1.
DJ Qbert
–
Richard Quitevis known by his stage name DJ Qbert or Qbert, is a Filipino American turntablist and composer. Growing up in San Franciscos Excelsior District on Moscow Street, he graduated from Luther Burbank Middle School, Qbert started playing with records at the age of 15, although he got his first Fisher-Price turntable as a toddler. He was influenced by the performers and graffiti artists of the local hip hop community in the mid-1980s. It was at Balboas school cafeteria that he first met Mix Master Mike in a DJ battle, Qbert started his musical career in a group called FM20 with Mix Master Mike and DJ Apollo in 1990. In New York City when playing a show, Crazy Legs saw them and they accepted the offer to join the crew. Going by the name Rock Steady DJs, they proceeded to take the 1992 Disco Mix Club World DJ Championships world title. Qbert was also one of the members of the band Invisibl Skratch Piklz. Qbert, along with other Skratch Piklz, created a series of videos entitled Turntable TV, now out of print, the first 5 episodes were released on VHS and contained demonstrations, showcases, skits, and other DJ related content. Qberts solo efforts include 1994s Demolition Pumpkin Squeeze Musik, and 1998s Wave Twisters, the latter album was created mainly with samplers and beat machines versus the turntable, and later turned into an animated feature of the same title. 2001s Wave Twisters movie was somewhat unusual in that the animators and digital artists had to invent images and movements to the pre-recorded music, more recently, he has worked with Vestax to develop the QFO, an all-in-one scratching instrument. The QFO combines a turntable with a mixers crossfader, in 2006, he introduced the Qbert turntable cartridge, a model put out by Ortofon. In May,2009, Qbert launched the Qbert Skratch University, at the 2016 edition of the DMC World DJ Championships, DJ Q-Bert was awarded with a DMC Legend jacket. In a 2011 interview with the website WeBeVegan. org, Qbert stated that he is a vegan, qberts music was featured in the video game Tony Hawks Underground and he appeared as himself on the Slam City Jam level. He also appeared as himself in DJ Hero 2. com ThudRumble. com QbertSkratchUniversity
2.
Phonograph
–
The phonograph is a device invented in 1877 for the mechanical recording and reproduction of sound. In its later forms it is called a gramophone. To recreate the sound, the surface is rotated while a playback stylus traces the groove and is therefore vibrated by it. In later electric phonographs, the motions of the stylus are converted into an electrical signal by a transducer. The phonograph was invented in 1877 by Thomas Edison, while other inventors had produced devices that could record sounds, Edisons phonograph was the first to be able to reproduce the recorded sound. His phonograph originally recorded sound onto a sheet wrapped around a rotating cylinder. A stylus responding to sound vibrations produced an up and down or hill-and-dale groove in the foil, in the 1890s, Emile Berliner initiated the transition from phonograph cylinders to flat discs with a spiral groove running from the periphery to near the center. Later improvements through the years included modifications to the turntable and its system, the stylus or needle. The disc phonograph record was the dominant audio recording format throughout most of the 20th century, from the mid-1980s on, phonograph use on a standard record player declined sharply because of the rise of the cassette tape, compact disc and other digital recording formats. Records are still a favorite format for some audiophiles and DJs, vinyl records are still used by some DJs and musicians in their concert performances. Musicians continue to release their recordings on vinyl records, the original recordings of musicians are sometimes re-issued on vinyl. Usage of terminology is not uniform across the English-speaking world, in more modern usage, the playback device is often called a turntable, record player, or record changer. When used in conjunction with a mixer as part of a DJ setup, the term phonograph was derived from the Greek words φωνή and γραφή. The similar related terms gramophone and graphophone have similar root meanings, the roots were already familiar from existing 19th-century words such as photograph, telegraph, and telephone. In British English, gramophone may refer to any sound-reproducing machine using disc records, the term phonograph was usually restricted to machines that used cylinder records. Gramophone generally referred to a wind-up machine, after the introduction of the softer vinyl records, 33 1⁄3-rpm LPs and 45-rpm single or two-song records, and EPs, the common name became record player or turntable. Often the home record player was part of a system that included a radio and, later, from about 1960, such a system began to be described as a hi-fi or a stereo. In American English, phonograph, properly specific to machines made by Edison, was used in a generic sense as early as the 1890s to include cylinder-playing machines made by others
3.
DJ Jazzy Jeff
–
Jeffrey Allen Townes was born on January 22,1965 in Philadelphia, Pennsylvania. Early on, he developed a reputation and a following as a school and he took the stage name DJ Jazzy Jeff and was one half of the duo DJ Jazzy Jeff & The Fresh Prince along with Will Smith. When Smith branched out into television with the sitcom The Fresh Prince of Bel-Air, Jazzy Jeff played a character named Jazz. In the early seasons, the two characters always greeted each other with their signature handshake, a recurring joke throughout the shows run involved the character being physically ejected from the house by Uncle Phil, using the same footage for comedic effect. One of the first records Jazzy Jeff ever appeared on was with The Korner Boyz Bust The Move and The Soga of Roxanne, the Instrumental was called Jazzy Jeff Scratch. DJ Jazzy Jeff along with DJ Cash Money is credited with making the transformer scratch famous and they also won a second Grammy for Summertime. Among the artists that Jazzy Jeff has helped develop are Eric Roberson, Jill Scott, Musiq Soulchild, Eminem, The Roots, Jewel, Darius Rucker, Talib Kweli, Floetry, Rhymefest, and many more. Even though he separated from Will Smith as a partner, they are still friends. Some songs by Smith were produced by Townes, and he has performed on songs by Smith such as So Fresh. In addition, he appeared in several of Smiths music videos such as Will2K, on some occasions, he made appearances with Smith at live concerts, producing DJ scratches. On July 2,2005, DJ Jazzy Jeff performed with Smith at the Live 8 concert in Philadelphia, moreover, Smith acknowledges him in his music such as Comin To The Stage from the album Lost and Found and Potnas from his album Willennium. In 2007, he appeared with Rhymefest in a directed by Konee Rok. In 2008, Townes performed with Smith at the premiere of the latters 2008 film Hancock, in 2009, he made a mixtape titled Hes the King. Im the DJ in honor of the late entertainer Michael Jackson. Townes was featured in the video game DJ Hero as a playable character and he also has some original mixes in the game. In 2010, DJ Jazzy Jeff and Mick teamed up to release the Summertime mix-tape series, the mixes are released every summer. In 2013, DJ Jazzy Jeff performed with Will Smith on the Graham Norton Show, also that same year, DJ Jazzy Jeff released Vinyl Destination, a web series documenting his hundred plus DJ shows from all around the world. In 2015, he performed the scratch overdubs for the film Straight Outta Compton. J, Townes has resided in Wilmington, Delaware since 2004. DJ Jazzy Jeff – official site DJ Jazzy Jeff discography, forum, and marketplace at Discogs DJ Jazzy Jeff at the Internet Movie Database
4.
Record producer
–
A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
5.
Sound effect
–
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
6.
DJ mixer
–
A DJ mixer is a type of audio mixing console used by DJs to make smooth transitions between different sound recordings as they are playing. The sources are typically record turntables, compact cassettes, CDJs, DJ mixers allow the DJ to use headphones to preview the next song before playing it to the audience. Most low- to mid-priced DJ mixers can accommodate two turntables or CD players, but some mixers can accommodate up to four turntables or CD players. A crossfader has the engineering design as a fader, in that it is a sliding control, but unlike faders. DJ mixers typically have phono preamplifiers to hook up turntables, DJ mixers are also used to create DJ mixes, which are recorded and sold. DJ mixers usually have controls for bass and treble of each channel. Some 2010-era DJ mixers have onboard electronic or digital effects such as echo or reverb. Some DJ mixers also feature a built-in USB sound card to connect to a computer running DJ software without requiring a separate sound card. DJ mixers typically have an input, so that a microphone can be plugged into the mixer. Some DJ mixers have a kill switch, the output from a DJ mixer is typically plugged into a sound reinforcement system or a PA system at a dance, rave, nightclub or similar venue or event. If the DJ is performing a mix for a station or television station. At club sets, some DJs may use a monitor speaker to hear the main mix. This monitor speaker can have its volume increased or decreased as needed, DJ mixers have a plug that is connected to the wall to supply electric power for the unit. DJ mixing played a key role in the development of hip hop music, in hip hop music and occasionally in other genres, the turntable is used as a musical instrument by DJs, who use turntables along with a DJ mixer to create unique rhythmic sounds. Manipulation of a record as part of the music, rather than for normal playback or mixing, is called turntablism, the basis of turntablism, and its best known technique, is scratching, pioneered by Grand Wizzard Theodore. It was not until Herbie Hancocks Rockit in 1983 that the movement was recognized in popular music outside of a hip hop context. In the 2010s, many hip hop DJs use DJ CD players or digital record emulator devices to create scratching sounds, nevertheless, DJ mixing also played a key role in disco music in the 1970s. In disco clubs, DJs would use mixers to transition from one song to another, one of the pioneers of DJ mixing equipment design was Rudy Bozak
7.
Public address system
–
Simple PA systems are often used in small venues such as school auditoriums, churches, and small bars. Intercom systems, installed in buildings, have both speakers throughout a building, and microphones in many rooms allowing the occupants to respond to announcements. Sound reinforcement systems and PA systems may use some similar components, Sound reinforcement systems are for live music or performance, whereas PA systems are primarily for reproduction of speech. A short time later the Automatic Enunciator Company was established in Chicago in order to market the new device, in August 1912 a large outdoor installation was made at a water carnival held in Chicago by the Associated Yacht and Power Boat Clubs of America. Seventy-two loudspeakers were strung in pairs at intervals along the docks. The system was used to announce race reports and descriptions, carry a series of speeches about The Chicago Plan, and provide music between races. Four years later, in 1915, they built a dynamic loudspeaker with a 1-inch voice coil, a 3-inch corrugated diaphragm, the electromagnet created a flux field of approximately 11,000 G. Their first experiment used a carbon microphone, when the 12 V battery was connected to the system, they experienced one of the first examples of acoustic feedback. They then placed the loudspeaker on the roof, and claims say that the amplified human voice could be heard 1 mile away. Jensen and Pridham refined the system and connected a phonograph to the loudspeaker to be able to broadcast recorded music and this demonstration was official presentation of the working system, and approximately 100,000 people gathered to hear Christmas music and speeches with absolute distinctness. The first outside broadcast was one week later, again supervised by Jensen. Jensen oversaw the governor using the microphone while Pridham operated the loudspeaker, the following year, Jensen and Pridham applied for a patent for what they called their Sound Magnifying Phonograph. Over the next two years developed their first valve amplifier. In 1919 this was standardized as a 3-stage 25 watt amplifier, wilsons speech was part of his nationwide tour to promote the establishment of the League of Nations. It was held on September 9,1919 at City Stadium, as with the San Francisco installation, Jensen supervised the microphone and Pridham the loudspeakers. Wilson spoke into two large horns mounted on his platform which channelled his voice into the microphone, similar systems were used in the following years by Warren G. Harding and Franklin D. Roosevelt. By the early 1920s, Marconi had established a department dedicated to public address, in 1925, George V used such a system at the British Empire Exhibition, addressing 90,000 via six long-range loudspeakers. This public use of loudspeakers brought attention to the possibilities of such technology, the 1925 Royal Air Force Pageant at Hendon Aerodrome used a Marconi system to allow the announcer to address the crowds, as well as amplify the band
8.
Internet radio
–
Internet radio is an audio service transmitted via the Internet. Broadcasting on the Internet is usually referred to as webcasting since it is not transmitted broadly through wireless means, Internet radio is also distinct from podcasting, which involves downloading rather than streaming. Internet radio services offer news, sports, talk, and various genres of music—every format that is available on traditional broadcast radio stations and this has made internet radio particularly suited to and popular among expatriate listeners. Internet radio is also suited to listeners with special interests that are not adequately served by local radio stations. Internet radio is listened to on a standard home PC or similar device. In recent years, dedicated devices that resemble and offer the listener a similar experience to a radio receiver have arrived on the market. Streaming technology is used to distribute Internet radio, typically using an audio codec. Streaming audio formats include MP3, Ogg Vorbis, Windows Media Audio, RealAudio, Audio data is continuously transmitted serially over the local network or internet in TCP or UDP packets, then reassembled at the receiver and played a second or two later. The delay is called lag, and is introduced at several stages of audio broadcasting. A local tuner simulation program includes all the radios that can also be heard in the air in the city. In 2003, revenue from online streaming radio was US$49 million. By 2006, that rose to US$500 million. A February 21,2007 survey of 3,000 Americans released by consultancy Bridge Ratings & Research found that s much as 19% of U. S. consumers 12, in other words, there were some 57 million weekly listeners of Internet radio programs. More people listen to online radio than to satellite radio, high-definition radio, podcasts, an April 2008 Arbitron survey showed that, in the US, more than one in seven persons aged 25–54 years old listen to online radio each week. In 2008,13 percent of the American population listened to the radio online, Internet radio functionality is also built into many dedicated Internet radio devices, which give an FM like receiver user experience. As Internet-radio listening rose among the 13-to-35 age group, listening to AM/FM radio, in the 36-and-older age group, by contrast, Internet radio accounted for just 13 percent of music listening, while AM/FM radio dominated listening methods with a 41 percent share. Currently, 47% of all Americans ages 12 and older -- an estimated 124 million people -- said they have listened to radio in the last month. These figures are up from 45% and 33%, respectively, in 2013, the average amount of time spent listening increased from 11 hours,56 minutes per week in 2013 to 13 hours 19 minutes in 2014
9.
Scratching
–
Within hip hop culture, scratching is one of the measures of a DJs skills. In the 2010s, both scratching and scrubbing can be done on digital audio workstations which are equipped for these techniques, christian Marclay was one of the earliest musicians to scratch outside of hip hop. In the mid-1970s, Marclay used gramophone records and turntables as musical instruments to create sound collages and he developed his turntable sounds independently of hip hop DJs. Although he is little-known to mainstream audiences, Marclay has been described as the most influential turntable figure outside hip hop, in 1981 Grandmaster Flash released the song The Adventures of Grandmaster Flash on the Wheels of Steel which is notable for its use of many DJ scratching techniques. It was the first commercial recording produced entirely using turntables, in 1982, Malcolm McLaren & the Worlds Famous Supreme Team released a single Buffalo Gals, juxtaposing extensive scratching with calls from square dancing, and, in 1983, the EP, Dya Like Scratchin. Which is entirely focused on scratching, another 1983 release to prominently feature scratching is Herbie Hancocks Grammy Award-winning single Rockit. This song was performed live at the 1984 Grammy Awards, and in the documentary film Scratch. The Street Sounds Electro compilation series which started in 1983 is also notable for early examples of scratching, at the same time as the DJ is moving the record back and forth, the DJ manipulates the crossfader of a DJ mixer. This creates a rhythmic sound that has come to be one of the most recognizable features of hip hop music. Over time with excessive scratching, the stylus will cause what is referred to as record burn to a vinyl record, when scratching, this crossfader is utilized in conjunction with the scratching hand that is manipulating the record platter. The hand manipulating the crossfader is used to cut in and out of the records sound, using a digital vinyl system consists of playing vinyl discs on turntables whose contents is a timecode signal instead of a real music record. The turntables audio outputs are connected to the inputs of a computer audio interface. The audio interface digitizes the timecode signal from the turntables and transfers it to the computers DJ software, there is not a single standard of DVS, so that each form of DJ software has its own settings. Some DJ software such as Traktor Scratch Pro or Serato Scratch Live support only the audio interface sold with their software, Vinyl emulation software allows a DJ to manipulate the playback of digital music files on a computer via a DJ control surface. DJs can scratch, beatmatch, and perform other turntablist operations that cannot be done with a conventional keyboard, DJ software performing computer scratch operations include Traktor Pro, Mixxx, Serato Scratch Live & Itch, Virtual DJ, M-Audio Torq, DJay, Deckadance, Cross. DJs have also used tape, such as cassette or reel to reel to both mix and scratch. Tape DJing is rare, but Ruthless Ramsey in the US, Tj Scratchavite in Italy, Sounds that are frequently scratched include but are not limited to drum beats, horn stabs, spoken word samples, and vocals/lyrics from other songs. Some DJs and anonymous collectors release 12-inch singles called battle records that include trademark, the most recognizable samples used for scratching are the Ahh and Fresh samples, which originate from the song Change the Beat by Fab 5 Freddy
10.
Hip hop music
–
It developed as part of hip hop culture, a subculture defined by four key stylistic elements, MCing/rapping, DJing/scratching with turntables, break dancing, and graffiti writing. Other elements include sampling beats or bass lines from records, while often used to refer solely to rapping, hip hop more properly denotes the practice of the entire subculture. Hip hops early evolution occurred as sampling technology and drum machines became available and affordable. Turntablist techniques such as scratching and beatmatching developed along with the breaks and Jamaican toasting, rapping developed as a vocal style in which the artist speaks or chants along rhythmically with an instrumental or synthesized beat. The Sugarhill Gangs 1979 song Rappers Delight is widely regarded to be the first hip hop record to gain popularity in the mainstream. The 1980s marked the diversification of hip hop as the genre developed more complex styles, prior to the 1980s, hip hop music was largely confined within the United States. However, during the 1980s, it began to spread to scenes in dozens of countries. New school hip hop was the wave of hip hop music, originating in 1983–84 with the early records of Run-D. M. C. The Golden age hip hop period was a period between the mid-1980s and the early 1990s. Notable artists from this era include the Juice Crew, Public Enemy, & Rakim, Boogie Down Productions and KRS-One, EPMD, Slick Rick, Beastie Boys, Kool G Rap, Big Daddy Kane, Ultramagnetic MCs, De La Soul, and A Tribe Called Quest. Gangsta rap is a subgenre of hip hop that often focuses on the violent lifestyles, in the West Coast hip hop style, G-funk dominated mainstream hip hop for several years during the 1990s. I. G. In the 1990s, hip hop began to diversify with other regional styles emerging, such as Southern rap, at the same time, hip hop continued to be assimilated into other genres of popular music, examples being Neo soul and nu metal. Hip hop became a pop music genre in the mid-1990s. The popularity of hip hop music continued through the 2000s, with hip hop influences also increasingly finding their way into mainstream pop, the United States also saw the success of regional styles such as crunk, a Southern genre that emphasized the beats and music more than the lyrics. Starting in 2005, sales of hip hop music in the United States began to severely wane, during the mid-2000s, alternative hip hop secured a place in the mainstream, due in part to the crossover success of artists such as OutKast and Kanye West. Creation of the hip hop is often credited to Keith Cowboy, rapper with Grandmaster Flash. However, Lovebug Starski, Keith Cowboy, and DJ Hollywood used the term when the music was known as disco rap. Cowboy later worked the hip hop cadence into a part of his stage performance, the first use of the term in print was in The Village Voice, by Steven Hager, later author of a 1984 history of hip hop
11.
DJ
–
A disc jockey is a person who mixes different sources of pre-existing recorded music as it is playing, usually for a live audience in a nightclub or dance club or via broadcasting. DJs typically perform for an audience in a nightclub or dance club or a TV, radio broadcast audience, or in the 2010s. DJs also create mixes, remixes and tracks that are recorded for later sale, in hip hop music, DJs may create beats, using percussion breaks, basslines and other musical content sampled from pre-existing records. In hip hop, rappers and MCs use these beats to rap over, DJs use equipment that can play at least two sources of recorded music simultaneously and mix them together. This allows the DJ to create seamless transitions between recordings and develop unique mixes of songs, DJ equipment, notably the specialized DJ mixer, a small audio mixer with a crossfader and cue functions. The crossfader enables the DJ to blend or transition from one song to another, the cue knobs or switches allow the DJ to preview a source of recorded music in headphones before playing it for the live club or broadcast audience. Previewing the music in headphones helps the DJ pick the track they want to play. DJs may also use a microphone to speak to the audience, effects such as reverb to create sound effects, drum machines. The title DJ is also used by DJs in front of their real names or adopted pseudonyms or stage names as a title to denote their profession. Some DJs focus on creating a mix of songs for the club dancers or radio audience. Other DJs use turntablism techniques such as scratching, in which the DJ or turntablist manipulates the record player turntable to create new sounds. In many types of DJing, including club DJing and radio/TV DJing, there are several types of disc jockey. Radio DJs or radio personalities introduce and play music that is broadcast on AM, FM, club DJs select and play music in bars, nightclubs or discothèques, or at parties, raves, or even in stadiums. Mobile DJs travel with portable sound systems and play recorded music at a variety of events. Some mobile DJs also serve as the master of ceremonies at weddings or other events, directing the attention of attendees, there are also many competitions for DJs that specialize in different turntablism techniques, such as mixing, hip hop music-style scratching or other kinds of techniques. Other types of DJ use musical performance techniques that allow them to be categorized as performing musicians, hip hop DJs and are also often songwriters or music producers who use turntablism and sampling to create backing instrumentals for new tracks. In reggae, the DJ is a vocalist who raps, toasts, chants or chats over pre-recorded rhythm tracks, the individual who helps the DJ by selecting tracks or records to be played is called the selector. Many electronica artists and producers who work as DJs often perform music by combining turntablism with keyboards, digital musical instruments
12.
Direct-drive turntable
–
A direct-drive turntable is one of the three main phonograph designs currently being produced. The other styles are the belt-drive turntable and the idler-wheel type, each name is based upon the type of coupling used between the platter of the turntable and the motor. In a direct-drive turntable the motor is located directly under the center of the platter and is connected to the platter directly, the first commercially available direct-drive turntable, the model SP-10, was introduced by the Technics division of Matsushita in 1969. Technics also introduced the first direct-drive tangential-arm turntable, the model SL-10, direct-drive turntables may suffer from vibration due to the motor. This is less of an issue for belt-drive turntables, however, in recent years, shock-absorbing material, placed between the motor and platter, has been used to cut back on vibrations. The torque on direct-drive turntables is usually higher than on belt drive models. This means the speed is less susceptible to outside forces. Higher torque also means the platter will accelerate to its proper speed faster so less distortion is heard when the record begins to play, some direct-drive turntables further reduce the separation of motor and platter by using the platter itself as the rotor in the turntables synchronous motor. This means that there is no motor, per se, in the turntable - the platter is entirely driven by the field induced by the turntables stator. In all turntables a motor spins a metal disk at a constant speed, on top of the rotating disk is a mat and on top of the mat records are placed to be played. In the past rubber mats were used to hold the record in place so that it would not rotate independently of the platter, nowadays slipmats are used to reduce the friction between the spinning platter and record, and is often made of a felt-like material. This way a DJ can scratch the record while the platter continues to spin underneath, in direct-drive turntables, the slipmat also helps isolate the record from motor vibrations that would be picked up by the stylus. Many turntables also include a control, for fine tuning to the correct speed, used in conjunction with a strobe light. From the late 1990s onwards manufacturers such as Vestax started to other electronic controls such as reverse. DJs and turntablists use all the functions to assist them in musical performances
13.
Belt-drive turntable
–
The design of the belt-drive turntable allows the use of a less expensive motor than the direct-drive turntable. Also, the elastomeric belt absorbs motor vibrations which would otherwise be picked up by the stylus, rotational stability is a key goal for turntable design that produces quality output. Many belt-drive turntables with multiple speeds have mechanical devices or rely on manual effort to move the belt between different-sized pulleys on the motor shaft, due to difficulties in designing multiple-speed synchronous motors whose speed can be controlled electronically, such turntables frequently have DC servomotors. The disadvantage of DC servomotors is that they rotate in steps rather than continuously – the resulting cogging can add noise during playback, helical armature motors can be used to overcome this. Problems with belt instability and deterioration in the past have largely solved by use of modern elastic polymers. Since the 1970s, DC motors have declined in popularity, high end audiophile turntable designs use the synchronous motor, due to the existence of instabilities of mains electricity, manufacturers might try to ensure pitch stability by generating its own sinusoidal waveform to power their AC motor. Other methods at achieving stability include using optical sensors on the platter which feed back to the electronics, some manufacturers use mass to deal with the problem. Heavy platters, which have higher inertia, are less susceptible to minute speed variations. However, mass stores energy that may be difficult to control, heavier platter also increases wear on the bearing. Others, such as the Linn Sondek LP12, have a suspension, the three-point suspended sub-chassis was a design by renowned audio pioneer Edgar Villchur. It became the basis upon which his company created the Acoustic Research XA turntable that was launched in 1961, the principle behind it is that the turntable is an inert platform that allows the stylus to track the surface of the record accurately whilst being protected from external vibrations. The platter, sub-chassis, armboard and tonearm mechanically form a closed loop, the motor, mounted on the top plate, drives the turntable platter via a belt. The compression spring system of the XA was much improved upon, the main platter bearing may be upright or inverted, it is mounted on the sub-chassis along with the arm fixture. Bearings generally use an oil film to lubricate between a metal ball-bearing and the thrust-plate of the bearings housing, more esoteric designs use an air bearing, where the spindle is supported by a high pressure flow of air. The tonearm is usually sold separately, allowing for buyer choice and this creates an undesirable slurring of the record. Furthermore, over time the belt can wear or lose elasticity. In addition, belt-drive turntables have much lower torque, the belt can also slip off the motor and/or platter spindle, dJs who scratch or mix generally prefer to use direct-drive turntables
14.
Herbie Hancock
–
Herbert Jeffrey Herbie Hancock is an American pianist, keyboardist, bandleader, composer and actor. He was one of the first jazz musicians to embrace synthesizers, Hancocks music is often melodic and accessible, he has had many songs cross over and achieved success among pop audiences. Hancocks best-known compositions include Cantaloupe Island, Watermelon Man, Maiden Voyage, Chameleon, and his 2007 tribute album River, The Joni Letters won the 2008 Grammy Award for Album of the Year, only the second jazz album ever to win the award, after Getz/Gilberto in 1965. Hancock was born in Chicago, Illinois, the son of Winnie Belle, a secretary, and Wayman Edward Hancock and his parents named him after the singer and actor Herb Jeffries. He attended the Hyde Park Academy, like many jazz pianists, Hancock started with a classical music education. He studied from age seven, and his talent was recognized early, through his teens, Hancock never had a jazz teacher, but developed his ear and sense of harmony. He was also influenced by records of the group the Hi-Los. He reported that. by the time I actually heard the Hi-Los, I started picking that stuff out, my ear was happening. I could hear stuff and thats when I really learned some much farther-out voicings – like the harmonies I used on Speak Like a Child – just being able to do that, I really got that from Clare Fischers arrangements for the Hi-Los. Clare Fischer was an influence on my harmonic concept. he and Bill Evans. You know, thats where it came from, in 1960, he heard Chris Anderson play just once, and begged him to accept him as a student. Hancock often mentions Anderson as his harmonic guru, Hancock left Grinnell College, moved to Chicago and began working with Donald Byrd and Coleman Hawkins, during which period he also took courses at Roosevelt University. Byrd was attending the Manhattan School of Music in New York at the time and suggested that Hancock study composition with Vittorio Giannini, the pianist quickly earned a reputation, and played subsequent sessions with Oliver Nelson and Phil Woods. He recorded his first solo album Takin Off for Blue Note Records in 1962, Watermelon Man was to provide Mongo Santamaría with a hit single, but more importantly for Hancock, Takin Off caught the attention of Miles Davis, who was at that time assembling a new band. Hancock was introduced to Davis by the young drummer Tony Williams, Hancock received considerable attention when, in May 1963, he joined Daviss Second Great Quintet. Davis personally sought out Hancock, whom he saw as one of the most promising talents in jazz, the rhythm section Davis organized was young but effective, comprising bassist Ron Carter, 17-year-old drummer Williams, and Hancock on piano. After George Coleman and Sam Rivers each took a turn at the saxophone spot and this quintet is often regarded as one of the finest jazz ensembles, and the rhythm section has been especially praised for its innovation and flexibility. The second great quintet was where Hancock found his own voice as a pianist, not only did he find new ways to use common chords, but he also popularized chords that had not previously been used in jazz
15.
DJ Babu
–
Melvin Babu, better known as DJ Babu, is a Filipino-American DJ and producer. He is a member of the hip hop trio Dilated Peoples, also a member of the World Famous Beat Junkies DJ crew. Currently, he serves as the curator and host of Soundcheck for Beat Junkie Radio on Dash Radio, Babu is also a member of the Beat Junkies DJ crew, and together with rapper Defari forms the duo the Likwit Junkies. Babu, Evidence and Pharoahe Monch are featured in the song H. Vltg3, in his early years, Babu lived in Oxnard, California for one year, and later moved to the neighboring city of Camarillo, he currently resides in Los Angeles County. Babu has won multiple competition titles Including the Vestax World Championships, as a revered battle DJ he has appeared in and hosted numerable videos. Babu is famous for redefining the art of Beat juggling during the 1997 ITF/Beat juggling category competition, under the name The Turntablist, produced perhaps the genres most popular battle record, 1996s Super Duck Breaks, which sold over 10,000 copies. DJ Babu has also featured on numerous acts alongside groups such as Jurassic 5, Swollen Members, individually Babu has been featured in many other groups. In 2014, The Beat Junkies crew launched their own membership based record pool curated by the members of the crew, including Babu. At the top of 2015, Beat Junkie Radio began airing on Dash Radio, the stars all members of the crew, but led by Babu, Mr. Choc. Their live show Soundcheck which aires live every 2nd and 4th Tuesday of the month has been ranked as one of the top 5 shows on Dash Radio, Duck Season Vol.4 is set to be released in 2017. The Beat Junkie Institute of Sound will be headquartered in Glendale, the school will offer an opportunity to join their community and learn the art form of DJing Beat Junkie Style on state of the art equipment in an intimate and professional environment. The Beat Junkie Institute of Sound is set to open Spring of 2017
16.
Washboard (musical instrument)
–
The washboard and frottoir are used as a percussion instrument, employing the ribbed metal surface of the cleaning device as a rhythm instrument. Often the washboard has additional traps, such as a block, a cowbell. Conversely, the frottoir dispenses with the frame and consists simply of the metal ribbing hung around the neck and it is played primarily with spoon handles or bottle openers in a combination of strumming, scratching, tapping and rolling. The frottoir or vest frottoir is played as a percussion instrument, often in a band with a drummer. In Zydeco bands, the frottoir is played with bottle openers. It tends to play counter-rhythms to the drummer, in a jug band, the washboard can also be stroked with a single whisk broom and functions as the drums for the band, playing only on the back-beat for most songs, a substitute for a snare drum. In a four-beat measure, the washboard will stroke on the 2-beat and its best sound is achieved using a single steel-wire snare-brush or whisk broom. There are three ways of deploying the washboard for use as an instrument. The first, mainly used by American players like Washboard Chaz of the Washboard Chaz Blues Trio, there is a Polish traditional jazz festival and music award named Złota Tarka. Washboards, called zatulas, are occasionally used in Ukrainian folk music. The washboard as a percussion instrument ultimately derives from the practice of hamboning as practiced in West Africa and this led to the development of Jug bands which used jugs, spoons, and washboards to provide the rhythm. Jug bands became popular in the 1920s, the frottoir, also called a Zydeco rub-board, is a mid-20th century invention designed specifically for Zydeco music. It is one of the few musical instruments invented entirely in the United States and it was designed in 1946 by Clifton Chenier and fashioned by Willie Landry, a friend and metalworker at the Texaco refinery in Port Arthur, Texas. Cliftons brother Cleveland Chenier famously played this newly designed rubboard using bottle openers, likewise, Willies son, Tee Don Landry, continues the traditional hand manufacturing of rubboards in his small shop in Sunset, Louisiana, between Lafayette and Opelousas. In 2010 Saint Blues Guitar Workshop launched an electric washboard percussion instrument called the Woogie Board, see also, Category, Washboard players In British Columbia, Canada, Tony McBride, known as Mad Fingers McBride, performs with a group called The Genuine Jug Band. Tony is referred to as The Canadian Washboard King and his percussion set-up was created by Douglas Fraser, of the same band. The washboard set-up was seen in Modern Drummer magazine, August 2014 edition, musician Steve Katz famously played washboard with the Even Dozen Jug Band. His playing can be heard on the group’s legendary self-titled Elektra recording from 1964, Katz reprised his washboard playing on Played a Little Fiddle, a 2007 recording featuring Steve Katz, Stefan Grossman and Danny Kalb
17.
Stylus
–
A stylus, plural styli or styluses, is a writing utensil, or a small tool for some other form of marking or shaping, for example in pottery. It can also be an accessory that is used to assist in navigating or providing more precision when using touchscreens. It usually refers to a narrow elongated staff, similar to a ballpoint pen. Many styluses are heavily curved to be more easily. Another widely used writing tool is the used by blind users in conjunction with the slate for punching out the dots in Braille. Styluses were first used by the ancient Mesopotamians in order to write in cuneiform, cuneiform was entirely based on the wedge-shaped mark that the end of a cut reed made when pushed into a clay tablet, from Latin cuneus = wedge. The linear nature of the writing was also dictated by the use of the stylus, in Western Europe styluses were widely used until the late Middle Ages. For learning purposes the stylus was gradually replaced by a writing slate, from the mid-14th century improved water-powered paper mills produced large and cheap quantities of paper and the wax tablet and stylus disappeared completely from daily life. A different suggestion is that the word does not derive from the Greek word στῦλος and it signifies, An iron instrument, resembling a pencil in size and shape, used for writing upon waxed tablets. Thus, vertere stilum means to erase, and hence to correct, there exists minor controversy about the correct pluralization of stylus. Some assert that stylus is a loanword from Latin and should be pluralised as styli. However, stylus is an English word based on the Latin word stilus, occasionally the pluralisation stylii is seen. Styluses are still used in arts and crafts. Example situations, rubbing off dry transfer letters, tracing designs onto a new surface with carbon paper, styluses are also used to engrave into materials like metal or clay. Styluses are used to make dots as found in folk art, oaxaca dot art is created using styluses. In the sound recording industry, a stylus is a phonograph or gramophone needle used to play back sound on gramophone records, several technologies were used to record the sounds, beginning with wax cylinders, almost half a century before the invention of the magnetic cartridge. Nowadays mostly vinyl records are used, when playing the record, the stylus is placed in the grooves of the record. By then spinning the record, the start to vibrate caused by the shape of the grooves
18.
Plectrum
–
A plectrum is a small flat tool used to pluck or strum a stringed instrument. For hand-held instruments such as guitars and mandolins, the plectrum is often called a pick, in harpsichords, the plectra are attached to the jack mechanism. A plectrum for electric guitars, acoustic guitars, bass guitars, the size, shape and width may vary considerably. Thin items such as coins, bread clips or broken compact discs. Banjo and guitar players may wear a metal or plastic thumb pick mounted on a ring, guitar picks are made of a variety of materials, including celluloid, metal, and rarely other exotic materials such as turtle shell, but today delrin is the most common. For other instruments in the day most players use plastic plectra but a variety of other materials, including wood. Many guitarists also use the pick and the remaining right-hand fingers simultaneously to combine some advantages of flat picking and this technique is called hybrid picking. A plectrum of the type is often called a pick. The plectra for the Japanese biwa and shamisen can be large. Plectra used for Chinese instruments such as the sanxian were formerly made of animal horn, click on the images to view them in full size. In a harpsichord, there is a plectrum for each string. These plectra are very small, often only about a long, about 1.5 millimeters wide. The plectrum is gently tapered, being narrowest at the plucking end, the top surface of the plectrum is flat and horizontal, and is held in the tongue of the jack, which permits it to pluck moving upward and pass almost silently past the string moving downward. In the historical period of harpsichord construction plectra were made of feather quills. In Italy, some makers used vulture quills, other Italian harpsichords employed plectra of leather. In late French harpsichords by the great builder Pascal Taskin, peau de buffle, modern harpsichords frequently employ plectra made with plastic, specifically the plastic known as acetal. Some plectra are of the variety of acetal, sold by DuPont under the name Delrin, while others are of the copolymer variety. Harpsichord technicians and builders generally use the names to refer to these materials
19.
Beatmatching
–
The technique was developed to keep the people from leaving the dancefloor at the end of the song. Beatmatching is no longer considered a novelty, and new digital software has made the technique easier to master. The beatmatching technique consists of the steps, While a record is playing, start a second record playing. Use gain control on the mixer to match the levels of the two records, restart and slip-cue the new record at the right time, begin the new record on beat with the record currently playing. Pay attention to structures, careful phrasing can make the mix seamless. Continue this process until the two records are in sync with each other and it can be difficult to sync the two records perfectly, so manual adjustment of the records is necessary to maintain the beat synchronization. Before fading in the new track, check that the beats of two tracks match by listening to both channels together in the headphones, as the sound from the speakers can reach you with a delay. Gradually fade in parts of the new track while fading out the old track, while in the mix, ensure that the tracks are still synchronized, adjusting the records if needed. The fade can be repeated several times, for example, from the first track, fade to the track, then back to first. One of the key things to consider when beatmatching is the tempo of songs, and the musical theory behind the songs. Attempting to beatmatch songs with completely different BPMs, will result in one or both of the songs sounding too fast or too slow. When beatmatching songs of similar BPMs it is important to consider the genre of each song, while most songs with the same BPM have similar beat structures, some genres will feature songs that wont mix well with others. When beatmatching, a technique used by many disc jockeys around the world is to vary the equalization of both tracks. Doing so creates a transition that the audience would generally react to better. The pitch and tempo of a track are linked together, spin a disc 5% faster. However, some modern DJ software can change pitch and tempo independently using time-stretching and pitch-shifting, allowing harmonic mixing. There is also a feature in most modern DJ software to change the tempo but keeping the original pitch, beatmatching was invented by Francis Grasso in the late 1960s and early 1970s. Initially he was counting the tempo with a metronome and looking for records with the same tempo
20.
Musical improvisation
–
Sometimes musical ideas in improvisation are spontaneous, but may be based on chord changes in classical music, and many other kinds of music. One definition is a performance given extempore without planning or preparation, another definition is to play or sing extemporaneously, by inventing variations on a melody or creating new melodies, rhythms and harmonies. Improvisation is often done within a harmonic framework or chord progression. Improvisation is a part of some types of 20th-century music, such as blues, jazz. Throughout the eras of the Western art music tradition, including the Medieval, Renaissance, Baroque, Classical, Bach, Handel, Mozart, Beethoven, Chopin, Liszt, and many other famous composers and musicians were known especially for their improvisational skills. Improvisation might have played an important role in the monophonic period, the earliest treatises on polyphony, such as the Musica enchiriadis, indicate that added parts were improvised for centuries before the first notated examples. However, it was only in the century that theorists began making a hard distinction between improvised and written music. Handel, Scarlatti, and Bach all belonged to a tradition of solo keyboard improvisation, in the Baroque era, performers improvised ornaments and basso continuo keyboard players improvised chord voicings based on figured bass notation. At the same time, some contemporary composers from the 20th, in Indian classical music, improvisation is a core component and an essential criterion of performances. In Indian, Afghani, Pakistani, and Bangladeshi classical music, the Encyclopædia Britannica defines a raga as a melodic framework for improvisation and composition. Keyboard players likewise performed extempore, freely formed pieces, the pattern of chords in many baroque preludes, for example, can be played on keyboard and guitar over a pedal tone or repeated bass notes. Such progressions can be used in other structures and contexts, and are still found in Mozart. Bach, for example, was fond of the sound produced by the dominant seventh harmony played over, i. e. suspended against. This shift of roles between treble and bass is another definitive characteristic, finally, in keeping with this polarity, the kind of question and answer which appears in baroque music has the appearance of fugue or canon. This method was a favorite in compositions by Scarlatti and Handel especially at the beginning of a piece, improvised accompaniment over a figured bass was a common practice during the Baroque era, and to some extent the following periods. Improvisation remains a feature of playing in some church services and are regularly also performed at concerts. Dietrich Buxtehude and Johann Sebastian Bach were regarded in the Baroque period as highly skilled organ improvisers, maurice Duruflé, a great improviser himself, transcribed improvisations by Louis Vierne and Charles Tournemire. Olivier Latry later wrote his improvisations as a compositions, for example Salve Regina, Classical music departs from baroque style in that sometimes several voices may move together as chords involving both hands, to form brief phrases without any passing tones
21.
Bassline
–
It is also used sometimes in classical music. In solo music for piano and pipe organ, these instruments have an excellent lower register that can be used to play a deep bassline, on organs, the bass line is typically played using the pedal keyboard and massive 16 and 32 bass pipes. Basslines in popular music often use riffs or grooves, which are simple, appealing musical motifs or phrases that are repeated, with variation. The bass differs from other voices because of the role it plays in supporting and defining harmonic motion. It does so at levels ranging from immediate, chord-by-chord events to the harmonic organization of a entire work. Bassline riffs usually emphasize the chord tones of each chord, which helps to define a songs key, at the same time, basslines work along with the drum part and the other rhythm instruments to create a clear rhythmic pulse. The type of rhythmic pulse used in basslines varies widely in different types of music, in swing jazz and jump blues, basslines are often created from a continuous sequence of quarter notes in a mostly scalar, stepwise part called a walking bass line. In Latin, salsa music, jazz fusion, reggae, electronica, in bluegrass and traditional country music, basslines often emphasize the root and fifth of each chord. In classical music such as string quartets and symphonies, basslines play the same harmonic and rhythmic role, however, most popular musical ensembles include an instrument capable of playing bass notes. In the 1890s, a tuba was often used, from the 1920s to the 1940s, most popular music groups used the double bass as the bass instrument. Starting in the 1950s, the bass guitar began to replace the bass in most types of popular music, such as rock and roll, blues. By the 1970s and 1980s, the bass was used in most rock bands. The double bass was used in some types of popular music that recreated styles from the 1940s and 1950s such as jazz, traditional 1950s blues, jump blues, country. In some popular bands, keyboard instruments are used to play the bass line. In organ trios, for example, a Hammond organ player performs the basslines using the pedal keyboard. In some types of music, such as hip-hop or house music. Basslines are especially important in many forms of dance and electronic music, such as electro, drum and bass, dubstep, and most forms of house and trance. In these genres, basslines are almost always performed on synthesizers, either physical, such as the Minimoog, chinese orchestras use the zhōng ruǎn and dà ruǎn for creating basslines
22.
Musical instrument
–
A musical instrument is an instrument created or adapted to make musical sounds. In principle, any object that produces sound can be a musical instrument—it is through purpose that the object becomes a musical instrument, the history of musical instruments dates to the beginnings of human culture. Early musical instruments may have used for ritual, such as a trumpet to signal success on the hunt. Cultures eventually developed composition and performance of melodies for entertainment, Musical instruments evolved in step with changing applications. The date and origin of the first device considered an instrument is disputed. The oldest object that some refer to as a musical instrument. Some consensus dates early flutes to about 37,000 years ago, many early musical instruments were made from animal skins, bone, wood, and other non-durable materials. Musical instruments developed independently in many populated regions of the world, however, contact among civilizations caused rapid spread and adaptation of most instruments in places far from their origin. By the Middle Ages, instruments from Mesopotamia were in maritime Southeast Asia, development in the Americas occurred at a slower pace, but cultures of North, Central, and South America shared musical instruments. By 1400, musical instrument development slowed in areas and was dominated by the Occident. Musical instrument classification is a discipline in its own right, Instruments can be classified by their effective range, their material composition, their size, etc. However, the most common method, Hornbostel-Sachs, uses the means by which they produce sound. The academic study of instruments is called organology. Once humans moved from making sounds with their bodies—for example, by using objects to create music from sounds. Primitive instruments were designed to emulate natural sounds, and their purpose was ritual rather than entertainment. The concept of melody and the pursuit of musical composition were unknown to early players of musical instruments. A player sounding a flute to signal the start of a hunt does so without thought of the notion of making music. Musical instruments are constructed in an array of styles and shapes
23.
Experimental music
–
The practice became prominent in the mid-20th century, particularly in North America. John Cage was one of the earliest composers to use the term and one of experimental musics primary innovators, utilizing indeterminacy techniques and seeking unknown outcomes. Also, in America, a distinct sense of the term was used in the late 1950s to describe computer-controlled composition associated with composers such as Lejaren Hiller. Harry Partch as well as Ivor Darreg worked with other tuning scales based on the laws for harmonic music. For this music they developed a group of experimental musical instruments. Musique concrète, is a form of music that utilises acousmatic sound as a compositional resource. Elements of experimental music include indeterminate music, in which the composer introduces the elements of chance or unpredictability with regard to either the composition or its performance. The Groupe de Recherches de Musique Concrète, under the leadership of Pierre Schaeffer, publication of Schaeffers manifesto was delayed by four years, by which time Schaeffer was favoring the term recherche musicale, though he never wholly abandoned musique expérimentale. John Cage was also using the term as early as 1955, according to Cages definition, an experimental action is one the outcome of which is not foreseen, and he was specifically interested in completed works that performed an unpredictable action. Rebners lecture extended the concept back in time to include Charles Ives, Edgard Varèse, nyman opposes experimental music to the European avant-garde of the time, for whom The identity of a composition is of paramount importance. David Cope also distinguishes between experimental and avant garde, describing music as that which represents a refusal to accept the status quo. That is, for the most part, experimental music studies describes a category without really explaining it and this was an attempt to marginalize, and thereby dismiss various kinds of music that did not conform to established conventions. In 1955, Pierre Boulez identified it as a new definition makes it possible to restrict to a laboratory. He concludes, There is no such thing as experimental music … and it is therefore not a genre, but an open category, because any attempt to classify a phenomenon as unclassifiable and elusive as experimental music must be partial. Furthermore, the indeterminacy in performance guarantees that two versions of the same piece will have virtually no perceptible musical facts in common. The term experimental music was used contemporaneously for electronic music, particularly in the early musique concrète work of Schaeffer, a number of early 20th-century American composers, seen as precedents to and influences on John Cage, are sometimes referred to as the American Experimental School. These include Charles Ives, Charles and Ruth Crawford Seeger, Henry Cowell, Carl Ruggles, for this music they both developed custom-built musical instruments often characterized as experimental instruments. La Monte Young is known for using this technique when he began working on his minimal drone pieces which consisted of layers of sounds in different pitches
24.
John Cage
–
John Milton Cage Jr. was an American composer, music theorist, writer, philosopher, and artist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, critics have lauded him as one of the most influential American composers of the 20th century. He was also instrumental in the development of dance, mostly through his association with choreographer Merce Cunningham. The content of the composition is not four minutes and 33 seconds of silence, as is often assumed, the works challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the piano, for which he wrote numerous dance-related works. The best known of these is Sonatas and Interludes and his teachers included Henry Cowell and Arnold Schoenberg, both known for their radical innovations in music, but Cages major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, the I Ching, an ancient Chinese classic text on changing events, became Cages standard composition tool for the rest of his life. Cage was born September 5,1912, at Good Samaritan Hospital in downtown Los Angeles and his father, John Milton Cage, Sr. was an inventor, and his mother, Lucretia Harvey, worked intermittently as a journalist for the Los Angeles Times. The familys roots were deeply American, in a 1976 interview, John Milton Sr. taught his son that if someone says cant that shows you what to do. In 1944–45 Cage wrote two small character pieces dedicated to his parents, Crete and Dad, the latter is a short lively piece that ends abruptly, while Crete is a slightly longer, mostly melodic contrapuntal work. During high school, one of his teachers was Fannie Charles Dillon. By 1928, though, Cage was convinced that he wanted to be a writer and he graduated that year from Los Angeles High School as a valedictorian, having also in the spring given a prize-winning speech at the Hollywood Bowl proposing a day of quiet for all Americans. By being hushed and silent, he said, we should have the opportunity to hear other people think. Cage enrolled at Pomona College in Claremont as a major in 1928. Instead of doing as they did, I went into the stacks, I received the highest grade in the class. That convinced me that the institution was not being run correctly, Cage persuaded his parents that a trip to Europe would be more beneficial to a future writer than college studies. He subsequently hitchhiked to Galveston and sailed to Le Havre, where he took a train to Paris, Cage stayed in Europe for some 18 months, trying his hand at various forms of art. First he studied Gothic and Greek architecture, but decided he was not interested enough in architecture to dedicate his life to it and he then took up painting, poetry and music
25.
Halim El-Dabh
–
Halim Abdul Messieh El-Dabh is an Egyptian American composer, performer, ethnomusicologist, and educator, who has had a career spanning six decades. He is particularly known as a pioneer of electronic music. In 1944 he composed one of the earliest known works of tape music, from the late 1950s to early 1960s he produced influential work at the Columbia-Princeton Electronic Music Center. El-Dabh was born and grew up in Sakakini, Cairo, Egypt, the family name means the hyena and is not uncommon in Egypt. In 1932 the family relocated to the Cairo suburb of Heliopolis, although his main income was derived from his job as an agricultural consultant, he achieved recognition in Egypt from the mid- to late 1940s for his innovative compositions and piano technique. It was while he was still a student in Cairo that he began his experiments in electronic music, El-Dabh first conducted experiments in sound manipulation with wire recorders there in the early 1940s. By 1944, he had composed one of the earliest known works of music or musique concrète, called The Expression of Zaar. He thus discovered the potential of sound recordings as raw material to compose music and his final 20-25 minute piece was recorded onto magnetic tape and called The Expression of Zaar, which was publicly presented in 1944 at an art gallery event in Cairo. Following a well received 1949 performance at the All Saints Cathedral in Cairo, El-Dabh and his family rented a house in Demarest, New Jersey before buying a home in Cresskill, New Jersey where they lived for some time. El-Dabh soon became a part of the New York new music scene of the 1950s, alongside such like-minded composers as Henry Cowell, John Cage, Edgard Varèse, Alan Hovhaness and he obtained U. S. citizenship in 1961. Among El-Dabhs works are four ballet scores for Martha Graham, including her masterpiece Clytemnestra, as well as One More Gaudy Night, A Look at Lightning, El-Dabhs primary instruments are the piano and darabukha, and consequently many of his works are composed for these instruments. In 1958 he performed the solo part in the New York City premiere of his Fantasia-Tahmeel for darabukha and string orchestra. In 1959 he composed works for an ensemble of percussion instruments from India. Some of his compositions also made use of Columbia-Princetons RCA Synthesizer. He worked there sporadically until 1961, creating various tape works, other composers he had become acquainted with at Columbia-Princeton include John Cage, Aaron Copland, and Leonard Bernstein. According to El-Dabh, “The creative process comes from interacting with the material, when you are open to ideas and thoughts the music will come to you. The organic textures and raw energy of Leiyla and the Poet in particular inspired many early electronic music composers, Leiyla and the Poet also featured a sonorous, echoing voice, sonar signals, distorted ouds, percussion that sounds like metal, and shadowy, shifting dream music. El-Dabh also helped introduce an Egyptian folk sensibility to Western avant-garde music, a definitive collection of El-Dabhs electronic work was restored by Mike Hovancsek
26.
Pierre Schaeffer
–
Pierre Henri Marie Schaeffer was a French composer, writer, broadcaster, engineer, musicologist and acoustician. The genre emerged in Europe from the utilization of new technology developed in the post-Nazi Germany era. Schaeffers writings are often oriented towards his development of the genre, as well as the theoretics and his collaborative endeavors are considered milestones in the histories of electronic and experimental music. Schaeffer was born in Nancy in 1910 and his parents were both musicians, and at first it seemed that Pierre would also take on music as a career. However his parents discouraged his musical pursuits from childhood and had him educated in engineering and he studied at several universities in this inclination, the first of which was Lycée Saint-Sigisbert located in his hometown of Nancy. Afterwards he moved westwards in 1929 to the École Polytechnique in Paris and finally completed his education in the capital at the École supérieure délectricité, Schaeffer received a diploma in radio broadcasting from the École Polytechnique. Later in 1934 Schaeffer entered his first employment as an engineer, in 1935 he began a relationship with a woman named Elisabeth Schmitt, and later in the year married her and with her had his first child, Marie-Claire Schaeffer. He and his new family then relocated to Paris where he joined the Radiodiffusion Française in 1936 and began his work in radio broadcasting. It was there that he began to move away from his interests in telecommunications and to pursue music instead. This period of experimentation was significant for Schaeffers development, bringing forward many fundamental questions he had on the limits of modern musical expression. In these experiments, Pierre tried playing sounds backwards, slowing them down, speeding them up and juxtaposing them with other sounds and he had begun working with new contemporaries whom he had met through RTF, and as such his experimentation deepened. Schaeffers work gradually became more avant-garde, as he challenged traditional musical style with the use of devices and practices. In 1938 Schaeffer began his career as a writer, penning various articles and essays for the Revue Musicale and his first column, Basic Truths, provided a critical examination of musical aspects of the time. A known ardent Catholic, Schaeffer began to write minor religiously-based pieces and this gave him a new studio, which included a tape recorder. This was a significant development for Schaeffer, who previously had to work with phonographs, Schaeffer is generally acknowledged as being the first composer to make music using magnetic tape. His continued experimentation led him to publish À la Recherche dune Musique Concrète in 1952 and his only opera, Orphée 53, premiered in 1953. Schaeffer left the GRMC in 1953 and reformed the group in 1958 as the Groupe de Recherche Musicale and his last etude came in 1959, the Study of Objects. In 1954 Schaeffer founded traditional music label Ocora alongside composer, pianist and musicologist Charles Duvelle, Ocora also served as a facility to train technicians in African national broadcasting services
27.
Sampling (music)
–
In music, sampling is the act of taking a portion, or sample, of one sound recording and reusing it as an instrument or a sound recording in a different song or piece. Sampling was originally developed by experimental musicians working with musique concrète and electroacoustic music, by the late 1960s, the use of tape loop sampling influenced the development of minimalist music and the production of psychedelic rock and jazz fusion. Hip hop music was the first popular music based on the art of sampling – being born from 1970s DJs who experimented with manipulating vinyl on two turntables and an audio mixer. Historically, sampling was most often done with a sampler — a specialized piece of hardware — but today, however, vinyl emulation software may also be used, and turntablists continue to sample using traditional methods. Often samples consist of one part of a song, such as a rhythm break, for instance, hip hop music developed from DJs looping the breaks from songs to enable continuous dancing. Samples can also consist of words and phrases, including those in non-musical media such as movies, TV shows. Sampling does not necessarily mean using pre-existing recordings, a number of composers and musicians have constructed pieces or songs by sampling field recordings they made themselves, and others have sampled their own original recordings. The use of sampling is controversial legally and musically, in the 1970s, when hip hop was confined to local dance parties, it was unnecessary to obtain copyright clearance in order to sample recorded music at these parties. Aside from legal issues, sampling has been championed and criticized. Hip-hop DJs today take different approaches to sampling, with critical of its obvious use. Some critics, particularly those with a rockist outlook, have expressed the belief all sampling is lacking in creativity, while others say sampling has been innovative and revolutionary. Those whose own work has been sampled have also voiced a variety of opinions about the practice. Once recorded, samples can be edited, played back, or looped, types of samples include, The drums and percussion parts of many modern recordings are really a variety of short samples of beats strung together. Many libraries of such beats exist and are licensed so that the user incorporating the samples can distribute their recording without paying royalties, such libraries can be loaded into samplers. Though percussion is an application of looping, many kinds of samples can be looped. A piece of music may have an ostinato which is created by sampling a phrase played on any kind of instrument, there is software which specializes in creating loops. Whereas loops are usually a phrase played on a musical instrument, Music workstations and samplers use samples of musical instruments as the basis of their own sounds, and are capable of playing a sample back at any pitch. Many modern synthesizers and drum machines also use samples as the basis of their sounds, most such samples are created in professional recording studios using world-class instruments played by accomplished musicians
28.
Cymbal
–
A cymbal is a common percussion instrument. Often used in pairs, cymbals consist of thin, normally round plates of various alloys, the majority of cymbals are of indefinite pitch, although small disc-shaped cymbals based on ancient designs sound a definite note. Cymbals are used in ensembles ranging from the orchestra, percussion ensembles, jazz bands, heavy metal bands. Drum kits usually incorporate at least a crash, ride or crash/ride, a player of cymbals is known as a cymbalist. The word cymbal is derived from the Latin cymbalum, which is the latinisation of the Greek word κύμβαλον kymbalon, cymbal, which in turn derives from κύμβη kymbē, cup, bowl. In orchestral scores, cymbals may be indicated by the French cymbales, German Becken, Schellbecken, Tellern, or Tschinellen, Italian piatti or cinelli, many of these derive from the word for plates. Cymbals have existed since ancient times, representations of cymbals may be found in reliefs and paintings from Hittite Anatolia, Larsa, Babylon, Assyria, ancient Egypt, ancient Greece, and ancient Rome. References to cymbals also appear throughout the Bible, through many Psalms, cymbals may have been introduced to China from Central Asia in the 3rd or 4th century AD. Cymbals were employed by Turkish janissaries in the 14th century or earlier, by the 17th century, such cymbals were used in European music, and more commonly played in military bands and orchestras by the mid 18th century. Since the 19th century, some composers have called for larger roles for cymbals in musical works, and a variety of shapes, techniques. The anatomy of the plays a large part in the sound it creates. A hole is drilled in the center of the cymbal, which is used to mount the cymbal on a stand or for tying straps through. The bell, dome, or cup is the section immediately surrounding the hole. The bell produces a higher pinging pitch than the rest of the cymbal, the bow is the rest of the surface surrounding the bell. The bow is sometimes described in two areas, the ride and crash area, the ride area is the thicker section closer to the bell while the crash area is the thinner tapering section near the edge. The edge or rim is the circumference of the cymbal. Cymbals are measured by their diameter either in inches or centimeters, the size of the cymbal affects its sound, larger cymbals usually being louder and having longer sustain. The weight describes how thick the cymbal is, Cymbal weights are important to the sound they produce and how they play
29.
Christian Marclay
–
Christian Ernest Marclay is a visual artist and composer. He holds both American and Swiss nationality, Marclays work explores connections between sound, noise, photography, video, and film. A pioneer of using gramophone records and turntables as musical instruments to create collages, Marclay is, in the words of critic Thom Jurek. His own use of turntables and records, beginning in the late 1970s, was developed independently of, Christian Marclay was born on January 11,1955 in San Rafael, Marin County, California, to a Swiss father and an American mother and raised in Geneva, Switzerland. He studied at the Ecole Supérieure dArt Visuel in Geneva, the Massachusetts College of Art in Boston in the Studio for Interrelated Media Program, as a student he was notably interested in Joseph Beuys and the Fluxus movement of the 1960s and 1970s. Long based in Manhattan, Marclay has in recent years divided his time between New York and London, citing the influence of John Cage, Yoko Ono and Vito Acconci, Marclay has long explored the rituals around making and collecting music. Drawn to the energy of rock, he began creating songs. Unable to recruit a drummer for his 1979 performances with guitarist Kurt Henry and these duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments. In 1998 he claimed never to have more than US$1 for a record. Some of Marclays musical pieces are recorded and edited plunderphonics-style. He was filmed performing a duo with Erikm for the documentary Scratch and his scene didnt make the final cut, but is included among the DVD extras. Marclay released Record Without a Cover on Recycled Records in 1985. designed to be sold without a jacket, accumulating dust and fingerprints would enhance the sound. In Five Cubes, he melted vinyl records into cubes, in the 1980s and early 90s, he invented album covers. The Sound of Silence is a photograph of the Simon & Garfunkel single of the same title. In a series of cyanotypes, white negatives against a blue background, Marclay began dating curator Lydia Yee in 1991, and the couple married in 2011. Newsweek responded by naming Marclay one of the ten most important artists of today, accepting the Golden Lion, Marclay invoked Andy Warhol, thanking the jury for giving The Clock its fifteen minutes. Christian Marclay –1987 – The Clocktower, P. S,1 Museum, New York City, USA Directions, Christian Marclay –1990 – Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C. Limited edition of 90 numbered and signed copies and 10 artist’s proofs, voir mfc-michèle didier Seiler+Mosseri-Marlio Galerie, Upcoming Exhibits
30.
Janek Schaefer
–
Janek Schaefer is a London-based sound artist, composer and entertainer, born in England to Polish and Canadian parents in 1970. He is known for his work with sound and installation art. In 2008, he won The British Composer of the Year Award for Sonic Art & The Paul Hamlyn Award for Composers Prize and he is Visiting Professor at Oxford Brookes Sonic Research Unit, and In 2009 the Bluecoat gallery in Liverpool mounted a retrospective exhibition of his 20-year career. While studying architecture at the Royal College of Art, Schaefer recorded the fragmented noises of a sound activated dictaphone travelling overnight through the Post Office. That work, titled Recorded Delivery 1995 was made for the Self Storage exhibition Time Out critics choice with one time postman Brian Eno, the Tri-phonic Turntable is listed in the Guinness Book of Records as the Worlds Most Versatile Record Player. He has performed, lectured and exhibited widely throughout Europe Sonar, Tate Modern, ICA, USA/Canada, The Walker, XI, Mutek, Princeton, Japan, the context of each idea is central to its development and resolution. His concerts and installations explore the spatial and architectural aspect that sound can evoke, hybrid analogue and digital techniques are used to manipulate field recordings with live modified vinyl and found sound to create evocative and involving environments. His CD Above Buildings was released on Fat Cat to considerable praise and he has played in duos and released albums with Philip Jeck, Robert Hampson, Stephan Mathieu and Charlemagne Palestine, with a forthcoming LP with William Basinski. He lives and works at the audiOh, room in Walton-on-Thames on the left edge of London, with his wife and two children. In 2008, Schaefer won The British Composer of The Year Award for Sonic Art for his project Extended Play Triptych for the survivors of war. The same year he won The Paul Hamlyn Award for Composers Prize and he was the McKnight Composer in Residence for the American Composers Forum, USA 2002/3. In 2004 his Random Playing LP called Skate received the Award of Distinction at the Prix Ars Electronica, Austria
31.
Otomo Yoshihide
–
Otomo Yoshihide is a Japanese composer and multi-instrumentalist. He is also a figure in the EAI-scene, and is featured on important records on labels like Erstwhile Records. He has composed music for films, television dramas. He plays guitar, turntables, and electronics, Otomo was born in Yokohama in 1959, but due to his fathers job, moved to Fukushima when he was nine years old. In high school, he frequented jazz cafés and started his own band, after entering university, he began studying under the improvisational jazz guitarist, Masayuki Takayanagi. He began performing around the world and released his first album in 1991 in Hong Kong and it was when the music he composed for a 1994 Hong Kong film was well received at the Cannes Film Festival that he also began to work as a composer. Otomo has composed music for a number of films and television programs, including Naoki Katos Abraxas, Tsuyoshi Inoues The Towns Children and he composed the music for the 2013 NHK morning television drama Amachan and it became his most commercially successful work up to that point. He performed live on New Years Eve at the 2013 Kōhaku Uta Gassen, Otomo Yoshihide Problem Duo with Junji Hirose Silanganan Ingay with Junji Hirose No Problem with No Problem Who Is Otomo Yoshihide. Visions of Japan with Yuji Katsui and Hiroshi Higo Ground-0, No.0 Terminal-Zero We Insist.28 with Ground Zero Duo Improvisation with Yasuhiro Otani p53 with p53 Twins. S. O. With Eye Yamatsuka Live. with Eye Yamatsuka Session 18 Oct.1997 with Seed Mouth Live at Otis. with Sachiko M and Yoshimitsu Ichiraku Live with I. S. O. 1, Series Circuit with Otomo Yoshihides New Jazz Orchestra Live Vol.2, Parallel Circuit with Otomo Yoshihides New Jazz Orchestra Otomo + Mao Revolutionary Pekinese Opera, Version 1
32.
Philip Jeck
–
Philip Jeck is an English multimedia composer, magician, dadaist, choreographer, woodsman and taxidermist. He is perhaps best known for his work Vinyl Requiem with Lol Sargent which won the Time Out Performance Award in 1993 and he is signed to the UK label Touch. Philip Jeck studied Visual Arts at Dartington College of Arts, Devon and he began exploring composition using record players and electronics in the early 1980s. He has performed shows throughout Europe and in Japan and USA. He has composed and performed scores for dance and theatre companies including Anatomy Performance Co, yolande Snaith Theatre-dance, MovienOpera, Laurie Booth and Steve Paxton. He has also composed scores for dance films Beyond Zero and Pace, in addition, he has worked extensively with the choreographer Laurie Booth, is a member of Slant, and has had tracks released by Blast First and The Soundworks Exchange. Workshops he has conducted include an event at the School of Audio Engineering in Bangkok organised by the British Council. Live in Liverpool Touch Spliced with Marcus Davidson Touch An ark for the listener Touch Cardinal Touch Philip Jeck. com - Official website Biography of Philip Jeck at Touch Stylus Profile
33.
Hip hop
–
Hip hop is a subculture and art movement developed by African-Americans and Latinos from the inner-city South Bronx neighbourhood in New York City in the late 1970s. Jamaican immigrant DJ Kool Herc also played a key role in developing hip hop music, at 1520 Sedgwick Avenue, Herc mixed samples of existing records and DJed percussion breaks, mixing this music with his own Jamaican-style toasting to rev up the crowd and dancers. These youths mixed these influences with existing musical styles associated with African Americans prior to the 1970s, Hip hop music became popular outside of the African-American community in the late 1980s, with the mainstream commercial success of gangsta rap. Critic Greg Tate described the hip hop movement as the only avant-garde still around, Hip hop culture has spread to both urban and suburban communities throughout the United States and subsequently the world. These elements were adapted and developed considerably, particularly as the art spread to new continents and merged with local styles in the 1990s. Sampling older culture and re-using it in a new context or a new format is called flipping in hip hop culture. Hip hop music follows in the footsteps of earlier African-American-rooted musical genres such as blues, jazz, rag-time, funk, cowboy later worked the hip hop cadence into his stage performance. The group frequently performed with artists who would refer to this new type of music by calling them hip hoppers. The name was meant as a sign of disrespect, but soon came to identify this new music. The song Rappers Delight, by The Sugarhill Gang, released in 1979, begins with the phrase I said a hip, hop the hippie the hippie to the hip hip hop, and you dont stop. Lovebug Starski, a Bronx DJ who put out a single called The Positive Life in 1981, and DJ Hollywood then began using the term when referring to this new disco rap music. Bill Alder, an independent consultant, once said, There was hardly ever a moment when rap music was underground, one of the very first so-called rap records, was a monster hit. Hip hop pioneer and South Bronx community leader Afrika Bambaataa also credits Lovebug Starski as the first to use the hip hop. Bambaataa, former leader of the Black Spades gang, also did much to popularize the term. In the 1970s, an urban movement known as Hip Hop began to develop in the South Bronx in New York City. It focused on emceeing over breakbeats, house parties and neighbourhood block party events, Hip hop music has been a powerful medium for protesting the impact of legal institutions on minorities, particularly police and prisons. Jamaican-born DJ Clive Kool Herc Cindy Campbell pioneered the use of DJing percussion breaks in hip hop music, beginning at Hercs home in a high-rise apartment at 1520 Sedgwick Avenue, the movement later spread across the entire borough. Herc created the blueprint for hip hop music and culture by building upon the Jamaican tradition of impromptu toasting, on August 11,1973 DJ Kool Herc was the DJ at his sisters back-to-school party
34.
Dub music
–
Dub is a genre of music that grew out of reggae in the 1960s, and is commonly considered a subgenre, though it has developed to extend beyond the scope of reggae. Other techniques include dynamically adding extensive echo, reverb, panoramic delay, Dub was pioneered by Osbourne King Tubby Ruddock, Lee Scratch Perry, Errol Thompson and others in the late 1960s. Augustus Pablo is credited with bringing the melodica to dub, and is also among the pioneers and creators of the genre, similar experiments with recordings at the mixing desk outside of the dancehall environment were also done by producers Clive Chin and Herman Chin Loy. These producers, especially Ruddock and Perry, looked upon the mixing console as an instrument, manipulating tracks to come up with something new and different. Dub has influenced many genres of music, including rock, pop, hip hop, disco, and later house, techno, ambient, electronic dance music, the verb dub is defined as making a copy of one recording to another. The term dub had multiple meanings in Jamaica around the time of the musics origin, in concert, the order dub this one. Meant put an emphasis on bass and drums, drummer Sly Dunbar points to a similar interpretation, relating the term dubwise to using only drums and bass. Another possible source was the term dub plate, as suggested by Augustus Pablo, the word duppy also relates to dub through Jamaicas history of intra-racial terror, violence, and murder that is often overlooked in favor of Jamaican ideologies of racial solidarity. The ghosts of these victims, or duppies, are thought to be captured best within the dub instrumentals, a version is a record with the vocals removed, the alternative cut of a song made for the DJ to toast over. These versions were used as the basis of new songs by rerecording them with new elements, the instrumental tracks are typically drenched in sound effects such as echo, reverberation, with instruments and vocals dropping in and out of the mix. Another hallmark of the dub sound is the prominent use of bass guitar, the music sometimes features other noises, such as birds singing, thunder and lightning, water flowing, and producers shouting instructions at the musicians. It can be augmented by live DJs. There is usually an organic feel to the music, even though the effects are electronically created. Often these tracks are used for toasters rapping heavily rhymed and alliterative lyrics, in forms of sound system based reggae, the performer using a microphone is referred to as the DJ or deejay, and the person choosing the music and operating the turntables is called the selector. A major reason for producing multiple versions was economic, a producer could use a recording he owned to produce numerous versions from a single studio session. A version was also an opportunity for a producer or remix engineer to experiment, Dub music and toasting introduced a new era of creativity in reggae music. From their beginning, toasting and dub music developed together and influenced each other, in 1968, Kingston, Jamaica sound system operator Rudolph Ruddy Redwood went to Duke Reids Treasure Isle studio to cut a one-off dub plate of The Paragons hit On The Beach. Engineer Byron Smith left the track out by accident, but Redwood kept the result
35.
Disc jockey
–
A disc jockey is a person who mixes different sources of pre-existing recorded music as it is playing, usually for a live audience in a nightclub or dance club or via broadcasting. DJs typically perform for an audience in a nightclub or dance club or a TV, radio broadcast audience, or in the 2010s. DJs also create mixes, remixes and tracks that are recorded for later sale, in hip hop music, DJs may create beats, using percussion breaks, basslines and other musical content sampled from pre-existing records. In hip hop, rappers and MCs use these beats to rap over, DJs use equipment that can play at least two sources of recorded music simultaneously and mix them together. This allows the DJ to create seamless transitions between recordings and develop unique mixes of songs, DJ equipment, notably the specialized DJ mixer, a small audio mixer with a crossfader and cue functions. The crossfader enables the DJ to blend or transition from one song to another, the cue knobs or switches allow the DJ to preview a source of recorded music in headphones before playing it for the live club or broadcast audience. Previewing the music in headphones helps the DJ pick the track they want to play. DJs may also use a microphone to speak to the audience, effects such as reverb to create sound effects, drum machines. The title DJ is also used by DJs in front of their real names or adopted pseudonyms or stage names as a title to denote their profession. Some DJs focus on creating a mix of songs for the club dancers or radio audience. Other DJs use turntablism techniques such as scratching, in which the DJ or turntablist manipulates the record player turntable to create new sounds. In many types of DJing, including club DJing and radio/TV DJing, there are several types of disc jockey. Radio DJs or radio personalities introduce and play music that is broadcast on AM, FM, club DJs select and play music in bars, nightclubs or discothèques, or at parties, raves, or even in stadiums. Mobile DJs travel with portable sound systems and play recorded music at a variety of events. Some mobile DJs also serve as the master of ceremonies at weddings or other events, directing the attention of attendees, there are also many competitions for DJs that specialize in different turntablism techniques, such as mixing, hip hop music-style scratching or other kinds of techniques. Other types of DJ use musical performance techniques that allow them to be categorized as performing musicians, hip hop DJs and are also often songwriters or music producers who use turntablism and sampling to create backing instrumentals for new tracks. In reggae, the DJ is a vocalist who raps, toasts, chants or chats over pre-recorded rhythm tracks, the individual who helps the DJ by selecting tracks or records to be played is called the selector. Many electronica artists and producers who work as DJs often perform music by combining turntablism with keyboards, digital musical instruments
36.
Sound system (Jamaican)
–
In the context of Jamaican popular culture, a sound system is a group of disc jockeys, engineers and MCs playing ska, rocksteady or reggae music. The sound system is an important part of Jamaican culture and history, the sound system concept first became popular in the 1950s, in the ghettos of Kingston. DJs would load up a truck with a generator, turntables, in the beginning, the DJs played American rhythm and blues music, but as time progressed and more local music was created, the sound migrated to a local flavor. The sound systems were big business, and represented one of the few ways to make money in the unstable economy of the area. The promoter or DJ made his profit by charging admission and selling food and alcohol and it was also around this time that Jamaicas first superstar DJ and MC, Count Machuki, rose to prominence. Competition between these systems was fierce, and eventually two DJs emerged as the stars of the scene, Clement Coxsone Dodd, and Duke Reid. Besides the DJ, who rapped over the music, there was also a selector, the popularity of a sound system was mainly contingent on one thing, having new music. In order to circumvent the release cycle of the American record labels, initially, they produced only singles for their own sound systems, known as Exclusives or Dubplates—a limited run of one copy per song. What began as an attempt to replicate the American R&B sound using local musicians evolved into a uniquely Jamaican musical genre, as this new musical form became more popular, both Dodd and Reid began to move more seriously into music production. Coxsone Dodds production studio became the famous Studio One, while Duke Reid founded Treasure Isle, as sound systems continued to gain in popularity through the 1960s and 1970s, they became politicized in many instances. Many sound systems, and their owners, were labeled as supporters of a political party. Nevertheless, as a cultural and economic phenomenon, the system was affected by the vast socio-political changes taking place in Jamaica at this time. An important part of sound system culture is the sound clash, the Guinness Sounds of Greatness is one of many such clashes. The culture of the Sound System was brought to the UK with the immigration of Jamaicans in the 1960s and 1970s. Notable UK Sound Systems include Sir Coxsone Outernational Jah Shaka, Channel One, Aba Shanti-I, Jah Observer, Iration Steppas, Fatman International and Saxon Studio International. One of the first sound systems in the United States was Downbeat the Ruler, founded in Bronx, New York and these sound systems were the method in which these migrants were able to maintain their cultural connection with their roots. They broadcast the remixed samples of Reggae beats and created a music culture. This culture was separate from the population which relied on the radio to provide popular music
37.
Creedence Clearwater Revival
–
Creedence Clearwater Revival, often informally abbreviated to Creedence or CCR, was an American rock band active in the late 1960s and early 1970s. The band consisted of lead vocalist, lead guitarist, and primary songwriter John Fogerty, his rhythm guitarist Tom Fogerty, bassist Stu Cook. Their musical style encompassed the roots rock, swamp rock, the band performed at 1969s famed Woodstock Festival. After four years of chart-topping success, the group disbanded acrimoniously in late 1972, Fogertys ongoing disagreements with Saul Zaentz, owner of their label Fantasy Records, created further protracted court battles. As a result, John Fogerty refused to perform with the two other surviving former members at CCRs 1993 induction into the Rock and Roll Hall of Fame. Creedence Clearwater Revivals music is still a staple of U. S. radio airplay, Rolling Stone ranked the band 82nd on its list of the 100 greatest artists of all time. John Fogerty, Doug Clifford, and Stu Cook met at Portola Junior High School in El Cerrito, calling themselves The Blue Velvets, the trio began playing instrumentals and juke box standards, as well as backing Fogertys older brother Tom at live gigs and in the recording studio. The records success was the subject of a National Educational Television special, for the bands first release, Fantasy co-owner Max Weiss renamed the group the Golliwogs. Band roles changed during this period, Stu Cook switched from piano to bass guitar and Tom Fogerty from lead vocals to rhythm guitar, John became the bands lead vocalist and primary songwriter. In Tom Fogertys words, I could sing, but John had a sound, in 1966, the group suffered a setback when John Fogerty and Doug Clifford, having received draft notices, enlisted in the military. Fogerty joined the Army Reserve while Clifford joined the United States Coast Guard Reserve, in 1967, Saul Zaentz bought Fantasy Records and offered the band a chance to record a full-length album on the condition that they change their name. Having never liked the Golliwogs, in part because of the charge of the name. Zaentz and the agreed to come up with ten suggestions each, but he enthusiastically agreed to their first, Creedence Clearwater Revival. Rejected contenders for the name included Muddy Rabbit, Gossamer Wump, and Creedence Nuball and the Ruby. “Finally, John put together the three names and we surrendered to the inevitable, ” Stu laugh, “A name weirder than Buffalo Springfield or Jefferson Airplane. ”By 1968, John Fogerty and Doug Clifford had been discharged from military service, and all four members had quit their jobs to begin an intense schedule of rehearsing and playing full-time at clubs. AM radio programmers around the U. S. A. took note when the song Susie Q from their debut album received substantial airplay in the San Francisco Bay Area. A remake of a 1956 song by rockabilly singer Dale Hawkins and it would be CCRs only Top 40 hit not written by John Fogerty. Two other singles from the debut were released, a cover of Screamin Jay Hawkinss I Put A Spell On You and Porterville, after their breakthrough, CCR began touring and started work on their second album, Bayou Country, at RCA Studios in Los Angeles
38.
Creedence Clearwater Revival (album)
–
Creedence Clearwater Revival is the debut studio album by the American rock band Creedence Clearwater Revival, released in 1968. While Suzie Q proved to be a hit, the band had played for years as The Golliwogs in the early 1960s, in 1967, Saul Zaentz bought Fantasy Records and offered the band a chance to record a full-length album on the condition that they change their name. When youre on the bottom, you make the best deal you can, the song was a breakthrough of sorts for Fogerty, who stated to Tom Pinnock of Uncut in 2012, It’s semi-autobiographical, I touch on my father, but it’s a flight of fantasy, too. And I knew when I was doing it, ‘Man, I’m on to something here. ’ Everything changed after that, I gave up trying to write sappy love songs about stuff I didn’t know anything about, and I started inventing stories. The album also includes the only co-write between John and his brother Tom Fogerty to appear on a Creedence album, the foreboding Walk on the Water, the song had already been released in 1966 under the Golliwogs name. The album features three other Fogerty originals, The Working Man, Get Down Woman, and Gloomy, Creedence Clearwater Revival is best remembered for the bands first hit single Susie Q, which had been a hit for Dale Hawkins in 1957. Suzie Q was designed to fit right in, he explained, and especially the little effect, the little telephone-box in the middle, which is the only part I regret now. But, lo and behold, it worked, Fogerty elaborated to Larry King in 1999, We recorded an old Dale Hawkins song but I psychedelicized it to get it played on the local San Francisco underground radio station. I came up with a quarter note idea and it made it harder edged and it gave it space, the Creedence version would reach #11 in the charts. In 2012 David Cavanagh of Uncut wrote, For all his scepticism about long solos, in 1998, Fogerty stated to Harold Steinblatt of Guitar World that the recording of Susie Q was very pivotal in another respect. it established how we would work for the next few years. After we finished recording our parts, the other guys hung around while I mixed, the problem was they were making all these comments like, Well, that wont work. I just couldnt have them around while I was doing overdubs or when I was mixing, released as a follow up to Susie Q in October 1968 with Walk on the Water as the B-side, it peaked on the U. S. charts at #58. The album was remastered and reissued on 180 Gram vinyl by Analogue Productions in 2006, while the band did gain success with their chart debut, critics initially denied the band respect. Barry Gifford writing in Rolling Stone at the stated, The only bright spot in the group is John Fogerty. Hes a better-than-average singer, and an interesting guitarist, the drummer is monotonous, the bass lines are all repetitious and the rhythm guitar is barely audible. Time has been far kinder to the album, although note that Fogertys songwriting talent had yet to truly blossom like it would on the bands future albums. All songs written by John Fogerty, except where noted, all tracks recorded February 1968, except where indicated Side one I Put a Spell on You –4,33 The Working Man –3,04 Susie Q –8,37 Recorded January 19,1968. Side two Ninety-Nine and a Half –3,39 Get Down Woman –3,09 Porterville –2,24 Recorded October 1967, initially released as a single in November 1967
39.
Technics (brand)
–
Technics is a Japanese brand name of the Panasonic Corporation for audio equipment. Since 1965 under the name, Panasonic has produced a variety of hi-fi products, such as turntables, amplifiers, receivers, tape decks. It was conceived for a line of audio equipment to compete against brands such as Nakamichi. From 2002 onwards products were rebranded as Panasonic except in Japan and the former Soviet Union, Panasonic discontinued the brand for most products in October 2010, but it was revived in 2015 with new high-end turntables. The brand is best known for the Technics SL-1200 DJ turntable, Technics was introduced as a brand name for premium loudspeakers marketed domestically by Matsushita in 1965. The name came to prominence with the international sales of direct-drive turntables. In 1969, Technics launched the SP-10, the first direct-drive model for the professional market, the SL-1100 was used by the influential DJ Kool Herc for the first sound system he set up after emigrating from Jamaica to New York City. This latter model was the predecessor to the SL-1200 which, as the upgraded SL-1200 MK2, a robust machine, the SL-1200 MK2 incorporated a pitch control mechanism, and maintained a relatively constant speed with low variability, which proved popular with DJs. The SL-1200 model, often considered the standard turntable, continued to evolve with the M3D series. Despite being originally created to market their high-end equipment, by the early 1980s Technics was offering a range of equipment from entry-level to high-end. In 1972, Technics introduced the first autoreverse system in a deck in its Technics RS-277US. In 1976, Technics introduced two belt-driven turntables for the market, the SL-20 and SL-23. The principal difference between the two models was the addition, in the SL-23, of semi-automatic operation and a speed control with built-in strobe light. They offered technical specifications and features rivalling much more expensive turntables, including well-engineered s-shaped tonearms with tracking weight and anti-skate adjustments. At the time they were introduced the SL-20 and SL-23, which sold for $100.00 and $140.00, respectively, sX-601 Electronic Organ — an origin of Technics SX keyboard series, the result of cooperative works of National Electronic Organ Company and Ace Tone. After the 1970s, this line was branded Technitone as a brother brand of Technics. EAB-1204 loudspeakers — a premium loudspeakers, later renamed to SB-1204 and it was also nicknamed Technics 1, and referred as the origin of Technics brand. These Pro Series components replaced the earlier SE-9600 Amp, SU-9700 Pre-Amp, the 9000 Pro Series was introduced because of demand for smaller, quality components
40.
Panasonic
–
Panasonic Corporation, formerly known as Matsushita Electric Industrial Co. Ltd. is a Japanese multinational electronics corporation headquartered in Kadoma, Osaka, Japan. The company was founded in 1918 and has grown to one of the largest Japanese electronics producers alongside Sony, Hitachi, Toshiba. In addition to electronics, it offers non-electronic products and services such as home renovation services, Panasonic is the worlds fourth-largest television manufacturer by 2012 market share. Panasonic has a listing on the Tokyo Stock Exchange and is a constituent of the Nikkei 225. It has a listing on the Nagoya Stock Exchange. From 1935 to October 1,2008, the name was Matsushita Electric Industrial Co. Ltd. On January 10,2008, the announced that it would change its name to Panasonic Corporation, in effect on October 1,2008. The name change was approved at a meeting on June 26,2008 after consultation with the Matsushita family. Panasonic was founded in 1918 by Kōnosuke Matsushita as a vendor of duplex lamp sockets, in 1927, it began producing bicycle lamps, the first product which it marketed under the brand name National. After the war, Panasonic regrouped as a Keiretsu and began to supply the boom in Japan with radios and appliances. Matsushitas brother-in-law, Toshio Iue, founded Sanyo as a subcontractor for components after World War II, Sanyo grew to become a competitor to Panasonic, but was later acquired by Panasonic in December 2009. In 1961, Konosuke Matsushita traveled to the United States and met with American dealers, the company began producing television sets for the U. S. market under the Panasonic brand name, and expanded the use of the brand to Europe in 1979. The company used the National brand outside of North America from the 1950s to the 1970s, the company also developed a line of home appliances such as rice cookers for the Japanese and Asian markets. Rapid growth resulted in the company opening manufacturing plants around the world, the company debuted a hi-fidelity audio speaker in Japan in 1965 with the brand Technics. This line of high quality stereo components became worldwide favorites, the most famous products being its turntables, such as the SL-1200 record player, known for its high performance, precision and durability. In 1973, Matsushita formed a joint venture with Anam Group, in 1983, Matsushita launched the Panasonic Senior Partner, the first fully IBM PC compatible Japanese-made computer. In November 1990, Matsushita agreed to acquire the American media company MCA Inc. for US$6.59 billion, Matsushita subsequently sold 80% of MCA to Seagram Company for US$7 billion in April 1995. In 1998, Matsushita sold Anam National to Anam Electronics, on May 2,2002, Panasonic Canada marked its 35th anniversary in that country by giving $5-million to help build a music city on Torontos waterfront
41.
Osaka
–
Osaka is a designated city in the Kansai region of Japan. Historically a merchant city, Osaka has also known as the nations kitchen. Some of the earliest signs of habitation in the Osaka area at the Morinomiya ruins comprise shell mounds, sea oysters. It is believed that what is today the Uehonmachi area consisted of a land with an inland sea in the east. During the Yayoi period, permanent habitation on the plains grew as rice farming became popular, by the Kofun period, Osaka developed into a hub port connecting the region to the western part of Japan. The large numbers of increasingly larger tomb mounds found in the plains of Osaka are seen as evidence of political-power concentration, in 645, Emperor Kōtoku built his Naniwa Nagara-Toyosaki Palace in what is now Osaka, making it the capital of Japan. The city now known as Osaka was at this time referred to as Naniwa, although the capital was moved to Asuka in 655, Naniwa remained a vital connection, by land and sea, between Yamato, Korea, and China. Naniwa was declared the capital again in 744 by order of Emperor Shōmu, and remained so until 745, in 1496, Jōdo Shinshū Buddhists established their headquarters in the heavily fortified Ishiyama Hongan-ji, located directly on the site of the old Naniwa Imperial Palace. Oda Nobunaga began a siege campaign on the temple in 1570 which ultimately resulted in the surrender of the monks. Toyotomi Hideyoshi constructed Osaka Castle in its place in 1583, Osaka was long considered Japans primary economic center, with a large percentage of the population belonging to the merchant class. Over the course of the Edo period, Osaka grew into one of Japans major cities and returned to its ancient role as a lively and its popular culture was closely related to ukiyo-e depictions of life in Edo. By 1780 Osaka had cultivated a vibrant arts culture, as typified by its famous Kabuki, in 1837 Ōshio Heihachirō, a low-ranking samurai, led a peasant insurrection in response to the citys unwillingness to support the many poor and suffering families in the area. Approximately one-quarter of the city was razed before shogunal officials put down the rebellion, Osaka was opened to foreign trade by the government of the Bakufu at the same time as Hyōgo on 1 January 1868, just before the advent of the Boshin War and the Meiji Restoration. Osaka residents were stereotyped in Edo literature from at least the 18th century, jippenisha Ikku in 1802 depicted Osakans as stingy almost beyond belief. Edo writers aspired to samurai culture, and saw themselves as poor but generous, chaste, Edo writers by contrast saw zeeroku as obsequious apprentices, stingy, greedy, gluttonous, and lewd. The modern municipality was established in 1889 by government ordinance, with an area of 15 square kilometres, overlapping todays Chūō. Later, the city went through three major expansions to reach its current size of 223 square kilometres, Osaka was the industrial center most clearly defined in the development of capitalism in Japan. It became known as the Manchester of the Orient, the rapid industrialization attracted many Korean immigrants, who set up a life apart for themselves
42.
Japan
–
Japan is a sovereign island nation in Eastern Asia. Located in the Pacific Ocean, it lies off the eastern coast of the Asia Mainland and stretches from the Sea of Okhotsk in the north to the East China Sea, the kanji that make up Japans name mean sun origin. 日 can be read as ni and means sun while 本 can be read as hon, or pon, Japan is often referred to by the famous epithet Land of the Rising Sun in reference to its Japanese name. Japan is an archipelago consisting of about 6,852 islands. The four largest are Honshu, Hokkaido, Kyushu and Shikoku, the country is divided into 47 prefectures in eight regions. Hokkaido being the northernmost prefecture and Okinawa being the southernmost one, the population of 127 million is the worlds tenth largest. Japanese people make up 98. 5% of Japans total population, approximately 9.1 million people live in the city of Tokyo, the capital of Japan. Archaeological research indicates that Japan was inhabited as early as the Upper Paleolithic period, the first written mention of Japan is in Chinese history texts from the 1st century AD. Influence from other regions, mainly China, followed by periods of isolation, from the 12th century until 1868, Japan was ruled by successive feudal military shoguns who ruled in the name of the Emperor. Japan entered into a period of isolation in the early 17th century. The Second Sino-Japanese War of 1937 expanded into part of World War II in 1941, which came to an end in 1945 following the bombings of Hiroshima and Nagasaki. Japan is a member of the UN, the OECD, the G7, the G8, the country has the worlds third-largest economy by nominal GDP and the worlds fourth-largest economy by purchasing power parity. It is also the worlds fourth-largest exporter and fourth-largest importer, although Japan has officially renounced its right to declare war, it maintains a modern military with the worlds eighth-largest military budget, used for self-defense and peacekeeping roles. Japan is a country with a very high standard of living. Its population enjoys the highest life expectancy and the third lowest infant mortality rate in the world, in ancient China, Japan was called Wo 倭. It was mentioned in the third century Chinese historical text Records of the Three Kingdoms in the section for the Wei kingdom, Wa became disliked because it has the connotation of the character 矮, meaning dwarf. The 倭 kanji has been replaced with the homophone Wa, meaning harmony, the Japanese word for Japan is 日本, which is pronounced Nippon or Nihon and literally means the origin of the sun. The earliest record of the name Nihon appears in the Chinese historical records of the Tang dynasty, at the start of the seventh century, a delegation from Japan introduced their country as Nihon
.jpg)
