American Music Awards
The American Music Awards is an annual American music awards show held in the Fall, created by Dick Clark in 1973 for ABC when the network's contract to air the Grammy Awards expired. It is the first of the Big Three music award shows held annually. Unlike the Grammys, which are awarded on the basis of votes by members of the Recording Academy, the AMAs are determined by a poll of the public and fans, who can vote through the AMAs website; the award statuette is manufactured by New York firm Society Awards. The AMAs was created by Dick Clark in 1973 to compete with the Grammy Awards after the move of that year's show to Nashville, Tennessee led to CBS picking up the Grammy telecasts after its first two in 1971 and 1972 were broadcast on ABC. In 2014, American network Telemundo acquired the rights to produce a Spanish-language version of the American Music Awards and launched the Latin American Music Awards in 2015. While the Grammy Awards are awarded based on votes by members of the National Academy of Recording Arts and Sciences, the AMAs are determined by a poll of music buyers and the public.
The American Music Awards have nominations based on sales, activity on social networks, video viewing. Before 2010 had nominations based only on sales and airplay and nominated every work if old; the Grammys have nominations based on vote of the Academy and only nominate a work from their eligibility period that changes often. The first hosts for the first telecast of the AMAs were Helen Reddy, Roger Miller, Smokey Robinson. Helen Reddy not only hosted the show but became the first female artist to win an AMA for Favorite Pop/Rock Female artist. For the first decade or so, the AMAs had multiple hosts, each representing a genre of music. For instance, Glen Campbell would host the country portion, while other artists would co-host to represent his/her genre. In recent years, there has been one single host. In 1991, Keenen Ivory Wayans became the first Hollywood actor to host the AMAs. From its inception in 1973 until 2003, the AMAs have been held in mid- to late-January, but were moved to November beginning in 2003 so as not to further compete with other major awards shows and allows for ABC to have a well-rated awards show during November sweeps.
For the 2008 awards, Jimmy Kimmel hosted for the fourth consecutive year. In 2009–2012, there was no host for the first time in history. Instead, the AMAs followed the Grammys' lead in having various celebrities give introductions. However, rapper Pitbull hosted 2014 ceremony. Jennifer Lopez hosted the 2015 show. Gigi Hadid and Jay Pharoah hosted the 2016 show. Tracee Ellis Ross hosted the show in 2017 and 2018. Between 2012 and 2014, as part of a marketing strategy for Samsung, the American Music Awards used the lock screen wallpaper of Samsung Galaxy smartphones rather than envelopes to reveal winners. A magnetic screen cover on each phone kept the wallpaper image with the winner's name secret until opened. In August 2018, Dick Clark Productions announced a two-year sponsorship and content partnership with YouTube Music; the record for most American Music Awards won is held by Michael Jackson, who has amassed twenty-six awards. The record for most American Music Awards won by a group belongs to Alabama, who have collected twenty-three awards.
For a female artist, the record for most American Music Awards won belongs to Taylor Swift who has won twenty-three awards. The record for the most American Music Awards won in a single year is held by Michael Jackson and Whitney Houston, each with 8 awards to their credit. Michael Jackson 8 Whitney Houston 8 The following list shows the artists with most wins in each category, adapted from the AMAs official website. Artist of the Year: Taylor Swift Song of the Year: Kenny Rogers The Song of the Year record holder accounts for all previous single category winners. Favorite Male Artist – Pop/Rock: Barry Manilow, Eric Clapton, Michael Bolton, Michael Jackson and Justin Bieber Favorite Female Artist – Pop/Rock: Olivia Newton-John and Whitney Houston Favorite Duo or Group – Pop/Rock: Aerosmith, The Black Eyed Peas, Hall & Oates and One Direction Favorite Album – Pop/Rock: Michael Jackson and Justin Bieber Favorite Male Artist – Country: Garth Brooks Favorite Female Artist – Country: Reba McEntire Favorite Duo or Group – Country: Alabama Favorite Album – Country: Kenny Rogers, Carrie Underwood Favorite Artist – Rap/Hip-Hop: Eminem The Favorite Artist – Rap/Hip-Hop record holder accounts for all previous Favorite Female Artist – Rap/Hip-Hop and Favorite Male Artist – Rap/Hip-Hop category winners.
Favorite Album – Rap/Hip-Hop: Nicki Minaj Favorite Male Artist – Soul/R&B: Luther Vandross Favorite Female Artist – Soul/R&B: Rihanna Favorite Album – Soul/R&B: Michael Jackson Favorite Artist – Alternative Rock: Linkin Park Favorite Artist – Adult Contemporary: Celine Dion Favorite Artist – Latin Music: Enrique Iglesias Favorite Artist – Contemporary Inspirational: Casting Crowns Favorite Artist – Electronic Dance Music: Calvin Harris and The Chainsmokers The American Music Award of Merit has been awarded to thirty two artists, the latest being Sting. The International Artist Award of Excellence has been awarded to seven artists: Michael Jackson
Alan Dower Blumlein was an English electronics engineer, notable for his many inventions in telecommunications, sound recording, stereophonic sound and radar. He received 128 patents and was considered as one of the most significant engineers and inventors of his time, he died during World War II on 7 June 1942, aged 38, during the secret trial of an H2S airborne radar system under development, when all on board the Halifax bomber he was flying in were killed when it crashed at Welsh Bicknor in Herefordshire. Alan Dower Blumlein was born on 29 June 1903 in London, his father, Semmy Blumlein, was a German-born naturalised British subject. Semmy was the son of Joseph Blumlein, a German of Jewish descent, Philippine Hellmann, a French woman of German descent. Alan's mother, Jessie Dower, was Scottish, daughter of William Dower who went to South Africa for the London Missionary Society. Alan was christened as a Presbyterian. Alan Blumlein's future career seemed to have been determined by the age of seven, when he presented his father with an invoice for repairing the doorbell, signed "Alan Blumlein, Electrical Engineer".
His sister claimed that he could not read proficiently until he was 12. He replied "no, but I knew a lot of quadratic equations!" After leaving Highgate School in 1921, he studied at Guilds College. He joined the second year of the course, he graduated with a First-Class Honours BSc two years later. In mid-1930, Blumlein met a preparatory school teacher five years his junior. After two-and-a-half years of courtship the two were married in 1933. Lane was warned by acquaintances before the wedding that, "There was a joke amongst some of his friends, they used to call it'Blumlein-itis' or'First Class Mind', it seems that he didn't want to know anyone who didn't have a first class mind." Recording engineer Joseph B. Kaye, known as J. B. Kaye, Blumlein's closest friend and best man at the wedding, thought the couple were well matched. In 1924 Blumlein started his first job at International Western Electric, a division of the Western Electric Company; the company subsequently became International Standard Electric Corporation and later on, Standard Telephones and Cables.
During his time there, he measured the amplitude/frequency response of human ears, used the results to design the first weighting networks. In 1924 he published the first of his only two IEE papers, on high-frequency resistance measurement; this won him the IEE's Premium award for innovation. The following year he wrote a series of seven articles for Wireless World. In 1925 and 1926, Blumlein and John Percy Johns designed an improved form of loading coil which reduced loss and crosstalk in long-distance telephone lines; these were used until the end of the analogue telephony era. The same duo invented an improved form of AC measurement bridge which became known as the Blumlein Bridge and subsequently the transformer ratio arm bridge; these two inventions were the basis for Blumlein's first two patents. His inventions while working at STC resulted in another five patents, which were not awarded until after he left the company in 1929. In 1929 Blumlein resigned from STC and joined the Columbia Graphophone Company, where he reported directly to general manager Isaac Shoenberg.
His first project was to find a method of disc cutting that circumvented a Bell patent in the Western Electric moving-iron cutting head used, on which substantial royalties had to be paid. He invented the moving-coil disc cutting head, which not only got around the patent but offered improved sound quality, he led a small team. The other principal team members were Henry "Ham" Clark, their work resulted in several patents. Early in 1931, the Columbia Graphophone Company and the Gramophone Company merged and became EMI. New joint research laboratories were set up at Hayes and Blumlein was transferred there on 1 November the same year. During the early 1930s Blumlein and Herbert Holman developed a series of moving-coil microphones, which were used in EMI recording studios and by the BBC at Alexandra Palace. In June 1937, Blumlein patented the Ultra-Linear amplifier. A deceptively simple design, the circuit provided a tap on the primary winding of the output transformer to provide feedback to the second grid, which improved the amplifier's linearity.
With the tap placed at the anode end of the primary winding, the tube is connected as a triode, if the tap was at the supply end, as a pure pentode. Blumlein discovered that if the tap was placed at a distance 15–20% down from the supply end of the output transformer, the tube or valve would combine the positive features of both the triode and the pentode design. Blumlein may or may not have invented the long-tailed pair; the long-tailed pair is a form of differential amplifier, popular since the days of the vacuum tube. It is now more pervasive than as it is suitable for implementation in integrated circuit form, every operational amplifier integrated circuit contains at least one. In 1931, Blumlein invented what he now known as stereophonic sound. In early 1931, he and his wife were at the cinema; the sound reproduction systems of the early talkies only had a single set of speakers – the actor might be on one side of the screen, but the voice could come from the other. Blumlein declared to his wif
Phonograph cylinders are the earliest commercial medium for recording and reproducing sound. Known as "records" in their era of greatest popularity, these hollow cylindrical objects have an audio recording engraved on the outside surface, which can be reproduced when they are played on a mechanical cylinder phonograph. In the 1910s, the competing disc record system triumphed in the marketplace to become the dominant commercial audio medium. On July 18, 1877, Thomas Edison and his team invented the phonograph, his first successful recording and reproduction of intelligible sounds, achieved early in the following December, used a thin sheet of tin foil wrapped around a hand-cranked grooved metal cylinder. Tin foil was not a practical recording medium for either commercial or artistic purposes and the crude hand-cranked phonograph was only marketed as a novelty, to little or no profit. Edison moved on to developing a practical incandescent electric light and the next improvements to sound recording technology were made by others.
Following seven years of research and experimentation at their Volta Laboratory, Charles Sumner Tainter, Alexander Graham Bell and Chichester Bell introduced wax as the recording medium and engraving, rather than indenting, as the recording method. In 1887, their "Graphophone" system was being put to the test of practical use by official reporters of the US Congress, with commercial units being produced by the Dictaphone Corporation. After this system was demonstrated to Edison's representatives, Edison resumed work on the phonograph, he settled on a thicker all-wax cylinder, the surface of which could be shaved down for reuse. Both the Graphophone and Edison's "Perfected Phonograph" were commercialized in 1888. A patent-sharing agreement was signed and the wax-coated cardboard tubes were abandoned in favor of Edison's all-wax cylinders as an interchangeable standard format. Beginning in 1885, prerecorded wax cylinders were marketed; these have professionally made recordings of songs, instrumental music or humorous monologues in their grooves.
At first, the only customers for them were proprietors of nickel-in-the-slot machines—the first juke boxes—installed in arcades and taverns, but within a few years private owners of phonographs were buying them for home use. Each cylinder can be placed on and removed from the mandrel of the machine used to play them. Unlike shorter-playing high-speed cylinders, early cylinder recordings were cut at a speed of about 120 rpm and can play for as long as 3 minutes, they were made of a soft wax formulation and would wear out after they were played a few dozen times. The buyer could use a mechanism which left their surfaces shaved smooth so new recordings could be made on them. Cylinder machines of the late 1880s and the 1890s were sold with recording attachments; the ability to record as well as play back sound was an advantage of cylinder phonographs over the competition from cheaper disc record phonographs which began to be mass-marketed at the end of the 1890s, as the disc system machines can be used only to play back prerecorded sound.
In the earliest stages of phonograph manufacturing various competing incompatible types of cylinder recordings were made. A standard system was decided upon by Edison Records, Columbia Phonograph, other companies in the late 1880s; the standard cylinders are about 4 inches long, 2 1⁄4 inches in diameter, play about 2 minutes of music or other sound. Over the years the type of wax used in cylinders was improved and hardened so that cylinders could be played with good quality over 100 times. In 1902 Edison Records launched a line of improved hard wax cylinders marketed as "Edison Gold Molded Records"; the major development of this line of cylinders is that Edison had developed a process that allowed a mold to be made from a master cylinder which permitted the production of several hundred cylinders to be made from the mold. The process was labeled, "Gold Moulded" because of the gold vapor, given off by gold electrodes used in the process. All cylinders sold had to be recorded live on the softer brown wax which wore out in as few as twenty playings.
Cylinders were reproduced either mechanically or by linking phonographs together with rubber tubes. Although not satisfactory, the result was good enough to be sold. Cylinders were sold in cardboard tubes with cardboard caps on each end, the upper one a removable lid. Like cylindrical containers for hats, they were called "boxes", the word still used by experienced collectors. Within them, the earliest soft wax cylinders came swathed in a separate length of thick cotton batting. Molded hard-wax cylinders were sold in boxes with a cotton lining. Celluloid cylinders were sold in unlined boxes; these protective boxes were kept and used to house the cylinders after purchase. Their general appearance allowed bandleader John Philip Sousa to deride their contents as "canned music", an epithet he borrowed from Mark Twain, but that did not stop Sousa's band from profiting by recording on cylinders; the earliest cylinder boxes have a plain brown paper exterior, sometimes rubber-stamped with the company name.
By the late 1890s, record companies pasted a generic printed label around the outside of the box, sometimes with a penciled catalog number but no other indication of the identity of the recording inside. A slip of paper stating the title and performer was placed inside the box with the cylinder. At first this information was hand-written or typed on each slip, but printed versions became more common once cylinders were sold in large enough quantities to justify the printing set-up cost; the recording itself began with a spoken
Professional audio, abbreviated as pro audio, refers to both an activity and a category of high quality, studio-grade audio equipment. It encompasses sound recording, sound reinforcement system setup and audio mixing, studio music production by trained sound engineers, audio engineers, record producers, audio technicians who work in live event support and recording using audio mixers, recording equipment and sound reinforcement systems. In contrast, consumer audio equipment is a lower grade of gear, used by regular people for the reproduction of sound in a private home on a home stereo or home cinema system. Professional audio can include, but is not limited to broadcast radio, audio mastering in a recording studio, television studio, sound reinforcement such as a live concert, DJ performances, audio sampling, public address system set up, surround sound design in movie theatres, design and setup of piped music in hotels and restaurants. Professional audio equipment is sold at music stores.
While consumer electronics stores sell some of the same categories of equipment, the equipment that consumer stores sells is a lower consumer-grade type of equipment, which does not meet the standards for low noise and low distortion that are required in pro audio applications. The term professional audio has no precise definition, but it includes: Operations carried out by trained audio engineers The capturing of sound with one or more microphones Balancing and adjusting sound signals from multitrack recording devices using a mixing console The control of audio levels using standardised types of metering Sound signals passing through lengthy signal chains involving processes at different times and places, involving a variety of skills Compliance with organisational and international practices and standards established by such bodies as the International Telecommunication Union, Audio Engineering Society and European Broadcasting Union Setting up or designing sound reinforcement systems or recording studios.
Compared to consumer-grade audio equipment, professional audio equipment tends to have such characteristics as: Greater mechanical robustness and reliability Many more options for "tweakability" and modification than typical consumer grade equipment. For example, whereas a typical home audio grade active subwoofer may have a factory set-audio crossover to determine at which point the audio signal will be routed to the subwoofer and a factory preset phase control and equalizer setting, pro audio active subwoofers may offer adjustable crossover points, user-selectable phase control and equalizer controls Heavy-duty industrial-grade connectors, e.g. XLR balanced audio cables rather than unbalanced cables and Speakon speaker connectors, rather than 1/4" speaker jacks Designed for touring and transportation; this includes the use of 19-inch rack-mount devices for electronic effects units and power amplifiers, the provision of handles and/or dolly wheels on heavy equipment to facilitate moving gear onstage Balanced audio interfaces for lower noise and hum Higher analog audio signal levels of 0 dBu or more AES/EBU digital audio interfaces Lower-noise audio equipment with less Total Harmonic DistortionThe broadcast quality of professional audio equipment is on a par with that of consumer high-end audio and hi-fi equipment, but is more to be designed purely on sound engineering principles and owes little to the consumer-oriented audiophile sub-culture.
A professional audio store is a retail establishment that sells, in many cases rents, high-end sound recording equipment and sound reinforcement system gear and accessories used in both settings, such as microphone stands. Some pro audio stores sell video equipment, such as video projectors, as this equipment is used in live audio settings; some pro audio stores sell and/or rent DJ gear and the stage lighting equipment used in rock concerts, dance clubs and theater/musical theater shows. Institute of Professional Sound Sound design
Your World Awards
The Premios Tu Mundo is an annual award presented by American television network Telemundo. The awards celebrates the achievements of Hispanics and Latinos in the media including TV shows, music and sports; the awards were established in 2012. Telemundo announced that there would not be a ceremony in 2018, but that the seventh edition would be held in 2019
BreakTudo Awards is a Brazilian award that takes place every year in Brazil. The awards honor the year's biggest achievements in music, television, Brazilian internet and more, voting takes place over the internet; the selection of the nominees of some of the categories is done by public voting through the internet, other categories are nominations of a specialized team of the priming. BreakTudo Awards is the first Brazilian award to award a k-pop group and is one of the biggest young awards in Brazil. Male Artist Brazilian Female Artist Brazilian Male Artist International Female Artist International Best International Group EDM Brasil Best DJ New Artist International New Artist National Best Fandom Best Video Favorite Actor Brazilian Favorite Actress Brazilian Best Reality Star Best Serie Best Male Instagrammer Best Female Instagrammer Best Male Blogger Best Female Blogger Best Site Best Snapchat Best Male Youtuber Best Female Youtuber Best YouTuber Musical The BreakTudo Awards 2017 will take place on October 18 in Brazil.
Voting began on September 1 and will run until October 15, 2017, 22 categories are among the branches of the internet and television. The singer Anitta is the most nominated artist of the Brazilian award in 2017. Part of the list of nominees is selected by the public, through a vote that always occurs in the month of May; the full list of nominations for the awards was announced on August 25 through the official website. Anitta leads the list with 5 nominations, followed by BTS, Demi Lovato, Taylor Swift, Cardi B and Camila Cabello, with 4 nominations each. BreakTudo Awards on IMDb
Soul Train Music Awards
The Soul Train Music Awards is an annual award show which aired in national television syndication, honors the best in Black music and entertainment. It is produced by the makers of Soul Train, the program from which it takes its name, features musical performances by various R&B and Soul recording artists interspersed throughout the ceremonies; the special traditionally used to air in either February, March or April, but now airs the last weekend of November. The Soul Train Music Awards voting body includes active professionals in the fields of radio programming and music retail and management and recording artists with records that have charted in designated music trade publications in the year prior to proceedings. Past hosts for the show include such R&B luminaries as Luther Vandross, Dionne Warwick, Patti LaBelle, Will Smith, Vanessa Williams, Taraji P. Henson, Gladys Knight; the Soul Train Music Award trophy has featured an African ceremonial mask since its 1987 introduction. A new trophy was designed by Tristan Eaton of Thunderdog Studios in 2009 and is manufactured by New York firm Society Awards.
From 1995 to 2005 a separate award show named Soul Train Lady of Soul Awards was held, honoring female artists. The 2008 ceremonies were not held due to several factors, including the 2007-2008 Writers Guild of America strike, the ill health of Don Cornelius at the time, Soul Train distributor Tribune Entertainment terminating operations in the wake of the sale of Tribune Company to Sam Zell. With the rights to Soul Train acquired by MadVision Entertainment, the Soul Train Music Awards were presented on November 24, 2009 on Centric. MadVision now holds the rerun rights to Soul Train; the 2009 ceremony was held at the Georgia World Congress Center in Atlanta, marking the first time in the show's 22-year history it was held outside of the Los Angeles area. The 2010 awards was held on November 10 just outside Atlanta at the Cobb Energy Performing Arts Centre, aired November 28; the 2011 show was once again held in Atlanta and aired November 27. The 2012 ceremony was held live on November 25 at Planet Hollywood Resort and Casino in Las Vegas, Nevada.
As of 2018, Beyoncé is the most-awarded artist at the Soul Train Music Awards with 15 awards. The original trophy is a bronze abstract sitting figure known as the Vanguard in 1987. However, the trophy is an African mask, known as the Heritage Award, its distinctive design created by an unknown sculptor, but its remains a visual trademark for Soul Train's representation of Black music. From 1989 to 2007, the Heritage mask remained the trophy for Soul Train Music Awards until 2009 when BET and its sister channel Centric revived the awards. Thunderdog designed a brand new trophy based on an actual train. Quincy Jones Award for Career Achievement Heritage Award for Career Achievement Sammy Davis Jr. Award for Entertainer of the Year Artist of the Decade Award for Extraordinary Artistic Achievements Stevie Wonder Award for Outstanding Achievement in Songwriting Soul Train Awards Official Site Soul Train Official Site