Tag: Music

Midi Controller Keyboards For Digital Music

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With the advancement of technology and science the production of music has experienced a heap of changes. The modern form of music is composed using digital means. Digital music is also typically called electronic music. This music is composed of digital signals which undergo assorted digital processes to be reproduced in its original analog form. A digital signal is created up of two levels only-0 and one.

This signal is broadcast in the shape of bits with each bit either zero or 1.To convert an analog signal to a digital format analog-to-digital converters are used ;to convert a digital signal to analog form digital-to-analog converters are used. The digital music is noiseless, distortion free to a large extent and reconstructing it to its original analog form is a straightforward process. Digital music has become popular because of its advantages in recording, distribution and production.

The analogue music is first converted to a digital form and then sampled at a specific bit resolution. The bigger the sampling rate and bit resolution the more correct is the digital music obtained. This music is then the subject of digital signal processing techniques where various filtrations happen. In this step different effects can be added to the music signal. After the completion of this step, music is placed in various devices like CD, DVD, USB Flash Drive, Hard Disk ; etc .

Also info compacting systems are applied to reduce the dimensions of the music files. Some of the ordinarily applied methodologies are Vorbis or MP3.The last step is conversion of this digital media into analog form. The digital music is down sampled at a selected sampling rate and bit resolution to obtain the first music.

assorted sound effects can be applied to the digital form of music. An ordinarily used protocol for this purpose is MIDI ( Musical Instrument Digital Interface ) .A MIDI controller is a device which is used for the control over various musical instruments, programming effect modules and automating mixers. It could also capture live musical performances into electronic form and then transfer it to a synthesizer.

Synthesizers are devices which create electrical signals by mixing signals of different frequencies. There are various kinds of MIDI controllers-keyboard controllers, guitar controllers, wind controllers, percussion controllers and foot pedals. Stage lighting has gained momentum over the last few decades. Blinding light effects may also be made by the utilization of little MIDI controllers.

Get more resource on Midi Controller Keyboards Reviews and M Audio Axiom 49 Midi Controller Reviews Read what buyers said…..

No More Breaks
digital music recording
Image by jlaytarts2090
In the past, when you wanted to share music with friends, it involved lending records and CDs. In these circumstances, there was always the very real possibility that you would either not get your disc back, or it would be damaged, scratched or broken. Digital music takes away this social awkwardness. No longer will anybody have to suffer the indignity of cracked cases, when all it takes is a URL link and the message is sent.

With thanks to Flickr user ‘Rodrigo Benavides’ for this image, used under Creative Commons, www.flickr.com/photos/33385510@N00/617324801/

Related Digital Music Recording Articles

My Digital Music Recording and Production

The Digital Renaissance

From the perspective of modern technology with it’s personal computers continually rising in processing power and an increasingly vast array of well-budgeted music software and hardware to choose from, it can be said that it has never been easier to make music.

Whether you are a professional with aspirations to climb dizzy heights and achieve multimillion sales with award winning projects, or just an amateur looking for a bit of fun, it cannot be denied that there is a lot of creative opportunity available using the desktop computer to handle you musical input. Long gone are the days when extensive multi-track recording was reserved for those connected to the industry with its strictly commercial

setup or for people well off enough to afford the expensive equipment.

Nowadays, in conjunction with your computer, a relatively cheap virtual recording studio software package like Steinberg’s Cubase or Pro Tools which has all the features of multi-track recording, a few instruments such as a midi controller keyboard, a guitar and a microphone and your all set up potentially to make some really good music: Basically, it’s all down to dogged-determination, enthusiasm and ability!

Who am I?

-Someone who has been making and recording rock and pop music for a hell of a long time! I have my own virtual recording studio set up and have written, performed on and produced some 16 CD’s to my name. I have also produced other artists in my long and varied repertoire. However, in the early days I never thought I would end up with having that much of an involvement with music in the recording studio.

Some twenty-odd years ago I had been in and out of bands. Then I decided to go solo. I had a head full of ideas and a handful of songs I wanted to record. The choice of doing it all on my own seemed quite practical to me at the time: It would save money employing other musicians and prevent endless rehearsal hours of trying to get across what I wanted and how to do it, when I could achieve this much quicker on my own.

…Well, so much for that nice little theory! Using the words of the immortal bard, what actually happened in practice was a comedy of errors! It took me over two years to finally come up with an album’s worth of my own material.

It had taken such a long time because I had made just about every mistake imaginable during the making (well, it felt like that!). I may tell you more about those mistakes later, with the hope that you don’t make them. It has to be remembered, in those days there was no such thing as computerised recording. It was not even a mere twinkle.

It was a time when the boundary between musicians and non-musicians was a lot less grey: None of this copy, cut and paste sound sampling that you get today from software packages such as Rebirth and Fruity Loops where anyone can have a go. There was no such thing as a controller keyboard linked up to a personal computer where a knowledge or experience of having played is not essential, or midi programming with all its time and money saving implications.

For example, these days I find it a wonderful thing that by using the midi there is no need to have to tune or mic up drums or go through hours and hours of rehearsal and take after take with the drummer to get what is considered to be right for the production. Or even have to call the whole rhythm section back a few days after because a flaw was found in the timing of the whole thing (I’ve been there and done that!). Nowadays the right sound samples and the necessary clicks of the mouse or operations via the keyboard can get the whole software-editing job done relatively quickly to my liking.

Nor was it a time when digital multi-track processing was used where signal-to-noise-ratio was not a problem. No, it was a problem then with analogue reel-to-reel tape recorders. Especially when a high number of tracks, not to mention the cost incurred through having to use a suitable Dolby noise reduction system. If you ever get the chance, ask someone to take off the Dolby on a 24-track tape machine so that you can hear how much hiss nose it makes.

However, in spite of my shortcomings, I still carried on in the same determined way. Which leads me to one piece of advice I can give loud and clearly: Never give up. From a philosophical point of view, I have learnt those mistakes, incompetence, disappointments, shortcomings or anything suchlike are events that can be seen as opportunities!

Sometimes when we are in the morass related to these things, we fail to see the big picture: those undesirable circumstances are platforms for learning, growth and achievement in disguise. -This is how it has been many times for me in music and recording.

From those early days on I did progress, slowly but surely. In a way I was glad to have been around in that era, since I can appreciate the transition from the old analogue set up: reel to reel tape recorders, mixing desks, the multitude of effects racks, echo machines, harmonisers …to the digital technology of today, having gained a broader perspective on how to approach a production and have a greater instinct in knowing how to put music together.

For me, it is this intangible instinct that I treasure the most in all the things I have gained through learning.

I realise also, apart from there being a whole number of different and alternative ways to getting the same task done, that with music being the creative process it is, it may not be appropriate at times to be governed by rigid laws and dogma on how to go about things. For example, today’s offbeat may be tomorrow’s convention. So, from this point of view I realize that many things are not set in stone; take an open minded approach at all times.

Above all have lots of fun!

If you liked reading this article then go to http://www.NewParadigm.ws for more related articles, blogs and videos… including a free download PDF entitled ‘The Greater Way and the New Paradigm Experience’. Hosted by Paul A Philips. One again the link is: http://www.newparadigm.ws/

Digital Music Recorder: A Review of the Olympus WS-321M Digital Voice Recorder

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There are a lot of recorders on the market and one of the models that a lot of individuals are trying to find is a digital music recorder which not only record but also plays music. This adds to the functionality of the device and entertainment for the user. The Olympus WS-321M Digital Voice Recorder is 1 of the most remarkable music recorders that you are able to find, as well as the following is a review of the device.

Design

This device is designed to be totally compact, straightforward to use, and handy. It has the dimensions of 3.7″ x 1.5″ x 0.4″ along with a weight of 1.7 ounces. It is perfectly portable and you are able to keep it in your front pocket, pants pocket, purse, or bag with ease. It is also quite effortless to carry around even by hand. The white body with silver accents and buttons is really clean in appearance, but it can show a lot more damage, stains, and weathering as compared to other darker colored models. Even so, it might be very appealing along with a lot of men and women like white objects as their personal belongings.

The buttons of the device are minimal – only a couple of at the front and some at the sides – but every 1 of them are functional and have an crucial purpose for less difficult navigation and operation of the device. The unit is designed to operate solely on a single Triple-A battery which can either be alkaline or rechargeable. Depending on the recording mode, the device can have various lengths of battery life using an alkaline battery.

Display

The LCD display is small but quite informative as it shows all of the important menus and info that you’ll want to optimally manipulate and navigate the device. It also has a dot matrix display along with a backlight which makes viewing the data even under numerous lighting conditions fairly easy.

Audio and Recording Features

This digital music recorder has a built-in memory of 1 GB and can only save audio files in WMA format. This is an problem for some users who prefer MP3 file formats, but it can often be manually converted making use of distinct software. There are six record modes which dictate how long your maximum recording can be based on the memory capacity of the device. The Stereo XQ mode can save up to approximately 17 hours and 40 minutes of recording. The Stereo HQ mode can record up to approximately 35 hours and 25 minutes of audio. The Stereo SP mode can store up to approximately 70 hours and 55 minutes of audio, as well as the HQ mode. The SP mode can save approximately 139 hours and 30 minutes of audio recording. And also the LP mode can save approximately 277 hours 35 minutes of recording.

The built in 18mm diameter round dynamic speaker produces a total audio output of 70 mW and also the device also has a built-in stereo microphone. But it also has an earphone and microphone jack for additional function and accessibility.

Other Features

Utilized as a music player, the total internal memory can save up to 250 songs. The device has 5 folders wherein you’ll be able to save your files, each able to store up to 200 messages. During recording, the LED turns red, and although playback, the LED turns green. The LED also turns green when the device is accessed to a PC making use of a USB cable. This also permits less difficult and faster transfer of files. The audio files of the device are completely accessible with Windows Media Player since they’re WMA file formats.

Conclusion

This digital music recorder is quite functional and it has lots of features which can be extremely beneficial to a user. I highly suggest the Olympus WS-321M Digital Voice Recorder for anybody who wants to locate an superb voice recorder that can play great music and perform its fundamental recording responsibilities inside the greatest and highest quality.

I have more evaluations and material regarding digitally-made music recorder and

polyvinylchlorid
digital music recording
Image by westpark
for the thematorium contest "zeal"

zealous about music.

i grew up listening to music in it´s analog form: on vinyl records.
beeing zealous about music (and the often awesome artwork on the covers)
i kept most of my vinyl records when changing to digital.
this is the last vinyl longplayer i ever bought [ skinny puppy : rabies ]

What Would I Learn If I Took Music 101 In College?

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Most major college Music 101 courses are specialized and designed for a specific program. In other words, you’ll find a Music 101 class for classical music, dance and theater, performance, or theory (among many others).

Which 101 class a student chooses is mostly determined by their major. For example, a college may offer separate degree programs, including a Bachelor of Arts in Music Performance, Bachelor of Arts in Theory and Composition, or Bachelor of Arts in Music Education. In most schools, each major has a particular program of study and may have it’s own 101 class with specific points of study.

In general, a college-level Music 101 class covers a number of topics including music notation, composition, piano, performance (some whether the student plays an instrument or not), and ear training (sight singing). A significant amount of time is spent on piano studies (some colleges call the class Keyboard Skills) where the student learns basic composing skills, explores different styles of music, and begins their study of music theory. The student may also be asked to be a part of a choir or chorale, and study the human voice as a musical instrument.

For those students not familiar with reading music, some 101 classes include the study of basic music terms as well as the various signs and symbols present in written music. The student will also study key and time signatures, various scales, and dynamics. Normally, at the end of such a class, the student is required to demonstrate what they have learned via a written exam or by playing a piece on the piano. Along with these hands-on offerings, many colleges and universities offer a class in the physics and science of sound (which may lead to a career as a recording engineer).

In keeping up with advances in computer recording and digital media, The Julliard School of Music, for example, offers a class in Music Technology where students pursue specialized areas of study such as digital music production, film scoring, and the use of computers in performance. Other schools, such as the Berkley College of Music, includes a 101 section on the business aspects of music including artist management and promotion

For the most part, a Music 101 class will not require prerequisite studies (particularly those 101 classes that are of a general nature). All that may be needed is eligibility and the desire to learn. These classes are often a continuation of a high school (or college) Music Appreciation class, with a focus on topics such as music in culture, history of music, seeing music as an art form, and an appreciation of the process of recording and producing CD titles (albums and singles).

Being able to play an instrument or having background in vocal studies may not be necessary. This type of a Music 101 class can often be found at the community college level or, in some cases, part of a community continuing education program.

Duane Shinn is the author of a free newsletter on piano chords & chord progressions available at “Music Intervals”

Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Bottom of the Eiffel Tower
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Image by familymwr
Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Bottom of the Eiffel Tower

Photo By: Kyle Jerichow

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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Getting Into Sound and Music Production – Making Your Own Studio at Home

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Are you planning to set up a music studio at home? Well, it is not as difficult to pull off as you might think. True, the number of equipments found scattered around the studio floor of a professional can look rather intimidating to a beginner. However, you will not need that much equipment to start recording your own music tracks.

So, what is needed to set up a beginner’s music studio?

First things first, make a checklist from the items given below. These are the equipments that you must have in your studio if you plan to do digital audio recording of any kind. It may be a tad expensive, but it will be very difficult to pull off a good work without these basic components. Here are the equipments that you simply cannot work without:

1. Microphones: Well, of course these are amongst the most important equipments in your starter setup. After all, how are you supposed to sing the vocals without a microphone? When you purchase one, make sure that it is compatible with digital audio equipment like amplifiers, and sound mixers. Besides, make sure what type of microphone you will need. If you are going to use acoustic guitars and similar high frequency music equipment, invest in a condenser microphone. Otherwise, a dynamic microphone will be cheaper and get you by.

2. Pre-amplifiers: These will help in amplifying the sound of the vocalist’s voice, automatically suppressing some of the background noises in the process. These are your second most important equipments after the microphones. High quality pre-amps can be real wallet-burners though, so keep your budget in mind when shopping for one.

3. Sound cards: You must have one of these if you wish to record music digitally. Go for a low priced one if you are a genius at using audio mixing software. However, if you are not that sure about using audio manipulating software, then it is best to go for the expensive varieties.

4. Computer: Well, of course, you will need a computer with sound cards and audio editing software installed, in order to digitally master the audio tracks you create. Besides, a computer makes the task of remixing a song a snap. However, if you do not wish to edit your own tracks in any way, then simply investing in a hard disk recorder will get the job done, for the time being. Remember though, you will have to live with the noises and disturbances in the background of your audio tracks.

5. Monitor speakers: No, these are not related to monitors that allow you to see what is happening in a computer. Monitor speakers allow you to listen to audio streams and spot discrepancies easily. Some experienced sound mixing professionals claim that they can get the job done with headphones, but it is more difficult to pull off without really good experience in the field.

6. Room acoustics: This is perhaps the most neglected part of an audio recording setup, even by some professionals. However, spending time and money over designing the inside structure of a proper studio is a worthwhile investment. Try not to skimp on this if you wish to do some serious audio recording in future.

These are the bare bone components of a music studio. A good home studio is a genuine asset for any budding musician. Build yours today, and start creating magic using your talent and skills.

Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Ghost Prayin
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Image by familymwr
Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Ghost Prayin

Photo By: SGT Pablo Piedra

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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Music Business in China

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We live in a time where there are not only increasing amounts of people releasing music due to the internet and home production tools, but endless distractions for people on all sides. When music production peaked in the 1980′s, people had little else besides a TV and their music player or stereo to distract them. Now people have in their hand, mobile, internet, video games, video cameras, instant messaging, social networking, and endless super cool apps to keep them occupied. This makes it increasingly difficult to get attention for your music and art. More and more, to get people’s interest, you must have a great story! Only then they will be open and interested to listen to the music.

Now with new music production, promotion, marketing, sales and distribution, both within China and outside, to the existing Chinese artists through local office in Beijing, the industry is regaining its shape. Many other companies are now ready to offer music production services in China, some are based within China. The local office is staffed with bilingual locals who know the market and culture, and have experience working with Chinese and international artists there. These Companies have been legally registered as a Wholly Foreign Owned Enterprise in China. One of them is under the name ‘敬真堂(北京)文化咨询有限公司’ which translates to ‘Respect Truth (Beijing) Culture Consultancy Co. Ltd.’ (This was as close as to the English name given the language and cultural differences. It is kind of translation of the Chinese name, that mean ‘Church of Truth’)

There are many option in China for recording, audio production, music composition, mastering and sound design / film post production. Because China is a complex and daunting market for a foreign company, the music industry starting out with the following basic range of services for music production:

For Chinese artists:
* Focusing on getting Chinese artists who are ready exposure internationally
* Getting international distribution and sales for Chinese music.
* Promotion and marketing for Chinese artists overseas by connecting with interested markets and fans

For International Artists:
* Digital distribution for international artists in China.
* Promotion and marketing in China focusing on key social networking sites.
* Collaboration with Chinese artists and recording traditional Chinese instruments with local professionals

As continuous work is being done in researching the industry and experimenting with new techniques for promotion and marketing music in China, there will also be offering licensing for Chinese music internationally in Film, TV, and online, expanding their revenue sources. China is an important market backed up by the latest statistics. There are many offers for Chinese artists who are ready in creating their own business and develop music career in China, to maximize their profit and control.

To sum up, China is a huge, emerging market for the music industry, but currently in its infancy, and immature. Professional assistance is desperately needed due to crippling discouragement for artists attributed to the pervasive downloading of music. There is also a huge lack of ‘official’ presence for foreign artists who are becoming very popular in China. That means huge opportunity for those willing to support, develop and nurture this challenging market.

Pro Soul music recording studio & promotion companies in Beijing, China has a team of sound engineering professional provide services for music production, Sound Engineering China, audio mixing, sound mixing, music production and music promotion.

A Visit To Windmill Lane In Dublin
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Image by infomatique
[Visit Photo Gallery]

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.

An audio interface lends quality to sound reproduction and MIDI music recording. Learn about interfaces and programs for recording MIDI music in Cubase in this free digital music recording video.

Expert: Kini Knox
Bio: Kini Knox has been working with MIDI for eight years. He went to school for Audio Recording and Engineering.
Filmmaker: MAKE | MEDIA
Video Rating: / 5

Generating Music With a Clavinova

Big Sur in the Morning

Nowadays we’ll talk concerning the Clavinova musical instruments from Yamaha. These are digital pianos that offer you the wealthy and round sound of child grand pianos for about a tenth with the cost. Numerous folks are picking digital pianos as they make a good deal of sense and get up significantly much less room than even an upright piano. They are also much less expensive and less hefty than even an upright piano but they are much richer in tone than a keyboard. And for this cause are much better suggested for people who are in fact learning to play the piano instead of just seeking to rift on the keyboard.

The Clavinova is a pioneering line of digital pianos produced by Yamaha. In styling and in style they look just like acoustic pianos but they are truly state from the art digital instruments that utilizes the leading edge technologies of Yamaha, along with the vast quantity of experience that they have in producing exceptional musical instruments. Because they are electronics units in the identical time they have an immense advantage over acoustic models of pianos specially with regards to modern day characteristics. A Clavinova piano can record songs and can make use of diverse voices, it could even be connected to a laptop or computer making use of a various sorts of connections including a wireless network.

All through the a long time because it’s got launched its digital piano line, Yamaha has been constantly producing improvements on its digital piano goods. One with the latest additions to this line will be the Yamaha CLP 320. Just when you thought the digital piano cannot get any greater, along comes this great new piano design. This really is an enhanced edition of the CLP 220. It has a range of 128 notes, a three level stereo sampling, and a damper. To believe the CLP 320 is just the beginners model on this line. That signifies that you are able to go for even more sophisticated types as you discover the best way to play.

1 from the greatest advantages that a digital piano has over an acoustic 1 could be the cost. The Yamaha CLP 320 price is by far reduced than that of a standard acoustic piano. So you could take pleasure in the exact same type of music at a much reduce value. As soon as you might have seen the Clavinova CLP 320 value tag at a retailer you may well decide to buy one appropriate away.

If you really are a music lover then a digital piano is 1 fantastic merchandise for you.

For more music tutorials visit us and join our friendly composer forum and expand your skill set.

Big Sur in the Morning
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Image by Stuck in Customs
Destination Google!
On Monday Feb 1, I’m speaking at Google for their Authors@Google program. The whole thing will be recorded, so I’ll be able to share it back with the world here once it goes up. You can find out more by following @GoogleTalks. And thanks to Mike Wiacek @MikeWiacek who is the head of the Google Photog Club and to Cliff Redeker @mcrsquared for getting the whole thing set up… I am excited!

Later that afternoon, I’m giving a private photography workshop to people at Google back in one of their secret rooms… That should be a lot of fun too. I’ll be going through, in person, what I have in the HDR Tutorial here on the site.

There is a public photowalk and talk on Thursday, Feb 4 at Stanford. We’ll meet at 4 PM at the The Oval, and then meet at 5:30 in one of the auditoriums for the talk.

Private Tour at Hearst Castle
I’m driving up the coast towards Silicon Valley, and I decided to take my time and leisurely drive up Highway 1. I’m doing my best to fill the trip with planned and unplanned adventures.

I spent a big chunk of the day up at Hearst Castle. I was given a private tour whilst guarded by one of LAPD’s finest, who is now a security guard at the castle. I had carte blanche to go anywhere and shoot everything – it was totally amazing! I got into the wine cellar, into the top two spires where there are tiny bedrooms, and all over the place. It was just amazing — I have not had time to process the photos yet… but… you won’t believe it!

Daily Photo – Big Sur in the Morning
5:30 AM. Alarm goes off. It’s always painful. People that say they are "morning people" — I think they are lying. But, when in a beautiful place, I always force myself, military style, to pop out of bed. There are hikes to be made and photos to take!

I stayed at the Ragged Point Inn. My room had a little fireplace and everything (which made it even harder to get out of bed!). After I got downstairs, I started a little hike to get a good vantage of the coast and the sunrise. Of course, there was a fence blocking the best bit, so I jumped over it like Carl Lewis (a much older, whiter, and less jumpy Carl Lewis), and edged along the rocky coast to get a good spot. I forgot to put on my hiking shoes and mistakenly donned my Cole-Haans while in the dark. Big mistake. Those don’t make for good hiking shoes, especially after five minutes of getting soaked in morning dew from the foliage I was ripping my way through.

But, I had on my earphones and was blasting away music… all was good… the sun came up, the clouds were perfect, and I took this photo.

from Trey Ratcliff at www.stuckincustoms.com

Why You Can’t Afford To Cut Corners With Your Music Equipment

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Good musical equipment ensures a high quality sound output. There are many instruments in the market that make music, but not good enough to make great music. This is the reason you cannot afford to cut corners while buying musical equipment. For example, if you are looking for guitareffects pedals, there are many available in the market with different features and qualities. These devices are used to either color a sound or even transform it completely. As there are so many available in the market, it is not easy to choose the right one. You need to consider various aspects before deciding on the final choice. You cannot afford to be sloppy while choosing the gear for the recording as they are the one that create the right atmosphere for the complete recording.

If you want to buy gear for home recording studio, you need to keep all aspects in mind. Instruments for the outdoors do not suit for indoor recordings. If you get the right equipment for your studio at start-up itself, even though it may pinch the pocket, it helps avoid any later confusion and chaos in recording of the music. Good quality equipment from branded companies last years without causing any problem. It may not be the same if you buy any ordinary gear. The sound created by ordinary guitareffects pedals would be far inferior than the one created by the guitareffects pedals from a good company and of good quality. Not only is the sound compromised, but the longevity of the equipment also decreases along with the quality.

To get the best deals on good quality sound equipment, the best possible place to start looking is online websites. There are scores of online shops and hundreds of internet retailers that sell this equipment at highly competitive prices. You can buy any equipment from these sites such as digital recorder, guitareffects pedals, audio recorders, and several other equipment.

Many a times, it is not easy to buy new equipment. But, instead of cutting corners on the quality of the equipment, you can buy used recording devices. In many cases, these used ones have better sound quality than even the latest ones available in the market. These can be bought online through online auctions. These are more efficient and better than even the best ones available currently in market. These offer you not only good quality but also best value for money.

Before getting any kind of equipment such as guitareffects pedals online, you should always check on the reviews and testimonials from the previous customers. This will help you get most reliable and the best equipment available. You can make great music and last longer in the market. Even if you are buying these devices from some regular store, you need to make sure about their quality. This way you can make Sounds Great Music from good quality music instrument without constraining your pocket much.

Get Sounds Great Music deals on good quality musical instruments such as guitareffects pedals, keyboards, guitars, and other studio recording equipment from the online web store of soundsgreatmusic.com.

Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Just The Two Of Us
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Image by familymwr
Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Just The Two Of Us

Photo By: SSG Adam Mancini

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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More Digital Music Recording Articles

How Far Has Computerised Music Come

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Research suggests that an average of 800 tracks are illegally making up every mp3 owners music download total. The claim is that it is the younger generation who are responsible as the study that revealed these findings was carried out on 14 to 24 year olds. Up to half of those surveyed admitted to sharing all the music on their hard drive allowing friends to copy up to 10,000 songs at a time.

These figures are gleaned from the fact that the average digital music player holds 1,770 songs and almost half of these are copied – illegal music downloads. For those aged 14 – 17, the incidence rose to 61 per cent and then at least one in seven of their CD’s also being copies.

A different, and perhaps the largest study of music download trends put the incidents of illegal copying of one form or another at 96 per cent. In an attempt to overcome this type of theft, record companies are attempting to encourage internet service providers to introduce new subscription based music services.

Maybe if the younger generation had nothing but the earliest form of computerised music to listen to they may hold back from stealing this type of music download.

The oldest known recordings of computer generated music have been unveiled in the form of a recording of Baa Baa Black Sheep and a version of In The Mood from the BBC that were recorded in the autumn of 1951 during a visit to the University of Manchester. Paul Doornbusch, a computer music composer and historian at the New Zealand School of Music believes it’s the earliest recording in the world of a computer playing music.

The previous oldest recordings were from Bell Labs in the US in 1957 on an IBM mainframe computer and this was when and where computer music really took off but neither of the above were truly the first to have computer music. This accolade goes to a machine called CSIRAC, Australia’s first digital computer, which treated its audience to a rendition of Colonel Bogey. It is thought this computerised music was heard months in advance of the Manchester recording but it can’t be found and therefore can’t be proved.

So, the earliest genuine record stays with the BBC whose outside broadcasting team had been at the University to record an edition of Children’s Hour.
Manchester was then home to the Ferranti Mark 1 which was the first commercially available general purpose computer. Word spread that this new fangled piece of technology could play music and a program was written, some say for playing chess that would be rounded off with a rendition of God Save The King but others insist the program was purely for playing music.

The recording of the Baa Baa Black Sheep is on acetate disc and makes for an interesting slice of history as the other conversations going on in the room at the same time can be heard also.

Manchester is happy to boast the fact that they are the centre of the computer generation. Baby was the label given to the forerunner of the Ferranti Mark 1 and was the first computer with the ability to hold memory and store programs. This memory was constructed from a Cathode Ray Tube and enabled scientists to program 1024 bits – which shows how far we have come with the billions of bits in today’s computers.

Music expert Catherine Harvey looks at the way music downloads have progressed since the early computers.

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… an impressionnist photo safari concentrated mainly on a daily basis (or almost) on my small piece of planet of 55 000 square feet…!!!
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When producing MIDI files or digital music, get a sound card that can reproduce sound and high quality connection wires. Learn about sounds cards for recording MIDI music in Cubase in this free digital music recording video.

Expert: Kini Knox
Bio: Kini Knox has been working with MIDI for eight years. He went to school for Audio Recording and Engineering.
Filmmaker: MAKE | MEDIA
Video Rating: / 5

The New Age Music Producer

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Looking into the situation in the current music industry, a record producer (or music producer) can have a lot of roles. Among these roles may be task like, mentoring and guiding the artist or musicians, controlling the studio recording sessions, organizing and scheduling production budget and other music resources, and obviously one of the most important jobs of the producer was the supervising of the recording, and the mixing and mastering processes.

In the last 20 years the term producer has essentially taken on a new meaning in the music industry. More and more producers are taking a more entrepreneurial role or approach to the music business. This role has been enhanced part because of the recent evolution of digital music, specifically in the hip hop genre. In contemporary digital hip hop music, it is possible for the producer to be the only person involved in the creation of a musical record, album or recording. Today the producer can be responsible for writing, performing, recording and even arranging all the material for a song or album.

With the change and ever decreasing price of professional music software in the industry like FL Studio, Digidesign Protools, Cakewalk Sonar, and Steinberg Cubase, producers can recorded, compose, and arrange entire tracks and songs on a single bedroom computer and get very professional results. All the parts of music production that used to take almost an entire team of people to do, can now all be done by one person, the producer.

The hip hop music industry, for the most part, can be seen as a major beneficiary to the current trend of music technology price drops. People of all economic statuses are now able to have access to some of the best music production tools at very affordable prices. Having powerful semi-professional music software and equipment was almost unheard of about 15 to 20 years ago. Now people of all age group and demographics are able to make music from the comfort of their own homes or studios. Most basic music producers are even able to set up small studios in their basements or bedrooms and get very close to a professional quality recording or sound.

We really don’t know where technology is going to take us in the future of music, but all the current economic signs say the technology will continue to get cheaper by the day. Making it more and more affordable for any body wanting to get into the music production business to set up a studio from home and make professional sounding albums and recording.

M. Crawford is a music industry professional.
Go online to buy hip hop beats and buy rap beats from music producers who make hip hop instrumentals around the globe. Visit http://www.beatswagger.com

A Visit To Windmill Lane In Dublin
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Image by infomatique
[Visit Photo Gallery]

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.

Setting up a MIDI sequencing studio requires some basic equipment and software. Learn about setup for recording MIDI music in Cubase in this free digital music recording video.

Expert: Kini Knox
Bio: Kini Knox has been working with MIDI for eight years. He went to school for Audio Recording and Engineering.
Filmmaker: MAKE | MEDIA