Marilyn Monroe on Jack Benny Show 1953
Friday, June 22, 2007
Modest Mouse Missed the Boat
Modest Mouse video made using 4133 still images all printed from Kinkos and shot on a digital SLR.
2007 Mercedes SLR McLaren 722 Edition
2007 Mercedes SLR McLaren 722 Edition
Mercedes has released a photo set of a new SLR McLaren 722 Edition. The SLR car has increased output of 650 hp, a tailor-made suspension configuration, and a sporty interior. The 722 Edition convertible accelerates to 62 mph in only 3.6 seconds, and 124 mph is reached in just 10.2 seconds. The maximum speed is 209 mph.
Mercedes has released a photo set of a new SLR McLaren 722 Edition. The SLR car has increased output of 650 hp, a tailor-made suspension configuration, and a sporty interior. The 722 Edition convertible accelerates to 62 mph in only 3.6 seconds, and 124 mph is reached in just 10.2 seconds. The maximum speed is 209 mph.
2007 Mercedes CL-Class Brabus coupe
2007 Mercedes CL-Class Brabus coupe
Brabus, German based tuner, has unveiled a kit for the 2007 Mercedes CL-Class coupe. The basic CL 600’s 5.5-liter V12 engine was increased to 6.3 liters. Output is increased to 730 hp at 5,100 rpm, and torque peaks to 811 pound-feet at 2,100 rpm. All this means the car accelerates to 62 mph in just 4.0 seconds, and 124 mph in 11.9 seconds. For the CL 500 boosting output to 462 horsepower (6,200 rpm) and 454 pound-feet of torque (3,100 rpm). Tuned cars are fitted with 12-piston brakes, aerodynamics enhancements, new front and rear fascias, and custom wheels.
Brabus, German based tuner, has unveiled a kit for the 2007 Mercedes CL-Class coupe. The basic CL 600’s 5.5-liter V12 engine was increased to 6.3 liters. Output is increased to 730 hp at 5,100 rpm, and torque peaks to 811 pound-feet at 2,100 rpm. All this means the car accelerates to 62 mph in just 4.0 seconds, and 124 mph in 11.9 seconds. For the CL 500 boosting output to 462 horsepower (6,200 rpm) and 454 pound-feet of torque (3,100 rpm). Tuned cars are fitted with 12-piston brakes, aerodynamics enhancements, new front and rear fascias, and custom wheels.
BMW Alpina B5 vs Mercedes E55 AMG Kompressor
BMW Alpina B5 vs Mercedes E55 AMG Kompressor
The BMW Alpina B5 was standard as well as the Mercedes E55 AMG.
The BMW Alpina B5 was standard as well as the Mercedes E55 AMG.
dj-ama ( Electro House music )
Tracklist:
1. High Volume-Original Mix by Rob Mooney, Jon Gurd
2. Get It On (Summer Love) by Tom Novylls Remix
3. Work It-Rene Amesz Mix by Muzzaik
4. PATT (Party All The Time) Patrick La Funk Remix by Sharam
5. Dirty Sound-Dirty Detroit Mix by Austin Leeds, Nick Terranova
6. Afrolimba-Original Mix by Noir
Here are some mixes by:
dj-ama.com
And here she is on:
myspace.com/djamamusica
dj-ama is using...
Equipment List: ScratchLIVE Software/Records, Stanton T.60 turntable, Vestax PMC 17A mixer, Onkyo amp, Infinity 250 speakers, and Denon DN-HP1000 headphones.
Tracklist:
1. Another T [Original Mix] by Dave Robertson & Jon Gurd
2. 99R6 - MBG Electro House Mix by MBG
3. BSOD by BSOD
4. Don't You Feel (Klaas Remix) by Chrissi D!
5. Turn it around (micky slim remix) by The Marches
Tracklist:
1. Magic Box - Club Mix by Chris Kaeser, Shazer K
2. Freedom feat. Nicky Coulter - Noir Remix by Jacobo Padilla
3. Moody - Chris Micali Dub by Island 9
4. Still Underground - Original Mix by Alex Guerrero
5. La Musica - Falero Remix by Luigi Daniell, JJ-Jefferson
6. Get Away - Original Mix by DJ Fist
7. Dreamin - Original Mix by Deepjay Project
1. High Volume-Original Mix by Rob Mooney, Jon Gurd
2. Get It On (Summer Love) by Tom Novylls Remix
3. Work It-Rene Amesz Mix by Muzzaik
4. PATT (Party All The Time) Patrick La Funk Remix by Sharam
5. Dirty Sound-Dirty Detroit Mix by Austin Leeds, Nick Terranova
6. Afrolimba-Original Mix by Noir
Here are some mixes by:
dj-ama.com
And here she is on:
myspace.com/djamamusica
dj-ama is using...
Equipment List: ScratchLIVE Software/Records, Stanton T.60 turntable, Vestax PMC 17A mixer, Onkyo amp, Infinity 250 speakers, and Denon DN-HP1000 headphones.
Tracklist:
1. Another T [Original Mix] by Dave Robertson & Jon Gurd
2. 99R6 - MBG Electro House Mix by MBG
3. BSOD by BSOD
4. Don't You Feel (Klaas Remix) by Chrissi D!
5. Turn it around (micky slim remix) by The Marches
Tracklist:
1. Magic Box - Club Mix by Chris Kaeser, Shazer K
2. Freedom feat. Nicky Coulter - Noir Remix by Jacobo Padilla
3. Moody - Chris Micali Dub by Island 9
4. Still Underground - Original Mix by Alex Guerrero
5. La Musica - Falero Remix by Luigi Daniell, JJ-Jefferson
6. Get Away - Original Mix by DJ Fist
7. Dreamin - Original Mix by Deepjay Project
transformer link up-date:
If you want to get some cool transformer toys.
Head on over to toysonfire.com amd check it out.
Also here are some other kool linx for the transformers @
freewebs.com/superquad7/bashers.
and
Here's some cool dude that made a big DEVASTATOR TRIBUTE.
Lily Allen
Lily Allen - "Smile"
Lily Rose Beatrice Allen[1] (born May 2, 1985) is a BRIT Award nominated English singer-songwriter, currently signed to Regal/Parlophone (EMI), and known for songs such as "Smile" and "LDN". She is the daughter of actor/comedian/musician Keith Allen and film producer Alison Owen. Her single "Smile" reached #1 on the UK singles charts in July 2006.
Click here for More.
And here's the website and myspace for her.
lilyallenmusic.com
myspace.com/lilymusic
Lily Rose Beatrice Allen[1] (born May 2, 1985) is a BRIT Award nominated English singer-songwriter, currently signed to Regal/Parlophone (EMI), and known for songs such as "Smile" and "LDN". She is the daughter of actor/comedian/musician Keith Allen and film producer Alison Owen. Her single "Smile" reached #1 on the UK singles charts in July 2006.
Click here for More.
And here's the website and myspace for her.
lilyallenmusic.com
myspace.com/lilymusic
Wednesday, June 20, 2007
Monday, June 18, 2007
Just Like Heaven
The Cure are an English rock band formed in Crawley, Sussex in 1976, widely seen as one of the leading pioneers of the British alternative rock scene of the 1980s. The band has experienced several lineup changes, with frontman, guitarist, and main songwriter Robert Smith—known for his iconic wild hair, pale complexion, smudged lipstick, and frequently gloomy and introspective lyrics—as the only constant member.
More
The Cure-Just Like Heaven
The Cure - Pictures Of You
The Cure - Friday I'm In Love (Acustic Version)
More
The Cure-Just Like Heaven
The Cure - Pictures Of You
The Cure - Friday I'm In Love (Acustic Version)
Naturally Seven "Feel it (in the air tonight)"
Naturally 7 is an acapella music group. They sing primarily R&B with extensive beat-boxing -- they claim all their sounds are from the human voice, with no instruments whatsoever.
Band members are Garfield Buckley, Rod Eldridge, Warren Thomas, Jamal Reed, Roger Thomas, Dwight Stewart, Armand "Hops" Hutton.
Naturally 7 Live in Paris Subway
Thursday, June 14, 2007
Tuesday, June 12, 2007
General Electric JE2160
I bought a General Electric JE2160 Full-Size Microwave Oven
the other day and it's sweet.
I really like it better then the last one. The funny thing is I bought it on a whim.
I was just out shopping ( for nothing in particular )and scene it and said to myself..."SELF" that would be nice in your place.
I think it's the biggest Microwave I've ever owned. I had a old one that was pretty big like 5 years ago..but when I moved I got a smaller one and gave the other big one to the goodwill.
General Electric JE2160
Product Specs
Capacity - 2.1 cu. ft.
Cooking power - 1200 Watts
Depth - 19-1/2"
Height - 14"
Width - 24"
Auto defrost - yes
Power levels - 10
the other day and it's sweet.
I really like it better then the last one. The funny thing is I bought it on a whim.
I was just out shopping ( for nothing in particular )and scene it and said to myself..."SELF" that would be nice in your place.
I think it's the biggest Microwave I've ever owned. I had a old one that was pretty big like 5 years ago..but when I moved I got a smaller one and gave the other big one to the goodwill.
General Electric JE2160
Product Specs
Capacity - 2.1 cu. ft.
Cooking power - 1200 Watts
Depth - 19-1/2"
Height - 14"
Width - 24"
Auto defrost - yes
Power levels - 10
UBUNTU in the mail
I got my free disk's of UBUNTU in the mail....here's how it looks when you get it...
( I covered up my name, address and phone number....
but you get the idea...)
Here's what you get when you open the package...
I got 3 cd's that contain the operating system. One for me and 2 others to share with friends and family, and some stickers...
As soon as I install it I will post how it goes...
Later,...
Sunday, June 10, 2007
Say " I Love You " In 24 Different Languages!
*English - I love you*
*Spanish - Te Amo*
*Arabic- Bahibak*
*Somali - Waan ku jacaalahay*
*Polish - Ja Kocham Ciebie*
*Russian - Liubliu tebea*
*French - Je T'aime*
*Hindu - Main tumse pyaar karhti hoon*
*Gujarati - hu thane prem karu chu*
*Czech - Miluji Te*
*Slovakian - Lu'Bim Ta*
*Bulgarian-OBICHAM TE*
*Italian - Ti Amo*
*Ukrainian - Ya Tebe Kahayu*
*German - Ish Libe Dish*
*Chinese - Wo Ai Ni*
*Greek - S'agapo*
*Hawaian - Aloha Wau Ia Oi*
*Lithuianian - Tav Myliu*
*Korean - Sa Rang Hae Yo*
*Japanese - Ai Shi Te Ru*
*Romanian - Te Ubesec*
*Turkish - Seni Seviyorum*
*Bosnian - Volim Te*
*Albanian - Te Dua*
*Filipino - Mahal Kita*
*Swahili - Nakupenda*
*Bengali - Ami tomake bhalo bhashi*
*Spanish - Te Amo*
*Arabic- Bahibak*
*Somali - Waan ku jacaalahay*
*Polish - Ja Kocham Ciebie*
*Russian - Liubliu tebea*
*French - Je T'aime*
*Hindu - Main tumse pyaar karhti hoon*
*Gujarati - hu thane prem karu chu*
*Czech - Miluji Te*
*Slovakian - Lu'Bim Ta*
*Bulgarian-OBICHAM TE*
*Italian - Ti Amo*
*Ukrainian - Ya Tebe Kahayu*
*German - Ish Libe Dish*
*Chinese - Wo Ai Ni*
*Greek - S'agapo*
*Hawaian - Aloha Wau Ia Oi*
*Lithuianian - Tav Myliu*
*Korean - Sa Rang Hae Yo*
*Japanese - Ai Shi Te Ru*
*Romanian - Te Ubesec*
*Turkish - Seni Seviyorum*
*Bosnian - Volim Te*
*Albanian - Te Dua*
*Filipino - Mahal Kita*
*Swahili - Nakupenda*
*Bengali - Ami tomake bhalo bhashi*
Friday, June 08, 2007
Wednesday, June 06, 2007
The Sundays - Wild Horses
The Sundays are an English alternative rock group.
The band, formed in the mid-1980s, released three albums of material in the late 1980s and 1990s. Their music is characterised by singer Harriet Wheeler's "dreamy" voice, 'jangly' guitars and suspension-rich harmonies.
The band's cover version of "Wild Horses", originally written by the Rolling Stones, was featured in the film Fear; in episode 3.20 ("The Prom") of the TV show Buffy the Vampire Slayer; and in episode 3.17 ("Crash and Burn") of the TV show CSI. The song appeared on Buffy the Vampire Slayer: The Album. It was also featured in a Budweiser commercial aired during Super Bowl XXIX.
A very good remake....
Aaron Hall
Aaron Hall - I Miss You
Aaron Hall - Let's Make Love: Letterbox Version
Aaron Hall (born 10 August 1964 in Bronx, New York) is an American R&B singer and songwriter. He was a member of the 80s and 90s trio Guy, along with new jack swing founder Teddy Riley and songwriter Timmy Gatling, and later Hall's brother Damian.
He has a son with "video honey" and aspiring rapper Gloria Velez, whom he has not seen since the child was a toddler. Velez says he has never paid any child support, a claim Hall does not deny, although he said he has tried to locate her and would like to see his son. Velez countered by saying that if he wanted to find her, she is not hard to find and if he wants to see his son, he should hire a lawyer. She has said she was abused both physically and verbally during their relationship and does not want her son exposed to Hall.
As member of Guy, Hall rose to fame as lead singer of hits like "Groove Me", "I Like" and "Piece of My Love" (from the group's self-titled debut album) and "Let's Chill" and "Do Me Right" (from their second album, The Future) before the trio disbanded in the end of 1991. His vocal dinstinction is strangely similar to that of Charlie Wilson, a member of the R&B/Funk group The Gap Band. They also collaborated in 1992 on the soundtrack to Eddie Murphy's hit film Boomerang (film).
As a solo singer, his hits include the #1 R&B single, "Don't Be Afraid" (from the "Juice" soundtrack in 1991 & also on popular videogame Grand Theft Auto: San Andreas, playing on Funk radio station CSR 103.9) and his Top 3 single, "I Miss You" (from his solo debut in 1994). He also participated in several projects with R. Kelly and joined Kelly and a group of fellow R&B singers in the song "U Will Know" from the "Jason's Lyric" soundtrack. Coincidentally, It has long been said (jokingly) that Kelly should thank Hall for his success due to their similar styles.
Hall reunited with his brother and Riley as Guy on their 1999 reunion album, Guy III, which featured the modest hit, "Dancin'".
In July 2005, Aaron Hall came out with his last album entitled Adults Only: The Final Album.
[edit] Discography
[edit] Albums
* The Truth (1993)
* Inside of You (1998)
* Adults Only: The Final Album (2005)
Man, this "guy" can sing...
Aaron Hall - Let's Make Love: Letterbox Version
Aaron Hall (born 10 August 1964 in Bronx, New York) is an American R&B singer and songwriter. He was a member of the 80s and 90s trio Guy, along with new jack swing founder Teddy Riley and songwriter Timmy Gatling, and later Hall's brother Damian.
He has a son with "video honey" and aspiring rapper Gloria Velez, whom he has not seen since the child was a toddler. Velez says he has never paid any child support, a claim Hall does not deny, although he said he has tried to locate her and would like to see his son. Velez countered by saying that if he wanted to find her, she is not hard to find and if he wants to see his son, he should hire a lawyer. She has said she was abused both physically and verbally during their relationship and does not want her son exposed to Hall.
As member of Guy, Hall rose to fame as lead singer of hits like "Groove Me", "I Like" and "Piece of My Love" (from the group's self-titled debut album) and "Let's Chill" and "Do Me Right" (from their second album, The Future) before the trio disbanded in the end of 1991. His vocal dinstinction is strangely similar to that of Charlie Wilson, a member of the R&B/Funk group The Gap Band. They also collaborated in 1992 on the soundtrack to Eddie Murphy's hit film Boomerang (film).
As a solo singer, his hits include the #1 R&B single, "Don't Be Afraid" (from the "Juice" soundtrack in 1991 & also on popular videogame Grand Theft Auto: San Andreas, playing on Funk radio station CSR 103.9) and his Top 3 single, "I Miss You" (from his solo debut in 1994). He also participated in several projects with R. Kelly and joined Kelly and a group of fellow R&B singers in the song "U Will Know" from the "Jason's Lyric" soundtrack. Coincidentally, It has long been said (jokingly) that Kelly should thank Hall for his success due to their similar styles.
Hall reunited with his brother and Riley as Guy on their 1999 reunion album, Guy III, which featured the modest hit, "Dancin'".
In July 2005, Aaron Hall came out with his last album entitled Adults Only: The Final Album.
[edit] Discography
[edit] Albums
* The Truth (1993)
* Inside of You (1998)
* Adults Only: The Final Album (2005)
Man, this "guy" can sing...
Guy
Classic by guy. A good example of the New Jack Swing era.
Guy - 'groove me'
GUY - Teddy's Jam 2
Guy - D-O-G Me Out 12"
guy show tv(teddy riley)
Guy was a popular 1980s and 1990s hip-hop, R&B and soul band that was one of the early pioneers of hip-hop/R&B music and which set a trend in the early 1980s in a movement called the New jack swing.
Formed in Harlem, New York in 1987 by young musician James from santa clara. His accomplice was Justin.record producer Teddy Riley, the original members of Guy included Riley and R&B singer-songwriters Aaron Hall and Timmy Gatling, who were students at HBCU Virginia State University in Petersburg, Virginia. After signing to Uptown Records, the group released their first self-titled album in 1988. Gatling left after the first album was done and was quickly replaced by Aaron's younger brother Damion. Upon its release, the album went platinum three times over and included classics like "Groove Me", "Teddy's Jam," "I Like", "Piece of My Love" and "Merry-Go-Round of Love". That first album quickly established the group and Riley as musical forces.
After producing music for other artists other than his group, Riley returned to the group after they opened for New Edition and released their second album, The Future, in 1990. The songs "I Wanna Get Wit U" and "Let's Chill" gave them a broader, mainstream fan base. However, as soon as The Future's success had dried up, Guy would be album-less for much of the 1990s. In the meantime, Riley went on to produce for artists such as Heavy D and Michael Jackson, and formed another R&B group named Blackstreet. Both Aaron and his brother Damion recorded solo albums, Aaron being a major influence on the style of R&B singer R. Kelly.
In 2000, Riley and the Hall brothers reunited to release their first album in nine years titled Guy III. The album featured the modest hit "Dancin'", but their label MCA Records had a hard time promoting it. As quickly as it was released, it quickly dropped from the public radar. Since then, Guy has been relatively quiet, but rumors of working on a new album still linger.
In 2006 they were part of New Jack Reunion Tour line up, along with Blackstreet, Tony Toni Tone, After 7, New Edition, and SWV.
Members
* Teddy Riley
* Aaron Hall
* Damion Hall
[edit] Former Members
* Timmy Gatling
Guy - 'groove me'
GUY - Teddy's Jam 2
Guy - D-O-G Me Out 12"
guy show tv(teddy riley)
Guy was a popular 1980s and 1990s hip-hop, R&B and soul band that was one of the early pioneers of hip-hop/R&B music and which set a trend in the early 1980s in a movement called the New jack swing.
Formed in Harlem, New York in 1987 by young musician James from santa clara. His accomplice was Justin.record producer Teddy Riley, the original members of Guy included Riley and R&B singer-songwriters Aaron Hall and Timmy Gatling, who were students at HBCU Virginia State University in Petersburg, Virginia. After signing to Uptown Records, the group released their first self-titled album in 1988. Gatling left after the first album was done and was quickly replaced by Aaron's younger brother Damion. Upon its release, the album went platinum three times over and included classics like "Groove Me", "Teddy's Jam," "I Like", "Piece of My Love" and "Merry-Go-Round of Love". That first album quickly established the group and Riley as musical forces.
After producing music for other artists other than his group, Riley returned to the group after they opened for New Edition and released their second album, The Future, in 1990. The songs "I Wanna Get Wit U" and "Let's Chill" gave them a broader, mainstream fan base. However, as soon as The Future's success had dried up, Guy would be album-less for much of the 1990s. In the meantime, Riley went on to produce for artists such as Heavy D and Michael Jackson, and formed another R&B group named Blackstreet. Both Aaron and his brother Damion recorded solo albums, Aaron being a major influence on the style of R&B singer R. Kelly.
In 2000, Riley and the Hall brothers reunited to release their first album in nine years titled Guy III. The album featured the modest hit "Dancin'", but their label MCA Records had a hard time promoting it. As quickly as it was released, it quickly dropped from the public radar. Since then, Guy has been relatively quiet, but rumors of working on a new album still linger.
In 2006 they were part of New Jack Reunion Tour line up, along with Blackstreet, Tony Toni Tone, After 7, New Edition, and SWV.
Members
* Teddy Riley
* Aaron Hall
* Damion Hall
[edit] Former Members
* Timmy Gatling
Torrents
BitTorrent (BT) is a peer-to-peer (P2P) communications protocol for file sharing. The protocol was designed in April 2001, implemented and first released July 2, 2001[1] by programmer Bram Cohen, and is now maintained by BitTorrent, Inc.
BitTorrent is a method of distributing large amounts of data widely without the original distributor incurring the entire costs of hardware, hosting and bandwidth resources. Instead, when data is distributed using the BitTorrent protocol, recipients each supply data to newer recipients, reducing the cost and burden on any given individual source, providing redundancy against system problems, and reducing dependence upon the original distributor.
Usage of the protocol accounts for significant traffic on the Internet, but the precise amount has proven difficult to measure.
There are numerous compatible BitTorrent clients, written in a variety of programming languages, and running on a variety of computing platforms.
For
More
and /or try:
azureus.sourceforge.net
bitcomet.com
btjunkie.org
torrentreactor.net
Here's a picture how it works...
Apple TV Harddrive Upgrade Tutorial
Update: Thanks to reader Epon, we now have a way to do this without requiring iPartition. So you can now do the upgrade for only the price of your new harddrive.
Here it is, a step by step tutorial on upgrading your Apple TV harddrive. With thanks to Jonathan Bare, the brave soul who worked this out!
It should be noted that this process will almost certainly void your Apple TV’s warranty and you are attempting this upgrade at your own risk.
For more goto:
appletvhacks.net
Convoy iPod Docking
Convoy iPod Docking Bay with Speakers.
Two iconic products have merged to create the new Convoy iPod Docking Bay! Convoy is presented in an entirely white iPod color scheme and fully functional iPod Docking Bay with Speakers. This product is fully licensed by Apple. The trailer holds two speakers and all standard size iPods will mount in the center of the trailer to play your favorite tunes (iPod not included of course). Please note that the iPod Shuffle will not work with this product. An AC adapter cord is also included. Convoy himself will be the same size as the G1 mold and a brand new Convoy head mold has been used.
For more goto:
bigbadtoystore.com
Arrives July 2007
Price: $144.99
Transformers Earphones
Frenzy and Rumble Transforming Ear Phones. These are fully functional earphones for use with the Soundwave MP3 Player. Frenzy and Rumble are slated to be released July 2007 for a price of roughly $37.These awesome earphones from Takara Tomy can be transformed into a robot!
LCD Shift Knob
German shift knob is something we think they can get behind. It's a learning shifter, which you assign gear numbers to depending on your car's specific position. When you switch to that gear, the LCD display on the top shows you correct gear in easy-to-read numbers.
According to TMTuning, installation is straightforward, the LCD has an auto-dimming feature and it can be yours in blue or red for $169.00.
Mobilizer Widget from Mixxer
The Mobilizer Widget is the easiest tool to get your media from the web to any cell phone.
Get a Mobilizer Widget for Your My Space Profile or Blog.
Mobilize from Firefox to Any Cell Phone
Send a text message from the web to your friend's cell phone with our Txt Me tm tool!
Create Your Own Ringtones
Make your own cell phone wallpaper
Watch Videos on Your Cell Phone
Is Mixxer FREE?
Yep, for the most part. Mixxer doesn’t charge to create your own ringtones and wallpaper, or to send pictures and videos to friends. The only thing that costs money on the site is premium ringtones (because we pay royalities to the record labels and recording artists). Please note that your phone must be able to receive text messages or access the Internet in order to to download content to your phone through Mixxer. Some carriers may charge extra for these services, depending on your plan.
mixxer.com
Tuesday, June 05, 2007
Ubuntu 7.04 ( Top 10 Ubuntu apps )
Ubuntu 7.04 has quickly become the operating system of choice for millions of people around the world - whether they're Linux newcomers, Windows and Mac defectors or pony-tailed system administrators who wear watches displaying the time in binary. While Ubuntu comes jacked with useful applications out of the box, there's a big selection of free, thriving Linux desktop software which matches or betters their Windows and Mac counterparts in terms of features.
Today we've chosen our favorite ten Ubuntu software applications that are exclusive to GNU/Linux. Add them to your Ubuntu desktop to make your install pop.
Lifehacker's Top 10 Ubuntu apps
* 10. Beryl (desktop graphics)
* 9. Checkgmail (email notifier)
* 8. Brightside (mouse gestures)
* 7. Katapult (program launcher)
* 6. Liferea (feed reader)
* 5. Kopete (IM client)
* 4. gParted (disk partition utility)
* 3. Samba (file sharing)
* 2. AmaroK (jukebox)
* 1. Automatix (installer)
Today we've chosen our favorite ten Ubuntu software applications that are exclusive to GNU/Linux. Add them to your Ubuntu desktop to make your install pop.
Lifehacker's Top 10 Ubuntu apps
* 10. Beryl (desktop graphics)
* 9. Checkgmail (email notifier)
* 8. Brightside (mouse gestures)
* 7. Katapult (program launcher)
* 6. Liferea (feed reader)
* 5. Kopete (IM client)
* 4. gParted (disk partition utility)
* 3. Samba (file sharing)
* 2. AmaroK (jukebox)
* 1. Automatix (installer)
MIDI Basics 101
MIDI Basics
What it is, how it works, why it's important
and how to hook it up in your home studio
--------------------------------------------------
MIDI is DATA
MIDI, the Musical Instrument Digital Interface is a protocol developed in 1983 by major synthesizer manufacturers to allow one synth to play another remotely. They quickly found out a computer could record and playback this data and it revolutionized the way music is produced.
IMPORTANT: MIDI works by sending NOTE ON and NOTE OFF events down a midi cable as well as timing information and controller (knobs, wheels, and sliders) information. Read that again, OK? MIDI works by sending NOTE ON and NOTE OFF events down a midi cable as well as timing information and controller (knobs, wheels, and sliders) information.
---->Understand that MIDI is NOT an audio signal<-----
The sound of the keyboard or module does not go down the MIDI cable, only these computer encoded "events" do. What is an "event?" It's all just numbers, man. But not the large blocks of numbers that make up an audio waveform. MIDI events are just ones and zeros that say when you pressed down which key (a note ON event), how hard you pressed it (velocity number), when you let the key up (a note OFF event), pressed the next key, moved a knob (controller data), changed a program (program change command). That is the basic point you have to fully understand. The cool thing is that all this MIDI data, once recorded, is fully, totally, completely editable, malleable, changeable, transformable, re-assignable, erasable, replaceable and it all happens on the edit screens of your sequencer.
To read more goto:
how_to_get_started_with_midi
a really cool page by: Rich the TweakMeister
Check it out.
What it is, how it works, why it's important
and how to hook it up in your home studio
--------------------------------------------------
MIDI is DATA
MIDI, the Musical Instrument Digital Interface is a protocol developed in 1983 by major synthesizer manufacturers to allow one synth to play another remotely. They quickly found out a computer could record and playback this data and it revolutionized the way music is produced.
IMPORTANT: MIDI works by sending NOTE ON and NOTE OFF events down a midi cable as well as timing information and controller (knobs, wheels, and sliders) information. Read that again, OK? MIDI works by sending NOTE ON and NOTE OFF events down a midi cable as well as timing information and controller (knobs, wheels, and sliders) information.
---->Understand that MIDI is NOT an audio signal<-----
The sound of the keyboard or module does not go down the MIDI cable, only these computer encoded "events" do. What is an "event?" It's all just numbers, man. But not the large blocks of numbers that make up an audio waveform. MIDI events are just ones and zeros that say when you pressed down which key (a note ON event), how hard you pressed it (velocity number), when you let the key up (a note OFF event), pressed the next key, moved a knob (controller data), changed a program (program change command). That is the basic point you have to fully understand. The cool thing is that all this MIDI data, once recorded, is fully, totally, completely editable, malleable, changeable, transformable, re-assignable, erasable, replaceable and it all happens on the edit screens of your sequencer.
To read more goto:
how_to_get_started_with_midi
a really cool page by: Rich the TweakMeister
Check it out.
EQ'n Bass and the Perfect Mix
EQ'n Bass
Secrets to EQ'n Bass for Hip Hop
By ModernBeats.com
As a Hip Hop Producer, one thing you must learn to respect is the power of bass and how it can control your entire mix for better or worse. So, for the benefit of your mixes, take note of these important tricks of the trade we reveal below:
1) Bass frequencies are omnidirectional. This means the lows within bass instruments contain alot of power and energy, so powerful they can control the overall output of the master mix level. Plus, your bass track should almost always be panned in the center. Panning your bass other than to the center is senseless as it will only generate a mix that is lopsided and artificially hot on one side.
2) Don't EQ your bass with the same frequencies as you used on your kicks. For example, if you boosted 40-80hz in your kick tracks, then boost around 120hz for your bass, or vice versa. It's very important to avoid accumulation of the same frequencies when dealing with lows as these tracks control the overall output level of your mix. By assigning different frequency settings to each low end track, your overall mix level can become louder.
3) Boosting a particular frequency on a kick track, calls for cutting the same frequency by the same amount on your bass track. Specifically, when boosting 80hz on a kick track, be certain to cut 80hz by the same amount on your bass track. Likewise, if you boosted 130hz on your bass track, cut by the same amount and frequency on your kick track. This secret technique will give your song a far more low end sculpted sound, allowing for a hotter overall mix.
The Perfect Mix
There are many ways to get your songs to final form. What matters is not how you get there, but that you do get there. Lets pretend you are enrolled in one of the world's fine universities and you are writing a Master's Thesis. This is not just "any" piece of drudge paperwork, but the culmination of you education. You know you have to write in excellent form, have to watch out for tiny grammatical imperfections, and make sure substance and style flows well. In short, you have to rewrite and edit, a lot. It may take several experiments to get this just right. You might be working for weeks, not going out to the clubs with your buds, even sending hopeful significant others away. Why? The darn paper is important--you have to do well!
~Read More~
Secrets to EQ'n Bass for Hip Hop
By ModernBeats.com
As a Hip Hop Producer, one thing you must learn to respect is the power of bass and how it can control your entire mix for better or worse. So, for the benefit of your mixes, take note of these important tricks of the trade we reveal below:
1) Bass frequencies are omnidirectional. This means the lows within bass instruments contain alot of power and energy, so powerful they can control the overall output of the master mix level. Plus, your bass track should almost always be panned in the center. Panning your bass other than to the center is senseless as it will only generate a mix that is lopsided and artificially hot on one side.
2) Don't EQ your bass with the same frequencies as you used on your kicks. For example, if you boosted 40-80hz in your kick tracks, then boost around 120hz for your bass, or vice versa. It's very important to avoid accumulation of the same frequencies when dealing with lows as these tracks control the overall output level of your mix. By assigning different frequency settings to each low end track, your overall mix level can become louder.
3) Boosting a particular frequency on a kick track, calls for cutting the same frequency by the same amount on your bass track. Specifically, when boosting 80hz on a kick track, be certain to cut 80hz by the same amount on your bass track. Likewise, if you boosted 130hz on your bass track, cut by the same amount and frequency on your kick track. This secret technique will give your song a far more low end sculpted sound, allowing for a hotter overall mix.
The Perfect Mix
There are many ways to get your songs to final form. What matters is not how you get there, but that you do get there. Lets pretend you are enrolled in one of the world's fine universities and you are writing a Master's Thesis. This is not just "any" piece of drudge paperwork, but the culmination of you education. You know you have to write in excellent form, have to watch out for tiny grammatical imperfections, and make sure substance and style flows well. In short, you have to rewrite and edit, a lot. It may take several experiments to get this just right. You might be working for weeks, not going out to the clubs with your buds, even sending hopeful significant others away. Why? The darn paper is important--you have to do well!
~Read More~
Ghost Notes
Ghost Notes
What are ghost notes?
They are hits that add flavour and depth to a beat, and add groove to a simple drum pattern.
Bass heavy kicks can be especially effective.
How should I use them?
There are no rules to placement of ghost notes,every beat
should be approached in a different way.
The screen shot bellow shows how I have used a ghost kick.
Click here to listen to the clip with the ghost notes.
Click here to listen to the clip without ghost notes.
What are ghost notes?
They are hits that add flavour and depth to a beat, and add groove to a simple drum pattern.
Bass heavy kicks can be especially effective.
How should I use them?
There are no rules to placement of ghost notes,every beat
should be approached in a different way.
The screen shot bellow shows how I have used a ghost kick.
Click here to listen to the clip with the ghost notes.
Click here to listen to the clip without ghost notes.
How Sound Travels in your studio
How Sound Travels in your studio
The following tutorial is based on not having your studio acoustically treated, and is only a guide to try to maximise the best assets in mixing in a home studio.
Sound Waves
Let us have a very brief look at how sound travels, and how we measure it’s effectiveness.
Sound travels at approximately1130 feet per second.
Now let us take a frequency travel scenario and try to explain it’s movement in a room.
For arguments sake, let’s look at a bass frequency of 60 Hz.
To understand what I am talking about here in regards to Hz, please read my Synthesis tutorial on Sound.
When emitting sound, the speakers will vibrate at a rate of 60 times per second. Each cycle (Hz) means that the speaker cones will extend forward when transmitting the sound, and refract back (rarefaction) when recoiling for the next cycle.
These vibrations create peaks on the forward drive and troughs on the refraction. Each peak and trough equates to one cycle.
Imagine 60 of these every second.
We can now calculate the wave cycles of this 60 Hz wave. We know that sound travels at approximately 1130 feet per second, so we can calculate how many wave cycles that is for the 60 Hz wave. We divide 1130 by 60, and the result is around 19 feet (18.83 if you want to be anal about it). We can now deduce that each wave cycle is 19 feet apart. To calculate each half cycle, i.e. the distance between the peak and trough, drive and rarefaction, we simply divide by two. We now have a figure of 91/2 feet. What that tells us is that if you sat anywhere up to 91/2 feet from your speakers, the sound would fly past you completely flat.
However, this is assuming you have no boundaries of any sort in the room, i.e. no walls or ceiling. As we know that to be utter rubbish, we then need to factor in the boundaries.
Are you still with me here?
These boundaries will reflect back the sound from the speakers and get mixed with the original source sound. This is not all that happens. The reflected sounds can come from different angles and because of their ‘bouncing’ nature; they could come at a different time to other waves. And because the reflected sound gets mixed with the source sound, the actual volume of the mixed wave is louder.
In certain parts of the room, the reflected sound will amplify because a peak might meet another peak (constructive interference), and in other parts of the room where a peak meets a trough (rarefaction), frequencies are cancelled out (destructive interference).
Calculating what happens where is a nightmare.
This is why your mix will sound poor.
This is why it is crucial for our ears to hear the sound from the speakers arrive before the reflective sounds. For argument’s sake, I will call this sound ‘primary’ or ‘leading’, and the reflective sound ‘secondary’ or ‘following’.
Our brains have the uncanny ability, due to an effect called the Haas effect, of both prioritizing and localizing the primary sound, but only if the secondary sounds are low in amplitude. So, by eliminating as many of the secondary (reflective) sounds as possible, we leave the brain with the primary sound to deal with. This will allow for a more accurate location of the sound, and a better representation of the frequency content.
But is this what we really want?
I ask this, because the secondary sound is also important in a ‘real’ space and goes to form the tonality of the sound being heard. Words like rich, tight, full etc. all come from secondary sounds (reflected). So, we don’t want to completely remove them, as this would then give us a clinically dead space. We want to keep certain secondary sounds and only diminish the ones that really interfere with the sound.
Our brains also have the ability to filter or ignore unwanted frequencies. In the event that the brain is bombarded with too many reflections, it will have a problem localizing the sounds, so it decides to ignore, or suppress, them.
The best example of this is when there is a lot of noise about you, like in a room or a bar, and you are trying to have a conversation with someone. The brain can ignore the rest of the noise and focus on ‘hearing’ the conversation you are trying to have. I am sure you have experienced this in public places, parties, clubs, football matches etc.
To carry that over to our real world situation of a home studio, we need to understand that reflective surfaces will create major problems, and the most common of these reflective culprits are walls. However, there is a way of overcoming this, assuming the room is not excessively reflective, and is the standard bedroom/living room type of space with carpet and curtains.
We overcome this with clever speaker placement and listening position, and before you go thinking that this is just an idea and not based on any scientific foundation, think again. The idea is to have the primary sound arrive to our ears before the secondary sound. Walls are the worst culprits, but because we know that sound travels at a given speed, we can make sure that the primary sound will reach our ears before the secondary sound does. By doing this, and with the Haas effect, our brains will prioritize the primary sound and suppress (if at low amplitude) the secondary sound, which will have the desired result, albeit not perfectly.
A room affects the sound of a speaker by the reflections it causes. We have covered this and now we need to delve a little more into what causes these reflections. Some frequencies will be reinforced, others suppressed, thus altering the character of the sound. We know that solid surfaces will reflect and porous surfaces will absorb, but this is all highly reliant on the materials being used.
Curtains and carpets will absorb certain frequencies, but not all, so it can sometimes be more damaging than productive. For this, we need to understand the surfaces that exist in the room. In our home studio scenario, we are assuming that a carpet and curtains, plus the odd sofa etc, are all that are in the room. We are not dealing with a steel factory floor studio.
In any listening environment, what we hear is a result of a mixture of both the primary and secondary (reflected) sounds. We know this to be true and our sound field will be a combination of both. In general, the primary sound, from the speakers, is responsible for the image, while the secondary sounds contribute to the tonality of the received sound. The trick is to place the speaker in a location that will take of advantage of the desirable reflections, while diminishing the unwanted reflections
More on this in the next tutorial.
Eddie Bazil (Zukan)
The following tutorial is based on not having your studio acoustically treated, and is only a guide to try to maximise the best assets in mixing in a home studio.
Sound Waves
Let us have a very brief look at how sound travels, and how we measure it’s effectiveness.
Sound travels at approximately1130 feet per second.
Now let us take a frequency travel scenario and try to explain it’s movement in a room.
For arguments sake, let’s look at a bass frequency of 60 Hz.
To understand what I am talking about here in regards to Hz, please read my Synthesis tutorial on Sound.
When emitting sound, the speakers will vibrate at a rate of 60 times per second. Each cycle (Hz) means that the speaker cones will extend forward when transmitting the sound, and refract back (rarefaction) when recoiling for the next cycle.
These vibrations create peaks on the forward drive and troughs on the refraction. Each peak and trough equates to one cycle.
Imagine 60 of these every second.
We can now calculate the wave cycles of this 60 Hz wave. We know that sound travels at approximately 1130 feet per second, so we can calculate how many wave cycles that is for the 60 Hz wave. We divide 1130 by 60, and the result is around 19 feet (18.83 if you want to be anal about it). We can now deduce that each wave cycle is 19 feet apart. To calculate each half cycle, i.e. the distance between the peak and trough, drive and rarefaction, we simply divide by two. We now have a figure of 91/2 feet. What that tells us is that if you sat anywhere up to 91/2 feet from your speakers, the sound would fly past you completely flat.
However, this is assuming you have no boundaries of any sort in the room, i.e. no walls or ceiling. As we know that to be utter rubbish, we then need to factor in the boundaries.
Are you still with me here?
These boundaries will reflect back the sound from the speakers and get mixed with the original source sound. This is not all that happens. The reflected sounds can come from different angles and because of their ‘bouncing’ nature; they could come at a different time to other waves. And because the reflected sound gets mixed with the source sound, the actual volume of the mixed wave is louder.
In certain parts of the room, the reflected sound will amplify because a peak might meet another peak (constructive interference), and in other parts of the room where a peak meets a trough (rarefaction), frequencies are cancelled out (destructive interference).
Calculating what happens where is a nightmare.
This is why your mix will sound poor.
This is why it is crucial for our ears to hear the sound from the speakers arrive before the reflective sounds. For argument’s sake, I will call this sound ‘primary’ or ‘leading’, and the reflective sound ‘secondary’ or ‘following’.
Our brains have the uncanny ability, due to an effect called the Haas effect, of both prioritizing and localizing the primary sound, but only if the secondary sounds are low in amplitude. So, by eliminating as many of the secondary (reflective) sounds as possible, we leave the brain with the primary sound to deal with. This will allow for a more accurate location of the sound, and a better representation of the frequency content.
But is this what we really want?
I ask this, because the secondary sound is also important in a ‘real’ space and goes to form the tonality of the sound being heard. Words like rich, tight, full etc. all come from secondary sounds (reflected). So, we don’t want to completely remove them, as this would then give us a clinically dead space. We want to keep certain secondary sounds and only diminish the ones that really interfere with the sound.
Our brains also have the ability to filter or ignore unwanted frequencies. In the event that the brain is bombarded with too many reflections, it will have a problem localizing the sounds, so it decides to ignore, or suppress, them.
The best example of this is when there is a lot of noise about you, like in a room or a bar, and you are trying to have a conversation with someone. The brain can ignore the rest of the noise and focus on ‘hearing’ the conversation you are trying to have. I am sure you have experienced this in public places, parties, clubs, football matches etc.
To carry that over to our real world situation of a home studio, we need to understand that reflective surfaces will create major problems, and the most common of these reflective culprits are walls. However, there is a way of overcoming this, assuming the room is not excessively reflective, and is the standard bedroom/living room type of space with carpet and curtains.
We overcome this with clever speaker placement and listening position, and before you go thinking that this is just an idea and not based on any scientific foundation, think again. The idea is to have the primary sound arrive to our ears before the secondary sound. Walls are the worst culprits, but because we know that sound travels at a given speed, we can make sure that the primary sound will reach our ears before the secondary sound does. By doing this, and with the Haas effect, our brains will prioritize the primary sound and suppress (if at low amplitude) the secondary sound, which will have the desired result, albeit not perfectly.
A room affects the sound of a speaker by the reflections it causes. We have covered this and now we need to delve a little more into what causes these reflections. Some frequencies will be reinforced, others suppressed, thus altering the character of the sound. We know that solid surfaces will reflect and porous surfaces will absorb, but this is all highly reliant on the materials being used.
Curtains and carpets will absorb certain frequencies, but not all, so it can sometimes be more damaging than productive. For this, we need to understand the surfaces that exist in the room. In our home studio scenario, we are assuming that a carpet and curtains, plus the odd sofa etc, are all that are in the room. We are not dealing with a steel factory floor studio.
In any listening environment, what we hear is a result of a mixture of both the primary and secondary (reflected) sounds. We know this to be true and our sound field will be a combination of both. In general, the primary sound, from the speakers, is responsible for the image, while the secondary sounds contribute to the tonality of the received sound. The trick is to place the speaker in a location that will take of advantage of the desirable reflections, while diminishing the unwanted reflections
More on this in the next tutorial.
Eddie Bazil (Zukan)
Calibrating the signal path
Calibrating the signal path
For you to achieve an accurate mix, you need to calibrate your signal path to show a consistent value throughout the signal path.
The signal strength at the input stage should match, exactly, the signal strength at the output stage. This is called Unity Gain.
What this basically means is that if you input a value of, say, 3dB, then you should see and hear that same value right through your signal path to the output, 3dB in, 3dB out.
If you input that 3dB value as a synthesizer gain (synthesizer’s output level) through your mixer’s input/s, then through the master stereo outs (or sub groups) of the mixer, into the sound card, and finally through the master outs in your sequencing software, then you should see and hear the same value of 3dB.
This is what you would think, right?
Please read my tutorial on sound and it’s measurement.
It isn’t that simple I’m afraid, and the reason being is that we have different standards in the audio industry and as far as analogue signal levels are concerned, though, there are only two to worry about: +4dBu and -10dBV, respectively the professional and semi-professional standards.
But what do these levels actually represent?
The reference point in any decibel scale is always 0dB (please read my tutorial on sound and how it is measured) and a suffix letter is used to denote the chosen standard.
In an analogue mixer, a test level signal of 0VU on the output meters means that the main outputs should measure +4dBu. That is the pro level standard, which means we can align input and output levels to exhibit unity gain throughout a signal chain. In other words, you can pass signals between equipment and know that you won't overload anything or disappear into the noise floor.
The semi-pro level standard of -10dBV was adopted for unbalanced signal interfaces using much simpler (or cheaper) circuitry. The standard -10dBV level equates to about a quarter of the voltage of the professional +4dBu reference level, or almost 12dB lower.
Notice that I am avoiding using any math or physics to explain these measurements and standards. This tutorial has been written with the layman in mind, not the technician. If you want to mesmerize yourself and read the technical specifications and the math, then there are some excellent articles on this subject.
For the sake of our calibration chapter, I am only interested in supplying you with working figures.
Back on subject.
Most professional systems are designed to handle peak levels in the region of +22dBu. +28dBu is very good, while +18dB is pretty standard on budget equipment; therefore, working off the pro nominal signal value of +4dBu, with the maximum peak level being +22dBu, we have 18dB of headroom in the system.
This is simple to calculate, and always keep that simple calculation in mind when you buy a piece of gear, and the manufacturer boasts it’s spec claims. You now know how to calculate the headroom required on any system.
How does that equate to the reading on the mixer?
Well, you have to be aware that almost all analogue mixers, that follow a VU metering system, never show the ‘true’ scale peak value, but the average.
What this means in the real world, is that although the VU meters will show, say 6 dB above 0, the actual figure is well above that, usually by as much as 6 dB. This is because VU meters are not instant metering tools, and react to average values. For music hitting the +10 LED on peak-reading meters, the true signal peaks will be reaching the +20dBu mark (+14dBu plus 6dB overshoot), which is only 2dB below clipping in a typical system.
A mixer will often have enough headroom, and usually around the 10 dB mark, for the user to be able to ‘drive’ the signal past 0 dB and still have no distortion. Of course, gain pushing on analogue mixers is a technique used for getting more ‘warmth’ out of a mix; by driving past 0 dB. Another funky tip, but alas, shows how old school I am.
Now let’s look at the digital side of this.
Digital systems cannot record audio of greater amplitude than the maximum quantising level (please read my tutorial on the Digital Process). The digital signal reference point as at the top of the digital meter scale is 0dBFS, FS standing for 'full scale'.
Since analogue equipment provides around 18dB or more of headroom, it seems sensible to configure digital systems in the same way.
In the US, the adopted standard of setting the nominal analogue level is; 0dBu equals -20dBFS, thereby tolerating peaks of up to 20 dBu. In Europe, 0dBu equals to -18dBFS, thereby tolerating peaks of up to +18dBu.
This all sounds complicated but all you really need to be concerned with, as far as the digital world is concerned, is that we have a peak meter scale of 0 dBFS. Beyond this and you have clipping and distortion. Bearing in mind that the industry standard for 'Red Book' specification for audio CDs insists that material should peak above -4dBFS, then you can see why 0dBFS peaking is crucial.
In the digital domain, you can kiss gain pushing goodbye. 0 is max, that is Gospel.
The problem for most semi pro and project studios is that the vast majority of A/D converters are already adjusted to accommodate the headroom, as discussed earlier, according to the international standards. Using +4dBu as the standard, this will produce a -16dBFS digital signal. So, the analogue mixer’s peak levels will register +12dBu (+8VU), but will only achieve peak digital levels of about -8dBFS. Without any form of dynamic gain boost, this level will sound too quiet.
This is where calibration comes into the equation.
The accuracy of calibration from A-D is crucial, because any deviation either side of the equation, will have a negative affect on the accurate representation of the mix.
I can honestly say that out of every 10 studios I visit, home or semi-pro, 8 are not calibrated. How often have you created a mix, then played it in your car/home hi-fi system, only to find it is either too quiet or so loud that it distorts?
Another advantage of signal path calibration is that of ‘balance’. By going through the calibration process, you will invariably sort out any bias problems that you may be experiencing with the stereo imaging. Bias of either side of the stereo field is as damaging as an inaccurate signal path value.
What we are trying to achieve is a clean and strong audio signal, equal in value right throughout the signal path, and showing no bias to either side of the stereo field.
This may sound complicated but in practice it is actually quite simple.
The procedure.
If you have a mixer’s outputs connected directly to your sound card’s inputs, then you need to start right at the input stage of the mixer.
If you do not have a mixer and are going directly into the sound card’s inputs, then follow this procedure as well, but substituting the sound card’s inputs as the direct input stage.
You need to input a line level signal into one of the input channels on the mixer. I always recommend a constant, non fluctuating signal, like a sine test tone at 1 kHz, or any sound that is constant, sustaining and not dynamically fluctuating.
Avoid sounds that have variety in their waveforms, like drum loops or evolving pad sounds etc. We need a constant single level input signal, like a sustaining sine bass sound, or a constant raw waveform, but not noise.
But first, you need to ‘flatten’ (flatline) the mixer. This basically means that you turn all faders down, all pan pots to centre, all auxiliaries and inserts to off/zero, remove all EQs by depressing them or turning them down to centre where there is no cut or boost, depress phantom power, and finally, turn the input gain knob on the mixer’s channel, that you are inputting the tone through, to zero.
We now have a flatlined mixer.
Most mixer faders start at 0 for Unity, and can be moved down or up. We need to put the channel’s fader at 0 and the mixer’s main stereo outs faders to 0. We are trying to achieve a signal value of 0dB, because we know that equates to +4 dBu (pro standard).
Make sure your monitors (speakers) are connected to the mixer and on, and that your mixer’s monitor outs (control room or main mix or master outs etc.) are on and at a level that you can hear the monitors.
Now start to raise the input knob (trim) on the input channel until you have a level showing on the meter or LED. Your input signal should be bang on at 0, and the master outs metering should be bang on 0VU. Do not adjust the faders for the input channel and master outs. You need to set your input level using the input channel’s gain/trim knob.
This is called Unity Gain.
We now need to calibrate the sound card..
Check the control panel of the software that came with the sound card and check to see what the level is going into the computer. The control panel will probably have faders for controlling levels going into and out of the sound card. Select the ‘audio in’ fader and set this to 0, as you did with the mixer.
We know that in the digital domain the input level should be -16 dBFS, as discussed earlier.
You need to decide what level of adjustment you need to make.
I prefer to use a value close to commercial CD standard, of about -2 dB.
For me; I adjust the input level to around -14 dBFS, which allows me the headroom to peak at -2 dBFS. I do this because I know I can push the mixer to + 10 dB before I experience any distortion, and in the digital domain that would be my peak value of -2 dBFS. In other words, I am accommodating the headroom with a setting of -14 dBFS.
If you wanted bang on 0 dB, then you can adjust the input on the A/D (soundcard) to be exactly that, but you run the risk of clipping beyond 0 dBFS in the event that the material being input peaks beyond 0. You need to calibrate your system based on what you’re A/D is doing in the digital domain.
It’s always good practice to record and test a signal after you have completed the calibration. If you find that your recording is too loud or too quiet, then you need to adjust the input level accordingly.
Now we need to sort out the replay end of things. This is the D/A setting. We know that 0 dBFS in the digital domain equates to +20 dBu on the analogue mixer (using pro standard of +4 dBu). That is way too loud and will distort the signal. If you have control over the D/A output, then setting this to 0VU on the analogue mixer is important for proper calibration.
Commercially recorded music needs to be aligned by using the following signal: -8dBFS to align with +4dBu or 0VU.
Personally, I prefer to have the same input and output values right through the A/D D/A, so that unity is shown both at input and output.
If there is a discrepancy at the input or output stage, then adjust the sound card’s respective gain knobs, but checking with the control panel to make sure there is no clipping etc.
Once you have set up the right listening environment and calibrated your signal path, then you are in a position of strength.
Hearing exactly what is being mixed, right from input to final output, in a room with no bias towards certain frequencies, will allow for a much more accurate and precise mix. It will also make the whole mixing experience much more enjoyable.
I often find that mixing in the right environment, and with a calibrated signal path, affords me more creative ideas as I know I am mixing from a position of strength, and do not need to worry about the mix sounding one way in the room and another way on a hi-fi system, or in my car.
This confidence makes me more assertive in trying different things out. It also saves me so much time in having to correct bad sound representations that I allocate the time saved to trying out different versions of the same mix.
Excerpt taken from Mixing Simplified e-book.
Grab this e-book here.
Eddie Bazil (Zukan)
For you to achieve an accurate mix, you need to calibrate your signal path to show a consistent value throughout the signal path.
The signal strength at the input stage should match, exactly, the signal strength at the output stage. This is called Unity Gain.
What this basically means is that if you input a value of, say, 3dB, then you should see and hear that same value right through your signal path to the output, 3dB in, 3dB out.
If you input that 3dB value as a synthesizer gain (synthesizer’s output level) through your mixer’s input/s, then through the master stereo outs (or sub groups) of the mixer, into the sound card, and finally through the master outs in your sequencing software, then you should see and hear the same value of 3dB.
This is what you would think, right?
Please read my tutorial on sound and it’s measurement.
It isn’t that simple I’m afraid, and the reason being is that we have different standards in the audio industry and as far as analogue signal levels are concerned, though, there are only two to worry about: +4dBu and -10dBV, respectively the professional and semi-professional standards.
But what do these levels actually represent?
The reference point in any decibel scale is always 0dB (please read my tutorial on sound and how it is measured) and a suffix letter is used to denote the chosen standard.
In an analogue mixer, a test level signal of 0VU on the output meters means that the main outputs should measure +4dBu. That is the pro level standard, which means we can align input and output levels to exhibit unity gain throughout a signal chain. In other words, you can pass signals between equipment and know that you won't overload anything or disappear into the noise floor.
The semi-pro level standard of -10dBV was adopted for unbalanced signal interfaces using much simpler (or cheaper) circuitry. The standard -10dBV level equates to about a quarter of the voltage of the professional +4dBu reference level, or almost 12dB lower.
Notice that I am avoiding using any math or physics to explain these measurements and standards. This tutorial has been written with the layman in mind, not the technician. If you want to mesmerize yourself and read the technical specifications and the math, then there are some excellent articles on this subject.
For the sake of our calibration chapter, I am only interested in supplying you with working figures.
Back on subject.
Most professional systems are designed to handle peak levels in the region of +22dBu. +28dBu is very good, while +18dB is pretty standard on budget equipment; therefore, working off the pro nominal signal value of +4dBu, with the maximum peak level being +22dBu, we have 18dB of headroom in the system.
This is simple to calculate, and always keep that simple calculation in mind when you buy a piece of gear, and the manufacturer boasts it’s spec claims. You now know how to calculate the headroom required on any system.
How does that equate to the reading on the mixer?
Well, you have to be aware that almost all analogue mixers, that follow a VU metering system, never show the ‘true’ scale peak value, but the average.
What this means in the real world, is that although the VU meters will show, say 6 dB above 0, the actual figure is well above that, usually by as much as 6 dB. This is because VU meters are not instant metering tools, and react to average values. For music hitting the +10 LED on peak-reading meters, the true signal peaks will be reaching the +20dBu mark (+14dBu plus 6dB overshoot), which is only 2dB below clipping in a typical system.
A mixer will often have enough headroom, and usually around the 10 dB mark, for the user to be able to ‘drive’ the signal past 0 dB and still have no distortion. Of course, gain pushing on analogue mixers is a technique used for getting more ‘warmth’ out of a mix; by driving past 0 dB. Another funky tip, but alas, shows how old school I am.
Now let’s look at the digital side of this.
Digital systems cannot record audio of greater amplitude than the maximum quantising level (please read my tutorial on the Digital Process). The digital signal reference point as at the top of the digital meter scale is 0dBFS, FS standing for 'full scale'.
Since analogue equipment provides around 18dB or more of headroom, it seems sensible to configure digital systems in the same way.
In the US, the adopted standard of setting the nominal analogue level is; 0dBu equals -20dBFS, thereby tolerating peaks of up to 20 dBu. In Europe, 0dBu equals to -18dBFS, thereby tolerating peaks of up to +18dBu.
This all sounds complicated but all you really need to be concerned with, as far as the digital world is concerned, is that we have a peak meter scale of 0 dBFS. Beyond this and you have clipping and distortion. Bearing in mind that the industry standard for 'Red Book' specification for audio CDs insists that material should peak above -4dBFS, then you can see why 0dBFS peaking is crucial.
In the digital domain, you can kiss gain pushing goodbye. 0 is max, that is Gospel.
The problem for most semi pro and project studios is that the vast majority of A/D converters are already adjusted to accommodate the headroom, as discussed earlier, according to the international standards. Using +4dBu as the standard, this will produce a -16dBFS digital signal. So, the analogue mixer’s peak levels will register +12dBu (+8VU), but will only achieve peak digital levels of about -8dBFS. Without any form of dynamic gain boost, this level will sound too quiet.
This is where calibration comes into the equation.
The accuracy of calibration from A-D is crucial, because any deviation either side of the equation, will have a negative affect on the accurate representation of the mix.
I can honestly say that out of every 10 studios I visit, home or semi-pro, 8 are not calibrated. How often have you created a mix, then played it in your car/home hi-fi system, only to find it is either too quiet or so loud that it distorts?
Another advantage of signal path calibration is that of ‘balance’. By going through the calibration process, you will invariably sort out any bias problems that you may be experiencing with the stereo imaging. Bias of either side of the stereo field is as damaging as an inaccurate signal path value.
What we are trying to achieve is a clean and strong audio signal, equal in value right throughout the signal path, and showing no bias to either side of the stereo field.
This may sound complicated but in practice it is actually quite simple.
The procedure.
If you have a mixer’s outputs connected directly to your sound card’s inputs, then you need to start right at the input stage of the mixer.
If you do not have a mixer and are going directly into the sound card’s inputs, then follow this procedure as well, but substituting the sound card’s inputs as the direct input stage.
You need to input a line level signal into one of the input channels on the mixer. I always recommend a constant, non fluctuating signal, like a sine test tone at 1 kHz, or any sound that is constant, sustaining and not dynamically fluctuating.
Avoid sounds that have variety in their waveforms, like drum loops or evolving pad sounds etc. We need a constant single level input signal, like a sustaining sine bass sound, or a constant raw waveform, but not noise.
But first, you need to ‘flatten’ (flatline) the mixer. This basically means that you turn all faders down, all pan pots to centre, all auxiliaries and inserts to off/zero, remove all EQs by depressing them or turning them down to centre where there is no cut or boost, depress phantom power, and finally, turn the input gain knob on the mixer’s channel, that you are inputting the tone through, to zero.
We now have a flatlined mixer.
Most mixer faders start at 0 for Unity, and can be moved down or up. We need to put the channel’s fader at 0 and the mixer’s main stereo outs faders to 0. We are trying to achieve a signal value of 0dB, because we know that equates to +4 dBu (pro standard).
Make sure your monitors (speakers) are connected to the mixer and on, and that your mixer’s monitor outs (control room or main mix or master outs etc.) are on and at a level that you can hear the monitors.
Now start to raise the input knob (trim) on the input channel until you have a level showing on the meter or LED. Your input signal should be bang on at 0, and the master outs metering should be bang on 0VU. Do not adjust the faders for the input channel and master outs. You need to set your input level using the input channel’s gain/trim knob.
This is called Unity Gain.
We now need to calibrate the sound card..
Check the control panel of the software that came with the sound card and check to see what the level is going into the computer. The control panel will probably have faders for controlling levels going into and out of the sound card. Select the ‘audio in’ fader and set this to 0, as you did with the mixer.
We know that in the digital domain the input level should be -16 dBFS, as discussed earlier.
You need to decide what level of adjustment you need to make.
I prefer to use a value close to commercial CD standard, of about -2 dB.
For me; I adjust the input level to around -14 dBFS, which allows me the headroom to peak at -2 dBFS. I do this because I know I can push the mixer to + 10 dB before I experience any distortion, and in the digital domain that would be my peak value of -2 dBFS. In other words, I am accommodating the headroom with a setting of -14 dBFS.
If you wanted bang on 0 dB, then you can adjust the input on the A/D (soundcard) to be exactly that, but you run the risk of clipping beyond 0 dBFS in the event that the material being input peaks beyond 0. You need to calibrate your system based on what you’re A/D is doing in the digital domain.
It’s always good practice to record and test a signal after you have completed the calibration. If you find that your recording is too loud or too quiet, then you need to adjust the input level accordingly.
Now we need to sort out the replay end of things. This is the D/A setting. We know that 0 dBFS in the digital domain equates to +20 dBu on the analogue mixer (using pro standard of +4 dBu). That is way too loud and will distort the signal. If you have control over the D/A output, then setting this to 0VU on the analogue mixer is important for proper calibration.
Commercially recorded music needs to be aligned by using the following signal: -8dBFS to align with +4dBu or 0VU.
Personally, I prefer to have the same input and output values right through the A/D D/A, so that unity is shown both at input and output.
If there is a discrepancy at the input or output stage, then adjust the sound card’s respective gain knobs, but checking with the control panel to make sure there is no clipping etc.
Once you have set up the right listening environment and calibrated your signal path, then you are in a position of strength.
Hearing exactly what is being mixed, right from input to final output, in a room with no bias towards certain frequencies, will allow for a much more accurate and precise mix. It will also make the whole mixing experience much more enjoyable.
I often find that mixing in the right environment, and with a calibrated signal path, affords me more creative ideas as I know I am mixing from a position of strength, and do not need to worry about the mix sounding one way in the room and another way on a hi-fi system, or in my car.
This confidence makes me more assertive in trying different things out. It also saves me so much time in having to correct bad sound representations that I allocate the time saved to trying out different versions of the same mix.
Excerpt taken from Mixing Simplified e-book.
Grab this e-book here.
Eddie Bazil (Zukan)
Speaker placement for optimum listening spot
Speaker placement for optimum listening spot
Distance to side wall and back wall.
Most speakers need to be a minimum of a foot or two away from the side and back walls to reduce early reflections.
Differences among speakers can also influence positioning, so you must always read the manufacturer’s specifics before starting to position the speakers.
A figure-of-eight pattern may be less critical of a nearby side wall, but very critical of the distance to the back wall.
The reverse is true for dynamic speakers that exhibit cardioid patterns. In general, the further away from reflective surfaces, the better. It is also crucial to keep the distances from the back wall and side walls mismatched.
If your speakers are set 3 feet from the back wall, do NOT place them 3 feet from the side walls, place them at a different distance.
Another crucial aspect of the listening position and speaker placement is that the distance from your listening position to each speaker be absolutely identical.
It has been calculated that an error of less than ½” can affect the speaker sound imaging, so get this absolutely correct.
Distance to speakers from listening position.
Once you have established the above, you now need to sort out the distance from the listener to the speakers.
I work off an equilateral triangle with the seating position being at the apex of this triangle. The distances must all be equal.
The other factor to consider is the distance between the speakers. Too close and you will get a narrow soundstage with the focus being very central. Widening the distance between the speakers will afford you a wider stereo width, but too far and you will lose the integrity of the soundstage.
Toe-in.
This is the angle of the speakers facing the listener.
There are a number of factors that influence the angle of the speakers. The room, the speakers themselves, and your preferable listening angle I always start at an excessive toe-in and work outwards until I can hear the soundstage perfectly.
Tilt.
Tilt is also crucial. Depending on the make of the speakers, most speakers are meant to be level set, but some might require tilting and in most cases, the tilt is rear high. If you have to have the speakers tilted then start off level and work from there. Personally I prefer a level speaker setup.
Listening height.
You will find that the optimum listening height is that of the speaker’s centre being at exactly ear height. However, certain speakers have their own specific height recommendations. You will find that with 3-way systems that incorporate top, mid and sub woofers, the listening height is more customized to account for the woofer placements in the speaker cabin or housing.
Seating location.
I find that keeping the seating position 1-3 feet from the boundary wall gives me the best bass response, and because the distance is too short for the brain to measure the time delay and thus locate the source of the reflection.
Please look at the figure below (Fig 1)
The listening position is at the rear of the room with the speakers facing and forming the equilateral triangle setup, and the listening position forming the apex of the triangle. The elliptical shape denotes the soundstage and as you can plainly see, the side and rear walls do not interfere with the soundstage.
As you can see, I have created this soundstage using the longer walls as the back and front walls, instead of creating the soundstage with the listening position on the shorter walls. This allows me to position the speakers as wide as is sonically possible and thus affording me a wider stereo field.
Place the listening chair near the rear wall, because the distance (1 to 3 feet) is too short for the brain to measure the time delay and locate the source of the reflection. Also, it places you at the room boundary where the perception of bass is greatest.
Fig 1
Please make sure to take care in optimizing your listening environment.
Once this has been achieved, you can mix far more accurately and truthfully.
Eddie Bazil (Zukan)
www.samplecraze.com
Distance to side wall and back wall.
Most speakers need to be a minimum of a foot or two away from the side and back walls to reduce early reflections.
Differences among speakers can also influence positioning, so you must always read the manufacturer’s specifics before starting to position the speakers.
A figure-of-eight pattern may be less critical of a nearby side wall, but very critical of the distance to the back wall.
The reverse is true for dynamic speakers that exhibit cardioid patterns. In general, the further away from reflective surfaces, the better. It is also crucial to keep the distances from the back wall and side walls mismatched.
If your speakers are set 3 feet from the back wall, do NOT place them 3 feet from the side walls, place them at a different distance.
Another crucial aspect of the listening position and speaker placement is that the distance from your listening position to each speaker be absolutely identical.
It has been calculated that an error of less than ½” can affect the speaker sound imaging, so get this absolutely correct.
Distance to speakers from listening position.
Once you have established the above, you now need to sort out the distance from the listener to the speakers.
I work off an equilateral triangle with the seating position being at the apex of this triangle. The distances must all be equal.
The other factor to consider is the distance between the speakers. Too close and you will get a narrow soundstage with the focus being very central. Widening the distance between the speakers will afford you a wider stereo width, but too far and you will lose the integrity of the soundstage.
Toe-in.
This is the angle of the speakers facing the listener.
There are a number of factors that influence the angle of the speakers. The room, the speakers themselves, and your preferable listening angle I always start at an excessive toe-in and work outwards until I can hear the soundstage perfectly.
Tilt.
Tilt is also crucial. Depending on the make of the speakers, most speakers are meant to be level set, but some might require tilting and in most cases, the tilt is rear high. If you have to have the speakers tilted then start off level and work from there. Personally I prefer a level speaker setup.
Listening height.
You will find that the optimum listening height is that of the speaker’s centre being at exactly ear height. However, certain speakers have their own specific height recommendations. You will find that with 3-way systems that incorporate top, mid and sub woofers, the listening height is more customized to account for the woofer placements in the speaker cabin or housing.
Seating location.
I find that keeping the seating position 1-3 feet from the boundary wall gives me the best bass response, and because the distance is too short for the brain to measure the time delay and thus locate the source of the reflection.
Please look at the figure below (Fig 1)
The listening position is at the rear of the room with the speakers facing and forming the equilateral triangle setup, and the listening position forming the apex of the triangle. The elliptical shape denotes the soundstage and as you can plainly see, the side and rear walls do not interfere with the soundstage.
As you can see, I have created this soundstage using the longer walls as the back and front walls, instead of creating the soundstage with the listening position on the shorter walls. This allows me to position the speakers as wide as is sonically possible and thus affording me a wider stereo field.
Place the listening chair near the rear wall, because the distance (1 to 3 feet) is too short for the brain to measure the time delay and locate the source of the reflection. Also, it places you at the room boundary where the perception of bass is greatest.
Fig 1
Please make sure to take care in optimizing your listening environment.
Once this has been achieved, you can mix far more accurately and truthfully.
Eddie Bazil (Zukan)
www.samplecraze.com
Polish girl's Holocaust diary unveiled
The diary, written by Rutka Laskier in 1943 shortly before she was deported to Auschwitz, was released by
Israel's Holocaust museum more than 60 years after she recorded what is both a daily account of the horrors of the Holocaust in Bedzin, Poland and a memoir of the life of a teenager in extraordinary circumstances.
Some 6 million Jews were killed by the Nazis during World War II, after European Jews were herded into ghettos, banned from most jobs and forced to wear yellow stars to identify them.
To read more goto:
news.yahoo.com
New species found in Suriname
A purple fluorescent frog, of the genus Atelopus and discovered during a follow-up survey of the Nassau plateau in mid 2006 by Surinamese scientists Paul Ouboter and Jan Mol, is seen in this undated handout photo. The frog is one of 24 new species found in the South American highlands of Suriname, conservationists reported on June 4, 2007, warning that these creatures are threatened by illegal gold mining.
Monday, June 04, 2007
BLACKSTREET
BLACKSTREET - BEFORE I LET YOU GO
BLACKstreet are an American R&B group founded in 1992 by Teddy Riley, a New Jack Swing pioneer known for his work as a member of Guy. The band members are: Teddy Riley, Eric Williams, Mark Middleton, and new member J-Stylz. Former members of BLACKstreet are Joseph Stonestreet, Levi Little, Dave Hollister, Terrell Philips, and Chauncey Hannibal. Their debut album, BLACKstreet, was a moderate success due to the singles "Booti Call" and "Before I Let You Go", both Top 40 hits ("Before I Let You Go" hit the Top 10). The follow-up, 1996's Another Level (see 1996 in music) was a breakthrough success due to the top single "No Diggity" (with Dr. Dre), which was a #1 hit on the Billboard Hot 100 in November 1996, and won the 1998 Grammy Award for Best R&B Performance by a Duo or Group with Vocals, along with the Top 40 hit "Don't Leave Me". Another Level eventually went four times platinum in the United States and peaked at #3 on the Billboard chart. "No Diggity" is ranked at #91 on Rolling Stone and MTV: 100 Greatest Pop Songs, while BLACKstreet comes in at #214 of the Top 500 Pop Artists of the Past 25 Years.
BLACKstreet has also collaborated with Jay-Z on his single "The City is Mine".
The debut single from their third album, "Girlfriend/Boyfriend", a collaboration with Janet Jackson featuring Ja Rule and Eve -- BLACKstreet finally had a top ten album with Finally. But personnel shifts wrecked the group and contributed to the relative failure of Finally (1999 in music) and BLACKstreet soon broke up. After rumors of legal action and a preemptive countersuit, the group re-banded and released Level II in 2003 (see 2003 in music).
In 2006 the group was a part of the New Jack Reunion Tour with members Teddy Riley, Mark Middleton, Eric Williams, and a replacement for Chauncey Hannibal who left the group to sign with Busta Rhymes label Flipmode Records named J-Stylz.
The group will release a new album in have a new album out in 2007.
Members
* Teddy Riley
* Mark Middleton
* Eric Williams
* J-Stylz
[edit] Former Members
* Joseph Stonestreet
* Dave Hollister
* Levi Little
* Terrell Philips
* Chauncey Hannibal
Another one of my fav's...
BLACKstreet are an American R&B group founded in 1992 by Teddy Riley, a New Jack Swing pioneer known for his work as a member of Guy. The band members are: Teddy Riley, Eric Williams, Mark Middleton, and new member J-Stylz. Former members of BLACKstreet are Joseph Stonestreet, Levi Little, Dave Hollister, Terrell Philips, and Chauncey Hannibal. Their debut album, BLACKstreet, was a moderate success due to the singles "Booti Call" and "Before I Let You Go", both Top 40 hits ("Before I Let You Go" hit the Top 10). The follow-up, 1996's Another Level (see 1996 in music) was a breakthrough success due to the top single "No Diggity" (with Dr. Dre), which was a #1 hit on the Billboard Hot 100 in November 1996, and won the 1998 Grammy Award for Best R&B Performance by a Duo or Group with Vocals, along with the Top 40 hit "Don't Leave Me". Another Level eventually went four times platinum in the United States and peaked at #3 on the Billboard chart. "No Diggity" is ranked at #91 on Rolling Stone and MTV: 100 Greatest Pop Songs, while BLACKstreet comes in at #214 of the Top 500 Pop Artists of the Past 25 Years.
BLACKstreet has also collaborated with Jay-Z on his single "The City is Mine".
The debut single from their third album, "Girlfriend/Boyfriend", a collaboration with Janet Jackson featuring Ja Rule and Eve -- BLACKstreet finally had a top ten album with Finally. But personnel shifts wrecked the group and contributed to the relative failure of Finally (1999 in music) and BLACKstreet soon broke up. After rumors of legal action and a preemptive countersuit, the group re-banded and released Level II in 2003 (see 2003 in music).
In 2006 the group was a part of the New Jack Reunion Tour with members Teddy Riley, Mark Middleton, Eric Williams, and a replacement for Chauncey Hannibal who left the group to sign with Busta Rhymes label Flipmode Records named J-Stylz.
The group will release a new album in have a new album out in 2007.
Members
* Teddy Riley
* Mark Middleton
* Eric Williams
* J-Stylz
[edit] Former Members
* Joseph Stonestreet
* Dave Hollister
* Levi Little
* Terrell Philips
* Chauncey Hannibal
Another one of my fav's...
Jodeci
Jodeci - Cry For You
Jodeci - Come and talk to me horny mix
Jodeci - Forever My Lady
Jodeci is an American musical group, active from 1990 to 1996, whose repertoire included R&B, soul music, and new jack swing. The group consisted of two pairs of brothers from Marshville, North Carolina: the DeGrates (Donald "DeVante Swing" DeGrate, the group founder/leader, and Dalvin DeGrate) and the Haileys (main lead singer Cedric "K-Ci" Hailey and second lead singer Joel "Jo-Jo" Hailey). The group's name is a combination of the names of its members: Jo-Jo, DeGrate and K-Ci.
Jodeci, also known as the "Bad Boys of R&B", is noted for being a significant influence on many of the R&B groups that came after them, particularly Dru Hill and Jagged Edge. In addition, Jodeci was the starting point for the careers of artists such as Missy Elliott, Timbaland, and Ginuwine. The group had a successful string of hit singles and platinum albums until the group went on indefinite hiatus after 1996. The Hailey brothers continued to perform together under the name K-Ci and Jo-Jo, and had success on the pop charts beyond that of the original band.
Members
* Donald DeGrate, Jr. (DeVante Swing)
* Dalvin DeGrate (Mr. Dalvin)
* Cedric Hailey (K-Ci)
* Joel Hailey (Jo-Jo)
jodecimusic.com
One of my fav-o-right R&B groups ever...
Check out more here.
Jodeci - Come and talk to me horny mix
Jodeci - Forever My Lady
Jodeci is an American musical group, active from 1990 to 1996, whose repertoire included R&B, soul music, and new jack swing. The group consisted of two pairs of brothers from Marshville, North Carolina: the DeGrates (Donald "DeVante Swing" DeGrate, the group founder/leader, and Dalvin DeGrate) and the Haileys (main lead singer Cedric "K-Ci" Hailey and second lead singer Joel "Jo-Jo" Hailey). The group's name is a combination of the names of its members: Jo-Jo, DeGrate and K-Ci.
Jodeci, also known as the "Bad Boys of R&B", is noted for being a significant influence on many of the R&B groups that came after them, particularly Dru Hill and Jagged Edge. In addition, Jodeci was the starting point for the careers of artists such as Missy Elliott, Timbaland, and Ginuwine. The group had a successful string of hit singles and platinum albums until the group went on indefinite hiatus after 1996. The Hailey brothers continued to perform together under the name K-Ci and Jo-Jo, and had success on the pop charts beyond that of the original band.
Members
* Donald DeGrate, Jr. (DeVante Swing)
* Dalvin DeGrate (Mr. Dalvin)
* Cedric Hailey (K-Ci)
* Joel Hailey (Jo-Jo)
jodecimusic.com
One of my fav-o-right R&B groups ever...
Check out more here.
Rick Astley
Rick Astley - Never gonna give you up
(2007 brings about the 20 year anniversary of this single.)
Chart Facts (UK)
Released in the UK on 27th July 1987
Entered the chart at #32 and spent 5 weeks at #1
Stayed in the Top 100 for 22 weeks
Was the #1 best selling single of 1987
Chart Facts (US)
Released in the US on 7th October 1987
Entered the Billboard Chart at #71
Spent 2 weeks at #1 and a total of 24 weeks in the chart
Rick Astley - Together Forever
Rick Astley - She wants to dance with me
Rick Astley - Cry For Help
Rick Astley - Sleeping
NOTE:
This song was released as a single in Germany in 2001. Never got released in the UK or US. Taken from the album 'Keep It Turned On'. Album available on import.
-----------
The clean cut 80's soul boy had his first great hit in July of 1987, Never gonna give you up. He was discovered at the age of 19 by the songwriter Pete Waterman in 1985.
He became a big star in the states in a very short time, and came out with other great hits like Together Forever, and When I Fall In Love.
Where are they now?
His last hit was in 1991 called Cry for Help however since he had a fear for flying it stopped him from going abroad to do promotional work and from there on his career died out.
Rick Astley made approximately 20 million dollars when he was in the limelight. He now chooses to live away from all the stardom in Richmond, Surrey with his wife Lene, and his daughter Emilie. Rick Astley is now mid in his 30's and has been intermittently working on a comeback.
Linx:
rickastley.co.uk
rickastley.ne
(2007 brings about the 20 year anniversary of this single.)
Chart Facts (UK)
Released in the UK on 27th July 1987
Entered the chart at #32 and spent 5 weeks at #1
Stayed in the Top 100 for 22 weeks
Was the #1 best selling single of 1987
Chart Facts (US)
Released in the US on 7th October 1987
Entered the Billboard Chart at #71
Spent 2 weeks at #1 and a total of 24 weeks in the chart
Rick Astley - Together Forever
Rick Astley - She wants to dance with me
Rick Astley - Cry For Help
Rick Astley - Sleeping
NOTE:
This song was released as a single in Germany in 2001. Never got released in the UK or US. Taken from the album 'Keep It Turned On'. Album available on import.
-----------
The clean cut 80's soul boy had his first great hit in July of 1987, Never gonna give you up. He was discovered at the age of 19 by the songwriter Pete Waterman in 1985.
He became a big star in the states in a very short time, and came out with other great hits like Together Forever, and When I Fall In Love.
Where are they now?
His last hit was in 1991 called Cry for Help however since he had a fear for flying it stopped him from going abroad to do promotional work and from there on his career died out.
Rick Astley made approximately 20 million dollars when he was in the limelight. He now chooses to live away from all the stardom in Richmond, Surrey with his wife Lene, and his daughter Emilie. Rick Astley is now mid in his 30's and has been intermittently working on a comeback.
Linx:
rickastley.co.uk
rickastley.ne
Sunday, June 03, 2007
Data compression utility
Here are some data compression utility programs That I thought you'd like.
7-zip.org
filzip.com
zipgenius.it
winzip.com
7-zip.org
filzip.com
zipgenius.it
winzip.com
Manage data on CDMA phones from LG, Samsung, Sanyo and others
BitPim is a program that allows you to view and manipulate data on many CDMA phones from LG, Samsung, Sanyo and other manufacturers. This includes the PhoneBook, Calendar, WallPapers, RingTones (functionality varies by phone) and the Filesystem for most Qualcomm CDMA chipset based phones.
BitPim is distributed as open source and free software under the GNU General Public License (aka GPL).
For more goto:
bitpim.org
BitPim is distributed as open source and free software under the GNU General Public License (aka GPL).
For more goto:
bitpim.org
Saturday, June 02, 2007
Friday, June 01, 2007
zonbu $99 linux box tour
Welcome to a new generation of environmentally responsible computing. Zonbu is ready to go right out of the box. All you need is a broadband connection. Nothing to install. Nothing to buy. Nothing but fun and foolproof ways to get more out of your digital life.
Good things come in small boxes
Zonbu is a compact, ultra low power mini with all the bells and whistles:
* Intel-compatible ultra-low power CPU
* 512 MB RAM + 4GB flash-based local storage
* Graphics up to 1400 x 1050 (16 million colors). Hardware graphics and MPEG2 acceleration
* PC-compatible ports for keyboard and mouse
* 6 USB ports to plug-and-play all standard USB accessories
* Broadband ready: 10/100MB Ethernet built-in
To Take a closer look at the device, Check out Zonbu @:
zonbu.com
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