K5 – The War of Words Demos
K5 – The War of Words Demos is a compilation album from the heavy metal band Fight, released on November 28, 2007. The album consists of demo recordings made in July 1992 in Phoenix, Arizona of what would become their 1993 debut release War of Words, including 5 new songs, it is the first material from Rob Halford's new band shortly after leaving Judas Priest. All tracks written except where noted. "Beast Denies" is an early version of "Reality, A New Beginning" from War of Words, but with different lyrics "Dead Men Talk" contains some parts that would end up in the song "Human Crate" from A Small Deadly Space "Psycho Suicide" would be re-recorded and be featured as a hidden track after a 2 minute silence on "In a World of My Own Making" from A Small Deadly Space FightRob Halford – vocals Brian Tilse – guitars Russ Parrish – guitars Jay Jay – bass Scott Travis – drumsProductionProduced by Rob Halford Executive producer – John Baxter Tracks 1–4, 6, 8–10, 15–16 are multitrack mixes, mixed by Roy Z in 2006 Tracks 5, 7, 11–14 are DAT demos, mixed by Rob Halford in 1992 Mastered by Tom Baker Cover illustration/art design – Marc Sasso Booklet layout/additional art – Attila Juhasz Photography – Neil Zlozower, William Hames, John Baxter
Singing is the act of producing musical sounds with the voice and augments regular speech by the use of sustained tonality, a variety of vocal techniques. A person who sings is called a vocalist. Singers perform music that can be sung without accompaniment by musical instruments. Singing is done in an ensemble of musicians, such as a choir of singers or a band of instrumentalists. Singers may perform as soloists or accompanied by anything from a single instrument up to a symphony orchestra or big band. Different singing styles include art music such as opera and Chinese opera, Indian music and religious music styles such as gospel, traditional music styles, world music, blues and popular music styles such as pop, electronic dance music and filmi. Singing arranged or improvised, it may be done as a form of religious devotion, as a hobby, as a source of pleasure, comfort or ritual, as part of music education or as a profession. Excellence in singing requires time, dedication and regular practice.
If practice is done on a regular basis the sounds can become more clear and strong. Professional singers build their careers around one specific musical genre, such as classical or rock, although there are singers with crossover success, they take voice training provided by voice teachers or vocal coaches throughout their careers. In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply or bellows. Though these four mechanisms function independently, they are coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by lower pelvis/pelvic muscles. Inhalation is aided by use of external intercostals and sternocleidomastoid muscles; the pitch is altered with the vocal cords. With the lips closed, this is called humming; the sound of each individual's singing voice is unique not only because of the actual shape and size of an individual's vocal cords but due to the size and shape of the rest of that person's body.
Humans have vocal folds which can loosen, tighten, or change their thickness, over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, timbre, or tone of the sound produced. Sound resonates within different parts of the body and an individual's size and bone structure can affect the sound produced by an individual. Singers can learn to project sound in certain ways so that it resonates better within their vocal tract; this is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds; these different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant, it has been shown that a more powerful voice may be achieved with a fatter and fluid-like vocal fold mucosa.
The more pliable the mucosa, the more efficient the transfer of energy from the airflow to the vocal folds. Vocal registration refers to the system of vocal registers within the voice. A register in the voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, possessing the same quality. Registers originate in laryngeal function, they occur. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds; the occurrence of registers has been attributed to effects of the acoustic interaction between the vocal fold oscillation and the vocal tract. The term "register" can be somewhat confusing; the term register can be used to refer to any of the following: A particular part of the vocal range such as the upper, middle, or lower registers. A resonance area such as chest voice or head voice. A phonatory process A certain vocal timbre or vocal "color" A region of the voice, defined or delimited by vocal breaks.
In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology, the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, the whistle register; this view is adopted by many vocal pedagogues. Vocal resonation is the process by which the basic product of phonation is en
A Small Deadly Space
A Small Deadly Space is the second and final full-length studio album from the heavy metal band Fight, released first in Japan on April 12, 1995, with 11 tracks via Sony Music Entertainment. The music has a more grunge-oriented sound, making it less appealing to fans who had developed a taste for the previous album. Lyrics written by Rob Halford and Brian Tilse except where noted Just like in the previous album, there is a gap between songs. "In a World of My Own Making" is a 7 minute song, followed by 2 minutes of silence. An additional song titled "Psycho Suicide" is played thereafter Part of the bonus track "Acid Test" was played as an intro to shows on the Small Deadly Space tour FightRob Halford – vocals Brian Tilse – guitars Mark Chaussee – guitars Jay Jay – bass Scott Travis – drumsProductionProduced by Attie Bauw Executive producer – John Baxter Recorded by Attie Bauw2008 Remixed and Remastered EditionRemixed by Roy Z Remastered by Maor Appelbaum Art design – Marc Sasso Album – Billboard
Glenn Raymond Tipton is an English Grammy Award-winning guitar player and songwriter. Noted for his complex playing style and classically influenced solos, he is best known as one of the lead guitarists for heavy metal band Judas Priest. Tipton was born on 25 October 1947, in Staffordshire, to Olive and Doug Tipton, he attended Olive Hill Primary School. His brother, was a guitar player for a local band called the Atlantics. Early on, Tipton was taught to play the piano by his mother. Tipton learned to play guitar at age 19 with his first guitar being a Hofner acoustic guitar, he would play on a Rickenbacker until he was able to afford a Fender Stratocaster. This guitar would become his main live guitar. Tipton soon bought a black Stratocaster and a Gibson SG afterwards with money he received to replace his old guitar. Both of these guitars can be seen when Judas Priest played on the Old Grey Whistle Test in 1975. Tipton lives in the village of Romsley, Worcestershire, in the West Midlands near Birmingham and has a state-of-the-art recording studio built next to his home.
During the 1980s he bought a property in Spain. He is or was married and has two children—Karina and Rick—born in 1981 and 1986 both of whom were featured on his solo album Baptizm of Fire Tipton and former Judas Priest bandmate K. K. Downing are long-time tennis players and both of them took up golf during an early 1980s American tour with Def Leppard. Tipton's first band was Shave Em' Dry, with future Starfighters and Ozzy Osbourne drummer Barry Scrannage, which became Merlin becoming The Flying Hat Band; this band soon broke up due to management issues. In May 1974, Tipton joined Judas Priest, coincidentally Scrannage had joined the band Bullion with earlier Judas Priest members Ernest Chataway and Bruno Staphenhill; this was during the recording for Rocka Rolla, so Tipton added his guitar parts to the album. On Sad Wings of Destiny, Tipton showed off more of his guitar work on songs like "Tyrant", "Dreamer Deceiver" and "Victim of Changes". Tipton presented his own songwriting on the songs "Prelude", "Epitaph" and "The Ripper".
He played keyboards on the early albums, although those were no longer featured on any songs after Killing Machine. He is credited with introducing a more metal sound to the band with those songs, as Rocka Rolla was composed of blues rock and psychedelic songs left over from the band's former frontman Al Atkins. Although Tipton wrote the lyrics for the songs shortly after joining Judas Priest, producer Rodger Bain rejected putting them on the first album as being not commercial enough. From onward and Tipton would be the band's principal songwriters with occasional contributions from Downing. 1980's British Steel was Judas Priest's commercial breakthrough. This album hooks. "United" and "Breaking the Law" were some of Judas Priest's first guitar-driven songs not to include any solo sections. Judas Priest shot to rock superstar status during the 1980s with their albums Point of Entry, Screaming for Vengeance, Defenders of the Faith and Ram It Down, entering the 1990s with the album Painkiller.
Rob Halford left Judas Priest in 1992 and the band separated. During their split, Tipton wrote material for a solo project, his first solo effort was the album Baptizm of Fire, released in 1997, followed by Edge of the World in 2006. In 1996, Judas Priest reformed with new vocalist Tim "Ripper" Owens; this new version of the band recorded the albums Jugulator in 1997 and Demolition in 2001. Both of these albums experimented with new sounds that distinguished them from the records with Halford. In 2003, Judas Priest reunited with Rob Halford and toured in celebration of his return in 2004; the band released Angel of Retribution in 2005 and Nostradamus in 2008. In 2010, Judas Priest announced their Epitaph World Tour, to be the last major world tour, their first tour without original guitarist K. K. Downing, the first to feature his replacement, Richie Faulkner; the band retracted this announcement, released their seventeenth album Redeemer of Souls in July 2014, as well as supporting the album with a world tour.
On 12 February 2018, Tipton announced that he would step down from touring when he revealed that he had been diagnosed with Parkinson's disease. He stated that he was still a member of the band despite his diagnosis and would not rule out future on-stage appearances. Producer and guitarist Andy Sneap would replace him on tour. On 9 March 2018, the eighteenth album Firepower was released. At the 20 March 2018 show in Newark, New Jersey, Tipton joined the band on stage to perform "Metal Gods", "Breaking the Law" and "Living After Midnight"; when speaking to SiriusXM prior to the band's performance, he expressed uncertainty regarding his future role in Judas Priest, "It's a question that I can't answer. I'm gon na see. Medication is improving; each day is different for me — some days, it's worse. But I didn't wanna compromise the best heavy metal band in the world. So, to be on the safe side, Andy is in there now, what will be will be, and that's all. But I love this band, and maybe I'll do some more writing and recording — maybe some more touring.
It's an unanswerable question, really. It's in the lap of the metal gods." After performing on stage with the band, Tipton described it as "emotional" talking about the critical support from the band themselves and from fans worldwide, "It’s just amazing to get, first of all, support from
Mastering, a form of audio post production, is the process of preparing and transferring recorded audio from a source containing the final mix to a data storage device, the source from which all copies will be produced. In recent years digital masters have become usual, although analog masters, such as audio tapes, are still being used by the manufacturing industry, notably by a few engineers who have chosen to specialize in analog mastering. Mastering requires critical listening. Results still depend upon the intent of the engineer, the accuracy of the speaker monitors, the listening environment. Mastering engineers may need to apply corrective equalization and dynamic compression in order to optimise sound translation on all playback systems, it is standard practice to make a copy of a master recording, known as a safety copy, in case the master is lost, damaged or stolen. In the earliest days of the recording industry, all phases of the recording and mastering process were achieved by mechanical processes.
Performers sang and/or played into a large acoustic horn and the master recording was created by the direct transfer of acoustic energy from the diaphragm of the recording horn to the mastering lathe located in an adjoining room. The cutting head, driven by the energy transferred from the horn, inscribed a modulated groove into the surface of a rotating cylinder or disc; these masters were made from either a soft metal alloy or from wax. After the introduction of the microphone and electronic amplifier in the mid-1920s, the mastering process became electro-mechanical, electrically driven mastering lathes came into use for cutting master discs; until the introduction of tape recording, master recordings were always cut direct-to-disc. Only a small minority of recordings were mastered using recorded material sourced from other discs. In the late 1940s, the recording industry was revolutionized by the introduction of magnetic tape. Magnetic tape was invented for recording sound by Fritz Pfleumer in 1928 in Germany, based on the invention of magnetic wire recording by Valdemar Poulsen in 1898.
Not until the end of World War II could the technology be found outside Europe. The introduction of magnetic tape recording enabled master discs to be cut separately in time and space from the actual recording process. Although tape and other technical advances improved audio quality of commercial recordings in the post-war years, the basic constraints of the electro-mechanical mastering process remained, the inherent physical limitations of the main commercial recording media—the 78 rpm disc and the 7-inch 45 rpm single and 33-1/3 rpm LP record—meant that the audio quality, dynamic range, running time of master discs were still limited compared to media such as the compact disc. From the 1950s until the advent of digital recording in the late 1970s, the mastering process went through several stages. Once the studio recording on multi-track tape was complete, a final mix was prepared and dubbed down to the master tape either a single-track mono or two-track stereo tape. Prior to the cutting of the master disc, the master tape was subjected to further electronic treatment by a specialist mastering engineer.
After the advent of tape it was found that for pop recordings, master recordings could be made so that the resulting record would sound better. This was done by making fine adjustments to the amplitude of sound at different frequency bands prior to the cutting of the master disc. Record mastering became a prized and skilled craft, it was recognized that good mastering could make or break a commercial pop recording; as a result, the independent mastering studio was born. Early independent mastering engineers included Doug Sax, Bob Ludwig, Bob Katz and Bernie Grundman and Denny Purcell. In large recording companies such as EMI, the mastering process was controlled by specialist staff technicians who were conservative in their work practices; these big companies were reluctant to make changes to their recording and production processes. For example, EMI was slow in taking up innovations in multi-track recording and they did not install 8-track recorders in their Abbey Road Studios until the late 1960s, more than a decade after the first commercial 8-track recorders were installed by American independent studios.
In the 1990s, electro-mechanical processes were superseded by digital technology, with digital recordings stored on hard disk drives or digital tape and mastered to CD. The digital audio workstation became common in many mastering facilities, allowing the off-line manipulation of recorded audio via a graphical user interface. Although many digital processing tools are common during mastering, it is very common to use analog media and processing equipment for the mastering stage. Just as in other areas of audio, the benefits and drawbacks of digital technology compared to analog technology are still a matter for debate. However, in the field of audio mastering, the debate is over the use of digital versus analog signal processing rather than the use of digital technology for storage of audio. Digital systems allow mixing to be performed at lower maximum levels. With peaks between -3 and -9 dBFS on a mix, the mastering engineer has enough headroom to process and produce a final master, it is important to allow enough headroom for the mastering engineer's work.
Reduction of headroom by the mix or
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
Heavy metal music
Heavy metal is a genre of rock music that developed in the late 1960s and early 1970s in the United Kingdom. With roots in blues rock, psychedelic rock, acid rock, the bands that created heavy metal developed a thick, massive sound, characterized by amplified distortion, extended guitar solos, emphatic beats, overall loudness; the genre's lyrics and performance styles are sometimes associated with machismo. In 1968, three of the genre's most famous pioneers, Led Zeppelin, Black Sabbath and Deep Purple were founded. Though they came to attract wide audiences, they were derided by critics. During the mid-1970s, Judas Priest helped spur the genre's evolution by discarding much of its blues influence. Beginning in the late 1970s, bands in the new wave of British heavy metal such as Iron Maiden and Def Leppard followed in a similar vein. Before the end of the decade, heavy metal fans became known as "metalheads" or "headbangers". During the 1980s, glam metal became popular with groups such as Mötley Crüe.
Underground scenes produced an array of more aggressive styles: thrash metal broke into the mainstream with bands such as Metallica, Slayer and Anthrax, while other extreme subgenres of heavy metal such as death metal and black metal remain subcultural phenomena. Since the mid-1990s popular styles have further expanded the definition of the genre; these include groove metal and nu metal, the latter of which incorporates elements of grunge and hip hop. Heavy metal is traditionally characterized by loud distorted guitars, emphatic rhythms, dense bass-and-drum sound, vigorous vocals. Heavy metal subgenres variously alter, or omit one or more of these attributes; the New York Times critic Jon Pareles writes, "In the taxonomy of popular music, heavy metal is a major subspecies of hard-rock—the breed with less syncopation, less blues, more showmanship and more brute force." The typical band lineup includes a drummer, a bassist, a rhythm guitarist, a lead guitarist, a singer, who may or may not be an instrumentalist.
Keyboard instruments are sometimes used to enhance the fullness of the sound. Deep Purple's Jon Lord played an overdriven Hammond organ. In 1970, John Paul Jones used a Moog synthesizer on Led Zeppelin III; the electric guitar and the sonic power that it projects through amplification has been the key element in heavy metal. The heavy metal guitar sound comes from a combined use of heavy distortion. For classic heavy metal guitar tone, guitarists maintain moderate levels gain at moderate levels, without excessive preamp or pedal distortion, to retain open spaces and air in the music. Thrash metal guitar tone has scooped mid-frequencies and compressed sound with lots of bass frequencies. Guitar solos are "an essential element of the heavy metal code... that underscores the significance of the guitar" to the genre. Most heavy metal songs "feature at least one guitar solo", "a primary means through which the heavy metal performer expresses virtuosity"; some exceptions are nu grindcore bands, which tend to omit guitar solos.
With rhythm guitar parts, the "heavy crunch sound in heavy metal... palm muting" the strings with the picking hand and using distortion. Palm muting creates a tighter, more precise sound and it emphasizes the low end; the lead role of the guitar in heavy metal collides with the traditional "frontman" or bandleader role of the vocalist, creating a musical tension as the two "contend for dominance" in a spirit of "affectionate rivalry". Heavy metal "demands the subordination of the voice" to the overall sound of the band. Reflecting metal's roots in the 1960s counterculture, an "explicit display of emotion" is required from the vocals as a sign of authenticity. Critic Simon Frith claims; the prominent role of the bass is key to the metal sound, the interplay of bass and guitar is a central element. The bass guitar provides the low-end sound crucial to making the music "heavy"; the bass plays a "more important role in heavy metal than in any other genre of rock". Metal basslines vary in complexity, from holding down a low pedal point as a foundation to doubling complex riffs and licks along with the lead or rhythm guitars.
Some bands feature the bass as a lead instrument, an approach popularized by Metallica's Cliff Burton with his heavy emphasis on bass guitar solos and use of chords while playing bass in the early 1980s. Lemmy of Motörhead played overdriven power chords in his bass lines; the essence of heavy metal drumming is creating a loud, constant beat for the band using the "trifecta of speed and precision". Heavy metal drumming "requires an exceptional amount of endurance", drummers have to develop "considerable speed and dexterity... to play the intricate patterns" used in heavy metal. A characteristic metal drumming technique is the cymbal choke, which consists of striking a cymbal and immediately silencing it by grabbing it with the other hand, producing a burst of sound; the metal drum setup is much larger than those employed in other forms of rock music. Black metal, death metal and some "mainstream metal" bands "all depend upon double-kicks and blast beats". In live performance, loudness—an "onslaught of sound", in sociologist Deena Weinstein's description—is considered vital.
In his book Metalheads, psychologist Jeffrey Arnett refers to heavy me