HostGator Hosting

Archives for Structure

PAIR of Studio Monitor Speaker Stands by Hola! Music, Professional Heavy-Duty Tripod Structure, Adjustable Height, Model HPS-600MS

PAIR of Studio Monitor Speaker Stands by Hola! Music, Professional Heavy-Duty Tripod Structure, Adjustable Height, Model HPS-600MS

PAIR of Studio Monitor Speaker Stands by Hola! Music, Professional Heavy-Duty Tripod Structure, Adjustable Height, Model HPS-600MS

  • HPS-600MS - PAIR of Studio Monitor Speaker Stands by Hola! Music. Can be used also as a PA speaker stand when removing the platform (Upper shaft diameter: 35mm/1.375 inch)
  • Adjustable Height between 29 and 53 inches, depends on leg spreading
  • Platform dimensions: 9 by 9 inches and comes with two 4mm non-slip isolation pads
  • Safety pin keeps your speakers secure and allows up to 80 lbs load capacity
  • Hola! Music guarantees quality and affordability. Hola! - Say Hello to Music!

PAIR of Studio Monitor Speaker Stands by Hola! Music, Professional Heavy-Duty Tripod Structure, Adjustable Height, Model HPS-600MS

Buy from amazon

List Price: $ 49.95

Price: $ 49.95

Want to get the absolute best rates and best quality when you record your album? Check us out! We provide THE best quality recording at the best rates for Nashville AND Los Angeles. You won't find better. Click here.

Songwriting: Essential Guide to Lyric Form and Structure: Tools and Techniques for Writing Better Lyrics (Songwriting Guides)

Songwriting: Essential Guide to Lyric Form and Structure: Tools and Techniques for Writing Better Lyrics (Songwriting Guides)

Songwriting: Essential Guide to Lyric Form and Structure: Tools and Techniques for Writing Better Lyrics (Songwriting Guides)

Veteran songwriter Pat Pattison has taught many of Berklee College of Music's best and brightest students how to write truly great lyrics. Her helpful guide contains essential information on lyric structures, timing and placement, and exercises to help everyone from beginners to seasoned songwriters say things more effectively and gain a better understanding of their craft. Features examples of famous songs for study, including: Be Still My Beating Heart * Can't Fight This Feeling * It Was a Ver

Buy from amazon

Price:

Want to get the absolute best rates and best quality when you record your album? Check us out! We provide THE best quality recording at the best rates for Nashville AND Los Angeles. You won't find better. Click here.

Discover RECORDING STUDIO structure! NEW UPDATE 1.3.1 in My Singing Monsters !!

My Singing Monsters update 1.3.1 added a new structure called Recording Studio! 100000 coins in the market 🙂
Video Rating: 0 / 5

Want to get the absolute best rates and best quality when you record your album? Check us out! We provide THE best quality recording at the best rates for Nashville AND Los Angeles. You won't find better. Click here.

Songwriting: Essential Guide to Lyric Form and Structure: Tools and Techniques for Writing Better Lyrics (Songwriting Guides)

Songwriting: Essential Guide to Lyric Form and Structure: Tools and Techniques for Writing Better Lyrics (Songwriting Guides)

Songwriting: Essential Guide to Lyric Form and Structure: Tools and Techniques for Writing Better Lyrics (Songwriting Guides)

  • 112 pagesSize: 12" x 9"Composer: Pat PattisonISBN: 793511801

(Berklee Guide). Veteran songwriter Pat Pattison has taught many of Berklee College of Music's best and brightest students how to write truly great lyrics. Her helpful guide contains essential information on lyric structures, timing and placement, and exercises to help everyone from beginners to seasoned songwriters say things more effectively and gain a better understanding of their craft. Features examples of famous songs for study, including: Be Still My Beating Heart * Can't Fight This Feeli

Buy from amazon

List Price: $ 16.99

Price: $ 8.66

Want to get the absolute best rates and best quality when you record your album? Check us out! We provide THE best quality recording at the best rates for Nashville AND Los Angeles. You won't find better. Click here.

Condenser microphone structure

Condenser microphone structure

Condenser microphone structure which comprises a microphone housing, a condenser microphone accommodated in the microphone housing to produce a sound signal indicative of a voice sound, first and second terminal connecters provided on the microphone housing in the neighborhood of each other under an insulated state from each other.

Each of the first and second terminal connecters including a helical spring portion, and an end portion integrally formed with the helical spring portion, the helical spring portion and the end portion being made of an electrically conductive material, the end portions being electrically connected with the condenser microphone to discharge the sound signal from the condenser microphone through the first and second terminal connecters, and an insulating member accommodated in the microphone housing to retain the condenser microphone and the first and second terminal connecters with the microphone housing and to insulate the first terminal connecter from the second terminal connecter. The condenser microphone thus constructed can cause high frequency noises to be reduced to as a small level as possible, and can be produced at a relatively low production price and at a considerably short production period.

As such a conventional condenser microphone structure assembled in a cellular phone to enable communications with other cellular phones, there has so far been proposed and developed a wide variety of condenser microphone structures which areknown as being small in size and as having one or more terminal connecters electrically connected with parts or elements forming part of the cellular phone.

The conventional condenser microphone structure thus constructed is operated to generate a sound signal with the condenser microphone serving to transform a voice sound into the sound signal when receiving the voice sound from the exterior of thecellular phone.

The conventional condenser microphone structure, however, encounters such problems that the condenser microphone tends to receive high frequency noises through the terminal connecters other than voice sounds, resulting from the fact that theterminal connecters each made of a metal plate material has a relatively large surface area. In addition, the conventional condenser microphone structure is produced through the steps of punching a sheet metal, and bending the punched sheet metal by ametal mold high in precision to produce a terminal connecter in the form of a plate having a uniformed shape as required by customers.

The metal mold high in precision needed for production of the conventional microphone structure leads to the fact thatthe metal mold inevitably becomes at a markedly high production price and needs a relatively long production period for producing the metal mold and punching and bending a sheet metal. In the case of the metal mold low in precision, on the other hand,unstable electric connections are liable to be caused

Pages: 1 2 3

Writing Songs Nashville Style – Song Structure

Writing Songs Nashville Style - Song Structure

If a songwriter wants to create a song that hopefully, will be recorded on an artist's CD so he can make money from it, he knows he must arrange it in a structure that makes sense to the artist and eventually listeners. He doesn't need to Invent a structure for his new creation, he just needs to choose from several existing structures. He knows whichever form he chooses, his song will probably have an intro, 2 or 3 verses, several choruses, maybe a bridge, and/or an instrumental section and an ending.

The verse is the vehicle for conveying the story that is the song. Its major responsibility is to lyrically and musically, "set up" (or lead to) the chorus. The chorus is the central idea of the song and the verse is the "information" about the main idea. The second verse is more information about the main idea, information that should lead the listener to the conclusion

Each line of each verse should move the story along without repeating the same information. The melody should be essentially the same from verse to verse to create familiarity. A melody that stays relatively the same makes the listener feel comfortable and this comfortable feeling allows them to listen closely to the lyrics and follow the story. A repeating melody is easier for the listener to remember. After they hear it a few times, even if they are not trying to remember it, they probably will.

The chorus contains the "nut" of the song, the central meaning, the essence of the story. Choruses like "I Can Love You Like That," "Old Time Rock and Roll" or "The Wind Beneath My Wings" are memorable choruses. The "hook," the catchiest, most memorable part of the song is most of the time in the chorus. Songs can have other hooks, but the main one is usually the chorus. Verses normally concentrate on details, while the chorus makes a broader statement that bears more repetition. The melody of the chorus repeats each time we hear it. The song's title is usually contained in the first and/or last line, and possibly more. The lyric and melody are usually the same each time.

The bridge relieves the "boredom factor." It is usually placed about 2/3 of the way into the song. (After the second chorus in a verse/chorus form) That's normally when people may begin to tire of the song and need a break of some type. The bridge wakes the listener up and helps them to refocus on the song, and can add new story lines. The bridge can also be a guitar, piano or other instrument solo. This is the chance to introduce a new melody to keep things interesting.

Hooks are also important in a song. A hook is any part of the song that "hooks" the listener causing them to remember parts of the song. Many times the title or chorus is a hook. A hook can also be a clever lyric, a good vocal part, even a sound or effect added by an engineer in the final mix.

The form or structure of a song is critical to it's success. Make sure you understand song form before you begin

Pages: 1 2

Songwriting: Essential Guide to Lyric Form and Structure: Tools and Techniques for Writing Better Lyrics (Songwriting Guides)

Songwriting: Essential Guide to Lyric Form and Structure: Tools and Techniques for Writing Better Lyrics (Songwriting Guides)

Songwriting: Essential Guide to Lyric Form and Structure: Tools and Techniques for Writing Better Lyrics (Songwriting Guides)

(Berklee Guide). Veteran songwriter Pat Pattison has taught many of Berklee College of Music's best and brightest students how to write truly great lyrics. Her helpful guide contains essential information on lyric structures, timing and placement, and exercises to help everyone from beginners to seasoned songwriters say things more effectively and gain a better understanding of their craft. Features examples of famous songs for study, including: Be Still My Beating Heart * Can't Fight This Feeli

Buy from amazon

Price:

Want to get the absolute best rates and best quality when you record your album? Check us out! We provide THE best quality recording at the best rates for Nashville AND Los Angeles. You won't find better. Click here.

How To Optimize Your Mixing Gain Structure

How To Optimize Your Mixing Gain Structure
As an engineer who operates an online mastering studio it is common to see many audio mixes that have exceeded clip point or 0dBFS. Within a digital audio workstation the numbers in a digital system are a finite method to accurately represent the audio signal.If your output signal hits the end of the meter (stereo master bus) then you need to consider your gain structure when mixing your tracks. Accuracy is no longer present when you hit the end of the meter as the numbers have run out.

Historically, optimizing gain structure has been very important in audio recording and mixing from the days of multi-track tape machines and large format audio consoles. Gain structure means ensuring that your audio signal is out of the noise floor of the equipment and avoiding the distortion when the equipment has hit it's electrical signal path limits.(overload distortion) Digital recording has allowed many people to learn how to record at home but sadly not everyone has been trained as well as a pro engineer. Explained within is how to optimize your mix gain structure. This explanation is going to be based on the assumption that you are starting a new mix of a piece of music in your (Digital Audio Workstation).

If you normally use limiting on the master output please remove it and make sure that your project is set up at 24bit resolution. Firstly use your fader for the kick drum channel and peak the kick drum to -15dBFS on the master bus output. Then you can start building your mix around the kick drum. (Make sure you do not push the kick drum level up as it will defeat the object)bring in your other mix elements and build your mix just as you would normally adding compression, eq etc. to enhance the sound. Your mix will be peaking much lower and this is good, it means less distortion and more clarity. You can turn up your volume control to compensate for the lower levels. Make sure you are working at 24 bit resolution and also export at 24bit. Once you have exported the mix you can send the mix for professional online mastering or enhance the level of the mix yourself using the normal means/ faders/clip level or limiter etc. etc.

Want some technical details?

On a big mixer (analogue) the mix output level was often aimed at 0vu. 0vu = -18dBFS(on a digital meter), it is equivalent to ref 1.23V RMS or +4dBu, you can see there is no need to mix your audio to the end of meter on your DAW. At a level of -15dBFS your music will still have a theoretical signal to noise ratio which is 33dB better than if you operated at sixteen bit resolution in your DAW. Peaking low at twenty four bit prior to online mastering. A twenty four bit res has a theoretical 144dB dynamic range minus 15 is 129dB. 129dB - 96dB (16bit dyn range) = 33 decibels.So you can see mixing at a lower level has a number of benefits, much less chance of clipping, no need for a limiter which means your music is more punchy when played at the same volume to

Pages: 1 2