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Flanging (sheet Metal)
Flanging is an audio effect produced by mixing two identical signals together, one signal delayed by a small and (usually) gradually changing period, usually smaller than 20 milliseconds. This produces a swept comb filter effect: peaks and notches are produced in the resulting frequency spectrum, related to each other in a linear harmonic series. Varying the time delay causes these to sweep up and down the frequency spectrum. A flanger is an effects unit that creates this effect. Part of the output signal is usually fed back to the input (a "re-circulating delay line"), producing a resonance effect which further enhances the intensity of the peaks and troughs. The phase of the fed-back signal is sometimes inverted, producing another variation on the flanger sound. Origin As an audio effect, a listener hears a "drainpipe" or "swoosh" or "jet plane" sweeping effect as shifting sum-and-difference harmonics are created analogous to use of a variable notch filter. The term "flang ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Audio Signal Processing
Audio signal processing is a subfield of signal processing that is concerned with the electronic manipulation of audio signals. Audio signals are electronic representations of sound waves—longitudinal waves which travel through air, consisting of compressions and rarefactions. The energy contained in audio signals is typically measured in decibels. As audio signals may be represented in either digital or analog format, processing may occur in either domain. Analog processors operate directly on the electrical signal, while digital processors operate mathematically on its digital representation. History The motivation for audio signal processing began at the beginning of the 20th century with inventions like the telephone, phonograph, and radio that allowed for the transmission and storage of audio signals. Audio processing was necessary for early radio broadcasting, as there were many problems with studio-to-transmitter links. The theory of signal processing and its appli ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Big Hurt (song)
"The Big Hurt" is a pop song that was a hit for Toni Fisher (billed as "Miss Toni Fisher") in 1959. The song was written by Wayne Shanklin. "The Big Hurt" is notable because it featured phasing effects which at that time were rare in popular music; DJ Dick Biondi on WKBW would introduce the record as "Toni Fisher's weird one." Music The 45 rpm plays in C major, even though on the sheet music (copyright 1959 by Music Productions, Hollywood, CA), the song is in the key of F major. The time signature is 4/4, and the tempo is indicated as "Moderate Beguine Tempo." The melody begins with a triplet on beats three and four, a motif that appears throughout the song in every second measure. In the other measures, however, the duple meter is reinforced by using eighth notes in the same location, presumably to prevent the tune from becoming a waltz.Piano-vocal score (Hollywood, CA: Music Productions, 1959). Although Miss Toni Fisher does use the triplet in her performance on the record, s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Glyn Johns
Glyn Thomas Johns (born 15 February 1942) is an English musician, recording engineer and record producer. Biography Early history Johns was born in Epsom, Surrey, England. He had three siblings, two older sisters and a younger brother, Andy. When Johns was 8 years old his mother enrolled him in the parish church choir where he eventually became head chorister. Johns expressed a fondness for his experience in the church choir commenting that it led to his further involvement in music and a career he had never expected to be involved in. Aside from the choir, his mother's brother, Robert, and the choirmaster/organist at St. Martin's Parish Church, Felton Rapley, also influenced and encouraged his interest in music. Career in recording Johns produced and/or engineered with artists such as Led Zeppelin, the Rolling Stones, the Beatles ( ''Get'' ''Back'' sessions), the Who, Eagles, Bob Dylan, Linda Ronstadt, Johnny Hallyday, the Band, Eric Clapton, the Clash, Ryan Adams, the Ste ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Itchycoo Park
"Itchycoo Park" is a song written by Steve Marriott and Ronnie Lane, first recorded by their group, the Small Faces. Largely written by Lane, it was one of the first music recordings to feature flanging, an effect at that time made possible by electro-mechanical processes. The location and etymology of the titular park has long been debated; many claiming it to be Little Ilford Park in Manor Park, East London, Valentine's Park in Ilford or Wanstead Flats in Wanstead, East London. The single was not featured on any of their UK albums, but was however featured on the North American release ''There Are But Four Small Faces''. Released on 4 August 1967 on Immediate Records, the song was the Small Faces' fifth top-ten song in the UK Singles Chart, reaching a position of number three. "Itchycoo Park" became the Small Faces' sole top-forty hit in the United States, reaching number sixteen on the Billboard Hot 100 in early 1968. In Continental Europe, it reached the top ten in seve ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Small Faces
Small Faces were an English rock band from London, founded in 1965. The group originally consisted of Steve Marriott, Ronnie Lane, Kenney Jones and Jimmy Winston, with Ian McLagan replacing Winston as the band's keyboardist in 1966. The band was one of the most acclaimed and influential mod groups of the 1960s, recording hit songs such as "Itchycoo Park", " Lazy Sunday", "All or Nothing" and " Tin Soldier", as well as their concept album ''Ogdens' Nut Gone Flake''. They evolved into one of the UK's most successful psychedelic bands until 1969. When Marriott left to form Humble Pie, the remaining three members collaborated with Ronnie Wood, Ronnie's older brother Art Wood, Rod Stewart and Kim Gardner, briefly continuing under the name Quiet Melon, and then, with the departure of Art Wood and Gardner, as Faces. In North America, Faces' debut album was credited to Small Faces. Following the breakup of both Faces and Humble Pie in 1975, the classic line-up of Small Fac ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Barnes, London
Barnes () is a district in south London, part of the London Borough of Richmond upon Thames, England. It takes up the extreme north-east of the borough, and as such is the closest part of the borough to central London. It is centred west south-west of Charing Cross in a bend of the River Thames. Its built environment includes a wide variety of convenience and arts shopping on its high street and a high proportion of 18th- and 19th-century buildings in the streets near Barnes Pond. Together they make up the Barnes Village conservation area where, along with its west riverside, pictured, most of the mid-19th-century properties are concentrated. On the east riverside is the WWT London Wetland Centre adjoining Barn Elms playing fields. Barnes has retained woodland on the "Barnes Trail" which is a short circular walk taking in the riverside, commercial streets and conservation area, marked by silver discs set in the ground and with QR coded information on distinctive oar signs, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Olympic Studios
Olympic Studios was a renowned British independent commercial recording studio based in Barnes, London. It is best known for its recordings of many artists throughout the late 1960s to the first decade of the 21st century, including Jimi Hendrix, the Beatles, the Rolling Stones, David Bowie, Led Zeppelin, Ella Fitzgerald, Queen, Ray Charles, the Who, B.B King, Traffic, Prince, the Eagles, Eric Clapton, Madonna, Adele and Björk. It is often regarded as being as significant as Abbey Road Studios, and remains an important cultural landmark. The studio's sound mixing desks became famous when the technology and design they pioneered was manufactured commercially. Although much of Olympic has returned to its original purpose as a cinema, it also still maintains a small recording facility, designed with the help of original members of the studio's staff, who are now also involved in the construction of a much larger studio, performance and teaching space, to run alongside Olympic' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
George Chkiantz
George Chkiantz is a British recording engineer, based in London, who has been responsible for the engineering on a number of well-known albums, many of which are considered classics, owing in part to the quality of the recordings. Career Chkiantz was the recording engineer of the Small Faces self-titled debut album, recorded for Andrew Loog Oldham's Immediate Records label. Chkiantz was a staff engineer at Olympic Studios at the same time that the Jimi Hendrix Experience was recording '' Axis: Bold As Love''. During the session with the Small Faces, Chkiantz engineered the song "Green Circles", which represented the first use of mono flanging on a pop record; he subsequently perfected the technique on their landmark 1967 single "Itchycoo Park". Upon hearing the result, Jimi Hendrix and his engineer, Eddie Kramer applied Chkiantz's concepts, creating stereo phasing on the songs "Bold As Love" and "Little Wing". Deciding to utilize his abilities more fully, Hendrix hired Chkiantz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Revolver (Beatles Album)
''Revolver'' is the seventh studio album by the English rock band the Beatles. It was released on 5 August 1966, accompanied by the double A-side single "Eleanor Rigby" / " Yellow Submarine". The album was the Beatles' final recording project before their retirement as live performers and marked the group's most overt use of studio technology to date, building on the advances of their late 1965 release ''Rubber Soul''. It has since become regarded as one of the greatest and most innovative albums in the history of popular music, with recognition centred on its range of musical styles, diverse sounds, and lyrical content. The Beatles recorded ''Revolver'' after taking a three-month break at the start of 1966, and during a period when London was feted as the era's cultural capital. Regarded by some commentators as the start of the group's psychedelic period, the songs reflect their interest in the drug LSD, Eastern philosophy and the avant-garde while addressing themes such as ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tomorrow Never Knows
"Tomorrow Never Knows" is a song by the English rock band the Beatles, written primarily by John Lennon and credited to Lennon–McCartney. It was released in August 1966 as the final track on their album ''Revolver'', although it was the first song recorded for the LP. The song marked a radical departure for the Beatles, as the band fully embraced the potential of the recording studio without consideration for reproducing the results in concert. When writing the song, Lennon drew inspiration from his experiences with the hallucinogenic drug LSD and from the 1964 book '' The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead'' by Timothy Leary, Richard Alpert and Ralph Metzner. The Beatles' recording employed musical elements foreign to pop music, including musique concrète, avant-garde composition and electro-acoustic sound manipulation. It features an Indian-inspired modal backing of tambura and sitar drone and bass guitar, with minimal harmonic deviat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mark Lewisohn
Mark Lewisohn (born 16 June 1958) is an English historian and biographer. Since the 1980s, he has written many reference books about the Beatles and has worked for EMI, MPL Communications and Apple Corps.Catching Up With Mark Lewisohn What Goes On, 4 April 2005 He has been referred to as the world's leading authority on the band ''The Independent'', 26 April 2004 due to his meticulous research and integrity. His works include '' [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Automatic Double Tracking
Automatic double-tracking or artificial double-tracking (ADT) is an analogue recording technique designed to enhance the sound of voices or instruments during the mixing process. It uses tape delay to create a delayed copy of an audio signal which is then combined with the original. The effect is intended to simulate the sound of the natural doubling of voices or instruments achieved by double tracking. The technique was developed in 1966 by engineers at Abbey Road Studios in LondonMartin, George, '' All You Need Is Ears'', St. Martin's Press, 1979, p. 155, . at the request of the Beatles. Overview As early as the 1950s, it was discovered that double tracking the lead vocal in a song gave it a richer, more appealing sound, especially for singers with weak or light voices. Use of this technique became possible with the advent of magnetic tape for use in sound recording. Originally, a pair of single-track (or "mono") tape recorders were used to produce the effect; later, multitra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
