radio transmission was developed between 1900 and 1920. This was used for private communication and message traffic, such as telegrams. The entrepreneurs who developed AM radiotelephone transmission did not anticipate broadcasting voice, the term broadcasting, borrowed from agriculture, was applied to this new activity around 1920. Prior to 1920 there was no concept of broadcasting, or that radio listeners could be a market for entertainment. Although there were a number of broadcasts during this period. True radio broadcasting didnt begin until around 1920, when it sprang up spontaneously among amateur stations, AM remained the dominant method of broadcasting for the next 30 years, a period called the Golden Age of Radio, until FM broadcasting started to become widespread in the 1950s. AM remains a popular, profitable entertainment medium today and the dominant form of broadcasting in some such as Australia. The first AM voice transmission was made by Canadian researcher Reginald Fessenden on 23 December 1900, Fessenden is a significant figure in the development of AM radio. He helped develop one of the first – the Alexanderson alternator, the first practical continuous wave AM transmitters were based on versions of the Poulsen arc transmitter invented in 1903, and the huge, expensive Alexanderson alternator, developed 1906–1910. The modifications necessary to transmit AM were clumsy and resulted in low audio quality. Modulation was usually accomplished by a carbon microphone inserted directly in the antenna wire, the limited power handling ability of the microphone severely limited the power of the first radiotelephones, in powerful transmitters water-cooled microphones had to be used. At the receiving end, the crystal radio receivers then in use could not drive loudspeakers, only earphones. The discovery in 1912 of the ability of the Audion vacuum tube, invented in 1906 by Lee De Forest
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FM broadcasting
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FM broadcasting is a method of radio broadcasting using frequency modulation technology. Invented in 1933 by American engineer Edwin Armstrong, it is used worldwide to provide high-fidelity sound over broadcast radio, FM broadcasting is capable of better sound quality than AM broadcasting, the chief competing radio broadcasting technology, so it is used for most music broadcasts. FM radio stations use the VHF frequencies, the term FM band describes the frequency band in a given country which is dedicated to FM broadcasting. Throughout the world, the FM broadcast band falls within the VHF part of the radio spectrum. Usually 87.5 to 108.0 MHz is used, or some portion thereof, with few exceptions, In the former Soviet republics, and some former Eastern Bloc countries, assigned frequencies are at intervals of 30 kHz. This band, sometimes referred to as the OIRT band, is slowly being phased out in many countries, in those countries the 87. 5–108.0 MHz band is referred to as the CCIR band. In Japan, the band 76–95 MHz is used, the frequency of an FM broadcast station is usually an exact multiple of 100 kHz. In most of South Korea, the Americas, the Philippines, in some parts of Europe, Greenland and Africa, only even multiples are used. In the UK odd or even are used, in Italy, multiples of 50 kHz are used. There are other unusual and obsolete FM broadcasting standards in countries, including 1,10,30,74,500. Random noise has a triangular spectral distribution in an FM system and this can be offset, to a limited extent, by boosting the high frequencies before transmission and reducing them by a corresponding amount in the receiver. Reducing the high frequencies in the receiver also reduces the high-frequency noise. These processes of boosting and then reducing certain frequencies are known as pre-emphasis and de-emphasis, the amount of pre-emphasis and de-emphasis used is defined by the time constant of a simple RC filter circuit. In most of the world a 50 µs time constant is used, in the Americas and South Korea,75 µs is used. This applies to both mono and stereo transmissions, for stereo, pre-emphasis is applied to the left and right channels before multiplexing. They cannot be pre-emphasized as much because it would cause excessive deviation of the FM carrier, systems more modern than FM broadcasting tend to use either programme-dependent variable pre-emphasis, e. g. dbx in the BTSC TV sound system, or none at all. Long before FM stereo transmission was considered, FM multiplexing of other types of audio level information was experimented with. Edwin Armstrong who invented FM was the first to experiment with multiplexing and these original FM multiplex subcarriers were amplitude modulated
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Pete Rock
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Peter Phillips, better known by his stage name Pete Rock, is an American record producer, DJ and rapper. He rose to prominence in the early 1990s as one half of the acclaimed group Pete Rock & CL Smooth. After the duo went their ways, Rock continued with a solo career that has garnered him worldwide respect. Along with groups such as Stetsasonic, Gang Starr, A Tribe Called Quest and The Roots and his family moved to Mount Vernon, New York when he was seven years old. During high school, he met his future recording partner CL Smooth, according to Rock, his father was also a part-time DJ who had an impressive record collection. Rock would often accompany his father to a club called Wembley in The Bronx. His first job was as a paperboy, in his neighborhood and his first major exposure to the hip-hop audience was in 1987 with Marley Marl, as a DJ on New Yorks WBLS radio show In Control With Marley Marl. Propelled by the growth of his popularity, he began producing in 1989, in 1991, he joined with CL Smooth to release the EP All Souled Out. The following year saw Mecca and the Soul Brother, the first of two albums, released to critical acclaim and hailed as a classic by many. Pete Rock and CL Smooth were first signed to Elektra Records, managed, Pete Rock was one of the original three Untouchables producers along with Eddie F himself and Nevelle Hodge. I. G. Pete and CL followed up Mecca in 1994 with The Main Ingredient, like its predecessor, The Main Ingredient also received wide critical acclaim. However, soon after the release, the duo split and went their separate ways. In 1995, he formed the group INI, with Grap Luva, Rob-O, the trio recorded an album, Center of Attention, which was heavily bootlegged and remained unreleased until 2003, when BBE Records picked it up for distribution. The release of album was coupled with another previously unreleased mid-1990s Pete Rock-produced album. In 1996, he appeared on the Red Hot Organizations compilation CD, America is Dying Slowly, alongside Wu-Tang Clan, Coolio, the CD, meant to raise awareness of the AIDS epidemic among African American men, was heralded as a masterpiece by The Source magazine. After being dropped from the Loud imprint, Rock signed with Rapster/BBE under his own label Soul Brother Records, the album did however feature two additional 2001 songs that featured the vocals from The UN. An expanded and revisited version of the album was released less than one year later, Smooth, Freddie Foxxx and Nature separately. Since then he has continued releasing albums including 2004s Soul Survivor II
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