Tragic Idol
Tragic Idol is the 13th studio album by the British gothic metal band Paradise Lost. The album was released on 23 April 2012 in Europe and 24 April 2012 in North America via Century Media Records. In support of the album, Paradise Lost went on a UK concert tour with Insomnium. Formats the album was released through are: Standard CD; this band has a box set titled Original Album Classics and they have a release similar titled Original Album Collection which has this album along with this band's other albums, In Requiem and Faith Divides Us - Death Unites Us. There are EMP Edition - gold vinyl, Amazon Edition - white vinyl, Nuclear Blast Edition - dark blue vinyl and Band Edition - dark sand marbled vinyl Commented guitarist Gregor Mackintosh: "The again produced by Jens Bogren and is influenced by classic doom metal and classic metal. I would say. There are lots of guitar solos and melodies."Also this is the first Paradise Lost studio album featuring Adrian Erlandsson on drums, who joined the band in 2009.
There is a track called "The Last Fallen Saviour" which written for this album but it was made only available as a free flexi disc with Decibel magazine, but has since been included on Tragic Illusion 25, a rarities compilation released in 2013 to commemorate the band's 25th anniversary. Limited edition bonus CD Limited edition Japanese edition CD
Paradise Lost (band)
Paradise Lost are a gothic metal band that formed in 1988 in Halifax and are considered by some to be one of the pioneers of the death-doom genre and of the gothic metal genre. Paradise Lost has proven to be an influential band, with Jonas Renkse of Katatonia saying that his band started off "as Paradise Lost fanboys", their line-up has remained stable for such a long-standing heavy metal band, consisting of singer Nick Holmes, guitarists Greg Mackintosh and Aaron Aedy, bassist Steve Edmondson. Holmes and Mackintosh are the principal composers, with all of the band's songs credited to them. During the years, the band has only changed drummers. After their formation in 1988, Paradise Lost released three cassette demos, Paradise Lost, Frozen Illusion, Plains of Desolation, before being signed to Peaceville Records in 1989, they recorded Lost Paradise, at Academy Music Studio in December of that year. The album was released in February 1990. In November 1990, Paradise Lost returned to Academy Music Studio to record their second album, released in March 1991.
The band began to move away from the death/doom sound of their previous releases by adding keyboards and female vocal accompaniments. Paradise Lost left Peaceville and were signed to the Music for Nations label and released Shades of God in July 1992; the band's musical approach continued to evolve with this album as evidenced by the addition of quieter passages in the song's compositions, the softening of vocalist Nick Holmes's death grunt, Gregor Mackintosh's incorporation of acoustic guitar to his sound. The album contained the song "As I Die" released as a single/EP. In summer 1993, the band recorded their fourth album, released in September of the same year; the band continued to develop their sound away from their doom roots and more towards the dynamics and sound of "As I Die" from their previous album. On Icon, Nick Holmes abandoned his death grunt and starting using a "James Hetfield-style bark." It was after this album, in December 1994, that original member Matthew Archer quit and was replaced by drummer Lee Morris.
The band entered the studio in January 1995 to record their fifth and most successful album, Draconian Times, released in June 1995. Mackintosh says about Draconian Times, "that it's the album by which everything else we do gets judged. Rightly so, as it’s the backbone of our career and sound." The album charted in the Top 20 album chart in a number of countries including the Germany. Following the success of Draconian Times, after four years of continuous touring, the band began to get bored with their signature sound and started to experiment with Depeche Mode-esque synth-pop and electronica; this new direction shaped their next album One Second, released in 1997, was most epitomised by the lead single, Say Just Words. The album was one of the band's most successful releases in Northern Europe, cracking the German and Finnish top ten charts; the band moved to EMI Electrola in Germany for its next album, released in 1999, on which they continued to experiment with new sounds, appearing to shed their metal roots.
While this album continued to alienate their traditional fanbase in places like the UK, it was their highest charting album in Germany, entering at number 4 on the Album Chart. On the next album, 2001's Believe in Nothing, Paradise Lost continued this synth direction, but adding rock elements to the music, forcibly by EMI at the time. Due to the loss of creativity control, Mackintosh said that the album "doesn't exist for him." In May 2002, the band signed to GUN Records, on the album that followed, Symbol of Life, the metallic roots of the band began to resurface. The album included guest musicians Devin Townsend, Jamie Muhoberac, Lee Dorrian. In March 2004, Lee Morris was replaced by Jeff Singer. Paradise Lost released their tenth, eponymous album in 2005 on GUN Records; the eleventh album, In Requiem, was released in the spring of 2007 on Century Media. The full-length was preceded by a single, "The Enemy" and on the single, Singer was listed as a permanent band member. In a recent video interview and Holmes revealed that Singer had auditioned for the band when Archer left, but they chose Morris instead because Singer "had a pink drumkit."In November 2007, Century Media released the DVD Over The Madness, which documents the impact Paradise Lost has had on gothic metal and provides insight into the mindset and workings of Paradise Lost.
Disc 2 includes rehearsal footage, plus backstage and memorabilia sections. On 13 August 2008, drummer Jeff Singer announced his departure from the band on the Paradise Lost official website, he wanted to be with his family, had an upcoming job, the then-upcoming South American tour would interfere with that. As a result, Paradise Lost had to cancel the South American tour dates. Soon after, on 28 August 2008, the Paradise Lost official website announced that the cancelled South American tour has been reconfirmed and that Mark Heron from Oceansize would take over on drums. At the beginning of 2009, Paradise Lost recorded an album with producer Jens Bogren in Fascination Street Studios in Örebro, Sweden. At the time there was no full-time replacement for Jeff Singer and drums were played by Swedish drummer Peter Damin. On 16 March 2009, when recording for the album was finished, the band recruited Adrian Erlandsson as a full-time drummer for the band. On 18 June 2009, Paradise Lost ann
In Requiem
In Requiem is Paradise Lost's eleventh studio album, again with Rhys Fulber on production duties. Greek artist Seth Siro Anton, from metal band Septic Flesh, was responsible for the artwork; the song "Sedative God" was intended for the previous Paradise Lost album, but was never recorded at that time. Drummer, Jeff Singer who played on the aforementioned album was not an official member of the band back until the first single of this album The Enemy although he left Paradise Lost one year after this album's release; the album features some harsher vocals by Nick Holmes. The title for song "Praise Lamented Shade" comes after An Essay on Criticism by Alexander Pope. All tracks by Greg MacKintosh. Nick Holmes – vocals Greg Mackintosh – Lead guitars Aaron Aedy – Rhythm guitars Steve Edmondson – Bass guitar Jeff Singer – drums
Keyboard instrument
A keyboard instrument is a musical instrument played using a keyboard, a row of levers which are pressed by the fingers. The most common of these are the piano and various electronic keyboards, including synthesizers and digital pianos. Other keyboard instruments include celestas, which are struck idiophones operated by a keyboard, carillons, which are housed in bell towers or belfries of churches or municipal buildings. Today, the term keyboard refers to keyboard-style synthesizers. Under the fingers of a sensitive performer, the keyboard may be used to control dynamics, shading and other elements of expression—depending on the design and inherent capabilities of the instrument. Another important use of the word keyboard is in historical musicology, where it means an instrument whose identity cannot be established. In the 18th century, the harpsichord, the clavichord, the early piano were in competition, the same piece might be played on more than one. Hence, in a phrase such as "Mozart excelled as a keyboard player," the word keyboard is all-inclusive.
The earliest known keyboard instrument was the Ancient Greek hydraulis, a type of pipe organ, invented in the third century BC. The keys were balanced and could be played with a light touch, as is clear from the reference in a Latin poem by Claudian, who says magna levi detrudens murmura tactu... intent, “let him thunder forth as he presses out mighty roarings with a light touch”. From its invention until the fourteenth century, the organ remained the only keyboard instrument; the organ did not feature a keyboard at all, but rather buttons or large levers operated by a whole hand. Every keyboard until the fifteenth century had seven naturals to each octave; the clavichord and the harpsichord appeared during the fourteenth century—the clavichord being earlier. The harpsichord and clavichord were both common until widespread adoption of the piano in the eighteenth century, after which their popularity decreased; the piano was revolutionary because a pianist could vary the volume of the sound by varying the vigor with which each key was struck.
The piano's full name is gravicèmbalo con piano e forte meaning harpsichord with soft and loud but can be shortened to piano-forte, which means soft-loud in Italian. In its current form, the piano is a product of the late nineteenth century, is far removed in both sound and appearance from the "pianos" known to Mozart and Beethoven. In fact, the modern piano is different from the 19th-century pianos used by Liszt and Brahms. See Piano history and musical performance. Keyboard instruments were further developed in the early twentieth century. Early electromechanical instruments, such as the Ondes Martenot, appeared early in the century; this was a important contribution to the keyboard's history. Much effort has gone into creating an instrument that sounds like the piano but lacks its size and weight; the electric piano and electronic piano were early efforts that, while useful instruments in their own right, did not convincingly reproduce the timbre of the piano. Electric and electronic organs were developed during the same period.
More recent electronic keyboard designs strive to emulate the sound of specific make and model pianos using digital samples and computer models. Each acoustic keyboard contains 88 keys. Weighted keys, found on electronic keyboards, are designed to simulate the resistance of a key on an acoustic keyboard, via pressurization. There are 4 types of weighted keys. Keybeds, or non-weighted keys place the weights within the base of the keyboard; the second type, Semi-weighted uses springs, the third type is hammer keys. Most electronic keyboards use the fourth type: graded simulate keys. Weighted keys are made of wood, or metal/wood substitute. Enharmonic keyboard Musical instrument Orchestrina di camera Piano Symphony Young, Percy M. Keyboard Musicians of the World. London: Abelard-Schuman, 1967. N. B.: Concerns celebrated keyboard players and the various such instruments used over the centuries. ISBN 0-200-71497-X The general keyboard in the age of MIDI Renaissance Keyboards on the Heilbrunn Timeline of Art History, The Metropolitan Museum of Art The Pianofortes of Bartolomeo Cristofori on the Heilbrunn Timeline of Art History, The Metropolitan Museum of Art
Audio engineer
An audio engineer helps to produce a recording or a live performance and adjusting sound sources using equalization and audio effects, mixing and reinforcement of sound. Audio engineers work on the "...technical aspect of recording—the placing of microphones, pre-amp knobs, the setting of levels. The physical recording of any project is done by an engineer... the nuts and bolts." It's a creative hobby and profession where musical instruments and technology are used to produce sound for film, television and video games. Audio engineers set up, sound check and do live sound mixing using a mixing console and a sound reinforcement system for music concerts, sports games and corporate events. Alternatively, audio engineer can refer to a scientist or professional engineer who holds an engineering degree and who designs and builds audio or musical technology working under terms such as acoustical engineering, electronic/electrical engineering or signal processing. Research and development audio engineers invent new technologies and techniques, to enhance the process and art of audio engineering.
They might design acoustical simulations of rooms, shape algorithms for audio signal processing, specify the requirements for public address systems, carry out research on audible sound for video game console manufacturers, other advanced fields of audio engineering. They might be referred to as acoustic engineers. Audio engineers working in research and development may come from backgrounds such as acoustics, computer science, broadcast engineering, acoustical engineering, electrical engineering and electronics. Audio engineering courses at university or college fall into two rough categories: training in the creative use of audio as a sound engineer, training in science or engineering topics, which allows students to apply these concepts while pursuing a career developing audio technologies. Audio training courses give you a good knowledge of technologies and their application to recording studio and sound reinforcement systems, but do not have sufficient mathematical and scientific content to allow you to get a job in research and development in the audio and acoustic industry.
Audio engineers in research and development possess a bachelor's degree, master's degree or higher qualification in acoustics, computer science or another engineering discipline. They might work in acoustic consultancy. Alternatively they might work in audio companies, or other industries that need audio expertise, or carry out research in a university; some positions, such as faculty require a Doctor of Philosophy. In Germany a Toningenieur is an audio engineer who designs and repairs audio systems; the listed subdisciplines are based on PACS coding used by the Acoustical Society of America with some revision. Audio engineers develop audio signal processing algorithms to allow the electronic manipulation of audio signals; these can be processed at the heart of much audio production such as reverberation, Auto-Tune or perceptual coding. Alternatively, the algorithms might carry out echo cancellation on Skype, or identify and categorize audio tracks through Music Information Retrieval. Architectural acoustics is the engineering of achieving a good sound within a room.
For audio engineers, architectural acoustics can be about achieving good speech intelligibility in a stadium or enhancing the quality of music in a theatre. Architectural Acoustic design is done by acoustic consultants. Electroacoustics is concerned with the design of headphones, loudspeakers, sound reproduction systems and recording technologies. Examples of electroacoustic design include portable electronic devices, sound systems in architectural acoustics, surround sound and wave field synthesis in movie theater and vehicle audio. Musical acoustics is concerned with describing the science of music. In audio engineering, this includes the design of electronic instruments such as synthesizers. Psychoacoustics is the scientific study of. At the heart of audio engineering are listeners who are the final arbitrator as to whether an audio design is successful, such as whether a binaural recording sounds immersive; the production, computer processing and perception of speech is an important part of audio engineering.
Ensuring speech is transmitted intelligibly and with high quality. A variety of terms are used to describe audio engineers who install or operate sound recording, sound reinforcement, or sound broadcasting equipment, including large and small format consoles. Terms such as "audio technician," "sound technician," "audio engineer," "audio technologist," "recording engineer," "sound mixer" and "sound engineer" can be ambiguous; such terms can refer to a person working in music production.
Single (music)
In the music industry, a single is a type of release a song recording of fewer tracks than an LP record or an album. This can be released for sale to the public in a variety of different formats. In most cases, a single is a song, released separately from an album, although it also appears on an album; these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular. In other cases a recording released. Despite being referred to as a single, singles can include up to as many as three tracks; the biggest digital music distributor, iTunes Store, accepts as many as three tracks less than ten minutes each as a single, as does popular music player Spotify. Any more than three tracks on a musical release or thirty minutes in total running time is either an extended play or, if over six tracks long, an album; when mainstream music was purchased via vinyl records, singles would be released double-sided.
That is to say, they were released with an A-side and B-side, on which two singles would be released, one on each side. Moreover, only the most popular songs from a released album would be released as a single. In more contemporary forms of music consumption, artists release most, if not all, of the tracks on an album as singles; the basic specifications of the music single were set in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercially produced musical recordings. Gramophone discs were manufactured in several sizes. By about 1910, the 10-inch, 78 rpm shellac disc had become the most used format; the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The crude disc-cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, a high rotation speed was necessary to achieve acceptable recording and playback fidelity.
78 rpm was chosen as the standard because of the introduction of the electrically powered, synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm. With these factors applied to the 10-inch format and performers tailored their output to fit the new medium; the 3-minute single remained the standard into the 1960s, when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recorded songs. The breakthrough came with Bob Dylan's "Like a Rolling Stone". Although CBS tried to make the record more "radio friendly" by cutting the performance into halves, separating them between the two sides of the vinyl disc, both Dylan and his fans demanded that the full six-minute take be placed on one side, that radio stations play the song in its entirety; as digital downloading and audio streaming have become more prevalent, it has become possible for every track on an album to be available separately.
The concept of a single for an album has been retained as an identification of a more promoted or more popular song within an album collection. The demand for music downloads skyrocketed after the launch of Apple's iTunes Store in January 2001 and the creation of portable music and digital audio players such as the iPod. In September 1997, with the release of Duran Duran's "Electric Barbarella" for paid downloads, Capitol Records became the first major label to sell a digital single from a well-known artist. Geffen Records released Aerosmith's "Head First" digitally for free. In 2004, Recording Industry Association of America introduced digital single certification due to significant sales of digital formats, with Gwen Stefani's "Hollaback Girl" becoming RIAA's first platinum digital single. In 2013, RIAA incorporated on-demand streams into the digital single certification. Single sales in the United Kingdom reached an all-time low in January 2005, as the popularity of the compact disc was overtaken by the then-unofficial medium of the music download.
Recognizing this, On 17 April 2005, Official UK Singles Chart added the download format to the existing format of physical CD singles. Gnarls Barkley was the first act to reach No.1 on this chart through downloads alone in April 2006, for their debut single "Crazy", released physically the following week. On 1 January 2007 digital downloads became eligible from the point of release, without the need for an accompanying physical. Sales improved in the following years, reaching a record high in 2008 that still proceeded to be overtaken in 2009, 2010 and 2011. Singles have been issued in various formats, including 7-inch, 10-inch, 12-inch vinyl discs. Other, less common, formats include singles on Digital Compact Cassette, DVD, LD, as well as many non-standard sizes of vinyl disc; the most common form of the vinyl single is the 45 or 7-inch. The names are derived from its play speed, 45 rpm, the standard diameter, 7 inches; the 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs.
The first 45
Design
Design can have different connotations in different fields of application, but there are two basic meanings of design: as a verb and as a noun. Design is the intentional creation of a plan or specification for the construction of an object or system or for the implementation of an activity or process. Design can refer to such a plan or specification or to the created object, etc. and features of it such as aesthetic, economic or socio-political. The process of creating a design can be brief or lengthy and complicated, involving considerable research, reflection, interactive adjustment and re-design. In some cases, the direct construction of an object without an explicit prior plan is considered to be a design activity. "Everyone designs who devises courses of action aimed at changing existing situations into preferred ones."More formally design has been defined as follows: a specification of an object, manifested by an agent, intended to accomplish goals, in a particular environment, using a set of primitive components, satisfying a set of requirements, subject to constraints.
It defines the specifications, parameters, activities and how and what to do within legal, social, environmental and economic constraints in achieving that objective."Here, a "specification" can be manifested as either a plan or a finished product, "primitives" are the elements from which the design object is composed. The person designing is called a designer, a term used for people who work professionally in one of the various design areas specifying which area is being dealt with. A designer's sequence of activities is called a design process while the scientific study of design is called design science. Another definition of design is planning to manufacture an object, component or structure, thus the word "design" can be used as a verb. In a broader sense, design is an applied engineering that integrates with technology. While the definition of design is broad, design has a myriad of specifications that professionals utilize in their fields. Major examples of design are architectural blueprints, engineering drawings, business processes, circuit diagrams, sewing patterns Substantial disagreement exists concerning how designers in many fields, whether amateur or professional, alone or in teams, produce designs.
Kees Dorst and Judith Dijkhuis, both designers themselves, argued that "there are many ways of describing design processes" and discussed "two basic and fundamentally different ways", both of which have several names. The prevailing view has been called "the rational model", "technical problem solving" and "the reason-centric perspective"; the alternative view has been called "reflection-in-action", "evolutionary design", "co-evolution", "the action-centric perspective". The rational model was independently developed by Herbert A. Simon, an American scientist, Gerhard Pahl and Wolfgang Beitz, two German engineering design theorists, it posits that: designers attempt to optimize a design candidate for known constraints and objectives, the design process is plan-driven, the design process is understood in terms of a discrete sequence of stages. The rational model is based on a rationalist philosophy and underlies the waterfall model, systems development life cycle, much of the engineering design literature.
According to the rationalist philosophy, design is informed by research and knowledge in a predictable and controlled manner. Typical stages consistent with the rational model include the following: Pre-production design Design brief or Parti pris – an early statement of design goals Analysis – analysis of current design goals Research – investigating similar design solutions in the field or related topics Specification – specifying requirements of a design solution for a product or service. Problem solving – conceptualizing and documenting design solutions Presentation – presenting design solutions Design during production Development – continuation and improvement of a designed solution Testing – in situ testing of a designed solution Post-production design feedback for future designs Implementation – introducing the designed solution into the environment Evaluation and conclusion – summary of process and results, including constructive criticism and suggestions for future improvements Redesign – any or all stages in the design process repeated at any time before, during, or after production.
Each stage has many associated best practices. The rational model has been criticized on two primary grounds: Designers do not work this way – extensive empirical evidence has demonstrated that designers do not act as the rational model suggests. Unrealistic assumptions – goals are unknown when a design project begins, the requirements and constraints continue to change; the action-centric perspective is a label given to a collection of interrelated concepts, which are antithetical to the rational model. It posits that: designers use creativity and emotion to generate design candidates, the design process is improvised, no universal sequence of stages is apparent – analysis and implementation are contemporary and inextricably linkedThe action-
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