1.
Manufacturing
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Manufacturing is the value added to production of merchandise for use or sale using labour and machines, tools, chemical and biological processing, or formulation. Manufacturing engineering or manufacturing process are the steps through which raw materials are transformed into a final product, the manufacturing process begins with the product design, and materials specification from which the product is made. These materials are modified through manufacturing processes to become the required part. Manufacturing takes turns under all types of economic systems, in a free market economy, manufacturing is usually directed toward the mass production of products for sale to consumers at a profit. In a collectivist economy, manufacturing is more directed by the state to supply a centrally planned economy. In mixed market economies, manufacturing occurs under some degree of government regulation, modern manufacturing includes all intermediate processes required the production and integration of a products components. Some industries, such as semiconductor and steel manufacturers use the term fabrication instead, the manufacturing sector is closely connected with engineering and industrial design. Examples of major manufacturers in North America include General Motors Corporation, General Electric, Procter & Gamble, General Dynamics, Boeing, Pfizer, examples in Europe include Volkswagen Group, Siemens, and Michelin. Examples in Asia include Sony, Huawei, Lenovo, Toyota, Samsung, in its earliest form, manufacturing was usually carried out by a single skilled artisan with assistants. In much of the world, the guild system protected the privileges. Before the Industrial Revolution, most manufacturing occurred in rural areas, entrepreneurs organized a number of manufacturing households into a single enterprise through the putting-out system. Toll manufacturing is an arrangement whereby a first firm with specialized equipment processes raw materials or semi-finished goods for a second firm, manufacturing provides important material support for national infrastructure and for national defense. On the other hand, most manufacturing may involve significant social and environmental costs, the clean-up costs of hazardous waste, for example, may outweigh the benefits of a product that creates it. Hazardous materials may expose workers to health risks and these costs are now well known and there is effort to address them by improving efficiency, reducing waste, using industrial symbiosis, and eliminating harmful chemicals. The negative costs of manufacturing can also be addressed legally, developed countries regulate manufacturing activity with labor laws and environmental laws. Across the globe, manufacturers can be subject to regulations and pollution taxes to offset the costs of manufacturing activities. Labor unions and craft guilds have played a role in the negotiation of worker rights. Environment laws and labor protections that are available in developed nations may not be available in the third world, tort law and product liability impose additional costs on manufacturing
2.
Oberheim Electronics
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Oberheim Electronics, is a manufacturer of audio synthesizers and a variety of other electronic musical instruments. Founded in 1969 by Tom Oberheim, Oberheims Two-voice TVS-1, Four-voice FVS-1 in 1975, and Eight-voice in 1977, were among the first commercially available polyphonic synthesizers. Configurations were based on the SEM, the Two-voice synthesizer included a two channel voltage controlled sequencer, and the Four-voice and Eight-voice machines included a rudimentary Programmer, capable of recalling sound settings. Oberheims later synths like the OB-X and OB-Xa abandoned the relatively bulky SEMs in favor of individual or compact voice cards, Oberheim continued to make synthesizers until the late 1980s. Other notable Oberheim synthesizers include the OB-1, the OB-8, the Xpander, the Matrix-6, the Matrix-12, and the Matrix-1000 marketed after the acquisition by Gibson. Oberheims DMX drum machine, a staple of early music, lent its name to the Producer Davy DMX, electro musician DMX Krew. Oberheim went bankrupt and was acquired in 1985 by a group of lawyers who changed the name to Oberheim ECC, Tom was creatively still at the helm, although he left the company within a couple of years to start a new venture called Marion Systems. Ironically, Gibson had split away from its parent company, Norlin, in 1986, Norlin handled distribution for Oberheims major competitor, Moog Music. The trademark was licensed to Viscount International, an Italian digital-organ producer. In 2009, Tom Oberheim announced that he was manufacturing a new version of his classic analog SEM, in 2011–2012, Tom Oberheim announced a four-voice SEM called Son Of 4 Voice, as well as an updated version of the classic Two-Voice known as the Two-Voice Pro. The Son Of 4 Voice, also known as SO4V, the Two Voice Pro started shipping in 2014
3.
United States dollar
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The United States dollar is the official currency of the United States and its insular territories per the United States Constitution. It is divided into 100 smaller cent units, the circulating paper money consists of Federal Reserve Notes that are denominated in United States dollars. The U. S. dollar was originally commodity money of silver as enacted by the Coinage Act of 1792 which determined the dollar to be 371 4/16 grain pure or 416 grain standard silver, the currency most used in international transactions, it is the worlds primary reserve currency. Several countries use it as their currency, and in many others it is the de facto currency. Besides the United States, it is used as the sole currency in two British Overseas Territories in the Caribbean, the British Virgin Islands and Turks and Caicos Islands. A few countries use the Federal Reserve Notes for paper money, while the country mints its own coins, or also accepts U. S. coins that can be used as payment in U. S. dollars. After Nixon shock of 1971, USD became fiat currency, Article I, Section 8 of the U. S. Constitution provides that the Congress has the power To coin money, laws implementing this power are currently codified at 31 U. S. C. Section 5112 prescribes the forms in which the United States dollars should be issued and these coins are both designated in Section 5112 as legal tender in payment of debts. The Sacagawea dollar is one example of the copper alloy dollar, the pure silver dollar is known as the American Silver Eagle. Section 5112 also provides for the minting and issuance of other coins and these other coins are more fully described in Coins of the United States dollar. The Constitution provides that a regular Statement and Account of the Receipts and that provision of the Constitution is made specific by Section 331 of Title 31 of the United States Code. The sums of money reported in the Statements are currently being expressed in U. S. dollars, the U. S. dollar may therefore be described as the unit of account of the United States. The word dollar is one of the words in the first paragraph of Section 9 of Article I of the Constitution, there, dollars is a reference to the Spanish milled dollar, a coin that had a monetary value of 8 Spanish units of currency, or reales. In 1792 the U. S. Congress passed a Coinage Act, Section 20 of the act provided, That the money of account of the United States shall be expressed in dollars, or units. And that all accounts in the offices and all proceedings in the courts of the United States shall be kept and had in conformity to this regulation. In other words, this act designated the United States dollar as the unit of currency of the United States, unlike the Spanish milled dollar the U. S. dollar is based upon a decimal system of values. Both one-dollar coins and notes are produced today, although the form is significantly more common
4.
Polyphony and monophony in instruments
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Polyphony is a property of musical instruments that means that they can play multiple notes simultaneously. Instruments featuring polyphony are said to be polyphonic, instruments that are not capable of polyphony are monophonic or paraphonic. A monophonic synthesizer or monosynth is a synthesizer that produces one note at a time. Well-known monosynths include the Minimoog, the Roland TB-303, and the Korg Prophecy, duophonic synthesizers, such as the ARP Odyssey and Formanta Polivoks built in the 1970s and 1980s respectively, have a capability to independently play two pitches at a time. These synthesizers have at least two oscillators that are controllable, and a duophonic keyboard that can generate two control voltage signals for the lowest- and highest-note. When two or more keys are pressed simultaneously, the lowest- and highest-note will be heard, when only one key is pressed, both oscillators are assigned to one note, possibly with a more complex sound. The earliest polyphonic synthesizers were built in the late-1930s, but the concept did not become popular until the mid-1970s, harald Bodes Warbo Formant Orguel, developed in 1937, was an archetype of a voice allocation polyphonic synthesizer. Novachord by Hammond Organ Company, released in 1939, is a product of frequency divider organs. It uses octave divider technology to generate polyphony, and about 1,000 Novachords were manufactured until 1942, using an octave divider a synthesizer needs only 12 oscillators - one for each note in the musical scale. The additional notes are generated by dividing down the outputs of these oscillators, to produce a note one octave lower, the frequency of the oscillator is divided by two. Polyphony is achieved so long as one of each note in the scale is played simultaneously. One notable early polyphonic synthesizer was the Sequential Circuits Prophet 5, six-voice polyphony was standard by the middle 1980s. With the advent of synthesizers, 16-voice polyphony became standard by the late 1980s. 64-voice polyphony was common by the middle 1990s and 128-note polyphony arrived shortly after, there are several reasons for providing such large numbers of simultaneous notes, Even with only ten fingers, it is possible to play more than ten notes at once. Notes may continue to sound even after a key is released, the synthesizers resources may still be in use to produce the sound of the previously struck notes tapering off, especially when a sustain pedal is used. A sound may be generated by more than one oscillator or sound-source to allow more complicated sounds to be produced, a synthesizer with 16 oscillators may be capable of 16-note polyphony only when simple, single-oscillator sounds are produced. If a particular patch requires four oscillators, then the synthesizer is only capable of four-note polyphony, synthesizers may be configured to produce multiple timbres, particularly necessary when sounds are layered or sequenced. Multitimbral instruments are always polyphonic but polyphonic instruments are not necessarily multitimbral, some multitimbral instruments have a feature which allows the user to specify the amount of polyphony reserved or allowed for each timbre
5.
Timbre
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The physical characteristics of sound that determine the perception of timbre include spectrum and envelope. Singers and instrumental musicians can change the timbre of the music they are singing/playing by using different singing or playing techniques, for example, a violinist can use different bowing styles or play on different parts of the string to obtain different timbres. On electric guitar and electric piano, performers can change the timbre using effects units, in simple terms, timbre is what makes a particular musical sound have a different sound from another, even when they have the same pitch and loudness. For instance, it is the difference in sound between a guitar and a playing the same note at the same volume. Experienced musicians are able to distinguish between different instruments of the type based on their varied timbres, even if those instruments are playing notes at the same pitch. Tone quality and tone color are synonyms for timbre, as well as the attributed to a single instrument. However, the texture can also refer to the type of music, such as multiple. The sound of an instrument may be described with words such as bright, dark, warm, harsh. There are also colors of noise, such as pink and white, in visual representations of sound, timbre corresponds to the shape of the image. The Acoustical Society of America Acoustical Terminology definition 12, Timbre has been called. the psychoacousticians multidimensional waste-basket category for everything that cannot be labeled pitch or loudness. Many commentators have attempted to decompose timbre into component attributes, the richness of a sound or note a musical instrument produces is sometimes described in terms of a sum of a number of distinct frequencies. The lowest frequency is called the frequency, and the pitch it produces is used to name the note. The dominant frequency is the frequency that is most heard, for example, the dominant frequency for the transverse flute is double the fundamental frequency. Other significant frequencies are called overtones of the frequency, which may include harmonics. Harmonics are whole number multiples of the frequency, such as ×2, ×3, ×4. There are also sometimes subharmonics at whole number divisions of the fundamental frequency, most instruments produce harmonic sounds, but many instruments produce partials and inharmonic tones, such as cymbals and other indefinite-pitched instruments. When the tuning note in an orchestra or concert band is played, each instrument in the orchestra or concert band produces a different combination of these frequencies, as well as harmonics and overtones. The sound waves of the different frequencies overlap and combine, the timbre of a sound is also greatly affected by the following aspects of its envelope, attack time and characteristics, decay, sustain, release and transients
6.
Electronic oscillator
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An electronic oscillator is an electronic circuit that produces a periodic, oscillating electronic signal, often a sine wave or a square wave. Oscillators convert direct current from a supply to an alternating current signal. They are widely used in electronic devices. Oscillators are often characterized by the frequency of their output signal and this term is typically used in the field of audio synthesizers, to distinguish it from an audio frequency oscillator. An audio oscillator produces frequencies in the range, about 16 Hz to 20 kHz. An RF oscillator produces signals in the frequency range of about 100 kHz to 100 GHz. Oscillators designed to produce a high-power AC output from a DC supply are usually called inverters, there are two main types of electronic oscillator, the linear or harmonic oscillator and the nonlinear or relaxation oscillator. The harmonic, or linear, oscillator produces a sinusoidal output, when the power supply to the amplifier is first switched on, electronic noise in the circuit provides a non-zero signal to get oscillations started. The noise travels around the loop and is amplified and filtered until very quickly it converges on a wave at a single frequency. RC oscillators are used to generate lower frequencies, for example in the audio range. Common types of RC oscillator circuits are the phase shift oscillator, in an LC oscillator circuit, the filter is a tuned circuit consisting of an inductor and capacitor connected together. Charge flows back and forth between the plates through the inductor, so the tuned circuit can store electrical energy oscillating at its resonant frequency. There are small losses in the circuit, but the amplifier compensates for those losses and supplies the power for the output signal. Typical LC oscillator circuits are the Hartley, Colpitts and Clapp circuits, in a crystal oscillator circuit the filter is a piezoelectric crystal. The crystal mechanically vibrates as a resonator, and its frequency of vibration determines the oscillation frequency, crystals have very high Q-factor and also better temperature stability than tuned circuits, so crystal oscillators have much better frequency stability than LC or RC oscillators. Crystal oscillators are the most common type of linear oscillator, used to stabilize the frequency of most radio transmitters, crystal oscillators often use the same circuits as LC oscillators, with the crystal replacing the tuned circuit, the Pierce oscillator circuit is also commonly used. Quartz crystals are generally limited to frequencies of 30 MHz or below, other types of resonator, dielectric resonators and surface acoustic wave devices, are used to control higher frequency oscillators, up into the microwave range. For example, SAW oscillators are used to generate the signal in cell phones
7.
Low-frequency oscillation
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Low-frequency oscillation is an electronic signal which is usually below 20 Hz and creates a rhythmic pulse or sweep. This pulse or sweep is often used to modulate synthesizers, delay lines, audio effects such as vibrato, tremolo and phasing are examples. The abbreviation LFO is also often used to refer to low-frequency oscillators themselves. Low-frequency oscillation as a concept was first introduced in the modular synths of the 1960s and 70s, often the LFO effect was accidental, so there were myriad configurations that could be patched by the synth operator. LFOs have since appeared in form on almost every synthesizer. More recently other electronic instruments, such as samplers and software synthesizers, have included LFOs to increase their sound alteration capabilities. The primary oscillator circuits of a synthesizer are used to create the audio signals, a LFO is a secondary oscillator that operates at a significantly lower frequency, typically below 20 Hz. This lower frequency or control signal is used to modulate another components value, like a standard oscillator, this usually takes the form of a periodic waveform, such as a sine, sawtooth, triangle or square wave. Also like an oscillator, LFOs can incorporate any number of waveform types, including user-defined wavetables, rectified waves. Using a low-frequency oscillation signal as a means of modulating another signal introduces complexities into the resulting sound, the specifics vary greatly depending on the type of modulation, the relative frequencies of the LFO signal and the signal being modulated, et cetera. An LFO can be routed to control, for example, the frequency of the oscillator, its phase, stereo panning, filter frequency. When routed to control pitch, an LFO creates vibrato, when an LFO modulates amplitude, it creates tremolo. Electronic musicians use LFO for a variety of applications and they may be used to add simple vibrato or tremolo to a melody, or for more complex applications such as triggering gate envelopes, or controlling the rate of arpeggiation. Differences between LFO rates also account for a number of commonly heard effects in modern music, a very low rate can be used to modulate a filters cutoff frequency, thereby providing the characteristic gradual sensation of the sound becoming clearer or closer to the listener. Alternatively, a high rate can be used for bizarre rippling sound effects, due to the popularization of these genres, the LFO wobble is now being found in other forms of electronic dance music such as house music. The British electronic music group LFO take their name directly from the low-frequency oscillator
8.
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
9.
Analog synthesizer
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An analog synthesizer is a synthesizer that uses analog circuits and analog signals to generate sound electronically. The earliest analog synthesizers in the 1920s and 1930s, such as the Trautonium, were built with a variety of vacuum-tube, after the 1960s, analog synthesizers were built using operational amplifier integrated circuits, and used potentiometers to adjust the sound parameters. Analog synthesizers also use low-pass filters and high-pass filters to modify the sound, the earliest synthesizers used a variety of thermionic-valve and electro-mechanical technologies. Another notable early instrument is the Hammond Novachord, first produced in 1938, early analog synthesizers used technology from electronic analog computers and laboratory test equipment. Synthesizer modules in early synthesizers included voltage-controlled oscillators, voltage-controlled filters. Additionally, they used envelope generators, low-frequency oscillators, and ring modulators, some synthesizers also had effects devices, such as reverb units, or tools such as sequencers or sound mixers. Because many of these modules took input sound signals and processed them, famous modular synthesizer manufacturers included Buchla & Associates, Moog Music, ARP Instruments, Inc. and Electronic Music Studios. Moog established standards recognized worldwide for control interfacing on analog synthesizers, using a logarithmic 1-volt-per-octave pitch control and these control signals were routed using the same types of connectors and cables that were used for routing the synthesized sound signals. A specialized form of analog synthesizer is the analog vocoder, based on equipment developed for speech synthesis, vocoders are often used to make a sound that resembles a musical instrument talking or singing. Patch cords were expensive, could be damaged by use, and made complex patches difficult, thus, later analog synthesizers used the same building blocks, but integrated them into single units, eliminating patch cords in favour of integrated signal routing systems. The most popular of these was the Minimoog, though less flexible than a modular design, normalization made the instrument more portable and easier to use. This first pre-patched synthesizer, the Minimoog, became highly popular, the Minimoog also influenced the design of nearly all subsequent synthesizers, with integrated keyboard, pitch wheel and modulation wheel, and a VCO->VCF->VCA signal flow. In the 1970s, miniaturized solid-state components let manufacturers produce self-contained, portable instruments, Electronic synthesizers quickly become a standard part of the popular-music repertoire. The first movie to use music made with a synthesizer was the James Bond film On Her Majestys Secret Service in 1969, after the release of the film, composers produced a large number of movie soundtracks that featured synthesizers. Notable makers of analog synthesizers included Moog, ARP, Roland, Korg. Because of the complexity of generating even a single note using analog synthesis, polyphonic analog synthesizers featured limited polyphony, typically supporting four voices. Oberheim was a manufacturer of analog polyphonic synthesizers. The Polymoog was an attempt to create a polyphonic analog synthesizer
10.
Audio filter
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An audio filter is a frequency dependent amplifier circuit, working in the audio frequency range,0 Hz to beyond 20 kHz. Audio filters can amplify, pass or attenuate some frequency ranges, common types include low-pass filters, which pass through frequencies below their cutoff frequencies, and progressively attenuates frequencies above the cutoff frequency. Low-pass filters are used in audio crossovers to remove content from signals being sent to a low-frequency subwoofer system. A high-pass filter does the opposite, passing high frequencies above the cutoff frequency, a high-pass filter can be used in an audio crossover to remove low-frequency content from a signal being sent to a tweeter. A bandpass filter passes frequencies between its two frequencies, while attenuating those outside the range. A band-reject filter, attenuates frequencies between its two frequencies, while passing those outside the reject range. An all-pass filter passes all frequencies, but affects the phase of any given sinusoidal component, in more complex cases, an audio filter can provide a feedback loop, which introduces resonance alongside attenuation. Audio filters can also be designed to gain as well as attenuation. In other applications, such as with synthesizers or sound effects, audio filters can be implemented in analog circuitry as analog filters or in DSP code or computer software as digital filters. Generically, the term audio filter can be applied to anything which changes the timbre. Electrical resonance Electronic filter Equalization Feedback Linear filter Oscillation Self-resonant frequency
11.
Attenuator (electronics)
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An attenuator is an electronic device that reduces the power of a signal without appreciably distorting its waveform. An attenuator is effectively the opposite of an amplifier, though the two work by different methods, while an amplifier provides gain, an attenuator provides loss, or gain less than 1. Attenuators are usually passive devices made from simple voltage divider networks, switching between different resistances forms adjustable stepped attenuators and continuously adjustable ones using potentiometers. For higher frequencies precisely matched low VSWR resistance networks are used, fixed attenuators in circuits are used to lower voltage, dissipate power, and to improve impedance matching. Attenuators are also used to match impedance by lowering apparent SWR, basic circuits used in attenuators are pi pads and T pads. These may be required to be balanced or unbalanced depending on whether the line geometry with which they are to be used is balanced or unbalanced. For instance, attenuators used with coaxial lines would be the form while attenuators for use with twisted pair are required to be the balanced form. Four fundamental attenuator circuit diagrams are given in the figures on the left, since an attenuator circuit consists solely of passive resistor elements, it is linear and reciprocal. Key specifications for attenuators are, Attenuation expressed in decibels of relative power, a 3 dB pad reduces power to one half,6 dB to one fourth,10 dB to one tenth,20 dB to one hundredth,30 dB to one thousandth and so on. For voltage you double the dBs so for example 6 dB is half in voltage, nominal impedance, for example 50 ohm Frequency bandwidth, for example DC-18 GHz Power dissipation depends on mass and surface area of resistance material as well as possible additional cooling fins. Above SHF special waveguide structure is required, important characteristics are, accuracy, low SWR, flat frequency-response and repeatability. The size and shape of the attenuator depends on its ability to dissipate power, RF attenuators are used as loads for and as known attenuation and protective dissipation of power in measuring RF signals. Power attenuator Guitar amplifier This section concerns pi-pads, T-pads and L-pads made entirely from resistors, all impedance, currents, voltages and two-port parameters will be assumed to be purely real. For practical applications, this assumption is often close enough, the pad is designed for a particular load impedance, ZLoad, and a particular source impedance, Zs. The impedance seen looking into the port will be ZS if the output port is terminated by ZLoad. The impedance seen looking into the port will be ZLoad if the input port is terminated by ZS. The attenuator two-port is generally bidirectional, however, in this section it will be treated as though it were one way. In general, either of the two figures above applies, but the figure on the left will be assumed most of the time
12.
Keyboard expression
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Acoustic pianos, such as upright and grand pianos, are velocity-sensitive—the faster the key strike, the harder the hammer hits the strings. Baroque-style clavichords and professional synthesizers are after-touch-sensitive—applied force on the key after the initial strike produces effects such as vibrato or swells in volume, tracker pipe organs and electronic organs are displacement-sensitive—partly depressing a key produces a quieter tone. The piano, being velocity-sensitive, responds to the speed of the key-press in how fast the hammers strike the strings, several piano predecessors, such as the harpsichord, were not velocity-sensitive like the piano. To avoid this confusion, pressure sensitivity is often, perhaps usually, the MIDI standard supports both velocity and aftertouch. In general, only electronic keyboards implement true pressure sensitivity. Some manufacturers advertising incorrectly uses the term touch-sensitive for velocity sensitivity, even on a touch-sensitive keyboard, not all digital instrument sounds may incorporate velocity sensitivity into the sounds envelope. For example, the pipe organ sound often has no velocity-sensitive effects. The manufacturers and distributors of some inferior keyboards incorrectly describe their purely velocity-sensitive instruments as pressure-sensitive, the clavichord and some electronic keyboards also respond to the amount of force applied after initial impact—they are pressure-sensitive. This can be used by a skilled player to slightly correct the intonation of the notes when playing on a clavichord. Unlike in an action, the tangent does not rebound from the string, rather, it stays in contact with the string as long as the key is held. The volume of the note can be changed by striking harder or softer, when the key is released, the tangent loses contact with the string and the vibration of the string is silenced by strips of damping cloth. By applying a pressure up and down the key with the finger. While the vibrato on fretless string instruments such as the violin typically oscillates in pitch both above and below the note, clavichord bebung only produce pitches above the note. Sheet music does not often explicitly indicate bebung, composers generally let players apply bebung at their discretion. When sheet music does indicate bebung, it appears as a series of dots above or below a note, on electronic keyboards and synthesizers, pressure sensitivity is usually called aftertouch. A minority of instruments have polyphonic aftertouch, in each individual note has its own sensor for pressure that enables differing usage of aftertouch for different notes. Aftertouch sensors detect whether the musician is continuing to exert pressure after the strike of the key. The aftertouch feature allows players to change the tone or sound of a note after it is struck
13.
Computer data storage
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Computer data storage, often called storage or memory, is a technology consisting of computer components and recording media used to retain digital data. It is a function and fundamental component of computers. The central processing unit of a computer is what manipulates data by performing computations, in practice, almost all computers use a storage hierarchy, which puts fast but expensive and small storage options close to the CPU and slower but larger and cheaper options farther away. In the Von Neumann architecture, the CPU consists of two parts, The control unit and the arithmetic logic unit. The former controls the flow of data between the CPU and memory, while the latter performs arithmetic and logical operations on data, without a significant amount of memory, a computer would merely be able to perform fixed operations and immediately output the result. It would have to be reconfigured to change its behavior and this is acceptable for devices such as desk calculators, digital signal processors, and other specialized devices. Von Neumann machines differ in having a memory in which they store their operating instructions, most modern computers are von Neumann machines. A modern digital computer represents data using the numeral system. Text, numbers, pictures, audio, and nearly any form of information can be converted into a string of bits, or binary digits. The most common unit of storage is the byte, equal to 8 bits, a piece of information can be handled by any computer or device whose storage space is large enough to accommodate the binary representation of the piece of information, or simply data. For example, the works of Shakespeare, about 1250 pages in print. Data is encoded by assigning a bit pattern to each character, digit, by adding bits to each encoded unit, redundancy allows the computer to both detect errors in coded data and correct them based on mathematical algorithms. A random bit flip is typically corrected upon detection, the cyclic redundancy check method is typically used in communications and storage for error detection. A detected error is then retried, data compression methods allow in many cases to represent a string of bits by a shorter bit string and reconstruct the original string when needed. This utilizes substantially less storage for many types of data at the cost of more computation, analysis of trade-off between storage cost saving and costs of related computations and possible delays in data availability is done before deciding whether to keep certain data compressed or not. For security reasons certain types of data may be encrypted in storage to prevent the possibility of unauthorized information reconstruction from chunks of storage snapshots. Generally, the lower a storage is in the hierarchy, the lesser its bandwidth and this traditional division of storage to primary, secondary, tertiary and off-line storage is also guided by cost per bit. In contemporary usage, memory is usually semiconductor storage read-write random-access memory, typically DRAM or other forms of fast but temporary storage
14.
Sound effect
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In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point without the use of dialogue or music. The term often refers to a process applied to a recording, in professional motion picture and television production, dialogue, music, and sound effects recordings are treated as separate elements. Dialogue and music recordings are never referred to as sound effects, even though the processes applied to such as reverberation or flanging effects, the term sound effect ranges back to the early days of radio. In its Year Book 1931 the BBC published an article about The Use of Sound Effects. It considers sounds effect deeply linked with broadcasting and states, It would be a mistake to think of them as anologous to punctuation marks. They should never be inserted into an already existing. The author of a broadcast play or broadcast construction ought to have used Sound Effects as bricks with which to build, treating them as of value with speech. If it fails to do so its presence could not be justified, the sound of people talking in the background is also considered a BG, but only if the speaker is unintelligible and the language is unrecognizable. These background noises are also called ambience or atmos, Foley sound effects are sounds that synchronize on screen, and require the expertise of a foley artist to record properly. Footsteps, the movement of hand props, and the rustling of cloth are common foley units, design sound effects are sounds that do not normally occur in nature, or are impossible to record in nature. These sounds are used to suggest futuristic technology in a fiction film. Each of these sound effect categories is specialized, with sound editors known as specialists in an area of sound effects, Foley is another method of adding sound effects. With this technique the action onscreen is essentially recreated to try to match it as closely as possible, if done correctly it is very hard for audiences to tell what sounds were added and what sounds were originally recorded. In the early days of film and radio, foley artists would add sounds in realtime or pre-recorded sound effects would be played back from analogue discs in realtime. Today, with effects held in digital format, it is easy to any required sequence to be played in any desired timeline. In the days of silent film, sound effects were added by the operator of an organ or photoplayer. Theater organ sound effects are usually electric or electro-pneumatic, and activated by a button pressed with the hand or foot, photoplayer operators activate sound effects either by flipping switches on the machine or pulling cow-tail pull-strings, which hang above. Sounds like bells and drums are made mechanically, sirens and horns electronically, due to its smaller size, a photoplayer usually has less special effects than a theater organ, or less complex ones
15.
Musical keyboard
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A musical keyboard is the set of adjacent depressible levers or keys on a musical instrument. Depressing a key on the causes the instrument to produce sounds, either by mechanically striking a string or tine, plucking a string, causing air to flow through a pipe. On electric and electronic keyboards, depressing a key connects a circuit, since the most commonly encountered keyboard instrument is the piano, the keyboard layout is often referred to as the piano keyboard. The twelve notes of the Western musical scale are laid out with the lowest note on the left, because these keys were traditionally covered in ivory they are often called the white notes or white keys. The keys for the remaining five notes—which are not part of the C major scale— are raised, because these keys receive less wear, they are often made of black colored wood and called the black notes or black keys. The pattern repeats at the interval of an octave, the arrangement of longer keys for C major with intervening, shorter keys for the intermediate semitones dates to the 15th century. The break was between middle C and C-sharp, or outside of Iberia between B and C, broken keyboards reappeared in 1842 with the harmonium, the split occurring at E4/F4. The reverse-colored keys on Hammond organs such as the B3, C3, the chromatic compass of keyboard instruments has tended to increase. Harpsichords often extended over five octaves in the 18th century, while most pianos manufactured since about 1870 have 88 keys, some modern pianos have even more notes. While modern synthesizer keyboards commonly have either 61,76 or 88 keys, organs normally have 61 keys per manual, though some spinet models have 44 or 49. An organ pedalboard is a keyboard with long pedals that are played by the organists feet, pedalboards vary in size from 12 to 32 notes. In a typical layout, black note keys have uniform width. In the larger gaps between the keys, the width of the natural notes C, D and E differ slightly from the width of keys F, G, A and B. This allows close to uniform spacing of 12 keys per octave while maintaining uniformity of seven natural keys per octave, over the last three hundred years, the octave span distance found on historical keyboard instruments has ranged from as little as 125 mm to as much as 170 mm. Several reduced-size standards have been proposed and marketed, a 15/16 size and the 7/8 DS Standard keyboard developed by Christopher Donison in the 1970s and developed and marketed by Steinbuhler & Company. There have been variations in the design of the keyboard to address technical and musical issues, thus, an octave would have eight white keys and only four black keys. During the sixteenth century, when instruments were tuned in meantone temperament, some harpsichords were constructed with the G♯. The broken octave, a variation of the short octave
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Polyphony
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Within the context of the Western musical tradition, the term polyphony is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. In all cases the conception was probably what Margaret Bent calls dyadic counterpoint, with part being written generally against one other part. The term polyphony is also used more broadly, to describe any musical texture that is not monophonic. Such a perspective considers homophony as a sub-type of polyphony, traditional polyphony has a wide, if uneven, distribution among the peoples of the world. Most polyphonic regions of the world are in sub-Saharan Africa, Europe and it is believed that the origins of polyphony in traditional music vastly predate the emergence of polyphony in European professional music. Currently there are two approaches to the problem of the origins of vocal polyphony, the Cultural Model. Although the exact origins of polyphony in the Western church traditions are unknown,900, are usually considered the oldest extant written examples of polyphony. These treatises provided examples of two-voice note-against-note embellishments of chants using parallel octaves, fifths, rather than being fixed works, they indicated ways of improvising polyphony during performance. 1000, is the oldest extant example of notated polyphony for chant performance, European polyphony rose out of melismatic organum, the earliest harmonization of the chant. Twelfth-century composers, such as Léonin and Pérotin developed the organum that was introduced centuries earlier, the lyrics of love poems might be sung above sacred texts in the form of a trope, or the sacred text might be placed within a familiar secular melody. The oldest surviving piece of music is the English rota Sumer is icumen in. These musical innovations appeared in a context of societal change. After the first millennium, European monks decided to start translating the works of Greek philosophers into the vernacular, Western Europeans were aware of Plato, Socrates, and Hippocrates during the Middle Ages. However they had largely lost touch with the content of their surviving works because the use of Greek as a language was restricted to the lands of the Eastern Roman Empire. Once these ancient works started being translated thus becoming accessible, the philosophies had a impact on the mind of Western Europe. This sparked a number of innovations in medicine, science, art, European polyphony rose prior to, and during the period of the Western Schism. Avignon, the seat of the antipopes, was a center of secular music-making
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Sequential Circuits Prophet-5
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The Prophet-5 is an analog synthesizer that was designed and manufactured by Sequential Circuits between 1978 and 1984. With five voices of polyphony, the Prophet-5 is one of the first polyphonic analog synthesizers with patch memory, about 6,000 units were produced in three revisions by Dave Smith and John Bowen. This was later accompanied by the Prophet-10, a version with ten voices of polyphony through a circuit board and keyboard. The Prophet-5 is known for its use by rock bands. Due to its success, the Prophet-5 has been emulated in software synthesizers, through his company Dave Smith Instruments, and later under the Sequential Circuits brand, Smith has developed updated versions of the Prophet-5. The Prophet-5 was developed by Dave Smith and John Bowen for Sequential Circuits, with the goal of creating a polyphonic analog synthesizer with the ability to store. Initially, they developed the Prophet-10, a synthesizer with ten voices of polyphony, however, as a result, Smith and Bowen pared back the number of voices to five, which led to the Prophet-5. There were three revisions of the Prophet-5 between 1978 and 1984, the first, Revision 1, is the least common, with 182 units having been produced. Revision 1 Prophet-5s were primarily hand-assembled by Smith and Bowen, Revision 2, which was mass-produced in quantities over 1,000, saw the addition of cassette patch storage and a walnut casing. By Revision 3.3, the memory storage had expanded to 120 patches, however, Revision 3 also introduced new circuitry that increased the stability but decreased the warmth of the Prophet-5. Revision 3 is the most common version, inclusive of all revisions, approximately 6,000 units were produced. Following the success of the Prophet-5, Smith and Bowen reintroduced the Prophet-10 and this was achieved by simply stacking two Revision 3 Prophet-5 sound boards, which were played with two separate keyboards. Early Prophet-10s were still prone to overheating and unstable tuning, as well as memory issues, the Prophet-10 was not as successful as the Prophet-5. Early Prophet-5s used voltage-controlled oscillator, filter and amplifier chips designed by E-mu Systems, Revision 3 Prophet-5s used Curtis CEM chips. Some owners maintain that SSM oscillators produced a richer timbre, however, the SSM oscillators rendered the instruments unstable and prone to detuning over time. CEM chips have remained more stable, the Prophet-5 uses five voices of polyphony. Each voice is assigned two VCOs, both oscillators can generate sawtooth waves and square waves, and the second oscillator can also generate a triangle. The oscillators can be played in sync, or in Poly-Mod, with oscillator B and the filter ADSR envelope modulating the frequency, pulse width, a dedicated low-frequency oscillator is also present to modulate the pulse width and/or pitch of oscillators A and B and filter cutoff frequency
18.
Rush (band)
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Archives is a compilation album by Rush, released in April 1978. The compilation was a repackaging of the bands first three albums. Originally released with a grey cover, it was later repackaged with a darker. The minimalist cover art recycles the image of the Man in the Star from the 2112 album, on the original, vinyl Fly By Night album, the chimes at the end of By-Tor and the Snow Dog were printed into the fadeout groove of side one. This meant that on older turntables the chimes would play on forever, on the Archives version, By-Tor is 28 seconds longer as these additional chimes were included. Although Archives has never officially released on CD, it managed simultaneous gold
19.
Moving Pictures (Rush album)
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Moving Pictures is the eighth studio album by Canadian rock band Rush. It was recorded and mixed from October to November 1980 at Le Studio in Morin-Heights, Quebec, Canada, Moving Pictures became the bands highest-selling album in the United States, peaking at #3 on the Billboard 200, and it remains the bands most commercially successful recording. The album was one of the first to be certified multi-platinum by the RIAA upon establishment of the certification in October 1984, Moving Pictures is one of two Rush albums listed in 1001 Albums You Must Hear Before You Die. Magazine listed the album at #43 among the 100 Greatest Heavy Metal Albums of All Time, in 2012, Moving Pictures was listed as #10 on Your Favorite Prog Rock Albums of All Time by Rolling Stone. In 2014, readers of Rhythm voted Moving Pictures the greatest drumming album in the history of progressive rock, the album cover art is a visual pun on the title, and a triple entendre. The first meaning is represented by the movers carrying pictures, with the second by the people watching them who are moved by the pictures. The third meaning is shown on the cover, where the entire scene is revealed to be a set for a motion picture. Work on the began in August 1980 at Stony Lake. The Camera Eye was the first to be written, followed by Tom Sawyer, Red Barchetta, YYZ, Tom Sawyer grew from a melody that Lee had been using to set up his synthesizers at sound checks. At Phase One Studios with producer Terry Brown, they began recording demos, Tom Sawyer and Limelight were polished in October by playing them live on a warm-up tour and then they started the main recording at Le Studio in Quebec. Red Barchetta was recorded in one take, while others took many, there were problems with equipment failures and they finished three days behind schedule. Moving Pictures was played live in its entirety for the first time to open the set during each show of Rushs 2010–11 Time Machine Tour. The opening track, Tom Sawyer, is one of Rushs best-known songs, lyrics for this track were written in collaboration with Max Webster lyricist Pye Dubois. The second song on Moving Pictures is Red Barchetta, the lyrics were inspired by the short story A Nice Morning Drive by Richard S. Foster, first published in the magazine Road and Track in November 1973. Instead of an MGB roadster as featured in the original story, Foster recounts the story of how he and Peart finally met in 2007 over their mutual love of BMW motorcycles in an article titled The Drummer, The Private Eye, and Me. Next is the Grammy-nominated instrumental YYZ, Limelight is another perennial radio favourite. The lyrics are autobiographical, based on Pearts own dissatisfaction with fame, side two of the original vinyl release opens with The Camera Eye, to date Rushs last song lasting longer than ten minutes, a frequent occurrence earlier in their career. Lyrically and musically it is an attempt to capture the energy, the title refers to short pieces of the same name in the U. S. A. trilogy of John Dos Passos
20.
Signals (Rush album)
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Signals is the ninth studio album by Canadian rock band Rush, released in 1982. It was the follow-up to the successful Moving Pictures, the album reached No.10 on the Billboard album charts and was certified platinum by the RIAA in November 1982. The writing of the began in 1981, during soundchecks on the Moving Pictures Tour. Coincidentally, parts of Chemistry were written by the band at once while they were separated from each other, in April, in Orlando, Florida, the band attempted to watch a launch of the Space Shuttle Columbia. It was cancelled because of a malfunction, and they finally observed the launch a few days later for inspiration in writing Countdown. In September, at Le Studio, Quebec, Peart jammed with the crew on a song. It was recorded later and temporarily titled Tough Break, afterward, Peart wrote lyrics for the song, retitled Subdivisions, while Lifeson and Lee came up with additional parts. Lee began experimenting with sequencers and drum machines while at home in Toronto, and came up with The Weapon. In January 1982, on a schooner in the Virgin Islands, Peart presented his lyrics for The Analog Kid to Lee. At Muskoka Lakes, Ontario in March at the Grange, Digital Man was put together and at Le Studio, producer Terry Brown was not impressed and initially refused to record it. In May, the set out to record a song that had a time limit of 3,57 to keep both sides of the record equal. The result, New World Man, was written and recorded on the same day, in June, Ben Mink from the band FM was invited to play electric violin on Losing It. Signals represented the bands last collaboration with Brown, who had co-produced every Rush album since 1975s Fly by Night, the opening track from Signals is Subdivisions, which has become one of Rushs live staples. The Analog Kid and Digital Man served as the inspiration for writer Troy Hickman to create the comic heroes of the same names in the 2004 comic Common Grounds. The lyrics for Chemistry were written by all three band members, to date, it is the last time either Lee or Lifeson has written lyrics for a Rush song. Digital Man, a slightly reggae-based song, ultimately led to the end of the relationship with Brown. He was reluctant to leave behind the progressive rock past, while the band members, especially Lee. The instrumental break of the song has been compared with the song Walking on the Moon by the Police, the song was performed during the 2007 Snakes & Arrows Tour, marking the first time Rush performed it live in nearly 23 years
21.
Nena
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Nena is a German singer-songwriter, actress, and comedian who rose to international fame in 1983 with the New German Wave song 99 Luftballons. In 1984, she re-recorded this song in English as 99 Red Balloons, Nena was also the name of the band with whom she released the song. The re-recording of some of her old songs rekindled her career in 2002, in 2007, she co-founded Neue Schule Hamburg. Gabriele Susanne Kerner was born on 24 March 1960 in Hagen, North Rhine-Westphalia and she spent the earliest part of her childhood in Breckerfeld and later lived in Hagen. She acquired her nickname, based on the Spanish word niña, or little girl, in 1977 she left high school before graduation, and in the three following years she was trained as a goldsmith. The group, based in Hagen, performed songs with English lyrics and had a hit with the song Ecstasy. However The Stripess record company, CBS, offered Nena a record if she were to move to Berlin. Together, they formed the band Nena, in June 1982 Nena released their first single, Nur geträumt, which became an instant hit in Germany after the band appeared on the German television show Musikladen on 21 August 1982. The single reportedly sold 40,000 copies the day after the song appeared on the show, in 1983, the band released its first album Nena, which contained the singles 99 Luftballons and Leuchtturm. In 1984, Casey Kasems radio show American Top 40 introduced a version of the song, splicing the German. It was also a hit in many other countries. In May 1984 while on a tour in the UK, Nena made the headlines of the British red-top press for having unshaven armpits, Nena, baffled by the attention generated, asked the girlfriend of her manager to shave her and has remained clean shaven ever since. Although 99 Luftballons was Nenas only hit in the English-speaking world, Nenas next international single Just a Dream reached No. 70 in the UK charts in 1984, it had Indianer on the B-side. A dance version of Just a Dream was released in the 1990s to a new audience, the band split in 1987, and Nena went solo thereafter. Nenas first solo album Wunder geschehn was released on 5 November 1989 and it was to prove to be her last major hit of the 20th century as throughout the 1990s her albums and singles – although often critically acclaimed – were less commercially successful. In 1995 Nena and her family moved from Berlin to Hamburg. In 2002, Nena celebrated her 20th anniversary on stage with the album Nena feat, Nena, a disc consisting of newly arranged recordings of her hits from the 1980s. This album marked a comeback for Nena, and spawned a number of successful chart entries
22.
Styx (band)
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Styx /ˈstɪks/ is an American rock band from Chicago that formed in 1972 and became famous for its albums released in the late 1970s and early 1980s. Styx is best known for the hit songs Lady, Come Sail Away, Babe, The Best of Times, Too Much Time on My Hands, other major hits include Show Me the Way, Dont Let It End, and Renegade. Styx has had 4 consecutive albums certified multi-platinum by the RIAA as well as 16 top 40 singles in the US,8 of which hit the top 10, Chuck Panozzo left to attend seminary school for a year but returned to the group by 1964. Tom Nardini had been brought in to replace Chuck on guitar, John Panozzo was one of their first drummers, while Dennis DeYoung had switched from accordion to organ and piano. In 1965, the name Tradewinds was changed to TW4 after another band called the Trade Winds broke through nationally. By 1966, the Panozzo brothers had joined DeYoung at Chicago State College and kept the group together doing gigs at high schools, in 1969 they added a college friend, John Curulewski, on guitar after Tom Nardini departed. Young came aboard in 1970 making TW4 a quintet, several suggestions were made and, according to DeYoung, the name Styx was chosen because it was the only one that none of us hated. The bands Wooden Nickel recordings Styx, Styx II, The Serpent Is Rising and Man of Miracles were a mixture of rock with some dramatic prog-rock flourishes. These albums showcase intricate and powerful organ, guitar, vocal, the Serpent Is Rising would foreshadow later endeavors by the group—the concept album is an idiom upon which Styx would rely heavily by the 1980s. Then, the power ballad Lady, began to some radio time, first on WLS in Chicago in 1974. In the spring of 1975, nearly two years after the album had released, Lady hit No.6 in the US. On the heels of its hit single, Styx signed with A&M Records and released Equinox. More importantly, it contained the rock anthem Suite Madame Blue, following the move to A&M, guitarist John Curulewski suddenly left the band as they were to embark on a nationwide tour in December 1975, due to his desire to spend time with his family. After a frantic search, the band brought in guitarist Tommy Shaw as Curulewskis replacement in 1976. Crystal Ball, the first album to feature Shaw, was moderately successful, the album showcased the bands newest member, as Shaws Mademoiselle was another minor hit, reaching No. 36, and the title track, also written and sung by Shaw. Styxs seventh album, The Grand Illusion, was released on July 7,1977 and became their breakthrough album and it spawned a top-ten hit and AOR radio staple in the DeYoung-written Come Sail Away, which reached #8 in 1978. Shaws Fooling Yourself was a radio hit and reached #29 the same year
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Dennis DeYoung
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DeYoung has been credited as the writer of more Styx songs than any other Styx member. He was also the bands most successful writer, penning 7 of the bands 8 Billboard Top 10 singles as well as a solo top 10 single, the trio later added guitarist James Young and John Curulewski to form the band Tradewinds in the late 1960s. The band renamed itself TW4 in 1968 before becoming Styx in 1970, before the band met with success, DeYoung spent time as an elementary school teacher in the southern suburbs of Chicago, where he taught music at a variety of schools. During this period, the played a number of small venues and school auditoriums, refining their craft before the song Lady propelled them to national, then international. On January 18,1970, DeYoung married his longtime sweetheart Suzanne Feusi, the couple have two children, daughter Carrie Ann and son Matthew. Suzanne DeYoung frequently joined her husband on the road, and eventually their children came along as well, DeYoung is an avid fan of the Chicago White Sox. Within Styx, DeYoung acted as lead vocalist, keyboardist, accordion player, producer, from the start of Styxs commercial success with the 1972 DeYoung-penned single Lady, DeYoung became the creative force behind most of the bands hit songs. DeYoung wrote and sang lead on six of the seven top 10 Billboard Hot 100-ranked hits during this period. The six DeYoung penned-and-performed Billboard hits, in order of their peak chart placement, Babe, the dissent of some members in the band during Kilroy brought tensions between the groups members over the future direction of the band, leading to guitarist Tommy Shaws departure in 1984. With Styx in limbo following Shaws 1984 departure, DeYoung began a career of modest success. His first solo album, Desert Moon, generated a top 10 hit, Desert Moon, the Desert Moon album was certified gold in Canada in 1984. DeYoungs solo career continued with Back to the World, which contained the singles Call Me and his third solo album Boomchild failed to have a hit single, though the video for Boomchild received a fair amount of music video airplay. After a five-year hiatus, DeYoung and several members of Styx began discussing a possible reunion in 1989. By December 1989 Styx had unofficially reformed, Tommy Shaw, who joined Damn Yankees in 1988, did not return. In 1990, Styx returned to the studio for the album Edge of the Century, the group toured North America extensively before A&M Records dropped the group from its roster in 1992, the group broke up again shortly afterwards. Between stints with Styx, DeYoung, a devout Roman Catholic and he appeared in about 200 performances across North America as Pontius Pilate. The experience inspired him to record his 1994 album of Broadway standards,10 on Broadway, in 1995, Styx reunited, this time with Shaw, but without a terminally ill John Panozzo, who had developed cirrhosis following years of chronic alcoholism. The band recorded a new version of Lady, which became the track of a new compilation album, Styx Greatest Hits
24.
Queen (band)
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Queen are a British rock band that formed in London in 1970. Their classic line-up was Freddie Mercury, Brian May, Roger Taylor, before forming Queen, Brian May and Roger Taylor had played together in a band named Smile. Freddie Mercury was a fan of Smile and encouraged them to experiment with elaborate stage. Mercury joined the band in 1970, suggested Queen as a new band name, John Deacon was recruited before the band recorded their eponymous debut album in 1973. The latter featured Bohemian Rhapsody, which stayed at one in the UK for nine weeks. The bands 1977 album News of the World contained We Will Rock You and We Are the Champions, by the early 1980s, Queen were one of the biggest stadium rock bands in the world. Their performance at the 1985 Live Aid concert has been ranked among the greatest in history by various music publications. In 1991, Mercury died of bronchopneumonia, a complication of AIDS, since then, May and Taylor have performed under the name of Queen with Paul Rodgers and Adam Lambert as vocalists on several tours. The band have released a total of 18 number-one albums,18 number-one singles, estimates of their record sales generally range from 150 million to 300 million records, making them one of the worlds best-selling music artists. Queen received the Outstanding Contribution to British Music Award from the British Phonographic Industry in 1990 and they were inducted into the Rock and Roll Hall of Fame in 2001. In 1968, guitarist Brian May, a student at Londons Imperial College, may placed an advertisement on a college notice board for a Mitch Mitchell/Ginger Baker type drummer, Roger Taylor, a young dental student, auditioned and got the job. While attending Ealing Art College, Tim Staffell became friends with Farrokh Bulsara, Bulsara felt that he and the band had the same tastes and soon became a keen fan of Smile. In 1970, after Staffell left to join the band Humpy Bong, the band had a number of bass players during this period who did not fit with the bands chemistry. It was not until February 1971 that they settled on John Deacon and they recorded four of their own songs, Liar, Keep Yourself Alive, The Night Comes Down and Jesus, for a demo tape, no record companies were interested. It was also around this time Freddie changed his surname to Mercury, inspired by the line Mother Mercury, on 2 July 1971, Queen played their first show in the classic line-up of Mercury, May, Taylor and Deacon at a Surrey college outside London. Having attended art college, Mercury also designed Queens logo, called the Queen crest, the logo combines the zodiac signs of all four members, two lions for Leo, a crab for Cancer, and two fairies for Virgo. The lions embrace a stylised letter Q, the crab rests atop the letter with flames rising directly above it, There is also a crown inside the Q and the whole logo is over-shadowed by an enormous phoenix. The whole symbol bears a resemblance to the Royal coat of arms of the United Kingdom
25.
Prince (musician)
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Prince Rogers Nelson was an American singer-songwriter, actor, multi-instrumentalist, philanthropist, dancer and record producer. He was an innovator who was known for his eclectic work, flamboyant stage presence, extravagant dress and makeup. His music integrates a variety of styles, including funk, rock, R&B, new wave, soul, psychedelia. He has sold over 100 million records worldwide, making him one of the artists of all time. He won seven Grammy Awards, an American Music Award, a Golden Globe Award, and he was inducted into the Rock and Roll Hall of Fame in 2004, his first year of eligibility. Rolling Stone ranked Prince at number 27 on its list of 100 Greatest Artists, Prince was born in Minneapolis, Minnesota, and developed an interest in music as a young child. He signed a contract with Warner Bros. at the age of 18. In 1984, he began referring to his band as the Revolution and released Purple Rain. It quickly became his most critically and commercially successful release, spending 24 consecutive weeks atop the Billboard 200, after releasing the albums Around the World in a Day and Parade, The Revolution disbanded, and Prince released the double album Sign o the Times as a solo artist. He released three solo albums before debuting the New Power Generation band in 1991. He released five records between 1994 and 1996 before signing with Arista Records in 1998, in 2000, he began referring to himself as Prince again. He released 16 albums after that, including the platinum-selling Musicology and his final album, Hit n Run Phase Two, was first released on the Tidal streaming service on December 12,2015. Prince died from an overdose at his Paisley Park recording studio and home in Chanhassen, Minnesota, on April 21,2016. Prince Rogers Nelson was born in Minneapolis, to Mattie Della and his parents were both African-American and his family ancestry is centered in Louisiana, all four of his grandparents came from that state. Princes father was a pianist and songwriter, and his mother was a jazz singer, Prince was given his fathers stage name, Prince Rogers, which his father used while performing with a jazz group called the Prince Rogers Trio. In 1991, Princes father told A Current Affair that I named my son Prince because I wanted him to do everything I wanted to do, Prince has said he was born epileptic and used to have seizures when he was young. He also said, My mother told me one day I walked in to her and said, Mom, Im not going to be sick anymore, Princes sister Tika Evene was born in 1960. Both siblings developed a keen interest in music, and this was encouraged by their father, Prince wrote his first tune, Funk Machine, on his fathers piano when he was seven
26.
Jean-Michel Jarre
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Jean-Michel Jarre is a French composer, performer, and record producer. He is a pioneer in the electronic, ambient, and new-age genres, and known as an organiser of outdoor spectacles of his music featuring lights, laser displays, Jarre was raised in Lyon by his mother and grandparents, and trained on the piano. From an early age, he was introduced to a variety of art forms, including those of street performers, jazz musicians, and the artist Pierre Soulages. He played guitar in a band, but his style was perhaps most heavily influenced by Pierre Schaeffer. His first mainstream success was the 1976 album Oxygène, recorded in a makeshift studio at his home, the album sold an estimated 12 million copies. More albums were to follow, but his 1979 concert served as a blueprint for his performances around the world. Several of his albums have been released to coincide with large-scale outdoor events, as of 2004, Jarre had sold an estimated 80 million albums. He was the first Western musician officially invited to perform in the Peoples Republic of China, Jean-Michel Jarre was born in Lyon on 24 August 1948, to France Pejot, a French Resistance member and concentration camp survivor, and composer Maurice Jarre. When Jarre was five, his parents split up and his moved to America. He did not see his father again until reaching the age of 18, for the first eight years of his life, Jarre spent six months each year at his maternal grandparents flat on the Cours de Verdun, in the Perrache district of Lyon. Jarres grandfather was a player, engineer and inventor, designing an early audio mixer used at Radio Lyon. He also gave Jean-Michel his first record player, from his vantage point high above the pavement, the young French boy was able to watch street performers at work, an experience he later cited as proving influential on his art. Jarre struggled with classical studies, although he later changed teachers. A more general interest in musical instruments was sparked by his discovery at the Saint-Ouen flea market and these early jazz experiences suggested to him that music may be descriptive, without lyrics. He was also influenced by the work of French artist Pierre Soulages, Soulages paintings used multiple textured layers, and Jarre realised that for the first time in music, you could act as a painter with frequencies and sounds. I also saw the last concert by the great Arabic singer Om Khalsoum and she is the goddess, the Maria Callas of the Orient. Then I heard Georgia on My Mind by Ray Charles, and I realised that music can talk to your tummy, I was so impressed by the organic sensuality coming from Ray Charless music – there was no intellectual process and it was great. As a young man Jarre earned money by selling his paintings, exhibiting some of his works at the Lyon Gallery – LŒil écoute, and by playing in a band called Mystère IV
27.
Oberheim polyphonic
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The Oberheim polyphonic is an analog music synthesizer that was produced from 1975 to 1979 by Oberheim Electronics. It was developed by Tom Oberheim, and was the first production synthesizer capable of playing chords. Oberheim took the idea and electronics of a Minimoog synthesizer and put them in a box, making a few changes, and produced his SEM. By strapping two, four, or eight of these SEMs together under keyboard control, he was able to create practical, albeit large, thus the Oberheim polyphonic was born. Each SEM in an Oberheim polyphonic defines one voice being played in a chord, polyphonic synthesizer Two Voice at Vintage Synth Explorer Four Voice at Vintage Synth Explorer Eight Voice at Vintage Synth Explorer
28.
Zilog Z80
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The Z80 CPU is an 8-bit based microprocessor. It was introduced by Zilog in 1976 as the companys first product. The Z80 was conceived by Federico Faggin in late 1974 and developed by him and his employees at Zilog from early 1975 until March 1976. With the revenue from the Z80, the company built its own chip factories, the Zilog Z80 was a software compatible extension and enhancement of the Intel 8080 and, like it, was mainly aimed at embedded systems. In the early 1980s, the Z80 was the most commonly used CPU of all time, Zilog licensed the Z80 to the US-based Synertek and Mostek, that had helped them with initial production, as well as to a European second source manufacturer, SGS. The design was copied also by several Japanese, East European and Russian manufacturers and this enabled the Z80 to gain acceptance in the world market since large companies like NEC, Toshiba, Sharp, and Hitachi, started to manufacture the device. The Z80 came about when physicist Federico Faggin left Intel at the end of 1974 to found Zilog with Ralph Ungermann, at Fairchild Semiconductor, and later at Intel, Faggin had been working on fundamental transistor and semiconductor manufacturing technology. He also developed the design methodology used for memories and microprocessors at Intel and led the work on the Intel 4004. Masatoshi Shima, the logic and transistor level-designer of the 4004. By March 1976, Zilog had developed the Z80 as well as an accompanying assembler based development system for its customers, and by July 1976, early Z80s were manufactured by Synertek and Mostek, before Zilog had its own manufacturing factory ready, in late 1976. Masatoshi Shima designed most of the microarchitecture as well as the gate and transistor levels of the Z80 CPU, assisted by a number of engineers. CEO Federico Faggin was actually involved in the chip layout work. Faggin worked 80 hours a week in order to meet the tight schedule given by the financial investors, a non maskable interrupt which can be used to respond to power down situations and/or other high priority events. Two separate register files, which could be switched, to speed up response to interrupts such as fast asynchronous event handlers or a multitasking dispatcher. Although they were not intended as extra registers for general code, less hardware required for power supply, clock generation and interface to memory and I/O Single 5-volt power supply. A built-in DRAM refresh mechanism that would otherwise have to be provided by external circuitry, a special reset function which clears only the program counter so that a single Z80 CPU could be used in a development system such as an in-circuit emulator. The Z80 took over from the 8080 and its offspring, the 8085, in the processor market, perhaps a key to the initial success of the Z80 was the built-in DRAM refresh, and other features which allowed systems to be built with fewer support chips. For the original NMOS design, the specified upper frequency limit increased successively from the introductory 2.5 MHz, via the well known 4 MHz
29.
Portamento
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In music, portamento is a pitch sliding from one note to another. It is also applied to one type of glissando as well as to the function of synthesizers. In the first example, Rodolfos first aria in La Sonnambula, the second example, Judits first line in Duke Bluebeards Castle, employs a short, straight line between the fourth and fifth notes to indicate a steady rise in pitch. If the composer desired the pitches to be, variously, raised and lowered between two notes, the wavy line would additionally be curvy, conveying an approximation of the pitches intended. Portamento may, of course, also be used for descending intervals, in the performance of Italian bel canto music, the concept of the musical slur and that of the true portamento have not always been held to mean the same thing. This is explained simply by Nicola Vaccai in his Practical Method of Italian Singing, originally published 1832, whose opinion in the matter holds some authority. In the sense described by Vaccai, the portamento is not a slur but an ornamental accentuation of the legato linking two distinct notes, without any slide or glide through the intervening notes. He adds, In phrases requiring much grace and expression, it produces a good effect. However Manuel García, a pedagogue of immense renown, in his New Compendious Treatise of the Art of Singing, Part 1, Chapter VII, On Vocalization or Agility. Writing of the means by which the voice is conducted from one note to another, to slur is to conduct the voice from one note to another through all the intermediate sounds. This dragging of the notes will assist in equalizing the registers, timbres and he warned that learners should not acquire the bad habit of attacking a note with a slur, a prevailing fault in bad singers. As with the sounds, the air must be subjected to a regular and continuous pressure. It reflected not merely a distinction of terminology but divergent understandings of an aspect of singing technique. This is not valid criticism of a performer when portamento is explicitly specified in the score or is otherwise appropriate, however, when there is no such specification, the singer is expected to be able to move crisply from note to note without any slurring or scooping. Glissando List of ornaments Nonchord tone#Portamento Pitch wheel Portato, also rarely called portamento, the Craft of Modal Counterpoint, A Practical Approach, second edition. Ecole de García, Traité Complet de lArt du Chant par Manuel García fils, mainz and Paris, Schott 1840,1847. Garcías New Treatise on the Art of Singing, a Compendious Method of Instruction, with Examples and Exercises for the Cultivation of the Voice, OCLC224044902 Read at Archive. org Gauldin, Robert. A Practical Approach to Sixteenth-Century Counterpoint, englewood Cliffs, New Jersey, Prentice Hall
30.
Sample and hold
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Sample and hold circuits and related peak detectors are the elementary analog memory devices. They are typically used in converters to eliminate variations in input signal that can corrupt the conversion process. A typical sample and hold circuit stores electric charge in a capacitor and contains at least one switching device such as a FET switch, to sample the input signal the switch connects the capacitor to the output of a buffer amplifier. The buffer amplifier charges or discharges the capacitor so that the voltage across the capacitor is equal, or proportional to. In hold mode the switch disconnects the capacitor from the buffer, Sample and hold circuits are used in linear systems. In some kinds of analog-to-digital converters, the input is compared to a voltage generated internally from a digital-to-analog converter, the circuit tries a series of values and stops converting once the voltages are equal, within some defined error margin. If the input value was permitted to change during this comparison process, such successive approximation converters will often incorporate internal sample and hold circuitry. In addition, sample and hold circuits are used when multiple samples need to be measured at the same time. Each value is sampled and held, using a common sample clock, in order to maintain the level during a scanning cycle, an additional electric capacitor is attached in parallel to each LC pixel to better hold the voltage. A thin-film FET switch is addressed to select a particular LC pixel, in contrast to an S/H in general electronics, there is no output operational amplifier and no electrical signal AO. Instead, the charge on the hold capacitors controls the deformation of the LC molecules, the invention of this concept and its implementation in thin-film technology have been honored with the IEEE Jun-ichi Nishizawa Medal in 2011. During a scanning cycle, the picture doesn’t follow the input signal, Analog signal to discrete time interval converter Paul Horowitz, Winfield Hill. Analog Devices 21 page Tutorial Sample and Hold Amplifiers http, //www. analog. com/static/imported-files/tutorials/MT-090. pdf Ndjountche, CMOS Analog Integrated Circuits, High-Speed and Power-Efficient Design. Boca Raton, FL, USA, CRC Press, applications of Monolithic Sample and hold Amplifiers-Intersil
31.
Ambrosia (band)
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Ambrosia is an American rock band formed in southern California in 1970. Ambrosia had five Top 40 hit singles on Warner Bros. Records released between 1975 and 1980, including the Top 5 hits How Much I Feel and Biggest Part of Me. Most of the band members have been active with the group continuously for the past 25 years to the present day. In 2015 the group released a new single and plans to release an album of material in 2017. The group was founded as a quartet with guitarist/vocalist David Pack, bassist/vocalist Joe Puerta, keyboardist Christopher North and they chose the name Ambrosia in 1970 to represent a vision of their music, all shades, textures, colors and styles. While Ambrosia had several hits in the 1970s, much of the material on their five albums is progressive in nature. The founding constituents of Ambrosia were reared in Southern Californias South Bay and their initial musical influences, like many of their generation, came from The Beach Boys and The Beatles. Ambrosia fused symphonic art rock with a slick produced pop sound, early on, the band was infatuated with Crosby, Stills, Nash & Young and began to experiment with vocal harmonies. After the group attended a show at the Whisky a Go-Go in December 1969 to see an unknown but highly recommended new band called King Crimson, the musicians, inspired by the music and artists of the progressive rock era, acquired a significant regional admiration. In 1971 a friend who was doing sound for the Hollywood Bowl invited them to there on stage to test a new sound system that had been installed. Gordon Parry, the engineer in charge at the Bowl, was so impressed with the group that he invited them back to attend performances by the Los Angeles Philharmonic. He introduced them to conductor Zubin Mehta, who featured Ambrosia as part of a so-called All-American Dream Concert, Ambrosia auditioned for Herb Alpert and A&M Records early in their history, but were signed by Warner Brothers, who would release five albums by the group. The first album, Ambrosia, produced by Freddie Piro, was released in February 1975 and it spawned the Top 20 chart single Holdin On To Yesterday as well as the minor hit Nice, Nice, Very Nice. The latter sets to music the lyrics to a poem in Kurt Vonneguts Cats Cradle, the album was nominated for a Grammy award for Best Engineered Recording. Alan Parsons was the engineer for Ambrosias first album and the producer for their second, All four members of Ambrosia played on the first Alan Parsons Project album, Tales of Mystery and Imagination, which was recorded soon after Ambrosias first album. David Pack later appeared on the Alan Parsons album Try Anything Once, after lengthy touring, the band returned in September 1976 with Somewhere Ive Never Travelled. The album yielded the song and the single Cant Let A Woman. The record sleeve folded into a large pyramid, Somewhere Ive Never Travelled received a Grammy nomination and set the stage for the bands signing to Warner Bros
32.
Laurie Anderson
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Laura Phillips Laurie Anderson is an American avant-garde artist, composer, musician and film director whose work spans performance art, pop music, and multimedia projects. Initially trained in violin and sculpting, Anderson pursued a variety of art projects in New York during the 1970s, making particular use of language, technology. She became widely known outside the art world in 1981 when her single O Superman reached number two on the UK pop charts. She also starred in and directed the 1986 concert film Home of the Brave, Anderson is a pioneer in electronic music and has invented several devices that she has used in her recordings and performance art shows. In 1977, she created a violin that uses recorded magnetic tape on the bow instead of horsehair. In the late 1990s, she developed a talking stick, a six-foot long baton-like MIDI controller that can access, Anderson started dating Lou Reed in 1992, and was married to him from 2008 until his death in 2013. Anderson was born in Glen Ellyn, Illinois, on June 5,1947 and she graduated from Glenbard West High School. She attended Mills College in California, and eventually graduated from Barnard College magna cum laude and Phi Beta Kappa, in 1972, she obtained an MFA in sculpture from Columbia University. Her first performance-art piece—a symphony played on automobile horns—was performed in 1969, in 1970, she drew the underground comix Baloney Moccasins, which was published by George DiCaprio. She performed in New York during the 1970s, two early pieces, New York Social Life and Time to Go, are included in the 1977 compilation New Music for Electronic and Recorded Media, along with works by Pauline Oliveros and others. Two other pieces were included on Airwaves, a collection of pieces by various artists. She also recorded a lecture for Vision, a set of artists released by Crown Point Press as a set of 6 LPs. Many of Andersons earliest recordings remain unreleased, or were only issued in limited quantities, such as her first single, among the musicians on these early recordings are Peter Gordon on saxophone, Scott Johnson on guitar, Ken Deifik on harmonica, and Joe Kos on drums. Photographs and descriptions of many of early performances were included in Andersons retrospective book. Among the Giorno-released recordings was Youre the Guy I Want to Share My Money With and she also worked with comedian Andy Kaufman in the late 1970s. In 1980 Anderson was awarded a doctorate from the San Francisco Art Institute. In 1982 she was awarded a Guggenheim Fellowship for Creative Arts—Film, Anderson became widely known outside the art world in 1981 with the single O Superman, originally released in a limited quantity by B. Georges One Ten Records, which reached number two in the British charts
33.
United States Live
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United States Live was the third album release by avant-garde singer-songwriter Laurie Anderson. Released as a 5-record boxed set, the album was recorded at the Brooklyn Academy of Music in New York City in February 1983, United States was Andersons magnum opus performance-art piece featuring musical numbers, spoken word pieces, and animated vignettes about life in the United States. Segments ranged from humorous, such as Yankee See, which gently chided Andersons record label, records, for signing her in the first place, to the apocalyptic anthem O Superman, which had been an unexpected Top 10 hit for Anderson on the UK music charts in 1981. Originally, United States was presented over the course of two nights, running some eight hours, the United States Live box set is a truncated rendering of the performance, omitting many segments that were solely of a visual nature. Among the songs performed on the album was Language is a Virus, Anderson later performed a modified arrangement of the song in her 1986 concert film Home of the Brave. All tracks written by Laurie Anderson except as indicated. –1,19 Running Dogs –0,38 Four, Three, Two, One –1,15 The Big Top –2,52 It Was Up in the Mountains –2,14 Odd Objects For light-in-mouth –4,03 Dr
34.
Kim Carnes
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Kim Carnes is a two-time Grammy Award winning American singer-songwriter. Born in Los Angeles, California, Carnes now resides in Nashville, Tennessee and she began her career as a songwriter in the 1960s, writing for other artists while performing in local clubs and working as a session background singer with the famed Waters sisters. After she signed her first publishing deal with Jimmy Bowen, she released her debut album Rest on Me in 1972. As a solo artist, Carnes saw some success with her singles More Love, Crazy in the Night, Make No Mistake, with Barbra Streisand and her most successful single was Bette Davis Eyes, released in 1981. The song won two Grammy Awards, Song of the Year and Record of the Year, and became the single of the year in the United States. In the following year, Carnes released Sailin, which featured Love Comes from Unexpected Places, the song won the American Song Festival and the award for Best Composition at the Tokyo Song Festival in 1976. Her distinctive raspy vocal style has drawn comparisons to Rod Stewart, Kim Carnes was born on July 20,1945 in Los Angeles, California. Her father, James Raymond Carnes, was an attorney, Carnes knew she would be a singer and songwriter from the age of three, despite the fact that she was not born into a musical family. My mother didnt get my career, and my father, who was an attorney, as a four-year-old, Carnes married her next-door neighbor, famed musician David Lindley. Their honeymoon car appears on the cover of Carnes album, Chasin Wild Trains and she graduated from San Marino High School in 1963. A songwriter and performer from an age, after writing songs for many years. During this period, she shared demo-recording time with Bowens other writers, including Don Henley, Glenn Frey, Carnes also sang Nobody Knows, written by Mike Settle, which was featured in the end credits of the 1971 film Vanishing Point. The film also featured Carnes first cut as a songwriter, Sing Out for Jesus, also in 1971 she and Mike Settle again worked with Bowen to create the bubblegum pop studio group The Sugar Bears. An album, Presenting the Sugar Bears, and three singles were released one song, You Are The One, reaching #83 on the Billboard charts. Cassidys albums, Rock Me Baby, Dreams are Nuthin More than Wishes, include several songs penned by Carnes, along with Ellingson and Cassidy. Carnes also provided backing vocals for these albums, after signing with Amos Records, her first solo album, Rest on Me, produced by Jimmy Bowen, was released in 1972. In 1975, Carnes released her second album, which contained her first charted hit, Youre A Part Of Me. Carnes re-recorded this track with Gene Cotton three years later, the majority of tracks on this second album were written by Carnes and Ellingson
35.
Christopher Cross
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Christopher Chris Cross is an American singer-songwriter from San Antonio, Texas. His debut album earned him five Grammy Awards and he is perhaps best known for his US Top Five hit songs, Ride Like the Wind, Sailing, and Arthurs Theme, the latter recorded by him for the film Arthur starring Dudley Moore. Sailing earned three Grammys in 1981, while Arthurs Theme won the Oscar for Best Original Song in 1981, Cross first played with a San Antonio-based cover band named Flash before signing a solo contract with Warner Bros. in 1978. Cross released his debut album, Christopher Cross, in 1979. The Billboard Hot 100 top 20 hits from this album included Ride Like the Wind, Sailing, Never Be the Same, due to the almost immediate success and popularity gained by his first album, he was nominated for several Grammy Awards, garnering five. Crosss second album, Another Page, included the hit songs Arthurs Theme, All Right, No Time for Talk, Another Page sold well, getting Gold Certification. He also co-wrote and sang the song A Chance For Heaven for the 1984 Summer Olympic Games, after 1984, Crosss star quickly dimmed. Crosss next two albums, 1985s Every Turn of the World and 1988s Back of My Mind did not produce any top 40 hits or reach Gold or Platinum status. Cross made three albums in the 1990s, and although some of his releases have gained critical response. After his decline in fame in the mid-1980s, he toured and opened for acts during the 1990s. In 2002 he released his Very Best of, album, and in 2007 he completed a Christmas album, A Christopher Cross Christmas. In 2008 recorded a new album of his hits titled The Cafe Carlyle Sessions. In 2011 Cross released a new album titled Doctor Faith. In 2013 he released A Night in Paris, a 2-CD live album he recorded and filmed in April 2012 at the Theatre Le Trianon in Paris, the song Ride Like The Wind was featured on the Anchorman 2, The Legend Continues original movie soundtrack, released in 2013. In September 2014 he released his latest album, Secret Ladder, Cross married Jan Bunch in 1988. They have two children, son Rain and daughter Madison and that home had earlier belonged to the Cummins family. Another notable San Antonian, the historian and author Light Townsend Cummins, had grown up in that house a decade earlier. He was joined by Michael McDonald, whom he has worked with in the past, as the credits were rolling, Cross, McDonald and The Roots, the Fallon house band, broke into Sailing, which he also performed in an online-only performance on NBC
36.
Chromeo
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Chromeo is a Canadian electro-funk duo from Montreal, formed in 2002 by musicians David Dave 1 Macklovitch and Patrick P-Thugg Gemayel. Their sound draws from blue-eyed soul, dance music, rock, electro-synth. disco, the band has released four studio albums, their latest being 2014s White Women. The duo met in the mid-1990s at Collège Stanislas in Montreal, speaking on their different ethnic backgrounds, the two jokingly describe themselves as the only successful Arab/Jewish partnership since the dawn of human culture. Around the time when they were both 15, Macklovitch joined Gemayels band, during this time, Macklovitchs younger brother A-Trak started winning the Disco Mix Club Championships, becoming World Champion in 1997. After the band, Dave 1 and P-Thugg started to produce hip hop music together, also at this time, Tiga was working with Dave 1 at a record store and asked Dave 1 to work on a project for his label, Turbo. Dave 1 and P-Thugg signed as Chromeo and started creating music together, reviews of their 2004 debut album, Shes in Control, were mostly favorable. Critics compared the sound to 1980s groups Hall & Oates, Klymaxx, Needy Girl became a worldwide club hit. According to Dave 1, Shes in Control didnt blow up, but we had Needy Girl, and Needy Girl was like a musical passport. That song went all around the world and DJs played it everywhere, the song Youre So Gangsta was featured as the theme tune for the PC game Space Colony. In 2005, Chromeo released a mix CD of funky dance tracks on Eskimo Belgium records entitled Un Joli Mix Pour Toi, in 2006, the group was featured in DJ Mehdis song I Am Somebody. During early 2007, Chromeo supported indie rock group Bloc Party on their British tour, after a three-year break, they released a second album, Fancy Footwork, which also received positive reviews. Chromeo and Daryl Hall of Hall & Oates teamed up in the Summer of 2008 for a jam session on Live from Daryls House and they also performed together at the 2010 Bonnaroo Music & Arts Festival in Manchester, TN. Chromeo released their studio album, Business Casual, on September 14,2010. As of 2016, the video for the albums single Night by Night had received over 3 million views on YouTube. The band has appeared on KCRWs Morning Becomes Eclectic, been on the cover of Future Magazine, at the beginning of March 2011, Chromeo sent out notice that they had recorded the worlds smallest album, entitled Drive Time, which consists of 55 songs in only 183 seconds. About a week later, it was revealed that Drive Time is actually a free musical Nokia Own Voice satellite navigation pack for Ovi Maps, early September 2013, the group announced their fourth album White Women with a trailer video featuring the track Over Your Shoulder. It was released May 9,2014, in Ireland and May 12 elsewhere, Chromeo performed at the Coachella Valley Music and Arts Festival in April 2014. Dave 1 on guitar and lead vocals, Macklovitch is a Ph. D. candidate in French Literature at Columbia Universityand is currently appointed as lecturer in French at Barnard College
37.
Business Casual (Chromeo album)
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Business Casual is the third studio album by Canadian electro-funk duo Chromeo, released on September 14,2010 by Last Gang Records and Turbo Recordings. The album is Chromeos major-label debut, following the signing to Atlantic Records. Upon its release, Business Casual was met generally positive reviews from music critics. Four singles were released from the album, Night by Night, Dont Turn the Lights On, Hot Mess, the albums lead single, Night by Night, was released on September 22,2009 as a free download through Green Label Sound, a Mountain Dew-sponsored record label. The Jérémie Rozan-directed music video, which was funded by Mountain Dew, was filmed at a warehouse in Greenpoint. Chromeo performed Night by Night on Late Show with David Letterman on September 20,2010, Dont Turn the Lights On was released on June 28,2010 as the second single from Business Casual, and its music video was directed by Keith Schofield. It was also featured as soundtrack in EA Sports football game, Hot Mess served as the albums third single. The accompanying video, directed by Jérémie Rozan, was shot in Dumbo, the duo performed Hot Mess on Conan on February 21,2011. When the Night Falls was released on July 25,2011 as the albums fourth, the songs video was directed by Daniels and features Solange Knowles, who also provides additional vocals for the track. Business Casual received generally positive reviews music critics. Club stated that the album opens with a powerful three-part salvo crafted for maximum dance-floor penetration, but as the album progresses, an unexpected soulfulness emerges. Slant Magazines Jesse Cataldo found the album to be transparent and tacky enough that its not becoming insufferable is a triumph in itself and its earnestness, and the enthusiasm which it presents its reconstituted 80s sounds, is even lovable. Kevin Ritchie of Now concluded that Business Casual has a few bangers, but over the course of an album, still, while we wait for a pop saviour to take the genre forward, Chromeo provide a nice enough tribute to its past. Credits adapted from the notes of Business Casual
38.
Earth, Wind & Fire
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Earth, Wind & Fire is an American band that has spanned the musical genres of R&B, soul, funk, jazz, disco, pop, rock, Latin and African. They are one of the most successful bands of all time, rolling Stone Magazine described them as innovative, precise yet sensual, calculated yet galvanizing and declared that the band changed the sound of black pop. The band was founded in Chicago by Maurice White in 1970, other members have included Philip Bailey, Verdine White, Ralph Johnson, Larry Dunn, Al McKay and Andrew Woolfolk. The band has received 20 Grammy nominations, they won six as a group, Earth, Wind & Fire have 12 American Music Awards nominations and four awards. Five members of Earth, Wind & Fire were also inducted into the Songwriters Hall of Fame, Maurice White, Philip Bailey, Verdine White, Larry Dunn and Al McKay. The music industry and fans have bestowed Lifetime Achievement honors from the American Society of Composers, Authors and Publishers, NAACP, the kalimba is played on all of the bands albums. Two Earth, Wind & Fire classic songs have been inducted into the Grammy Hall of Fame, Thats the Way of the World, the band is also known as having been the first African-American act to sell out Madison Square Garden and to receive the MSG Gold Ticket Award. President Barack Obama invited Earth, Wind & Fire to perform at the White House for the first social event of the new administration. The three friends got a contract with Capitol, they called themselves The Salty Peppers and had a marginal hit in the Midwestern area called La La Time. The Salty Peppers second single, Uh Huh Yeah, did not fare as well, and Maurice moved from Chicago to Los Angeles. He then added to the band singer Sherry Scott and percussionist Yackov Ben Israel, on June 6,1970, Verdine left Chicago to join the band as their new bassist. Maurice began shopping demo tapes of the band, featuring Donny Hathaway, around to different record labels, Maurices astrological sign, Sagittarius, has a primary elemental quality of Fire and seasonal qualities of Earth and Air, according to classical triplicities. Based on this, he changed the name, to Earth. Maurice held further auditions in L. A. adding Michael Beale on guitar, Chester Washington on reeds, trombonist Alex Thomas completed the then ten-man EWF lineup. The bands self-titled debut album, Earth, Wind, & Fire, was released in February 1971 to critical acclaim, as was November 1971s The Need of Love. Both albums were produced by Joe Wissert and a single, from The Need of Love called I Think About Lovin You, with Sherry Scott on lead vocals, in 1971, the group also recorded the soundtrack of the Melvin Van Peebles film Sweet Sweetbacks Baadasssss Song. The soundtrack was recorded at Paramount Recording Studios on Santa Monica Boulevard, with only Verdine left, Maurice decided to re-form the group. Warner Brothers didnt know how to promote this new combo as the only other funk band on their label was Charles Wright & the Watts 103rd Street Rhythm Band, the band successfully auditioned for managers Bob Cavallo and Joe Ruffalo
39.
Faces (Earth, Wind & Fire album)
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Faces is the tenth studio album, a double-album by the R&B band Earth, Wind & Fire, released on October 14,1980 on ARC/Columbia Records. The album reached number 2 and number 10 on the Billboard Black and it has been certified gold in the US by the RIAA. The lead-off single was Let Me Talk, the songs You, and Sparkle followed as single releases. Unlike previous Earth, Wind and Fire albums, there was no U. S. tour in support of the album and this was also the last Earth Wind and Fire recording with guitarist Al McKay, who left the group the next year. This album is noted for featuring Steve Lukather, guitarist for EWFs label mate Toto, on the songs Back on the Road, the song Pride was sampled in Raw Mans Lovers. 2 extra interludes have been included as part of the album since the release of the Columbia Masters collection in 2011, the track Oriental comes directly before Faces while Pipe Organ follows it. Also tracks You & Take it to the Sky feature significantly longer edits though in the case of Take it to the Sky the content comes from the end of Sail Away and you was released as a 7 Single in November 1980 in the UK as an edited version. The B-side contained the album version of Pride. UK Jazz Funk and Soul DJs, led by Robbie Vincent and Chris Hill, flipped the single and preferred to play Pride on their radio shows and at clubs/venues. Pride was and is considered the stronger track, being a retro throwback to the Earth Wind & Fire sound associated with early hits such as Saturday Nite. The 7 version of You was added to the album with a number of bonus tracks when the album was remastered and updated to CD in 2010. The information regarding accolades attributed to Faces is adapted from SoulTracks. com
40.
Raise!
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Raise. is the eleventh studio album by Earth, Wind & Fire, Released on November 14,1981 by CBS Records, it was produced by the bands leader Maurice White for Kalimba Productions. Raise. has been certified platinum in the US by the RIAA for sales of over a million copies and gold in the UK and Canada by the British Phonographic Industry, Raise. was the bestselling R&B album of 1982. The album featured the #1 R&B and #3 Pop hit Lets Groove, the single Wanna Be With You won EWF a Grammy for Best R&B Vocal Performance By A Duo Or Group. Raise also marked the return to the band of rhythm guitarist Roland Bautista, last heard from on 1972s Last Days, Raise. would be the final EWF album to be released on ARC. The label would be discontinued by Columbia Records the following year, the album art was designed by Roger Carpenter and Raise. was illustrated by Shusei Nagaoka. Features a presumed Egyptian female figure, the name of the band is present on the front cover, but the title is not. On the back there is an illustration of a female figure in a sarcophagus, which is also divided into a purple left side. The sarcophagus appears to be hyper-modern, the title of the album is presented in the top left corner of the back cover. Ken Tucker of Rolling Stone describes Raise. as a reflection of street-gritty black pop and that on Lets Groove and the fast, cutting Lady Sun, Music critic Robert Christgau says that on the album, he felt a show of strength was due. Production The information regarding accolades attributed to Raise. is adapted from rocklistmusic. co. uk, List of number-one R&B albums of 1981 List of number-one R&B albums of 1982 Billboard Year-End link Raise on discogs. com
41.
Electric Light Orchestra
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The Electric Light Orchestra are an English rock band formed in Birmingham in 1970, by songwriters/multi-instrumentalists Jeff Lynne and Roy Wood with drummer Bev Bevan. Their music is characterised by a fusion of Beatlesque pop, classical arrangements, after Woods departure in 1972, Lynne became the bands leader, arranging and producing every album while writing virtually all of their original material. ELO were most active during the 1970s and 1980s, recording a string of albums that include the conceptual works Eldorado. For their initial tenure, Lynne, Bevan, and keyboard player Richard Tandy were the only consistent members. In 1986, Lynne lost interest in the band and ceased its operation, Bevan responded by forming his own band, ELO Part II, which later became The Orchestra. With the exception of a reformation in 2000–01, ELO remained largely inactive for the next three decades. In 2014, Lynne reformed the band again with Tandy as Jeff Lynnes ELO. From 1972 to 1986, ELO accumulated twenty Top 20 songs on the UK Singles Chart, the band also holds the record for having the most Billboard Hot 100 Top 40 hits,20, of any band in the US chart history without having a number one single. On April 7,2017, ELO will be inducted into the Rock, the bands name is an intended pun based not only on electric light but also using electric rock instruments combined with a light orchestra. Jeff Lynne, frontman of fellow Birmingham group the Idle Race, was excited by the concept, in January 1970, when Carl Wayne left the Move, Lynne accepted Woods second invitation to join the band on the condition that they focus their energy on the new project. To help finance the band, one further Move album Message from the Country was also recorded during the lengthy ELO recordings. The resulting debut album The Electric Light Orchestra was released in 1971,10538 Overture became a UK top-ten hit. Lynne, Wood and Bev Bevan were the members of Electric Light Orchestra. However, this line-up did not last for long, first Craig departed, and then Wood, during the recordings for the bands second LP and taking Hunt and McDowell with him, left the band to form Wizzard. Both cited problems with their manager, Don Arden, and a tour of Italy. The new line-up performed at the 1972 Reading Festival, the band released their second album, ELO2 in 1973, which produced their second UK top 10 and their first US chart single, an elaborate version of the Chuck Berry classic Roll Over Beethoven. ELO also made their first appearance on American Bandstand show, the resulting album, On the Third Day, was released in late 1973, with the American version featuring the popular single Showdown. For the bands album, Eldorado, A Symphony, a concept album about a daydreamer, Lynne stopped overdubbing strings and hired an orchestra
