The Maserati Karif is a luxury coupé produced by Maserati between 1988 and 1993. It was designed to be luxurious, but sporty and agile to allow the driver to "feel like a racing driver again or for the first time". At the car's unveiling, Alejandro de Tomaso declared a limited production run of 250 examples. Of these planned 250, only 222 were sold. In a throwback to Maserati's earlier naming practices for two-seater GTs, the car was named after the wind called "Karif", which blows South West across the Gulf of Aden at Berbera, Somalia; the Karif was built on the same shortened chassis as the Zagato-bodied Maserati Spyder model, adding a fixed notchback coupé roof. It used the most powerful Maserati Biturbo engine: the AM473, a 2.8 L 90° V6 engine with 3 valves per cylinder, producing 285 PS at 5500 rpm. According to Maserati the Karif could reach 100 km/h from a standstill in 4.8 seconds, achieve a top speed of over 255 km/h. Other sources claim 248 PS, 224 PS for the catalyzed model. With these lower power outputs, claimed top speeds were 230 km/h respectively.
The rear limited-slip differential was a Ranger by GKN, while the 5-speed manual transmission was a ZF dog-leg unit. Official Maserati Heritage pages: The Maserati Karif
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
It's for You (Shanice song)
"It's for You" is a song by Shanice and produced by Eric Kirkland and Michael Angelo Saulsberry of Portrait with drum programming by Maurice Thompson. It features a rap verse from Brett Bouldin, it was one of the singles released from the soundtrack of the film The Meteor Man. It became another moderate hit for the singer. A music video was filmed. Shanice performed the song on the Family Matters episode "Rock Enroll", which aired January 7, 1994. 12" single A1. It's For You A2. It's For You A3. It's For You B1. It's For You B2. It's For You
Discovery (Shanice album)
Discovery is the debut studio album by American R&B/pop singer Shanice, released October 21, 1987 by A&M Records. Shanice at the time was fourteen years old; the singles " Can You Dance," and "No 1/2 Steppin'" were top 10 R&B hits. "The Way You Love Me," and "I'll Bet She's Got A Boyfriend" were the final singles from the album. Will Downing covered the song "Just a Game" on his 1995 album Moods. All songs written and arranged by Bryan Loren"I Think I Love You" – 3:39 "No 1/2 Steppin'" – 4:56 " Can You Dance" – 4:49 "Spend Some Time with Me" – 4:01 "He's So Cute" – 3:40 "I'll Bet She's Got a Boyfriend" – 4:36 "Do I Know You" – 5:41 "Just a Game" – 4:32 "The Way You Love Me" – 4:12 Bryan Loren - Keyboards, synthesizers, drum programming Recording and mixing engineers: Paul McKenna, John Hedeges, Sabrina Buchanen, Richard Cottrell, Bryan Loren Executive producer - John McClain "Summer Love" was the B-side for the lead single, " Can You Dance". Official website
Turn Down the Lights
"Turn Down the Lights" is a song by Shanice. It was the second single released from her third album 21... Ways to Grow. A music video was filmed; the remixes can be viewed on YouTube. Promo CD single 1. "Turn Down The Lights" 2. "Turn Down The Lights" 3. "Turn Down The Lights" 4. "Turn Down The Lights" 5. "Turn Down The Lights" 6. "Turn Down The Lights"
Saving Forever for You
"Saving Forever for You" is a song performed by Shanice and written by Diane Warren. It was one of the singles released from the Beverly Hills 90210 soundtrack, it became Shanice's second and final single to hit the top 5 on the Billboard Hot 100, peaking at #4. However, it does not appear on Ultimate Collection. A music video was filmed, features Brian Austin Green from Beverly Hills, 90210
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro