Tag: Digital

Create The Best Music In Digital Recording

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Digital audio recording is a wonderful thing to understand and be able to teach your friends. Please do not even think about digital recording before you make sure that the music you are trying to record must be well composed and all the criteria has been met.

You will find that it would be incredibly helpful if you had a studio. If you do not please dont worry because it is possible to do it without it. Creating beautiful music is not simple. You need to make sure that your software is the kind that you need. It may be easier to create your music first then tweak it. The rhythm and tune of the song needs to be composed before you fix it.

The fact that the recording studios are not as easy to get, so you might need to think about the opening a home studio. That would allow you to record some of your lovable musical composition with a mixing music software. It gives you an easy way out of producing your music and hence can be extremely beneficial for you.

Learning about composing and producing music is as important as it get. Its very important that you know how to learn music and also to show and prove it in your music. This teaches you to handle your music in a excellent way and you would certainly appreciate the reward for a rewarding musical experience. Sometimes musical recording sessions can be terrible and annoying, but with proper training and composures you will be able to handle them all.

Lets start recording! Compose your music right now. The options available in the software are incredibly huge. Practice through them and learn to understand the features of the software. And get going to record your first session. Recording your composed music can be tricky but if you known how to record well, in a calm environment, you can record high quality music and with great effect. Try to record in a noise free room or studio. It will improve the results. Good luck!

Robert Taylor is a DJ mixing coach who guide young talents on how to use his mixing music software and mold them into professionals for the future. If you know nuts about music mixing but you want to learn it badly, Robert and his music mixing software will guide you down the road.

A Visit To Windmill Lane In Dublin
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Windmill Lane is covered in graffiti from fans who have paid pilgrimage from all over the world, many attracted by the studio’s historical connection with U2. Initially the graffiti was interesting but is now a terrible mess and the quality of the art is not as good as it was.

Windmill Lane Studios, also known as the "U2 studio", is a three-storey music recording studio located in Dublin, Ireland. It is located on Windmill Lane, a small street just south of City Quay and the River Liffey and a little north of Pearse Station. It was opened in 1978 by Brian Masterson who is a company director and head engineer. It was originally used to record traditional Irish music until U2 came along and began to record there. Prior to this, Irish rock bands such as Thin Lizzy or The Boomtown Rats carried out their recordings outside Ireland.

It is now boarded up, with the actual studios having moved elsewhere. Nevertheless, the studios are still a popular cult symbol and are regularly visited by tourists, particularly those originally from the United States.

Pulse Recording College recently took ownership of the studios. The college has previously sent students to work at Windmill Lane straight after graduation and these students have collaborated with 50 Cent, Bryan Adams, Moya Brennan, Donovan, Jon Bon Jovi and New Order.

The studio is no longer located on Windmill Lane, although it retains the name. Windmill Lane Studios has not been located on Windmill Lane for quite some time and the current facility was originally Ringsend Studios in Ringsend, Dublin 4. Plans to construct a six-storey office block on the old site led to criticism from local resident groups in early September 2008.

The studio remained empty from 2006 onwards, although reports circulated which linked Van Morrison with purchasing the studio for his own personal use that August. Morrison had previously recorded several albums there, including Back on Top, Magic Time and Pay the Devil. In January 2008, the studio was used to record "The Ballad of Ronnie Drew". In 2009, Pulse College took over Windmill Lane painstakingly renovating the studios which are internationally perceived as being at the heart of the Irish recording industry. The renowned multimedia college has now transformed the facilities with state-of-the-art equipment which encompasses not only 3 fully equipped recording studios, but also a creative hub for Digital Media Training in areas of Music Production, Film Production and Game Analysis and Design.

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Digital Music Piracy A Case Study For Law Enforcerment Careers

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Amidst all the huge media press devoted to the subject of the recording industry’s difficulty in protecting their interest in the new digital age, one might wonder – who are these people who download music? What is their motivation? Presented here, a case study. This is a composite study which blends together the reported experiences of many music downloaders – the study is true to a large part of this set, but not accurate to any specific case, with names removed:

What follows is a short history of my economic experience of music and a simple business plan proposed for the labels to recapture my wallet.

Back in the old days, when I bought my first CD player, I went out and replicated my sizable vinyl record collection at $ 12-$ 13 per album. This took all of my spare cash as a struggling student with no loans. Over the course of a year, I bought more than eighty CDs. It was hard, but I hated records and tapes because they wouldn’t be portable. Back then, the local rumors had it that the price of CDs was inflated to cover the cost of manufacturing in the new media format and would eventually come down below record prices because they were considerably cheaper to make.

Five years later, the prices didn’t go down and I had the misfortune of my CD collection, then at over 200 albums, having been stolen from my ghetto apartment. That was more than $ 2500 and I was still pretty poor due to the early 90s recession affecting my industry. The upside was that stolen CDs were so valuable then because there was a budding used CD market in the major cities. Once record stores started selling used CDs in quantity, I stopped buying any new CDs altogether. This is the early 90’s and I already dropped out of the record label’s direct market. Here I was, an early 20’s kid that was so in love with music that I would spend the better part of my expendable cash on CDs and yet I dropped right off of their books because I could buy an album for $ 9 if I waited a month after it came out.

As I matured in my career, I started making serious money, but I still wouldn’t buy new CDs. I was used to paying between $ 6 and $ 9 and there was no way I would go back. I probably missed out on a lot of music, because I was limiting my selection to what college kids would buy and return.

Then came CD burner technology. I spent many hours burning all of my friends’ CD collections. Shortly thereafter came the MP3 file format. These services made it easy to download music for free or a nominal service charge, and was not at the tie seen as illegal, so suddenly my music collection no longer involves CDs at all anymore.

So where does this leave me now? Well, I’m in my late 30s, making a six-figure income, and I like a huge variety of musical genres. I could easily spend $ 100 per month on music and not bat an eye, but I still don’t. The record labels have alienated me by suddenly treating me as a criminal for the cost of doing business with them. So, what can they do for me that would convince me to give them my money again? It’s really quite simple!

A reasonable service at a reasonable price, like the Russian sites do. I select the quality and quantity of the songs and pay a reasonable price for downloading them. The bottom line here is that I’ll pay up to $ 4 for a CD encoded at 256k VBR with no obnoxious DRM interferences – no less quality and no more money.

Give me FTP access to a full catalog with all of the labels in one place. They should be high quality MP3s, verified, DRM-free, properly tagged, and in a format that guarantees I can port them. How much would I be willing to pay for this, well for a ballpark number figure $ 2 to $ 4 for 10 songs. That works out to 20 to 40 cents per song. You could also bill based on bandwidth per megabyte downloaded.

I promise that this would keep me, and most music listeners, from downloading music “illegally”. I might give some of this to my friends for free, but that is usually stuff that they wouldn’t have bought anyway. Burning a CD of songs for my friends is fair use to me, as it always has been to the public at large. RIAA, I haven’t given you money in over 10 years; that is a huge failure on your part.

Win me back. It’s not that hard and it’s not too late. I am the consumer and you are supposed to be serving me. Make me a happy to do business with you, and I’ll open up my wallet for you; but treat me like your enemy, and I will be a wolf poaching your chickens with impunity. The choice is yours to make.

Freelance writer for over eleven years.

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Digital Love – Daft Punk
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The Pros And Cons Of Digital Music Files

Very much has changed about the way businesses and people in society handle their work and personal business. With the introduction of advancements in technology, a great many improvements have been made that have benefited us and helped improve our quality of living. The internet, for example, has greatly revolutionized the way we retrieve information, and it has also expanded our ways of communicating with one another. What could only be done through landline phones can now be done over the computer via instant messaging, chat rooms, and video conferencing.

How we communicate and how we conduct business are not the only things that have changed. One sector that plays an important role in a lot of people’s lives has also made great strides in technology. That sector is music and all things that are related to music.
The way we listen to music has changed, and the way we record our music has also changed as more instruments feature better ways of recording. From instruments to the very songs that we listen to, technology has definitely changed the way we utilize these things in our everyday lives.

First came the 8 track. Then the cassette tape. Then the compact disc, and now music is downloadable via the internet. The usual cost of a single song is about 99 cents, but some sites will offer whole albums at a discounted price, and sites like Zune allow unlimited downloads for just a few bucks every month. There is no need to buy an actual compact disc at a record store anymore, which has affected music stores nationwide. Many big music names, such as Wherehouse and Virgin, have shut down many, if not all, of their outlets.

The other bad side about digital music files is the issue of piracy, and it has cost many musicians millions of dollars in lost sales. File-sharing programs and sites are readily available and accessible by just about anyone who has access to a computer and the internet. Thus, these files can be uploaded onto a computer and shared freely over these file-sharing sites and programs. At the expense of musicians, all it takes is one person to buy these files, make them available on these sites or programs, and virtually anyone can download them.

There is no way to monitor each individual who downloads files that are protected by copyright laws, and it is up to the individual to decide whether or not they will or will not use these file-sharing sites or programs for their music.

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Decide for yourself in this audio shootout! Does analog tape sound better than direct to digital recording?

I’m trying to decide if I want to record to analog tape and then transfer the recording into the digital realm vs. an all digital recording. I set up a test, using a Teac A3440 4-track reel deck. I set things things up to record the same performance, feeding the audio into the Teac and computer at the same time. I came away feeling that one sounded better than the other. Watch, listen and see what you think!

Check out Shootout Part 2 (comparison between the tape recording and the Waves Kramer Master Tape plugin): http://youtu.be/Ck-9XcXqef4

Check out Shootout Part 3 (comparison ofdigital recording copied/bounced to tape!):

Check out Shootout Part 4 (full band digital mix bounced to tape and compared): https://youtu.be/07AylGg7bl8

Link to uncompressed audio files:

Analog Tape vs. Digital Shootout!

Jecklin Disk/OSS information:

http://en.wikipedia.org/wiki/Jecklin_Disk

DOWNLOAD the LATEST Chords of Orion Ambient Guitar music here: http://chordsoforion.bandcamp.com

Equipment used:
Lowden O35 Acoustic Guitar
Oktava MC012 microphones
Jecklin Disk/OSS
Teac A3440 Reel to Reel Tape Deck
RMGI SM911 Reel Tape
Focusrite Scarlett 2i4 audio interface
Apple Logic Pro X
2009 Macbook Pro

chords of orion – ambient/post-rock guitar music for the heart and mind.

bill vencil – guitars, vocals, other instruments and sounds.

web: http://chordsoforion.com
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The Future of MP3 Digital Music

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Recording, playing and listening to music has never been more fun that it is today. Through the Internet, you can easily download songs and listen to your favorite music anytime of the day and wherever you are. Portable players that have access to Internet or those that can store large number of digital music files are now very affordable, fun to use and designed just right to fit the modern generation’s lifestyle.

What is MP3?

MP3, an acronym for MPEG-1 Audio Layer 3, is one of the most popular digital audio encoding and compression formats being used nowadays and is apparently making an enormous impact on how people store, listen and share music of different genres. It is even now regarded as a standard technology used in greatly reducing the amount of data used to represent audio without altering the uncompressed audio’s sound quality when played.

Compressing Audio into MP3 Digital Music

The compression ratio of MP3 is 12:1, which means that a typical audio file that is 1200 KB big can be converted into a 100 KB MP3 digital music file without corrupting the sound quality of the original. In fact, some MP3 digital music are clearer and sound better since the compression process eliminates portions of the original music that are not too significant to human hearing. There are three ways through which the unwanted portions of the music are determined; among them is psychoacoustics, which is a study of how people subjectively perceive sounds.

MP3 digital music can be compressed with various bit rates (the number of bits of data representing a second of audio), which makes it possible for you to create different sizes and sound quality of an MP3 digital music converted from the same original digital audio file.

Usually, digital audio is compressed with bit rates ranging from 128 to 320. MP3 digital music encoded with low bitrate are of lower sound quality whereas those encoded with higher bitrate are clearer and more pleasing to the ears. However, there are also other factors affecting the quality of the compressed MP3 digital music; these are the quality of the encoder and complexity of the signal encoded. Moreover, the quality of the computer, the speaker or the earphones through which one listens to the music also affects his judgment with regard to the sound quality.

Benefits of MP3 Digital Music

MP3 digital music is very versatile. It can be played using your personal computer or a laptop; it can be played through a portable, small and light MP3 player; it can be decompressed and recorded on a compact disk; and can be easily downloaded via the Internet. Through several software, which are also available for free, you can easily create MP3 digital music from other digital audio formats.

The best things about MP3 digital music is that it is inexpensive and can even be obtained for free. It makes acquiring and listening to high quality music easier, more pleasurable, and particularly, cheaper. Its small size also allows you to store hundreds of MP3 digital music on your computer or MP3 player with ease, helping you save money you might have spent for CDs.

Dave Poon is an accomplished writer who specializes in the latest in music and entertainment. For more information regarding MP3 digital music , please drop by at http://entertainment.answerwisely.com

Army Photography Contest – 2007 – FMWRC – Arts and Crafts – A Plumpish Proportion
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Image by familymwr
Army Photography Contest – 2007 – FMWRC – Arts and Crafts – A Plumpish Proportion

Photo By: SSG Robert Stewart

To learn more about the annual U.S. Army Photography Competition, visit us online at www.armymwr.com

U.S. Army Arts and Crafts History

After World War I the reductions to the Army left the United States with a small force. The War Department faced monumental challenges in preparing for World War II. One of those challenges was soldier morale. Recreational activities for off duty time would be important. The arts and crafts program informally evolved to augment the needs of the War Department.
On January 9, 1941, the Secretary of War, Henry L. Stimson, appointed Frederick H. Osborn, a prominent U.S. businessman and philanthropist, Chairman of the War Department Committee on Education, Recreation and Community Service.
In 1940 and 1941, the United States involvement in World War II was more of sympathy and anticipation than of action. However, many different types of institutions were looking for ways to help the war effort. The Museum of Modern Art in New York was one of these institutions. In April, 1941, the Museum announced a poster competition, “Posters for National Defense.” The directors stated “The Museum feels that in a time of national emergency the artists of a country are as important an asset as men skilled in other fields, and that the nation’s first-rate talent should be utilized by the government for its official design work… Discussions have been held with officials of the Army and the Treasury who have expressed remarkable enthusiasm…”
In May 1941, the Museum exhibited “Britain at War”, a show selected by Sir Kenneth Clark, director of the National Gallery in London. The “Prize-Winning Defense Posters” were exhibited in July through September concurrently with “Britain at War.” The enormous overnight growth of the military force meant mobilization type construction at every camp. Construction was fast; facilities were not fancy; rather drab and depressing.
In 1941, the Fort Custer Army Illustrators, while on strenuous war games maneuvers in Tennessee, documented the exercise The Bulletin of the Museum of Modern Art, Vol. 9, No. 3 (Feb. 1942), described their work. “Results were astonishingly good; they showed serious devotion …to the purpose of depicting the Army scene with unvarnished realism and a remarkable ability to capture this scene from the soldier’s viewpoint. Civilian amateur and professional artists had been transformed into soldier-artists. Reality and straightforward documentation had supplanted (replaced) the old romantic glorification and false dramatization of war and the slick suavity (charm) of commercial drawing.”

“In August of last year, Fort Custer Army Illustrators held an exhibition, the first of its kind in the new Army, at the Camp Service Club. Soldiers who saw the exhibition, many of whom had never been inside an art gallery, enjoyed it thoroughly. Civilian visitors, too, came and admired. The work of the group showed them a new aspect of the Army; there were many phases of Army life they had never seen or heard of before. Newspapers made much of it and, most important, the Army approved. Army officials saw that it was not only authentic material, but that here was a source of enlivenment (vitalization) to the Army and a vivid medium for conveying the Army’s purposes and processes to civilians and soldiers.”
Brigadier General Frederick H. Osborn and War Department leaders were concerned because few soldiers were using the off duty recreation areas that were available. Army commanders recognized that efficiency is directly correlated with morale, and that morale is largely determined from the manner in which an individual spends his own free time. Army morale enhancement through positive off duty recreation programs is critical in combat staging areas.
To encourage soldier use of programs, the facilities drab and uninviting environment had to be improved. A program utilizing talented artists and craftsmen to decorate day rooms, mess halls, recreation halls and other places of general assembly was established by the Facilities Section of Special Services. The purpose was to provide an environment that would reflect the military tradition, accomplishments and the high standard of army life. The fact that this work was to be done by the men themselves had the added benefit of contributing to the esprit de corps (teamwork, or group spirit) of the unit.
The plan was first tested in October of 1941, at Camp Davis, North Carolina. A studio workshop was set up and a group of soldier artists were placed on special duty to design and decorate the facilities. Additionally, evening recreation art classes were scheduled three times a week. A second test was established at Fort Belvoir, Virginia a month later. The success of these programs lead to more installations requesting the program.
After Pearl Harbor was bombed, the Museum of Modern Art appointed Mr. James Soby, to the position of Director of the Armed Service Program on January 15, 1942. The subsequent program became a combination of occupational therapy, exhibitions and morale-sustaining activities.
Through the efforts of Mr. Soby, the museum program included; a display of Fort Custer Army Illustrators work from February through April 5, 1942. The museum also included the work of soldier-photographers in this exhibit. On May 6, 1942, Mr. Soby opened an art sale of works donated by museum members. The sale was to raise funds for the Soldier Art Program of Special Services Division. The bulk of these proceeds were to be used to provide facilities and materials for soldier artists in Army camps throughout the country.
Members of the Museum had responded with paintings, sculptures, watercolors, gouaches, drawings, etchings and lithographs. Hundreds of works were received, including oils by Winslow Homer, Orozco, John Kane, Speicher, Eilshemius, de Chirico; watercolors by Burchfield and Dufy; drawings by Augustus John, Forain and Berman, and prints by Cezanne, Lautrec, Matisse and Bellows. The War Department plan using soldier-artists to decorate and improve buildings and grounds worked. Many artists who had been drafted into the Army volunteered to paint murals in waiting rooms and clubs, to decorate dayrooms, and to landscape grounds. For each artist at work there were a thousand troops who watched. These bystanders clamored to participate, and classes in drawing, painting, sculpture and photography were offered. Larger working space and more instructors were required to meet the growing demand. Civilian art instructors and local communities helped to meet this cultural need, by providing volunteer instruction and facilities.
Some proceeds from the Modern Museum of Art sale were used to print 25,000 booklets called “Interior Design and Soldier Art.” The booklet showed examples of soldier-artist murals that decorated places of general assembly. It was a guide to organizing, planning and executing the soldier-artist program. The balance of the art sale proceeds were used to purchase the initial arts and crafts furnishings for 350 Army installations in the USA.
In November, 1942, General Somervell directed that a group of artists be selected and dispatched to active theaters to paint war scenes with the stipulation that soldier artists would not paint in lieu of military duties.
Aileen Osborn Webb, sister of Brigadier General Frederick H. Osborn, launched the American Crafts Council in 1943. She was an early champion of the Army program.
While soldiers were participating in fixed facilities in the USA, many troops were being shipped overseas to Europe and the Pacific (1942-1945). They had long periods of idleness and waiting in staging areas. At that time the wounded were lying in hospitals, both on land and in ships at sea. The War Department and Red Cross responded by purchasing kits of arts and crafts tools and supplies to distribute to “these restless personnel.” A variety of small “Handicraft Kits” were distributed free of charge. Leathercraft, celluloid etching, knotting and braiding, metal tooling, drawing and clay modeling are examples of the types of kits sent.
In January, 1944, the Interior Design Soldier Artist program was more appropriately named the “Arts and Crafts Section” of Special Services. The mission was “to fulfill the natural human desire to create, provide opportunities for self-expression, serve old skills and develop new ones, and assist the entire recreation program through construction work, publicity, and decoration.”
The National Army Art Contest was planned for the late fall of 1944. In June of 1945, the National Gallery of Art in Washington D.C., for the first time in its history opened its facilities for the exhibition of the soldier art and photography submitted to this contest. The “Infantry Journal, Inc.” printed a small paperback booklet containing 215 photographs of pictures exhibited in the National Gallery of Art.
In August of 1944, the Museum of Modern Art, Armed Forces Program, organized an art center for veterans. Abby Rockefeller, in particular, had a strong interest in this project. Soldiers were invited to sketch, paint, or model under the guidance of skilled artists and craftsmen. Victor d’Amico, who was in charge of the Museum’s Education Department, was quoted in Russell Lynes book, Good Old Modern: An Intimate Portrait of the Museum of Modern Art. “I asked one fellow why he had taken up art and he said, Well, I just came back from destroying everything. I made up my mind that if I ever got out of the Army and out of the war I was never going to destroy another thing in my life, and I decided that art was the thing that I would do.” Another man said to d’Amico, “Art is like a good night’s sleep. You come away refreshed and at peace.”
In late October, 1944, an Arts and Crafts Branch of Special Services Division, Headquarters, European Theater of Operations was established. A versatile program of handcrafts flourished among the Army occupation troops.
The increased interest in crafts, rather than fine arts, at this time lead to a new name for the program: The “Handicrafts Branch.”
In 1945, the War Department published a new manual, “Soldier Handicrafts”, to help implement this new emphasis. The manual contained instructions for setting up crafts facilities, selecting as well as improvising tools and equipment, and basic information on a variety of arts and crafts.
As the Army moved from a combat to a peacetime role, the majority of crafts shops in the United States were equipped with woodworking power machinery for construction of furnishings and objects for personal living. Based on this new trend, in 1946 the program was again renamed, this time as “Manual Arts.”
At the same time, overseas programs were now employing local artists and craftsmen to operate the crafts facilities and instruct in a variety of arts and crafts. These highly skilled, indigenous instructors helped to stimulate the soldiers’ interest in the respective native cultures and artifacts. Thousands of troops overseas were encouraged to record their experiences on film. These photographs provided an invaluable means of communication between troops and their families back home.
When the war ended, the Navy had a firm of architects and draftsmen on contract to design ships. Since there was no longer a need for more ships, they were given a new assignment: To develop a series of instructional guides for arts and crafts. These were called “Hobby Manuals.” The Army was impressed with the quality of the Navy manuals and had them reprinted and adopted for use by Army troops. By 1948, the arts and crafts practiced throughout the Army were so varied and diverse that the program was renamed “Hobby Shops.” The first “Interservice Photography Contest” was held in 1948. Each service is eligible to send two years of their winning entries forward for the bi-annual interservice contest. In 1949, the first All Army Crafts Contest was also held. Once again, it was clear that the program title, “Hobby Shops” was misleading and overlapped into other forms of recreation.
In January, 1951, the program was designated as “The Army Crafts Program.” The program was recognized as an essential Army recreation activity along with sports, libraries, service clubs, soldier shows and soldier music. In the official statement of mission, professional leadership was emphasized to insure a balanced, progressive schedule of arts and crafts would be conducted in well-equipped, attractive facilities on all Army installations.
The program was now defined in terms of a “Basic Seven Program” which included: drawing and painting; ceramics and sculpture; metal work; leathercrafts; model building; photography and woodworking. These programs were to be conducted regularly in facilities known as the “multiple-type crafts shop.” For functional reasons, these facilities were divided into three separate technical areas for woodworking, photography and the arts and crafts.
During the Korean Conflict, the Army Crafts program utilized the personnel and shops in Japan to train soldiers to instruct crafts in Korea.
The mid-1950s saw more soldiers with cars and the need to repair their vehicles was recognized at Fort Carson, Colorado, by the craft director. Soldiers familiar with crafts shops knew that they had tools and so automotive crafts were established. By 1958, the Engineers published an Official Design Guide on Crafts Shops and Auto Crafts Shops. In 1959, the first All Army Art Contest was held. Once more, the Army Crafts Program responded to the needs of soldiers.
In the 1960’s, the war in Vietnam was a new challenge for the Army Crafts Program. The program had three levels of support; fixed facilities, mobile trailers designed as portable photo labs, and once again a “Kit Program.” The kit program originated at Headquarters, Department of Army, and it proved to be very popular with soldiers.
Tom Turner, today a well-known studio potter, was a soldier at Ft. Jackson, South Carolina in the 1960s. In the December 1990 / January 1991 “American Crafts” magazine, Turner, who had been a graduate student in art school when he was drafted, said the program was “a godsend.”
The Army Artist Program was re-initiated in cooperation with the Office of Military History to document the war in Vietnam. Soldier-artists were identified and teams were formed to draw and paint the events of this combat. Exhibitions of these soldier-artist works were produced and toured throughout the USA.
In 1970, the original name of the program, “Arts and Crafts”, was restored. In 1971, the “Arts and Crafts/Skills Development Program” was established for budget presentations and construction projects.
After the Vietnam demobilization, a new emphasis was placed on service to families and children of soldiers. To meet this new challenge in an environment of funding constraints the arts and crafts program began charging fees for classes. More part-time personnel were used to teach formal classes. Additionally, a need for more technical-vocational skills training for military personnel was met by close coordination with Army Education Programs. Army arts and crafts directors worked with soldiers during “Project Transition” to develop soldier skills for new careers in the public sector.
The main challenge in the 1980s and 90s was, and is, to become “self-sustaining.” Directors have been forced to find more ways to generate increased revenue to help defray the loss of appropriated funds and to cover the non-appropriated funds expenses of the program. Programs have added and increased emphasis on services such as, picture framing, gallery sales, engraving and trophy sales, etc… New programs such as multi-media computer graphics appeal to customers of the 1990’s.
The Gulf War presented the Army with some familiar challenges such as personnel off duty time in staging areas. Department of Army volunteer civilian recreation specialists were sent to Saudi Arabia in January, 1991, to organize recreation programs. Arts and crafts supplies were sent to the theater. An Army Humor Cartoon Contest was conducted for the soldiers in the Gulf, and arts and crafts programs were set up to meet soldier interests.
The increased operations tempo of the ‘90’s Army has once again placed emphasis on meeting the “recreation needs of deployed soldiers.” Arts and crafts activities and a variety of programs are assets commanders must have to meet the deployment challenges of these very different scenarios.
The Army arts and crafts program, no matter what it has been titled, has made some unique contributions for the military and our society in general. Army arts and crafts does not fit the narrow definition of drawing and painting or making ceramics, but the much larger sense of arts and crafts. It is painting and drawing. It also encompasses:
* all forms of design. (fabric, clothes, household appliances, dishes, vases, houses, automobiles, landscapes, computers, copy machines, desks, industrial machines, weapon systems, air crafts, roads, etc…)
* applied technology (photography, graphics, woodworking, sculpture, metal smithing, weaving and textiles, sewing, advertising, enameling, stained glass, pottery, charts, graphs, visual aides and even formats for correspondence…)
* a way of making learning fun, practical and meaningful (through the process of designing and making an object the creator must decide which materials and techniques to use, thereby engaging in creative problem solving and discovery) skills taught have military applications.
* a way to acquire quality items and save money by doing-it-yourself (making furniture, gifts, repairing things …).
* a way to pursue college credit, through on post classes.
* a universal and non-verbal language (a picture is worth a thousand words).
* food for the human psyche, an element of morale that allows for individual expression (freedom).
* the celebration of human spirit and excellence (our highest form of public recognition is through a dedicated monument).
* physical and mental therapy (motor skill development, stress reduction, etc…).
* an activity that promotes self-reliance and self-esteem.
* the record of mankind, and in this case, of the Army.
What would the world be like today if this generally unknown program had not existed? To quantitatively state the overall impact of this program on the world is impossible. Millions of soldier citizens have been directly and indirectly exposed to arts and crafts because this program existed. One activity, photography can provide a clue to its impact. Soldiers encouraged to take pictures, beginning with WW II, have shared those images with family and friends. Classes in “How to Use a Camera” to “How to Develop Film and Print Pictures” were instrumental in soldiers seeing the results of using quality equipment. A good camera and lens could make a big difference in the quality of the print. They bought the top of the line equipment. When they were discharged from the Army or home on leave this new equipment was showed to the family and friends. Without this encouragement and exposure to photography many would not have recorded their personal experiences or known the difference quality equipment could make. Families and friends would not have had the opportunity to “see” the environment their soldier was living in without these photos. Germany, Italy, Korea, Japan, Panama, etc… were far away places that most had not visited.
As the twenty first century approaches, the predictions for an arts renaissance by Megatrends 2000 seem realistic based on the Army Arts and Crafts Program practical experience. In the April ‘95 issue of “American Demographics” magazine, an article titled “Generation X” fully supports that this is indeed the case today. Television and computers have greatly contributed to “Generation X” being more interested in the visual arts and crafts.
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Everything You Should Know About Digital Music Gear

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Music gear is a very important component of every genre of music. Music gear are of different types. There are acoustic music gear, electronic music gear, digital music gear, etc. Acoustic music gear is that which do not need any external electrical support. Digital music gear is the newest edition in the family of music gear. This kind of gear is effective, smart looking and trendy.

Digital music gear has a lot of variety. To know about this gear properly, we need to have a clear idea about the varieties. The most basic common feature is that they work digitally.

Digital Rack Tuner

This gazette works in a number system. This system is generated electronically.

Amplifiers

Amplifiers are needed to enhance the sound of the instruments and the vocals. Amplifiers are a kind of digital music gear that are mainly used on stages and in recording studios. Actually the instruments and the vocals are not originally very much loud so that all the audience in a stage show cannot hear it. To solve this problem, amplifiers are being used. It also enhances the tonal quality of the sound.

While playing an electrical instrument like electric guitar, amplifiers are necessary. Electric guitars cannot produce any sound without external electrical help. It has got a pick up. This system helps the guitar to generate a particular tone. And the amplifier then makes that sound audible to everybody.

Processor

This is another important digital music gear. Processors are basically being used with electric guitars. Processor is a tiny gear that consists of a lot of tone and effects. Actually electric guitars do not have any added tone or effect. What it has got is just a clean tone. But you find a guitarist playing in a varied range of tones in a concert. All these tones come from the processor.

The guitar just needs to be connected with the processor. And then it will be equipped with brilliant tones and effects. The best thing about the processor is that you can mix several given tones and make something of your own. Once you make a new tone, you can store that in the processor and can play that whenever you want.

Microphones

Microphones are very much connected with amplifiers. Without microphone, professional music is impossible. Microphone also enhances the sound like amplifiers. But it happens in a different manner.

When music is played, then some tool is necessary that can spread the sound to every corner of the auditorium. Microphone does this job. Microphones have different categories: button microphone, throat microphone, liquid microphone, shot gun microphone, and so on.

Speaker

Speaker is a digital music gear that gives the sound a realistic touch. Speakers are placed in different places in the room or the auditorium. Conventional speakers are not that much popular nowadays. More improvised versions of speakers are there in the market. And they are called surround sound speakers. It gives you a feeling that the sound is coming from every direction.

These are the most important kinds of digital music gear. Apart from these, there are recording equipment, DJ equipment, etc. They also are a part of this type of music gear.

Victor Epand is an expert consultant for music gear, speakers, and microphones. You can find the best marketplace for music gear, speakers, and microphones at these 3 sites: digital music gear, , speakers, subwoofers, and microphones.

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