"Having already been popular in their motherland (Romania), in 2005 Akcent joined the world music field. Their first international single “Kylie”, composed by “Play & Win” and the members of Akcent, was an English version of the song “Dragoste de inchiriat”. In a short period of time “Kylie” attracted attention of many European dance-pop lovers and entered different music charts. This song is still well-remembered and delights spectators during the concerts.
Since fortunate 2005 radio listeners have been following Akcent constantly. The boy-band filled radio air with singles “Jokero”, “French kiss”, “Phonesex”, “King of disco”, “Let’s talk about it”… In 2008 Marius Nedelcu left the group to be a solo singer. Corneliu Ulici became a new member of the band, but after some months he made a choice to leave Akcent and build a career of an actor.
Adrian, Mihai and Sorin continued their work in a form of trio and after a small pause the new wave of fans, attention and love was brought to Akcent by their next hit “Stay with me”, which was also released in two other versions: “On and on” and “Lover’s cry” differing from each other in accordance with preferences of some countries. The popularity of “Stay with me” and the next single “That’s my name” spread to Romania, Moldova, Russia, Ukraine, Poland, Lithuania, Turkey, Macedonia, Slovenia, Serbia, Croatia, Albania, Greece, Cyprus, India, Israel, Malta, Bulgaria, Hungary, Azerbaijan, Lebanon, Egypt, Jordan.
Akcent videoclips taken together were shown to the users of Youtube about 20 000 000 times and commented by people from all over the world. A big hit in the band career is marked by release of the song and video “Make me shiver (Wanna lick your ear)” and the single “Love stoned”. Their story is still up and going."
Article source: www.moskva.fm. All rights reserved to author(s) in the specified source.
Is It Worth Spending Money on Expensive Audio/Video Cables?
"The question is as old as the audio-video industry itself: Do high-quality cables really matter? In fact, it may not surprise you to note that it’s even one of the most common questions that custom installers are asked by clients building high-performance systems. But finally, we here at DT can provide an answer: Predictably, it’s an emphatic “yes!”
While high-end A/V cables can be more expensive, if you consider that all of the sound and video you hear and see passes through these wires, it seems silly not to invest a few extra dollars to make sure your wires are passing the best possible signal. Or, to make an analogy, skimping here is like gassing up a Ferrari with low-grade diesel instead of premium octane: You won’t get optimal results.
Will I Hear and See the Difference?
If you use cheap or poor-quality audio cables, especially during longer cable runs, the cable will lose information. According to Adam Sankin, system specialist at DSI Entertainment Systems in West Hollywood, California, “it’s like killing the highs, smearing and unifying the bass, removing detail and softening the overall sound.”
Good speaker wire, however, can make all the difference in the world. In fact, the right cable can reveal details in music you’ve been listening to for years, something you think you know inside and out. “Lo and behold, you’ll discover things you’ve never heard before—and I’m talking about an instrument or a voice, not something subtle.” Sankins’ favorite audio cables are those from Anti-Cables and Harmonic Technology.
The difference between high-quality and midrange video cables can be a bit harder to discern. Using lower-quality cables can result in more video noise and edge damage, detail and color loss, and a general lack of definition.
More important in the video realm though, is the type of cable you are using, not the price. For example, S-video and composite video cables will not pass a high-def signal, while component and HDMI will. You will immediately be able to see the difference of a high-def image through an HDMI cable on an HD set versus the same signal on the same set through a S-video or lesser cable.
“The role of an interconnect cable is to get a signal from one device to another. The most desirable effect would be to have no change made to the signal as it travels along the cable. Due to the effects of impedance, however, whenever a signal travels through a wire, whether it is made of copper, silver, aluminum, steel, or a combination, it will be changed. Higher-quality cables will make the least amount of change to the carried signal, resulting in the highest quality picture and sound,” says Joe Perfito, cable expert and president of Tributaries Cable.
When shopping for a high-quality HDMI cable, Perfito recommends purchasing product stamped with the HDMI logo, which means that it has been certified and passed HDMI testing. He also suggests you consider die-cast metal connectors, triple layers of cable shielding, copper-foil connector shielding and silver-plated conductors. We won’t get into the technical details here, but rest assured the result is a better image.
Whether you are buying audio cables or speaker wire, always try to demo the cable before purchasing to see if you can hear and see the difference. “Many people don’t want there to be a difference in cables, so to them, there is none,” says Sarkin. “I don’t like to spend money I don’t need to, but I have spent plenty to eke that extra performance out of my system. In fact, I have rediscovered my record collection using high-quality cable.”
Budget Accordingly
If you are spending tens of thousands of dollars on a home theater system, spending a thousand dollars or so on cable and wire makes sense. That is, if the performance benefit can be demonstrated. Likewise, spending a few thousand dollars for cable on a system worth only a few thousand is overkill. Sarkin recommends you spend a minimum of 20 percent of the entire worth of your system on cable and wire. For older gear, “high-quality cables can really surprise you with the transformation they offer.”
At the same time, as a digital shopper, it’s important not to be sold by manufacturer’s marketing claims. “Any company who claims to be a panacea or best in the world is more than likely not, and I would steer away from that kind of pitch,” says Sarkin.
Dress Your System
Organizing cables is somewhat of a science—it’s called “dressing” your system. Disorganized cable can actually sound and look bad as cables can “interfere” with one another.
“The difference in performance from dressing the cable can be mind-blowing,” says Sarkin. “I once dressed the cable of a high-end system and when the client heard the transformation, he could not believe all that I had done was rearrange his cables.”
Follow these tips to improve the sound and video in your own system:
Keep all signal cables at least four inches off the floor. Do not let them cross each other. If they must cross, keep them at 90-degree angles and keep them four inches or more apart if possible.
Try not to run AC power cables alongside signal cables. If this is unavoidable, again, try to keep them at least four inches apart and at 90-degree angles to each other.
Purchase a “cable lifter,” which will help keep cables off the floor.
The art of setting up a system properly can be complicated—especially if you don’t know what you are doing. If it’s too much, hire a custom installer or someone from your local audio-video store to come out and help you make sense of the tangle of wires behind your A/V rack."
"Mr. President was a German euro-dance group from Bremen, best known for their hit "Coco Jamboo" in 1996. It gave them their only U.S. chart single, peaking at No. 21 on the Billboard Hot 100. Until 1993, the band was known as Satellite One.
The band was originally formed in Bremen by DJs Jens Neumann and Kai Matthiesen in 1991 under the title Satellite One. Although the band initially performed at clubs without vocalists, the duo soon realized that they would need singers in order to find success on mainstream music charts. 18 year old Bremen native Daniela Haak and American rapper George Jones were hired to front the band as a duo, but became a trio after 15 year old Judith "T-Seven" Hildebrandt was hired a few weeks later. Following Hildebrandt's insistence to be known as T-Seven on stage, Haak and Jones were convinced to create stage names for themselves, and they did, becoming "Lady Danii" and "Sir Prophet", respectively.
After a few years of performing in clubs without any mainstream success, Neumann and Matthiesen, now managers as well as producers, decided to change the name of the band to Mr. President, the 'Mr' standing for Music and Rhythm. Under the new band name, the group created an underground dance club hit with the song "MM" (Marilyn Monroe) in 1993. Although it failed to chart, "MM"'s popularity was a sign of things to come for the band.
Following the success of their earlier single, Mr. President broke onto the charts with the song Up N' Away. Just as the song became a success in early 1994, George Jones left the band over several internal disagreements within the band. Although the project was briefly abandoned, Neumann hired Delroy "Lazy Dee" Rennalls in mid-1994 to replace Jones. After several long months in the studio, Mr. President's first full-length album, Up N' Away - The Album was released featuring a new version of Up N' Away with Lazy's voice instead of Jones'. Three additional songs on the album were selected as singles (I Follow the Sun, 4 On the Floor and Gonna Get Along), and each one of them successfully broke European charts.
Coco Jamboo
1996 saw Mr. President ease away from its dance roots in favor of a lighter, more exotic sound. The new sound was first featured on the reggae-inspired 1996 hit Coco Jamboo. Not only did the song become the band's highest hit to date in Germany, Australia and Switzerland (where their previous singles charted highest), Coco Jamboo became the first Mr. President single to chart in the United States, peaking at #21 on the Billboard Hot 100. The full-length album on which Coco Jamboo was released, We See The Same Sun, boasted two more additional singles which were largely successful in Europe.
Mr. President reemerged in early 2001 after hiring classical singer Nadia Ayche. Although the band performed live with Ayche, and even began recording new songs with her, she was dismissed in 2002 after directional disagreements with the band. Ayche's replacement, Myra Beckmann, was hired soon after, and the new lineup began immediately recording songs for their next CD.
After almost a year in the studio, Forever & One Day was released in the summer of 2003 with Love, Sex and Sunshine as the lead single. After almost four years away from the European music scene, the band's latest single managed to chart impressively well, peaking at #23 in Germany. The following single, Forever & One Day, was released a few weeks later and did similarly well, peaking at #51 in their homeland. Just a few months after touring had begun, however, Beckmann was forced to leave the band due to undisclosed health issues, leaving Haak and Rennalls to perform as a duo for the remainder of the tour. Once again, the band was forced to find someone to fill the vacated lead vocalist position, and a few weeks later, they did, hiring established pop singer Franziska "Franzi" Frank.
Immediately following the Forever & One Day tour, the band announced it's intentions to create a new CD. Despite the announcement, nothing ever materialized. The band would go on performing at special events (most notably at Hit Giganten in 2004) until 2006. In 2005, the first (and only) single featuring Frank's vocals, Sweat (A La La La La Long), a cover of the Inner Circle hit, was released as an iTunes-only single. Another iTunes-only single was released by the band in 2006. This single, titled Megamix 2006, blended each of the band's greatest hits into a single track. Following the release of Megamix 2006, the band quietly went into hiatus (although they performed a handful of times in 2007 and 2008), with word of official separation coming in 2008, when Lazy, Frank and Haak announced that they would be parting ways. "
Article source: www.en.wikipedia.org. All rights reserved to the author(s) in the specified source.
"The oldest recording of the human voice - made 17 years before Thomas Edison invented the phonograph - has been discovered and played back by audio researchers.
The 10-second recording is of a person singing a snippet of a French folk song, 'Au clair de la lune', and was recorded on April 9, 1860 by Parisian inventor Édouard-Léon Scott de Martinville, the historians say.
Scott de Martinville used a gadget he called a "phonautograph" that scratched sound waves onto a sheet of paper blackened by the smoke of an oil lamp. "It's magic," says David Giovannoni of First Sounds, a group of audio historians, recording engineers, sound archivists, scientists, others dedicated to preserving humankind's earliest sound recordings.
"It's like a ghost singing to you," he says. "It's like discovering the world's oldest photograph and learning that the photograph was taken 17 years before the invention of the camera."
Giovannoni says he learned of the recording's existence on 1 March in an archive at the French Academy of Sciences in Paris.
He and colleagues transformed took very high-resolution digital scans of the marks recorded on paper.
Scientists at the Lawrence Berkeley National Laboratory in California then converted these scans into sound using technology developed to preserve and create access to a wide variety of early recordings.
Scott de Martinville's recording was made nearly 148 years ago, a whole 17 years before Thomas Edison made his historic message, 'Mary had a little lamb', on a phonograph, which is the landmark event in the history of recorded sound.
But unlike Edison, whose great achievement was to not only record but also play back the recording, Scott de Martinville was never able to hear what was traced on the smoked paper.
Edison's breakthrough, in 1877, was based on tinfoil wrapped around a cylinder. The foil was indented by a stylus which moved in response to vibrations from a mouthpiece.
In fact, Giovannoni says Scott de Martinville's phonautograph recordings were never intended to be played.
"What Scott [de Martinville] was trying to do was to write down some sort of image of the sound so that he could study it visually. That was his only intent," says Giovannoni.
He says there were several people, including Alexander Graham Bell, who tried to capture a visual representation of sound before Edison invented the idea of playing it back." Click here to listen the recording.
Article source: www.abc.net.eu (copyright AFP/Reuters). All rights reserved to the author(s) in the specified source.
"A sound is a wave traveling through solid, liquid, or gas. For it to be audible, it needs to have a pressure of 20 micropascals, or it needs to be at 1,000 Hz. Anything below that can still be heard, but you will need the help of an audio device. Hearing it is made possible by audio cables. Audio cables are wires that transmit audio signals. Here are some types of audio cable.
3.5mm Audio cables. The 3.5 audio connector was originally designed to be used for small transistor-based radio receiver earpieces. It is also known as an audio, stereo, mini, or mp3 jack, or phone or jack plug. It is commonly used in headphones or earphones. 3.5mm audio cables used in microphones are usually called splitters.
Digital Audio-Toslink Cables. Toshiba designed the Toslink or optical cable, mainly to be used for their CD players. It uses glass or plastic fiber for its connection system. It can be used up to a maximum of 5 to 10 meters without using a signal booster. It is commonly used in Mini Disk or CD players, or digital audio tape recorders.
RCA Stereo Audio Cables. The RCA (Radio Corporation of America) stereo audio cable was originally designed for amplifiers to be connected to mono phonograph players. It is also used as a video cable. Its disadvantages compared to other types of audio cable is that each signal needs a separate plug, and that there are audio devices that need an adapter, along with the RCA cable, to work. Therefore making it more complex to be used. The RCA stereo audio cable is also known as phono or Cinch connector. It is commonly used for power connection as an extension cable or for cable testers, for RF connection, and for speakers or televisions
SubWoofer Cables. A sub woofer cable is a connector that is used for loudspeakers. This speaker cable can transmit anything from 150Hz and below. It is used for amplification, equalization, phase control, and feedback of audio signals.
Digital Audio - S/PDIF Cables. The S/PDIF cable or Sony/Philips Digital Interconnect Format cable is used to transmit stereo digital signals. It is commonly used in sound cards for computers, CD or DVD players, or car audio systems
Pro-Audio Cables (XLR, TRS). The XLR cable, designed by the company Cannon Electric, is used to transmit audio signals for high quality microphones, or to transmit musical instrument digital interface data. It is normally used in recording studios because of its reliability in sound quality even if used in great lengths, and it reduces external noise. The TRS (tip, ring, sleeve) cable is a connector that was originally designed for telephone switchboards in the 1900s. It has 3 types: 1/4" (6.3mm), 1/8" (3.5mm), and 3/32" (2.5mm). It is commonly used in headphones or earphones, microphones, personal computers, electric guitars, instrument amplifiers, electronic keyboards, electronic drums, modular synthesizers, or CCTVs.
Most electronic devices use audio cables. It lets you hear things that are not audible to the human ear. Without it, life would be a bit boring. Imagine not being able to listen to recordings. You may not know it, but it is already a part of everyday life."
"If you own a home audio amplifier, you may be curious about the sorts of problems that have been known to plague such devices. By familiarizing yourself with common home audio amplifier problems, you will be well equipped to diagnose any issues that may occur. Here are 4 of the most common types of home audio amplifier problems.
Overheating
Home audio amplifiers produce a great deal of heat. As such, overheating is a very common problem with them. Overheating generally occurs when amplifiers are left on for exceedingly long periods of time or when they are placed close to other heating-generating devices. For this reason, it is important to place your amplifier in an area in which it has ample space to breathe. Overheating is also liable to occur if your amplifier's settings have been cranked up to extreme levels
Humming
Humming is another common problem that has been known to occur with home audio amplifiers. Humming can be caused by a number of different factors, so it's important to know how to diagnose it. For example, if turning your volume up and down affects the loudness of the humming, the problem most likely lies with the volume control. If the level of the humming remains unchanged despite your volume settings, the source of the problem likely lies with one of the components connected to your amplifier. Humming can sometimes be remedied by making sure your components are securely connected to your amplifier. You can also use a process-of-elimination method by disconnecting each component one-by-one and listening to see if the humming persists after each disconnection. It is recommended that you turn off your amplifier and components while the disconnection process is underway.
Inadequate Power Supply
Inadequate power supplies are another common source of amplifier problems. Home audio amplifiers use a good deal of power and, if run through the improper type of power supply, they are liable to provide insufficient sound quality and not operate to their full potential. When selecting a power supply for your home audio amplifier, make sure it is capable of handling the type of voltage and electrical current given off by your amplifier.
Incompatible Components
Incompatible components can cause many problems with your amplifier. In addition to the previously discussed humming, incompatible components can significantly degrade your amplifier's sound quality. Before purchasing a home audio amplifier, take note of the brands and model numbers of all the components with which you wish to link the device and research which brands of amplifiers will work well with them. Online consumer testimonials are arguably the best method of conducting this research, as the Internet is a fantastic source of product reviews. The research may seem cumbersome, but selecting an amplifier that works in harmony with your components will ultimately prove well worth your efforts.
The next time your home audio amplifier begins to act up, you'll have the information needed to diagnose the nature and source of the problem."
Article source: www.doityourself.com.All rights reserved to the author(s) in the specified source.
"Crystal Lake Are Alex Moerman & Paul Gorbulski. These two producers who are both in their mid 20's specialize in Hard Dance music. Combining Dance & Ambient elements with Hardstyle, their music is full of life, emotion and power - the perfect formula for their main genre, Happy Hardstyle.
In studio, Alex contributes the beats and the track design. He Used to play the drums and therefore has a great ability in creating the right groove for Crystal Lake's tracks.
Paul is in charge of the melodies and the lyrics. When Paul was a kid he used to play the violin, after training for 1 year he threw the violin against the wall and broke it! Guess that wasn't meant to be. After his unsuccessful violin experience Paul started taking piano lessons, which lasted for 8 years!
It all started in the summer of 1999, when the two cooperated on their first track. Nothing special happened at first but Alex & Paul realized they could work together as a team.
By 2003, they were well acquainted and well on their way. Crystal Lake came up with the huge Israeli dance floor filler "Tutim". The success of this track led to a tour all over Israel on which they obviously left their mark, as the song is still a regular favorite on many DJ turntables today.
After that Paul & Alex realized that they could do the same in Europe, and that's exactly what they are doing now.
Nowadays Crystal Lake work as hard as ever! Finally releasing their first album, “C-lake – We Bring The Joy”, performing live shows & playing DJ sets, doing TV & Radio appearances, recording their monthly show – “Crystal Nation” and of course produce & write new hits!
With productions and collaborations with Nick Kershaw, Rednex, John Marks, Double Agents, Scarlet, Marcie, 4 Strings, Aruna, Fundo, Elena Josepha, Moran David, Sesta, Ethnix, Megara & Lee (Apollo), Rob Mayth and Jan Wayne already under their belt, they are up and running and destined for worldwide success!
Alex & Paul also collaborate in projects such as C-Lake, Sunny Inc, Bar10ders, Pavex, and Global Warming, amongst others."
Article source: www.c-lake.com. All rights reserved to the author(s) in the specified source.
"The clubbing scene and music in Romania and especially in Bucharest lines up with international trends. Various clubs compete for first place in bringing top international DJs and in organizing the best parties, whether imported from the biggest European capitals or initiated locally. In the last few years, best known world DJs, such as Sasha, Steve Lawler, Hybrid, James Zabiela, Lee Burridge, Sander Kleinenberg, Carl Cox, Tiesto, etc, have come to spin in the best Romanian clubs.
Kistal Glam Club - Underground Glamour
Kristal Glam Club is one of the best clubs in Romania. Numerous national and international DJs are regulars here. It combines the underground atmosphere of the electronic parties with the glamour of the surroundings. It’s one of the most famous clubs in Romania- lights, well decorated space, dressed-up people and a lot of enthusiasm. In 2004, Kristal Glam Club won the Nights.ro Award as "The best club in Romania". In summer, it moves to Constanta, a city-resort near the Black Sea. In Constanta, Kristal Glam Club is located in an ex-castle. There you can really feel like a king and if you get too fired up you can always cool down in the club’s swimming pool near the dancing ring.
The beginning of electronic music
Studio Martin, a smaller club that is always full of people who want to have a blast, represents the competition. In comparison, Studio Martin means a much more underground atmosphere and a more relaxed dress-up code. After a few events organized under the “The Mission” brand, a true invasion of international DJs started at Studio Martin, the club that represents the beginning of electronic music in Romania. Studio Martin continues to write history in this respect.
Embryo Club - what a name!
A combination of funky disco, house, electro and break beat make a wonderful music cocktail at Embryo Club. Want to discover where you came from? Embryo is the place to do that. Conceived as a uterus with pieces of after-birth (fake, of course) on the walls it gives birth to the one of the most funky dance nights in Bucharest. Get a dose of originality and good taste!
The Office is the place for French Champagne in Bucharest
The Office is another famous club in Bucharest. It’s classy and stylish. The music is commercial house, in order to suit all tastes. If you want to dress-up, drink French champagne and listen to happy music you can always try The Office, you might meet some famous Romanian people there.
The rich and famous end up here..
But most of the VIPs in Bucharest go to Bamboo club. A 4 million euros investment resulted in a futuristic design, a 15,000 W Outline sound system and in a space that can accommodate up to 15000 people. Celebrities such as Jean Claude Van Damme, Steven Seagal, Pink, Angelina Jolie, writer Paolo Coelho, football players Adrian Mutu, Cristi Chivu, producer Francis Ford Coppola, DJs Rosario Internullo, Pagal, Marco Briguglia, and others have enjoyed a night out in club Bamboo. You can enjoy the latest dance hits and a wonderful atmosphere.
Good music, great atmosphere and people who want to have fun – this is what clubbing in Bucharest means. No matter what your tastes you can find classy pubs and fancy clubs to dance the night away. In the incendiary atmosphere sweating is definitely a must."
Article source: www.sunandsin.com. All rights reserved to the auhtor(s) of the original article in the specified webpage.
"Whether he is travelling the world dj’ing at some of the finest parties on the planet, or producing tracks that gain support from the cream of the world’s elite players, Noir (a.k.a. René Kristensen) remains one of the industry’s most respected and hard working individuals.
Already with over 10 years experience under his belt, Noir gave up his daytime job at the end of 2003 to focus and concentrate on his dj and producing career, and he has never looked back. After spending most of 2004 concentrating on perfecting his sound, Noir got his debut with signings on more than 10 labels including Toolroom Records, Data, Juicy, Oxyd Records, Deeplay, and Warner.
It was during this time that his massive track ‘My MTV’ was unveiled. Quickly snapped up by Toolroom, the track swiftly gained support from every key dj on the planet, and duly rocketed to number 2 in the Buzz Chart and number 4 in the Miami Buzz Chart. It shot to number 1 in the Beatport chart – staying in the top 10 for more than 3 weeks – whilst also hitting number 1 on Dj Download.
Support for his innovative new sound was unprecedented. Tong, Knight, Fanciulli, Cox, Sanchez and Deep Dish were amongst the major supporters for his productions, whilst the list of labels looking to source remixes continued to grow every day.
Further tracks ‘Helpless’, ‘We Got Love’ and ‘Feel Alive’ continued to push the boundaries, whilst his superb collaborations with Katherine Ellis, Roland Clark, Chris Lake, Ian Carey, Paul Harris, D. Ramirez, Olav Basoski, Robbie Rivera and Granite & Phunk amongst others were immediate hits on labels that included Onephatdeeva, DTPM, Southern Fried, Gossip, House Session, Sume and Double Frequency.
In late 2007 Noir decided to start Noir Music, and the label is now established as one of the most forward thinking imprints on the market. Noir Music serves as an outlet for his own productions whilst also showcasing some of the best new producers in music, and releases that include ‘Super Skunk’, ‘Sweet Devil’, ‘All About House Music’, ‘Icicle’, ‘Quartro Uno Sei’ and ‘Burner King’ have hit the top spots on charts for Beatport and countless other download sites.
In February 2009 Noir released his debut album entitled “Best of (2006-2009)” and received the award for best upfront deejay of the year at DDJA. 2009 was also the year where Noir Music (the label) became one of the most popular and best selling house-labels in the world mainly because of the high quality level and the now very famous compilation series called “Dark Stars”.
Its safe to say that Noir and his label Noir Music are very important players in the industry today.
Noir received the award for “producer of the year” both at DDJA and Club Awards in 2010 and his label has grown to be one of the most credible and loved labels in the world showcasing music from the worlds finest and most popular producers. And Noir doesn’t stop here……. He looks forward, tries to stay one step ahead – so be prepared for more exciting stuff in the future."
Article source: www.noir-music.com. All rights reserved to the auhtor(s) of the original article in the specified webpage.
"Club video graphics cover a world of design, from grunged up video visuals to pristine digital eye candy… When it comes to VJing, almost anything goes, from any digital source – including cameras, camcorders, mobiles and vintage clip downloads. It’s a similar story with digitally generated content – rendered 3D animations, Flash animations, text, logos, Illustrator files and even random PDFs are all fair game in the creative world of club visuals.
The goal is excitement and impact, not video realism or production gloss. So with all this variety, how do you decide how to put a performance together?
The first is looping. A loop can be any section of video that looks good looped – which isn’t much use as an academic definition, but makes sense when you see it in action. The creative point is that loops build up, or sometimes destroy, viewer expectation about what’s going to happen next. Loops also establish a rhythm, and professionals will sync either their loops in time with the music, or add video scratch and stutter effects that play around the beat. (Watch any pop promo and you’ll see that while there’s often a rhythm, it’s only rarely that cuts are made exactly on a beat.)
The second element is pure psychedelic eye candy – bright colours, spacey shapes and objects, impossible movements and transformations, and anything else that contributes to full-on psychedelic wig-out. Too much of this can become tiring to watch, so it’s good to add this more as spice than the main course, although as with anything else in VJing, this depends on the venue and the audience.
The final element is mood, setting and reference. Moods can vary from soft and dreamy to hard-edged and technological, and the easiest way to use this element is to include footage that shows what you’re trying to suggest in a very literal way. For example, use grimy street footage to suggest urban grunge. If this seems simple, that’s because it is.
You can add text effects, logos, and even messages for extra points. But the whole impression is what matters most, and this is where the skill comes in. There are no shortcuts for creative interpretation, but even experimenting on your own you’ll find there’s a rare exhilaration when it all comes together."
Article source: www.computerarts.co.uk.All rights reserved to the author(s) in the specified source.
"Trance, whether you like your trance melodic and uplifting, or hard and fast, trance by any definition is here to stay. From the warehouse parties of the late 80’s to car commercials in 2001, trance has become part of the new millennium, part of our lifestyle. And all because of DJs like George Acosta. George proves every time he puts a needle on a record that "trance”, whatever the label, has changed, evolved, become a lifestyle, a culture… as well it should.
With over 15 years of experience as a DJ and producer, George has helped change and evolve trance from an underground movement to massive festival experiences throughout the world. “George Acosta is probably America’s most unique DJ and has undoubtedly been a major force in shaping the sound of trance in Miami and beyond” says fellow DJ Dave Ralph. George Acosta is America’s representative in the global Trance scene.
Coming up playing warehouse parties in his native Miami, he then went on to producing tracks of his own with such international hits like Planet Soul, Emotions, Taking Over Space, R U Awake and The Reaper. He then made the next logical step for a successful DJ/producer and opened his own record store, Grooveman Music in Miami.
He knows his crowds so well because he is just as big a fan as they are of his music. Just like the thousands he plays for, George Acosta lives it. George tries to maintain a close connection to the people who come to hear him play because like them, he discovered the music as a fan first.
It was during his three-year residency at Miami's famed Shadow Lounge that George honed his craft and began educating South Beach to this wonderful emotional roller-coaster ride that was quickly moving west from Europe. Now firmly entrenched in South Beach, George produced his first mix cd, “Awake”. This became the definitive sound of South Beach. It was this same cd that helped propel George on to the world stage.
With record bag and headphones in hand, George prepared to move the planet in his own unique way. He began playing some of the biggest clubs and festivals in the world, Berlin's Love Parade, Miami's Ultra Beach Festival and Rave on the Rocks to name a few. And with demand for George reaching a fever pitch, he produced his second mix cd,”Release: AM and PM”. This ambitious double cd was representative of his legendary all night sets, evoking the different emotions and textures of his sets, from epic, string-soothed splendor to searing tech-trance.
The demand for all things George Acosta soon led to other successful mix cds: such as “Trance Nation America” through Ministry of Sound along with his latest release entitled “History of Trance” on Ultra Records. George is also currently in the studio working on some original material with such artists as worldwide sensation Jon Secada among others.
“Traveling to different places and countries every week, playing for so many people--it makes me want to play more intimate stuff," he explains. "I used to play harder. Now I'm into the more melodic stuff. I guess when you grow into this scene you want to play records that mean something." George proves he's a trance DJ that can move onto something bigger and better. “Whenever I play anywhere, I feel like I am at home, I look down to the dance floor and I see my people, they understand me, they understand what is happening as I spin my records.” It’s a journey that happens week after week, and George is their guide."
"On the list of Russian club-centers Vladivostok is nominated as one of the most advanced, being placed next to Moscow, St.Petersburg and Yekaterinburg. Local DJs are quite professional, they are in demand and actively invited to night-clubs of regional and territory centers of the Far East. Vladivostok clubs, in their turn bring Moscow DJs here, though rarely. Celebrities' trips cost a lot.
The entrance price lists may vary. Sometimes, a certain local group works all the night long with a high quality for mere $1000-2000. While a mega-glamour DJ, widely known in certain small circles of the capital may claim up $10,000 for a 15-minutes appearance. The payment depends upon the method of order: either through "star" managers, or through local agencies.
What music is played in Vladivostok clubs? The same as in the clubs of Moscow, Peter, London or Amsterdam, maybe just a few weeks later. Digital technologies and Internet make the club music quite similarly accessible all over the world. There are all the modern varieties of the club music: house, hip-hop, funk, disco, break-dance, R'n'B, progressive, electro, techno, drum-'n-base, trans, as well as old good pop and live music. Quite often a DJ is mixing a number of compositions and in the resulting remix even a professional could hardly determine where one style ends and another starts.
Usually a club is welcoming its visitors with the high quality light and sound, a playing DJ, comfortable space for the rest and dances. The programs with anchor men and contests have gone back. Vocalists practically don't work at night clubs, only in restaurants. Strip-tease and karaoke are the "move ton". The main performers of a night-club are a DJ and an MC (namely - Master-Ceremony master). Another integral part of the clubs' rest - go-go girls, who all the night long are igniting the public with their rhythmic body movements. Classic night clubs are not limited to: "Out Hall", "Dance house", "Placebo", "Jumanji", "Zabriski Point", "Yellow submarine", "Davydoff", "Count Point". There are some other worthy clubs too.
Usually, the security, administration and the face-controllers are watching out for drugs taking in a club. And not just because of moral reasons, but because of economic ones: ecstasy lovers are non-profitable for the clubs. If a visitor was noticed to use drugs, the club administration puts him on a "black list" and entrance to this club is closed for him.
What is the club dress fashion? None. If in your life you dress in the "hip-hop" style, you may go that way to the club. If you are a bank clerk or a lawyer and you are such a "yappy," you may come to the club in a dress suit with a tie (though, in that latter case you'll be hardly let in into the R'n'B club). One can come to the club in Soviet era sports shoes and to hear approving remarks. Anyhow, the Far East clubbers cannot be proud of freedom like clubbers in London or in Moscow. There are a couple of clubs for people of sexual minorities. But the so-called sex-clubs, the main task of which is to diversify the sexual menu of the striving visitors don't exist in the Far East. However, as of late strip-bars and strip-clubs have appeared in Vladivostok. The first one was opened in the "Davydoff", the second one, "Abordage", appeared just recently next to the "Seven feet" restaurant. A distinguishing characteristic of strip-bars are the girls dancing non-stop, stripping during the dance. Periodically some kind of an erotic show happens, an erotic dance is for a separate payment."
Article source: www.vladivostoktimes.com. All rights reserved to the author(s) in the specified source.
"Heading out to the clubs for a night of dancing holds the promise of a night to remember - or one to forget! If you're unsure about your dancing prowess, never been to a nightclub before or haven't been there in a while, a few pointers might just be the thing to bring your confidence back up to partying levels.
Preparation
Before you go out, do a little research to find out what sort of scene you're headed into. A quick Internet search or a text to a friend might reveal what kind of music is played and what sort of dress code you face. When in doubt, dress up. No bouncer is going to let someone in ratty jeans and sneakers into a fancy nightclub. It's always better to be overdressed than underdressed. Choose clothes that look good, but are comfortable enough to dance in. Women, make sure your high heels are sturdy. Practice a few dance moves in the mirror to make sure nothing becomes more revealing than you intended and to gain confidence.
At the Club
Once you arrive, don't dive right out onto the dance floor. Allow some time to check out the scene. Get a drink, listen to the music and let the beat get you into the mood.
Watch the dancers already on the floor to get a good idea of the type of dancing popular at the club. If you're a good dancer already, watching the show-offs will give you a sense of your competition, but watching other dancers' reactions will give you a better sense of what's popular. Others will want to watch the crowd in general. Mentally note moves that you've done before, or that you think you'd enjoy doing.
On the Dance Floor
When you've had your drink, it's time to move to the floor. Do not put this off too long, or you risk psyching yourself out. Let the music in and let your body move to the music.
Be respectful of others' dance space. Don't crowd people -- if you'd like to dance near someone, dance near an opening between a couple of people. Other dancers will often sense a new body nearby and shift to make room. If they don't, they may be part of a group, so just move over a bit. Under no circumstances should you grind up against a stranger without first establishing permission.
Tips for Beginners
Stepping back and forth is a basic dance step, but make sure to allow a beat between each step to avoid the appearance of rocking. As you shift your weight to the right, tap or do a low kick with your left foot before shifting the weight back to your left foot. Allow your hips to sway or dip a little with each weight shift, and let your shoulders follow suit (though be careful not to hunch). Let your arms hang naturally, bending a little at the elbow. Snapping to the beat is useful if you don't know what to do with your hands, but use it sparingly. Leaving your hands in a closed "snapping position" is another option.
Move around a bit while doing this basic dance move. If you're dancing with a partner, try turning around and looking at him or her over your shoulder for a bit, or circling around him or her. By yourself, moving in a slow circle is a good option.
Be careful of too much up-and-down movement. Bobbing your head or bouncing on the balls of your feet has its place, but if you do it too fast it comes off as frantic. Consider moving back and forth to every other beat, slowing and smoothing the pace of your movements.
Most of all, relax, look around you, have fun and smile!"
Article source: www.ehow.com, written by Heather Shaw.All rights reserved to the specified author and webpage.
"It seems that everything is going wireless today. Mobile phones are in millions of pockets. Wifi technology provides Internet service to people without a hook up. Therefore, it is only natural that home theatres would follow the same progression. The wireless surround sound system of today will sound just as good as the hardwired system, and it will work its magic without miles of speaker wire running in each and every direction.
Surround sound is the idea that speakers should surround those individuals who are listening to their output. An idea situation would be one in which all sides of the listeners are covered by speakers. This sort of saturation requires a newer method of sound processing, and home media is only now taking full advantage of processing protocol like the DTS ES or Dolby Digital Ex systems.
Therefore, it is much more common to see systems that are organized around protocols that incorporate, or are similar to, the DTS 5.1 or Dolby Digital 5.1 systems. These systems are older, but they are more widely supported. While the DTS ES or Dolby Digital Ex systems provide coverage from each side, these more established systems provide for two rear speakers. These two rear surrounds cover the left and right sides of the listener.
Methods like the DTS ES or Dolby Digital Ex systems require an input with 6.1 or 7.1 compatibility. Stereos will often drive a two-channel feed. Trying to find a healthy balance between the two is very important if one wants to listen to music and watch movies with their home entertainment system.
When working with these two-channel music sources, many individuals will opt for a set of standing tower speakers for the front sound system. However, this is often not an option when working with the smaller range of equipment available to those setting up a wireless sound system.
Nevertheless, there are some models of floor speakers available to those working with wireless systems. While one will probably not find something that is equivalent to the giant stand up models found at rock concerts, the market does have several serviceable versions available. These often run around $300, and come in various configurations.
Some audiophiles will argue in favor of setting up every speaker as a floor model. Along with the prerequisite subwoofers, this would certainly turn one’s home into a mosh pit environment. However, having ungainly speakers sitting in each direction takes away many of the advantages that wireless technology is supposed to provide. Therefore, small models are generally best for rear surrounds.
Smaller wireless speakers that are designed with MP3 players in mind can cost about $60. For much more professional models, one might expect to pay $100-$150 for these pieces of equipment. On the bright side, the digital processing technology that they employ can make the sound system that much more crisp and realistic.
A subwoofer handles the lowest of sound frequencies, and any serious surround system needs to have subwoofer technology integrated into it. If you’re using your system for music, capturing any sort of low tones will not sound complete without one. They are an even more important piece of equipment for those who use their systems for viewing motion pictures. Until recently, however, only conventional hardwired systems had access to quality subwoofers.
That has changed with the availability of several models in the $300 to $400 range. A subwoofer will really unleash the raw, unbridled power that one’s new wireless surround sound speaker system has lying within.
Radio technology is the basis behind the entire wireless aspect. Speaker wire usually handles the transmission of information from the sound input to the sound output. With wireless surround sound systems, radio waves are the medium of transportation for this data. While one should be careful to make sure nothing interferes with the transmission and reception of radio signals in a wireless network, the advent of commonly available microwave radio technology solutions has made much of these interference problems a thing of the past.
Granted, there is nothing wrong with opting for a small system. After all, such an elaborate set up will not work for everyone. Instead, there are small speakers available that offer at least somewhat similar performance. Some pairs of speakers are around seventy pounds in weight, and offer acceptable performance without the associated high prices of a more professional installation. $200 is a relatively low price to pay when considering the otherwise high cost of speakers under other conditions.
When purchasing equipment for a wireless surround set up, be sure that everything is compatible with the components that you are purchasing. A single piece that is not going to work with an existing sound system will ruin the entire set up. Also be sure that nothing obstructs any of the speakers, especially when using smaller models. The surround sound concept relies heavily on having an uninterrupted swath of sound from various directions.
Also, be prepared for some troubleshooting. With wireless technology, there is a small chance of interference from other appliances in the area. Make sure to locate your surround sound setup away from other wireless technology and ambient radiators, like household appliances, if there is any interference from them.
A surround sound system can be very rewarding, and the application of modern wireless technology only adds to the fun. A modern audiophile has a wealth of options to choose from. Therefore, one should carefully weigh all of these options before making any decision."
"Some cars have much less interior noise than others. Large or luxury cars often go through more extensive testing and use higher-quality materials to reduce the sound level inside their cabin. You can use better insulation and thicker sheet metal to reduce the noise, and while you can't make a Dodge Neon drive as quietly as a Lexus or a Cadillac, there are ways you can reduce the sound level inside the cabin.
Instructions:
Upgrade your factory under-hood insulation. While the under-hood insulation helps to prevent fire, it also plays a role in reducing engine noise entering the cabin. Make sure your replacement is proven to reduce engine noise and fireproof. While you're under the hood, you can also add an engine cover. Many modern vehicles already have engine covers, but older ones don't.
Install carpet padding in between your carpet and the metal floorboard of your car. Most cars have carpet padding, but it is designed to be more cost-effective and less effective at reducing interior sound levels. A large portion of road noise travels into your cabin from underneath the vehicle; upgrading to a thicker, more efficient carpet padding will reduce the interior sound level. Although the procedure can be done at home, the seating and carpet must be removed, so professional installation is recommended.
Apply a sound-deadening material, such as Dynamat, between the metal and plastic in your door panel. The material will better insulate your cabin and drastically reduce noises from being piped in. Installation is fairly straightforward; most of the materials are self-adhesive. Removing your door panel is required. Many sound shops will take on the project if you aren't able to do it yourself.
Any of the methods will help reduce the sound levels in your car; doing all of them together would make a tremendous difference. Because most interior cabin noise comes from outside the vehicle, you can also look for ways to reduce the amount of exterior noise your vehicle makes to lessen the amount coming in. Try an all-season or touring tire for a quieter ride than performance tires. Exhaust systems can also be upgraded to operate quieter."
Article source: www.ehow.com,written by Leonardo Navorski. All rights reserved to specified author and webpage.
"Widely regarded as one of the most brilliant songwriters of her generation, Suzanne Vega emerged as a leading figure of the folk-music revival of the early 1980s when, accompanying herself on acoustic guitar, she sang what has been labeled contemporary folk or neo-folk songs of her own creation in Greenwich Village clubs. Since the release of her self-titled, critically acclaimed 1985 debut album, she has given sold-out concerts in many of the world’s best-known halls. In performances devoid of outward drama that nevertheless convey deep emotion, Vega sings in a distinctive, clear vibrato-less voice that has been described as “a cool, dry sandpaper- brushed near-whisper” and as “plaintive but disarmingly powerful.”
Bearing the stamp of a masterful storyteller who “observed the world with a clinically poetic eye,” Suzanne’s songs have always tended to focus on city life, ordinary people and real world subjects. Notably succinct and understated, often cerebral but also streetwise, her lyrics invite multiple interpretations. In short, Suzanne Vega’s work is immediately recognizable, as utterly distinct and thoughtful, and as creative and musical now, as it was when her voice was first heard on the radio over 20 years ago.
Suzanne was born in Santa Monica, CA, but grew up in Spanish Harlem and the Upper West Side of New York City. She was influenced by her mother, a computer systems analyst and her stepfather, the Puerto Rican writer Egardo Vega Yunque. There was a heady mix of multicultural music playing at home: Motown, bossa nova, jazz and folk. At age 11 she picked up a guitar and as a teenager she started to write songs.
At first, record companies saw little prospect of commercial success. Suzanne’s demo tape was rejected by every major record company—and twice by the very label that eventually signed her: A&M Records. Her self-titled debut album was finally released in 1985, co-produced by Steve Addabbo and Lenny Kaye, the former guitarist for Patti Smith. The skeptical executives at A & M were expecting to sell 30,000 LP’s. 1,000,000 records later, it was clear that Suzanne’s voice was resonating around the world. Marlene on the Wall was a surprise hit in the U.K and Rolling Stone eventually included the record in their “100 Greatest Recordings of the 1980’s.”
1987’s follow up, Solitude Standing, again co-produced by Addabbo and Kaye, elevated her to star status. The album hit #2 in the UK and #11 in the States, was nominated for three Grammys including Record of the Year and went platinum. “Luka” is a song that has entered the cultural vernacular; certainly the only hit song ever written from the perspective of an abused boy.
The opening song on Solitude Standing was a strange little a cappella piece, “Tom’s Diner” about a non-descript restaurant near Columbia University uptown. Without Suzanne’s permission, it was remixed by U.K. electronic dance duo “DNA” and bootlegged as “Oh Susanne.” Suddenly her voice on this obscure tune was showing up in the most unlikely setting of all: the club. Suzanne permitted an official release of the remix of “Tom’s Diner” under its original title which reached #5 on the Billboard pop chart and went gold. In 1991 a compilation, Tom’s Album, brought together the remix and other unsolicited versions of the song. Meanwhile, Karlheinz Brandenburg, the German computer programmer was busy developing the technology that would come to be known as the MP3. He found that Vega’s voice was the perfect template with which to test the purity of the audio compression that he was aiming to perfect. Thus Suzanne earned the nickname “The Mother of the MP3.”
Suzanne Vega is an artist that continues to surprise. In 2006, she became the first major recording artist to perform live in avatar form within the virtual world Second Life. She has dedicated much of her time and energy to charitable causes, notably Amnesty International, Casa Alianza, and the Save Darfur Coalition. Suzanne has a daughter, Ruby, by first husband Mitchell Froom. Ruby, like Suzanne before her, attends the High School for the Performing Arts. Suzanne is married to lawyer/poet Paul Mills who proposed to her originally in 1983. Suzanne accepted his proposal on Christmas Day 2005, twenty two years later. As fascinating as the New Yorkers she has been inspired by, Suzanne Vega herself is full of stories and surprises: the everyday revelations, the grabbed-on-the-run wisdom, the strange, random, miraculous stuff that make up a singular career – or maybe just another life in the big city.
In 2009 Suzanne was invited by Vaclav Havel to perform in Prague to celebrate the 30th Anniversary of the Velvet Revolution. Joining her on stage were Renee Flemming, Lou Reed and Joan Baez. In early 2010 she embarked on a 38 city tour of North America in support of her new record, Suzanne Vega, Close Up, Vol 1, Love Songs, released on her own label, Amenuensis Productions. This is the first of four CD’s that looks back through her extraordinary songbook and re-imagines the work in an intimate, striped down production, grouped as “Love Songs,” People, Places and Things,” “States of Being,” and “Songs of Family.” The tour was highlighted by a performance at Lincoln Center’s Allen Room as part of their American Songbook Series. Suzanne also conducted a series of residencies and workshops at Universities and Music Schools on this tour, including stops at Harvard, University of California Santa Barbara and Banff in Canada."
Article source: www.suzannevega.com.All rights reserved to the author(s) in the specified source.
