Daily Archives: May 5, 2012

Monster Beats by Dr. Dre PowerBeats with ControlTalk – Black

The Headphone of Lebron James, Designed for Athletes, ControlTalk for hands free operation Music is a driving force in the game of many top athletes. And now it can bring out the best in yours. Powerbeats combines sonic superiority with a comfortable fit that won’t quit. You’ll hear full range sound with clarity and power, plus your surroundings. And an adjustable/bendable ear hook with flexible arm keeps Powerbeats securely in place, no matter how hard you play. Secure and Comfortable Fit for Athletic Lifestyles Adjustable/bendable ear hook with flexible arm wraps around the outside of your ear to keep headphones in place while you’re working out or playing team sports Exclusive Monster Driver Technologies Deliver Unsurpassed Sound Legendary Beats sound with clarity and power at any volumeBuilt-in subwoofer pumps out massive bassMidrange tweeter reproduces ultra smooth vocals and clear, crisp highs Hear the Music and Your Surroundings Safely Whether you’re running, shooting hoops, or cycling, specially designed eartips let you hear ambient sounds while maintaining full awareness at all times Sweat Resistant and UV Protected Engineered for hours of strenuous activity under the sun or under the lightsTested for extreme durability and long life Built-in Mic for Hands-Free Calls and Online Chats ControlTalk’s built-in mic lets you talk hands-free on your iPhone or music phoneIt works with online voice or video chats on iPod touch or iPhone Control iPod and iPhone the Easy Way ControlTalk gives you on-cable playback control of your iPod or iPhone, including pause, next track and volume

Country Music’s Greatest Hits By Mills Brothers (cd)

*Artist: MILLS BROTHERS *Genre: Vocals *Release Date: 23-JAN-1996

Judy At Carnegie Hall By Garland,judy (cd)

*Artist: GARLAND,JUDY *Genre: Vocals *Release Date: 27-FEB-2001

Shure SM57-LC SM57 Instrument Micrphone

SM57 Unidirectional Dynamic Vocal/Instrument MicrophoneThe Shure SM57 unidirectional dynamic microphone is exceptional for musical instrument pickup or for vocals. With its bright, clean sound and carefully contoured presence rise, the SM57 is ideal for live sound reinforcement and recording. It has an extremely effective cardioid pickup pattern which isolates the main sound source while minimizing background noise. In the studio, it is excellent for recording drums, guitar, and woodwinds. For musical instruments or vocals, the SM57 is a consistent choice of professional performers. It is also the standard microphone used on the podium of the US President for over 30 years. Its outstanding performance, legendary reliability, and diversity of application make this “workhorse” the choice of performers, producers, and sound engineers the world over.

The producer as composer

In the 1960s, rock and pop music recording questioned the convention that recordings should recreate the illusion of a concert hall setting. The Wall of Sound that Phil Spector built behind various artists and the intricate eclecticism of George Martin’s recordings of the Beatles did not resemble live performances?in the Albert Hall or elsewhere?but instead created a new sonic world. The role of the record producer, writes Virgil Moorefield in The Producer as Composer, was evolving from that of organizer to auteur; band members became actors in what Frank Zappa called a “movie for your ears.” In rock and pop, in the absence of a notated score, the recorded version of a song?created by the producer in collaboration with the musicians?became the definitive version.Moorefield, a musician and producer himself, traces this evolution with detailed discussions of works by producers and producer-musicians including Spector and Martin, Brian Eno, Bill Laswell, Trent Reznor, Quincy Jones, and the Chemical Brothers. Underlying the transformation, Moorefield writes, is technological development: new techniques?tape editing, overdubbing, compression?and, in the last ten years, inexpensive digital recording equipment that allows artists to become their own producers. What began when rock and pop producers reinvented themselves in the 1960s has continued; Moorefield describes the importance of disco, hip-hop, remixing, and other forms of electronic music production in shaping the sound of contemporary pop. He discusses the making of Pet Sounds and the production of tracks by Public Enemy with equal discernment, drawing on his own years of studio experience. Much has been written about rock and pop in the last 35 years, but hardly any of it deals with what is actually heard in a given pop song. The Producer as Composer tries to unravel the mystery of good pop: why does it sound the way it does?


Ideal in applications where consistent audio level is needed from professional sources with varying output, such as multiple CD changers, satellite receivers or paging sources. It maintains a consistent +4dBu output for input signal variations as great as 25dB. Because the mid and high band audio frequencies are controlled separately, the level pumping effect, often associated with automatic gain and compression, is minimized. The AGC and compression attack release times adjust according to the program material to further reduce any audible effects of the module. Additionally, when audio levels fall, and remain below a level appropriate to that source, the module stops increasing the gain. As audio levels fade out, the module tracks the level for a natural sound. These features combine to produce nearly inaudible adjustment yet consistent levels without the listener fatigue associated heavily compressed music dynamics. Input and outputs are line level (+4dBu), 10Kohm balanced, and may