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01. Peace In The Valley - Boxcar Willie 02. What A Friend We Have In Jesus - Holly Dunn 03. A Wonderful Time Up There - Jack Greene 04. Old Time Religion - Jeanne Pruett 05. What Would You Do If Jesus Came To Your House - Porter Wagoner 06. In The Shelter Of His Arms - The Oak Ridge Boys 07. He Will Save Your Soul - Wilma Lee Cooper 08. I Saw The Light - Boxcar Willie 09. Oh Happy Day - Jack Greene 10. On The Wings Of An Angel - Holly Dunn 11. Uncloudy Day - Jeanne Pruett 12. On The Wings Of A D
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Gorgeous high-gloss piano white lacquer finish Special vibration damping foot One piece alloy tonearm for superb tracking ability Low noise fully manual belt-drive design Separately isolated asynchronous motor with two-speed (33/45rpm) pulley Music Hall Tracker moving-magnet phono cartridge with replaceable elliptical stylus The cartridge supplied is properly aligned and mounted High precision stainless steel and bronze bearing assembly for quiet fluid operation Alloy platter and felt mat Ex
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With a brand-new introduction and chapter that cover the last five years of Prince's life and work and his untimely death in April 2016.In his three decades of recording, Prince had nearly thirty albums hit the Billboard Top 100. He is the only artist since the Beatles to have a number-one song, movie, and single at the same time. Prince's trajectory―from a teenage unknown in Minneapolis to an idol and Rock and Roll Hall of Famer―won him millions of adoring fans the world over. Prince i
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Dubstep Music Mastering - Part 1
I'm going to give you a 'ground up' teaching of mastering techniques that can be applied to dubstep, and then a real world example in the final part. This way is better than giving you lots of real world examples because you will end up with a true understanding of why you need to EQ and compress things in a certain way, not just copy a formula that will fail you.
Perfect your mix.
Don't presume mastering will be a magic remedy that will cure all your imperfections. You should get your dubstep mix sounding as close to perfect as you can before even thinking about mastering. Making sure you have your sounds well separated, with good subtle EQ and 3D sound stage placement (using pan, and reverb etc). Once you feel you can't do anymore using the tools available you should then turn to the tricks of mastering such as multi-band compression, linear phase EQ and brick wall limiting.
Don't master 'in the mix'.
Even thought it is very tempting to add some nice EQ and compression on the master output while you are still making / mixing the track, it is strongly advisable that you wait until you have finished until applying these processes. You will nearly always get a better final dubstep track at the end. Of course its OK to test rough mixes with some master EQ / comp, but always bounce the finished track down 'dry' and make a backup copy before you start mastering.
Get some body else to do it.
One of the most important things a professional dubstep mastering engineer can bring, is a fresh set of ears. You may have listened to your track a few hundred times and have become accustomed to its flaws, its therefor recommended to outsource this final part of the process. There are plenty of on line service that offer tracks for around 30.00 (2009). If that is not an option, you could always ask a friend.
Less is more.
Every time you apply a dubstep mastering process you are risking degrading the quality of the audio, even simply adding 'normalization' or gain change can add small unwanted artifacts to the file. So always plan your processes and try and use as few as possible. So instead of normalizing at the start and at the end, just do it once at the end etc.
Meet load of producers of dubstep Talk about dubstep and get dubstep tips at our dubstep forum
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As country musicians LeAnn Rimes, Garth Brooks and Dwight Yoakam sell millions of records and put their names on the top of the pop as well as the country charts, country music is no longer thought of as merely southern, rural or American. It's a system more feudal than modern. This is a guided tour of the inner sanctum of country music's holy city.
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Uplifting, inspirational music to help you make it through your workday.
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Shocking covers of music albums
Throughout music history, controversy has helped sell records of singles and albums. One way to raising controversy is by putting eye-catching or even shocking images on the album covers. The release of Katy Perry’s album “Teenage Dream” with sensational cover image has caught great attention of the public and mass media. Perry is almost naked, lying in a cotton candy cloud. This album cover helps Katy join bands and singers who have been naked on their album covers.
Prince’s Lovesexy album was released in 1988. It was issued as a substitute record, following the infamous Black Album’s release was suddenly cancelled. Lovesexy cover caused controversy because of the image of Prince in the nude, a seemingly devout pose. Certainly, the album failed to break top 10 and appeared on the Billboard 200 for only 21 weeks.
Prince appeared naked on the cover of album Lovesexy.
Jackson’s eighth album, Damita Jo, which was released in March 2004, was said to represent one of the various sides of her personality. This singer, whose music has incorporated elements of rap music with triple swing and industrial beats, developed her public image into that of a fully matured adult. Her music started to focus on topics like sexual freedom, sadomasochism, and domestic violence.
Janet Jackson appeared naked on the “Damita Jo” cover, with a big smile.
After the album Mechanical Animal by Marilyn Mansion was released, it caught great attention. The naked alien like figure of Marilyn Manson has six fingers.
Katy Perry released the artwork of her new album “Teenage Dream” with eye-catching cover which shows Katy Perry lied naked on a cloud of cotton candy.
Annabella Lwin appeared mostly without clothes on the album cover of “I want candy”. Annabella Lwin later caused controversy by posing nude for the cover of See Jungle! See Jungle! Go Join Your Gang, Yeah. City All Over! Go Ape Crazy.
Dubstep Music Mastering - Part 5
Know your limit.
Even the very best dubstep limiters have their limits before they cause distortion. Get to you know yours, and exactly how far you can push it with it having a detrimental effect on your master.
Flatten it out.
Timbre is important to how we perceive loudness in dubstep, so make sure a good amount of time is spent trying to achieve a flat frequency. You can do this easily by using a spectrum analyzer and finding the peaks. The best tool to cope with these is a linear phaser EQ because it will correct the frequency imbalance while also being very transparent. The first time i heard a linear phase EQ, I thought it was a joke because even cranking the effect would not have any real audible results, however that is the point of it. To give you equalization with out adding any of its own 'character' to the mix. Very cleaver dubstep tip.
Secrets of dubstep mastering.
Limiters are not the only way to create loudness, sonnox's 'inflator' is a brilliant way of giving the perception of loudness with out resorting to brick wall limiting. Distortion in small amounts can also work wonders and not forgetting multi band exciters to tickle the top and the bottom of your track to add extra sparkle and energy.
Hows your bottom end?
The bass end is vitality important to a good dubstep mix. Start from the ground up, use high pass filters on nearly all, if not all instrument tracks so the bass has its own defined space from around 100hz and bellow. To further enhance the bottom end, you might want to use a high pass filter on the whole mix, filtering out any frequencies under 22-25hz. The 'subsonic' frequencies will take up a lot of head room, and provide almost no audible gain, best to cut them out.
Safety precautions.
When processing the final 'normalize' of the dubstep master, opt for -0.1db. This will ensure you get no clipping anywhere on the track and that your hard work will not be ruined when the duplication house rejects the master for clipping reasons.
Mind the gap.
Don't cut the start of your dubstep track to the very first waveform, leave a few milliseconds so that your track is not compromised when a CD player DE-mutes or when the CD drives spins up on a digital system.
Fades.
Experiment with different fade outs on your dubstep track, the standard linear fade is rarely the best option.
Dithering.
This should only ever be preformed once during the mastering process and is best left until last.
Use time gaps creatively.
Use the previous tracks tempo to work out when the next track should start, or using the same principal but a few milliseconds before to make the track jump out!
Verbatim.
Although technically cheap CD's and expensive CD's will have the same quality (being a digital format, 0's and 1's cant be miss represented) the burn dye on more expensive CD-Rs will hold the data longer, and you will
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Memphis Boys chronicles the story of the rhythm section at Chips Moman’s American Studios from 1964, when the group began working together, until 1972, when Moman shut down the studio and moved the entire operation to Atlanta. Utilizing extensive interviews with Moman and the group, as well as additional comments from the songwriters, sound engineers, and office staff, author Roben Jones creates a collective biography combined with a business history and a critical analysis of important record
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