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My GO TO…Delay: Three Pros Share Their Secret Weapons
April 21, 2014 by Zach McNees
First in a series, where busy producers/mixers/engineers provide tips and techniques on their top studio tools.
When it comes to gear, engineers, producers and musicians are creatures of habit. When I find a piece of gear, or a plug-in with a killer sound that works consistently from project to project, I stick with it.
It's when I'm forced out of my comfort zone by working in an unfamiliar studio environment, or perhaps by an artist or co-producer who has fresh ideas on how to achieve a particular sound that I often do my best work. I always love finding new tools and new approaches to sound.
This column is the first in a series of pieces where we will focus on a particular tool for recording and mixing and bring you some tips and tricks on how to make it work in your mixes.
We'll also survey a few engineers and producers to get their unique insight into their favorites and how they like use them!
Today's feature: Delay.
Delay is one of my favorite effects to work with in mixes because of its sheer versatility. Delay can add space and ambience to a dry guitar, accent a word or phrase of a vocal, or even artificially create the effect of a doubled track.
When I first started making my way through the studio ranks, hardware staples like the Lexicon PCM 42, TC 2290 and AMS DMX were in nearly every control room. Before my time, tape delay was prominent in the 1950's and 60's with artists like Elvis and The Beatles using the actual heads on a tape machine to create a delayed slap back sound.
In the 70's and 80's, hardware boxes like the Roland Space Echo were all the rage in studios and used by many classic artists like Pink Floyd and Radiohead.
Gradually, as software effects became more and more ubiquitous with recording, certain plug-ins became the go to for many engineers. Among the favorites from the last ten years would be Line 6's Echofarm, Waves Supertap, PSP's 85 and 608 and my go to delay currently: SoundToys EchoBoy.
The reason I like EchoBoy so much is that on any given mix, it can be anything I want it to be. Lately, I've been gravitating towards a preset called "HallwayVocal" which combines a heavily diffused "splattered" sound with a very short stereo slap.
The resulting sound, when carefully blended, creates a lush stereo presence for my lead vocal without being overly obvious that it's even a delay.
Hear Zach McNees' use of Echoboy "HallwayVocal" preset on the song "Magnolia" by Ali Hoffman, followed by the full mastered version of the track.
So what is everyone else doing with delay these days? I've spoken with Engineers Brian Bender, Kevin Killen, and Jason Finkel about some of their favorite delay units and how they like to use them.
GO TO PRO #1: Brian Bender
Brian Bender and I were colleagues at The Hit Factory here in New York prior to its close. Since then, Brian has been quite busy at his own facility The Motherbrain in Sunset Park Brooklyn cranking out some of the tastiest records I've ever heard. Recent highlights include the last Jose James record "No Beginning, No End" (co-produced with Pino Palladino), Langhorne Slim and the Law, Krystle Warren, Kris Bowers, Takuya Kuroda and Sister Sparrow and the Dirty Birds.
Brian's GO TO delay: The Fulltone Tube Tape Echo. For those not familiar, the "TTE" as it's commonly referred is essentially a tiny tape machine built just for echo.
Guitar players and engineers alike use the TTE for it's lush, analog sound. The TTE is the real thing and Fulltone does not take kindly to their emulating competitors! Fulltone's mission statement for the Tube Tape Echo states:
"There is nothing funnier than the makers of this new wave of digital and chip-based delays claiming to 'sound like a tape echo.' One after another they pop out the same old digital and bucket-bridgate delays that supposedly "emulate the warble and tape head saturation of a tape echo" …Bull$#^%."
I thought this was a perfect lead in for Brian Bender who's nothing if not a zero Bull$#^% kind of guy.
"It's just the fucking best." Brian says of the TTE. "It sounds amazing and the build quality is amazing. It's super stable, has flexible controls: independent dry/wet volumes, a record trim for tape saturation, a tilt EQ, swell, and wide range of delay times thanks to its moving head, a la an Echoplex, and two tape speeds.
I use it all the time for slap echoes, especially for vocals, drums, and guitar. And, if you've smoked enough weed, it's endless fun times with King Tubby style dub moments. The classic huge forever swell that goes achingly into feedback, weird pitch artifacting from moving the head or changing the speed or even putting something on the pinch roller to get into chorusing/wow flutter territory.
The addition of the EQ option makes it incredibly useful on tons of sources. You can really change the way the delay sits in the mix, forward to back, just by chilling out the midrange a little with the EQ / input saturation. Check out "Hambone" by Heather Christian and the Arbornauts. The end of that tune is me feeding back the whole mix into the TTE and then manually stopping the capstan with my finger in order to get that full stop effect. Endless fun."
Why are you gravitating towards the TTE and what's a cool tip or trick you can share with us about it? "As I mentioned before, one of the ways in which the TTE gets the most love in my arsenal is as a slap echo.
Set up an aux send off the track you want to slap around, send out to the TTE and back into your mixer or DAW. I almost always make it a parallel send so I have independent controls over the volume and timbre of each. I find that a range of between 80-120 ms puts you right there in classic slap territory.
One thing that most folks don't seem to think of when they think of slap is being subtle with it. I love to get a happening slap together and just bury it in the mix. This can really widen/mellow big transients in a very useful way as well as offer a vocal process that sounds and impacts as quite dry, just a little special. Or, go total instant karma and crank that mf'er and hard pan it. Solid gold Lennon vibes.
Also, very very short slaps, 5-20 MS can be incredibly useful as stereo wideners too if you're getting bored with harmonizer kinds of options.
Another really great delay that I actually reach for almost as much as my TTE is the Massey TD-5. It is similarly flexible and, especially for digital, really has a special thing. If you want that tape echo thing but don't wanna drop the coin on a Fulltone or vintage equivalent, the Massey is a super sick way to get that kind of thing happening."
Thanks Brian!
GO TO Pro #2: Kevin Killen
Our next Delay enthusiast is Kevin Killen. Kevin is a GRAMMY-winning producer/engineer/mixer whose work is known worldwide (see the SonicScoop feature on his work with U2). Featured artists include Peter Gabirel, Elvis Costello, U2, Kate Bush, Jewel, Bon Jovi and many more.
Most recently he's worked with Goodby Motel ("If"), Suzanne Vega ("Queen of Pentacles"), and Fake Club ("Fuckable").
Kevin's GO TO delay is a combo pack. In hardware land, Kevin's picks are the Electrix Mo-Fx, TC 2290 and Eventide 3500. In the box, Kevin gravitates towards EchoBoy and Echofarm.
Why are you gravitating towards the Electrix Mo-Fx and what is a good tip or trick you can share with us? "The Mo-Fx is just a brilliant box, which has so much personality. I have yet to find an instrument that does not take to its colorful manipulation. I will often have my favorite hardware delays setup for tracking and will randomly push an instrument through the Mo-Fx , 2290 or Eventide. Sometimes I will use all three in series just to create a new sound and inspire the collective.
The Mo-Fx is especially great on drums for rhythmic delays with distortion – instantaneous hit maker.
The 2290 is wonderful on vocals, keys and of course guitar.
The H3500 presents an endless myriad of patches to alter or enhance a sound, especially when one gets into pitch shifting and resonance control.
I like to record all my effects to tape / DAW. By imposing a unique sound from the rhythm section up, it tends to inform every other part and performance. It is not unusual for me to use little effects while I am mixing."
GO TO Pro #3: Jason Finkel
Jason Finkel is a Brooklyn Based producer/engineer/mixer. Some of his recent work includes Hundred Waters, ARMS, Little Racer, Friend Roulette and The Living Statues.
Jason's GO TO delay? "The conversation for most people starts and ends with Echoboy, it does with me as well. Though I also like the TD5 from Massey and the Tel Ray (Avid)," Jason says.
Why are you gravitating towards EchoBoy? "Aside from your normal delay duties, I really have been into using tight slaps with the HF and LF cut pretty high up. I like to give a touch of ripple or edge to a vocal or instrument. I don't think you recognize it as a delay…it gives texture, and the more you blend in the more it thins out the sound, which may be helpful.
Although, you can turn the mix almost all the way to dry and turn up the output and bring back the delay without effecting your dry — which is super cool — I end up just really cranking the thing until I get it to make my vocal pop. I'm also really into automating the plugin, changing the feedback from section to section or muting for vowels etc… It's usually not set-it-and-forget-it."
What is a good tip or trick you can share with us? "I like the studio tape stuff for clear tight delays, the Electro-Harmonix Memory Man flavor for textural non-classic stuff because it's pretty dark. I also like Space Echo or Echoplex for keys or guitars, and sometimes vocals but it will lo-fi up a source quick.
I like a Tel Ray style or super tight slap with LF cut pretty high for bass — I don't like to double up sub or low frequencies. Tel Ray or oil can stuff is cool on drums. Really, I'll flip through tons of sounds to get the color to sit well in the mix before I start thinking about EQing the delay."
Thanks Jason!
Don't Delay…Start Delaying
As is the case with many facets of audio production, when it comes to delay, anything goes! Get creative with the tools you have access to or branch out and try something new. Crank up the input, experiment with filtering, use your delay to color another effect in the chain, or just find a tasty slap and bury into your mix as an invisible sweetener.
Thanks to Brian, Kevin and Jason for their brilliant insights!
Zach McNees is a Brooklyn-based producer/engineer/mixer and live recordist who's worked with Björk, Rob Thomas, Julia Nunes, The Gregory Brothers, Pixies, Liars and Alice Cooper. Get in touch with Zach via www.zachmcnees.com.
The Unforgettable Tribute: MLK, U2, and the Making of "Pride (In the Name of Love)"
January 20, 2013 by David Weiss
MLK, among so many other things, was music.
The rhythm and melody that permeated Martin Luther King, Jr. was evident not only in the way that he moved and spoke, but in the way that he inspired musicality in others. One of the greatest orators of our time – or any other – King's mastery of language made his speeches lyrical as well as life-affirming.
In his non-violent pursuit of civil rights equality, an a cappella delivery of MLK's words were sufficient to stir deep passions – he didn't sound like bagpipes or a cavalry bugle, but hearing his voice makes you immediately electrified, and once more strong for the fight.
It was an instrument that rightly won him the Nobel Peace Prize, and helped solidify his legacy as an intellectual leader for the ages via landmark speeches like "I Have a Dream", and so many more.
"Pride" – An Emotional Ride
It's no surprise, then, that his influence is imprinted within what people traditionally refer to as music – songs with singers, guitars, beats, bass, and keyboards. On the sampling front from Michael Jackson to Paul McCartney and Common, the Orb to Linkin Park and scores of others, MLK has served as a powerful sound source.
Arguably, one of the greatest-ever musical tributes to MLK stands out in the form of "Pride (In the Name of Love)", U2's masterpiece from the 1984 album The Unforgettable Fire. Riveting from Moment One, "Pride" is one of those cosmic confluences that defines a classic: the beautifully rhythmic guitar work of the Edge, drummer Larry Mullen, Jr.'s big beat is simultaneously complex and simply satisfying, Adam Clayton's musing bass foundation. And then Bono's incomparable voice comes, starting off in the verse's quiet awe before soaring to the hair-raising heights of the chorus.
"Pride" is a structurally simple song, and this upward spiraling cycle gets broken only by the bridge. At the 1:40 mark appears what is certainly the most uncomplicated guitar solo arrangement ever recorded in the history of rock: eight consecutive repetitions of the same single note, exquisitely energized by the Edge's unique battery of delay pedals and other effects.
If "Pride" is up your alley, then your experience of the song is 3:49 of perfection. Anywhere your ears land at any moment – vocals, guitar, bass drums – what you hear is deeply moving, and builds momentum as the song surges forward. The gang vocals that appear in the third chorus are the perfectly imperfect element that somehow takes "Pride" even higher, connecting band and listeners to the song's history-changing hero – a campfire singalong where 1,000,000 people can easily join hands.
As did MLK himself, the song accomplishes so much in such a short span of time. And in yet another parallel, rather than diminishing, the power of "Pride" only grows with repeated exposure.
View from the Studio
One person with a unique perspective on U2's musical monument to MLK is the New York City-based engineer/mixer Kevin Killen. Working alongside The Unforgettable Fire co-producers Brian Eno and Daniel Lanois in his native Ireland, Killen was present for the numerous recording sessions that brought the song together.
As part of the engineering team that had recorded U2's War record and Under a Blood Red Sky mini-LP live album, Killen had already been treated to a front-row seat of the band's considerable capabilities. As is well-documented, The Unforgettable Fire's first set of sessions took place at County Meath's picturesque Slane Castle, enabled by a portable 24-track recording system supplied by Randy Ezratty's mobile recording company Effanel Music. After a month of work at Slane, U2 and the rest of their crew relocated to the more controlled conditions of Dublin's Windmill Lane Studios to finish the record.
Before it could reach the pristine state we hear today, Killen reminds that "Pride" had to overcome some serious struggles before its completion at Windmill Lane. "There were two issues," Killen recalls, taking a break from a mix session at Ezratty's studio in NYC's Chelsea neighborhood. "Bono hadn't settled on finished lyrics for the song, and so we were constantly looking at the arrangement to see if there was something about it that was preventing him from getting the words finalized. And Larry's drum part was proving to be tricky, especially getting the roll right going into the chorus.
"But then Bono was finally able to get the lyrics the way he wanted, and execute the track. It wasn't one particular word that was a problem, so much as he was just trying to get the exact sentiment to express. He knew what he was trying to say, but he was challenged just trying to get the right thing."
The gestalt moment – when Bono found what he was looking for – was instantly apparent to everyone at Windmill Lane. "The first time he sang the finished lyrics everyone in the control room looked at each other and said, 'That was definitely it,'" says Killen. "It was so obvious that he felt comfortable singing that lyric."
The poetic final lines had arrived. They were written about the great Martin Luther King, Jr., but they could have been said by him just as easily (and indeed three of them were), in one of his unforgettable speeches: "Early morning, April 4/Shot rings out in the Memphis sky/Free at last, they took your life/They could not take your pride."
Much of "Pride" had already been recorded to that point – suddenly the moment had arrived to launch it to the next level. An AKG C12 mic was waiting for Bono, connected to the preamp of an SSL E Series console with an LA-2A compressor inserted across the buss output.
As the singer was approaching the mic in the live room, Killen stepped up to the proverbial plate in the control room, one hand at the ready on the remote for the Otari MTR 90 tape machine – the young engineer was poised to pop a punch-in that he'd never forget.
"He sang it in one take," Killen says. "I remember punching it in on the tape machine: Every hair on my body stood up. It was such a spine-tingling moment. He said something so concisely, so perfectly, about MLK's life."
Lasting Impact
Killen had the extreme privilege that only an engineer, producer, and an artist's bandmates can experience: to be there for the magic moments of a classic song's studio recording, getting the very first listen of a sound that will reach millions of ears for years upon years.
And, of course, Killen wasn't the only one whose spine tingled at the sound of "Pride (In the name of Love)". Released as the lead single for The Unforgettable Fire in September 1984, it was the biggest hit yet for U2, breaking the top 5 in the U.K. and the Top 40 in the U.S. While its peak position on the Billboard Hot 100 was only #33, "Pride" was inexorably connected to turning U2 in what it is now – a very, very, very big rock group.
"When the band got here in 1984," says Killen, "there was a very positive reaction to that track. And that was a very special period, stemming from the fact that the band were trying to do something different from their previous three releases.
"On that tour, they went from playing small 2,500-seat theaters to 4,000-seat theaters. Six months after that, they were playing arenas, so U2 saw their own career take off from that album release, up to a different level. And when you see them play 'Pride' live, you realize that it's bass, drums, guitars, vocals, and no embellishments. It just works very well — very powerful, and very emotional."
Being There
When great leaders emerge, their power to inspire action and art is a gift uniquely theirs to give the world. Growing up in Ireland, it's reasonable to expect that Kevin Killen had no inkling that the life of Martin Luther King would help fulfill the aspiration held by so many in the music industry – to have a role in the making of a timeless song.
"At the time that we work on them, most engineers hope for songs to become classics," says Killen, whose GRAMMY-winning career continues on, with hit records for clients including Peter Gabriel, Elvis Costello, Kate Bush, Jewel, Bon Jovi, Shawn Colvin, Shakira, Sugarland, Bryan Ferry, and Duncan Sheik. "When you get to be a part of one of them, or a number of them, it becomes pivotal in your career. You're forever associated with the project, and that can never be taken away from you. Whether your participation was large or small, you're always connected to it.
"When I sit and listen to 'Pride'," he continues, "I can remember that pivotal sequence of events that occurred when the song went from being difficult to record, to being realized. You look around the room, and realize you've captured a very special moment. That moment stays with you forever."
Engineers and producers who crave that sensation need no small amount of luck to be in that right place, at the right time. But Kevin Killen knows that audio pros who are focused on the music can also turn their quest for a classic into a self-fulfilling prophecy.
"Obviously, we all want to work with an artist that has something to say," he points out. "Our job is to somehow set the stage so they can truly express themselves in that environment, without judgment, and convey what they're trying to get out there. If you can be a part of that process, it can be incredibly rewarding not just for yourself, but for the artist."
Sound Out
In a magic case of things coming full circle, one light that made MLK shine so brightly was that he enabled many millions to express who they truly were, as well.
Equipped with his voice and views – and often aided by a microphone – Martin Luther King, Jr. engineered a movement that unequivocally impacted the world. U2 were among the many who have heard his call. They went on to reflect that spirit forever in a song.
No matter what your walk of life, the chance to somehow have a hand in a timeless work — or even an Earth-changing attitude — may be closer than you think. You too may create something that qualifies. All of us should certainly try.
– David Weiss
The Kevin Killen Interview
July 18, 2012 by Janice Brown
Kevin Killen is a Grammy-winning engineer and producer best-known for his work on classic albums by U2, Peter Gabriel, Elvis Costello, Kate Bush, and Tori Amos – not to mention a long list of well-known contemporary singers, songwriters and bands.
On this episode of Input\Output, hosts Geoff Sanoff and Eli Janney sit down with Kevin to talk about the two albums he worked on that most influenced them as engineers: U2's Unforgettable Fire and Peter Gabriel's So.
The stories behind both of these records are fascinating. For Unforgettable Fire (1984), Killen worked in an 18th-century castle his native Ireland with producers Daniel Lanois and Brian Eno. On So (1985), Killen unexpectedly found himself in the middle of a ten-month "mixing" session in a converted farmhouse on the English countryside.
Since relocating to the United States in the late 80s, Killen has been living and, largely, working in NYC. A longtime proponent of in-the-box mixing, he's been outspoken about his all-digital workflow – a topic which Geoff and Eli dig into here as well.
Listen to individual segments below, or (better yet) download this episode in its entirety to listen wherever you go!
Input\Output is produced by Justin Colletti for SonicScoop.com. This episode was recorded at Frisbie Studios in NYC.
Icons: Tony Visconti Captures Live Magic with The Kin
June 3, 2012 by David Weiss
NOHO, MANHATTAN: Riddle us this: When is your first album not your debut album? The answer is…When you're The Kin, and you're in the studio recording your emotionally moving pop-rock creations with none other than Tony Visconti producing.
Founded in 2005 by the Australia-to-NYC transplants Isaac and Thorald Koren, The Kin became more than two guitarist/singer brothers with a huge gift for songwriting, when they recruited famed subway hand drummer Shakerleg to join them. So even though The Kin had released two independent studio albums — 2007's Rise and Fall and 2009's The Upside – only now do they see the band in its complete form.
"We're calling this our first album, based on the fact that's our first record together as a trio," Thorald explains. "After all these years, we've found our distinction."
As a result, the self-titled collection that's currently in the works and due for release on Interscope Records this year is serving as a retrograde studio premiere for The Kin, a band that long ago made its mark as an elite live act. As evidence of their on-stage prowess, consider a marathon seven-month residency at NYC's Rockwood Music Hall, a live CD/DVD documenting a show there, and the fact that Interscope pursued the band heavily after seeing their hypnotic hold on an audience at the Venice, CA venue The Stronghold.
A visit with The Kin during a recent session at Germano Studios in NoHo showed that they were already in a highly productive groove with the legendary Visconti. A Brooklyn born, Britain-bred bassist, composer and arranger, Visconti started working as a producer in 1967 and never stopped, making his name producing 12 David Bowie albums (including Space Oddity, The Man Who Sold the World, Young Americans, Low, Heroes, Lodger, Scary Monsters, and Heathen), and 13 albums for Marc Bolan's T. Rex. Thin Lizzy, the Moody Blues, the Alarm, and many more are all entries in Visconti's classics-packed discography.
Visconti had liked what he heard of The Kin's demos, but it was his experience of one of their live gigs that sold him on being a producer for their record.
"My manager told me beforehand, 'It's a band like no other – the drummer doesn't play with drumsticks, and there's no bass!'" Visconti recalls, seated at the SSL Duality console in Germano's Studio 1. "I thought, 'This is a Zen parable: How do you make a rock record with no drumsticks or bass?'"
Soon Visconti found himself as one member of a 300+ audience "jammed like sardines" to see The Kin at Rockwood Music Hall. No slouch at evaluating talent on the stage – his first experience of Tyrannosauras Rex was an electrifying set at London's UFO Club – Visconti was excited by what he saw.
"Vocals came easy to them – two singers in harmony," he recalls. "Isaac was pumping out bass on a microKorg, and the drummer plays with no sticks, yet I'm hearing this huge drum sound like Bonham. All of the elements of a rock band are there, just not the way you would do it normally. But when you put a band like that under the microscope of the studio, there are challenges."
Visconti has his work cut out for him when it comes to translating The Kin's mesmerizing live show into recorded format (more on that in a minute), yet he's diving all the way into a project that perfectly fits him as a producer in 2012. "They have all the right ingredients: They're great singers, great musicians, and they write great songs," he explains. "I live to work with a group like this, and once they let me in I'm trying to bring the best out of them. I can't do that with a fluff artist.
"There's a link to the past that The Kin have," Visconti continues. "They write on the same level as Bowie, great lyrics. People are buying stuff that's 40 years old now, and this is a group with the creative ethics that bands had in the '70's. If you listen to Cat Stevens' songs, there's a connection there: fantastic lyrics, melodies and production values."
Raising Their Game
The Kin have been waiting a long time to make this record, and they also know that their patient global fan base has high expectations. Whether it's the songs produced by Visconti or Nic Hard, an additional producer on this eponymous record (Hard also produced Rise and Fall), the band is ready to step up to the pressure.
"Expect everything we've got — we're putting everything into this record," Isaac says. "It's literally the best songwriting we've done yet. We're excited to have put all of these elements into the pot, and we can't wait to put it out to people."
Inside the accommodating live room of Germano's Studio 1, the culmination of Visconti's engineering experience – nearly five decades worth – are on full display to capture The Kin's vision. Meticulously crafted mic and DI combinations, set up with the help of assistant engineer Kenta, cover the amps, Shakerleg's drums, the Bechstein A2 upright piano, the acoustic guitar position, and more. A similar scene was doubtless played out during multiple sessions at NYC's Magic Shop, where no less than elite mixer/producer/engineer Kevin Killen was on engineering duty for Visconti and The Kin.
Visconti will talk about how he achieves his sounds – but only up to a point. "It's a long chain: signal processing, gates, compressors, EQ, and especially mic placement," he says. "I could tell you exactly how I do it, but I think that's futile because you wouldn't get my results. You'd need me and The Kin!
"That's why I prefer not to say, 'I used a Sennheiser 412 and put it next to the drummer's armpit.' I'd rather people use their ears, walk around the room, think about the best mic to use, and figure out where to put it."
How to Make it Translate from Stage to Studio
A listen to 2011's Live At Rockwood Music Hall quickly makes it clear why The Kin work so well live. In between tunes, there's no shortage of the spontaneous interplay that only siblings are capable of. When the songs kick in, there are artfully harmonic structures that only The Kin are capable of — massively moving shifts from light to dark; deftly interweaving voices, guitars, and rhythms expressing solitary stories and universal themes.
Visconti, whose steady clients like David Bowie and Marc Bolan knew how to deliver masterpieces both onstage and on record, has proved an ideal match for The Kin at this stage in their career. As they laid down a musical idea in Studio 1, for example, Visconti deftly combined a creative atmosphere with attention to detail, applying an efficient workflow.
"I feel very encouraged as an artist — and also challenged — by the way Tony works," Isaac says. "We've found it's a completely different approach to studio and live. Live, you're just doing it and not even aware of it. In the studio, you do what you do live and it doesn't necessarily come out the same."
Thorald adds, "Over all these years we've honed in our live shows what it means to have one moment, one shot, one experience. The vocals you're singing at that moment are where you are — if you've been laughing, you're tired, you're cold – and you've been trained to be ready to give everything you have. In the studio, it's a different experience.
"So getting to the place where we feel comfortable is something I've learned with Tony on this record: how to not be slick and not have that safety net, and instead to have that urgency, that one-time feeling."
Notes Visconti, "Live, the adrenaline makes you play faster. The band has it, the audience does too, so everyone accepts 5 BPM's higher. And its sheer volume: Most bands just sound amazing live because it's loud – like 110 dB.
"There are studio tricks to make it sound live at a low level, working with things like compression and distortion. In the studio you're hearing microphones, but in the live setting you hear the PA. So sometimes in the past I've experimented with bringing a live PA into the studio, although you need a soundstage. Or I've put a kick drum through a bass amp to shake the room.
"Distortion is your best friend, really. Overloading a preamp or tape gives the impression that it's more than you can bear, just on the verge of pain. Those are audio techniques to create that feeling at a low volume.
"But The Kin do play great in the studio. Sometimes they'll have a click track, sometimes not, and it's amazing how solid they are – tempo shifts might be one BPM slower. Keeping their live feel intact in the studio is what I'm trying to go for."
One of Visconti's earliest producing projects was recording with 20-year old David Bowie in 1967. For years afterward, the producer was making landmark albums in the analog domain — a realm where he observed a fundamental recording technique.
"We didn't have Pro Tools in those days, so the selection of the musicians was very important," he says. "The people who got to go into the studio were great musicians. These days, a lot of young bands – and I'm not talking about The Kin – go into studios prematurely, but they know the safety net [digital editing] exists. They know every beat will get fixed.
"With T. Rex we did five or six takes, but usually one or two would be enough. It's the same with The Kin: We do two or three takes. We don't have to belabor anything. You have to kind of trick yourself that you can't fix it — although we do if we have to. We used to do it with a razor blade and tape, but it was harder and trickier to razor-cut Take Five and Eleven together. I did it then, and I'm doing it now. This time it's with a few mouse clicks, but my ethic hasn't changed."
A Band of Brothers
When The Kin's self-titled record arrives later this year, Tony Visconti will have respectfully preserved the genuine core that sets the group apart. "This is one of the few bands that talks about the emotion they're going for in a song," he says. "And since they're brothers, they don't bullshit each other. If they have a problem, they stop the session and we all discuss it.
"A lot of my notes aren't technical notes – they're notes about how the song should be portrayed. I really appreciate that: They think at a deep level. That's why the record evokes strong feelings."
– David Weiss
Avatar Action: Sugarland, the Michel Legrand Orchestra, State Farm Was There
October 3, 2011 by David Weiss
Avatar Studios session action recently was fast and furious, as reported by the studio. Superstars returned, and multiple major label and indie artists tracked along with TV, film and Broadway cast recordings.
Jennifer Nettles and Kristian Bush AKA Sugarland recorded in Studio C on the Neve VRP 72-input console with producer Byron Gallamore. Engineer Tom Tapley was assisted by Bob Mallory.
Tony Bennett returned to Studio A and the Neve 8088, with Lady Gaga and producer Phil Ramone. Engineer Dae Bennett was assisted by Fernando Lodeiro and Tim Marchiafava.
State Farm made a choral recording in Studio A for a 9/11 Spike Lee-directed commercial with producer Eric David Johnson. Engineer Jonathan Duckett was assisted by Charlie Kramsky.
Joe Jackson recorded in Studio C. Engineer Elliot Scheiner was assisted by Aki Nishimura.
Bassist/singer Esperanza Spalding recorded in Studio G with engineers Fernando Lodeiro and Brian Montgomery assisted by Tim Marchiafava. The sessions are being produced by Esperanza Spalding and Q-Tip.
Studio B and the SSL 9000 J were on duty for Dar Williams, recording with producer/engineer Kevin Killen assisted by Fernando Lodeiro.
Horn specialist Mark Rivera recorded in Studio B with producer Jimmy Bralower, and engineer Roy Hendrickson assisted by Charlie Kramsky.
Rock singer/songwriter Danielia Cotton recorded in Studio A with engineer Dave Swanson assisted by Bob Mallory.
Producer John Oddo was on point for Broadway singer/actress Christine Ebersole, recording in Studio B with engineer Roy Hendrickson assisted by Tim Marchiafava.
Legendary jazz drummer Jack DeJohnette recorded in Studio A with producer Bob Sadin, engineer Dave Darlington assisted by Bob Mallory.
Continuing on the jazzzzzzzz tip, artists Claire Martin and Kenny Barron recorded in Studio B with producer Philip Hobbs, engineer Calum Malcolm assisted by Charlie Kramsky.
Also in Studio A, the 52-piece Michel Legrand Orchestra tracked with producer Sylvain Taillet. Engineer Lawrence Manchester was assisted by Bob Mallory and Tim Marchiafava.
Another ensemble, the Manhattan Chamber Orchestra was in Studio A with producer Howard Cass, while engineer Paul Zinman was assisted by Tim Marchiafava.
The Birdland Big Band dug into their first studio album in Studio C. The team of producer Tommy Igoe, engineer Phil Magnotti, and assistant engineer Aki Nishimura oversaw the recording.
On the music-for-media front, score for the film Friends with Kids was recorded in Studio C with producer/composer Marcelo Zarvos, engineer Erlin Velberg assisted by Fernando Lodeiro. The film stars Kristen Wiig, Megan Fox and Jon Hamm.
The cast album for Stage Door Canteen was recorded in Studio A with producer Hugh Fordin, and engineer Cynthia Daniels was assisted by Aki Nishimura. Meanwhile, a benefit project for Broadway Cares was recorded in Studio B with producer Lynn Pinto, engineer Andros Rodriguez assisted by Tim Marchiafava.
In Studio A, the cast album for Death Takes a Holiday tracked with producer Tommy Krasker. Engineer Bart Migal assisted by Bob Mallory and Charlie Kramsky.


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By Wainwright Jeffers - bio | emailJune 21, 2008
DOUGHERTY COUNTY, GA (WALB) - One person was killed, and several others injured after a terrible wreck on the Liberty Expressway.
It happened at Highway 19 and Holly Drive just before 8PM Saturday.
Police say 36-year-old Jackie Smith was heading south on Highway 19 in a Honda Pilot, when she ran a red light, and hitting the driver's side of a Pontiac Grand Prix heading East on Holly Drive.
Two people were trapped inside the car.
Firefighters used the jaws of life to try and get the victims out, but the driver died.
Six people were taken to the hospital with injuries.
Smith will be charged with homicide by vehicle in the second degree and running a red light.
P.O. Box 3130
Albany, GA 31706
(229) 446-1010
FCC Public File
(229) 446-4005
EEO Report
Closed Captioning

subset: commoncrawl


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Intermountain Cup #5: Soldier Hollow, Utah
Posted by: Shannon Boffeli |May 22, 2010 9:13 PM
The crazy weather continued has continued in Utah this week. Despite temperatures in the 70s Friday, Saturday morning broke with snow on the ground and rain falling from the sky.
The rain finally stopped just before the start gun fired. The rain had done it's damage to the racecourse. The nearly 9-mile loop was slick and slimy and race director Ed Chauner was forced to cut most of the singletrack sections from the proposed race loop.
The remaining course included a series of short, punchy climbs on the cross country ski racing track at Soldier Hollow. A tough pedally course with little recovery and no real decisive sections to create a gap. In order to win a rider would simply have to power away from the competition.
Giant rider Mitchell Petersen wasted no time making his mark on the race. After recently finishing the spring semester at the University of Utah, Petersen has been training full time.
The training has been paying off. Mitchell has logged 25 hours on the bike this week and still had enough left to leave the competition behind and take his first Intermountain Cup win this season.
Behind Petersen a bunch of newcomers were handing it to the usual IMC front runners. Brent Pontius (Biker's Edge) and Duff Johnson (Skull Candy) must moved up from expert this season and have been challenging at the front ever since.
Pontius took second on the day while Johnson came in third followed by Trevor Simper (Infinite Cycles), and Thomas Bender (Kuhl/Specialized).
In the women's race it was Kathy Sherwin (Mafia Racing) making her return to the Utah racing scene after a long training stint in California. After a slippery first lap Sherwin settled in and used her power to slowly pull away from her nearest challengers.
Sherwin took the win with a time of 1.44.28. Kelsi Bingham put together another strong performance taking another second place finish in only her second race in the pro class.
Bingham was followed by KC Holley (Gary Fisher 29er Crew), Sarah Kaufmann (Elete/Roaring Mouse), and Jenelle Kremer (Revolution/Peak Fasteners).
Pro Men
1, Mitchell Petersen (Giant) 1.40.07
2, Brent Pontius (Biker'sEdge) 1.40.42
3, Duff Johnson (Skull Candy) 1.41.09
4, Trevor Simper (Infinite Cycles) 1.41.29
5, Thomas Bender (Kuhl/Specialized) 1.42.21
6, Reed Wycoff (Kuhl/Specialized)
7, Mathew Fisher (Infinite Cycles)
8, Jake Pantone (Biker'sEdge)
9, Aaron Stites (Skull Candy)
10, Danny Van Wagoner (Kuhl/Specialized)
11, Chris Holley (Gary Fisher 29er Crew)
Pro Women
1, Kathy Sherwin (Mafia Racing) 1.44.28
2, Kelsi Bingham (Rooster's) 1.45.57
3, KC Holley (Gary Fisher 29er Crew) 1.48.48
4, Sarah Kaufmann (Elete/Roaring Mouse) 1.50.40
5, Jenelle Kremer (Revolution/Peak Fasteners) 1.52.49
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Keyword Relevance for: Information
43-5081.02 Marking Clerks
Bright Outlook
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- Put price information on tickets, marking by hand or using ticket-printing machine.
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A story of bravery and loyalty set in the harsh and wild environment of South East Africa. Our hero, Jock (Bryan Adams), accompanies his master Fitz (Donald Sutherland and Theo Landey) on his search for gold. Our canine hero grows from being the runt of the litter to the most famous dog in Africa. We have the exclusive DVD poster for you to check out here!
Much like the "wild west" it was a lawless time, as people from the world over came to seek their fortunes. Human's values are something Jock struggles to understand, what is it with Gold! His mother "Jess" advises him before leaving home that he should not try to understand the human ways, they are different. So they are, as Jock finds out in his first taste of 'civilization' at Crooks Corner. It is a place run by the evil Seedling and his powerful pet baboon, George. George, although a wicked character delights in entertainment, most of this corrupt. He has been influenced by Seedling's greed and devious human ways. Nobody stands in George's way, least of all dogs. That is, until the day he meets Jock. Unknown to the humans, the animals hide out is a deserted mine deep underground. It is here that George has his first go at Jock when Jock stands up to his bullying.
Jock the Hero Dog was released July 24th, 2012 and stars Bryan Adams, William Baldwin, Anthony Bishop, Louisa Cerdan, Philina Cerdan, Ted Danson, Rose Emanuel, Ava Flutie. The film is directed by Duncan MacNeillie.


text:
Credits & Info
- Date
- 12/05/2007
- File Info
- Song
- 5 min 57 sec
- Score
- 4.15 / 5.00
Related Content
Licensing Terms
- Attribution:
- You must give credit to the artist.
- Noncommercial:
- You may not use this work for commercial purposes unless you make specific arrangements with the artist.
- Share Alike:
- If you alter, transform, or build upon this image, you may distribute the resulting creation only under a license identical to this one.
- Score:
- Rated 4.15 / 5 stars
- Plays & Downloads:
- 15,770 Plays | 1,467 Downloads
- Share Links:
- Genres:
- Metal, Rock - Heavy Metal
- None
Author Comments
I made this one early in 2007. I never uploaded it to newgrounds because the filesize was too big and I couldn't be arsed cutting it up and whatnot. Now that Newgrounds allows 8mb songs I've finally uploaded it. It's quite a long one, but the second to last riff is cool so wait for it!
It might get a little boring in some places. That's due to the reason that I wanted to record vocals on it so I left a lot of room for that kind of shit. In the end when I finally recorded vocals, they sounded shit so I left the song as an instrumental. I'll re make this song for my album and have vocals on it... When I can be bothered.
Anyway, cheers for fucking listening. I'll eat your shit.
Rated 5 / 5 stars February 23, 2008
hell no dude
holy shit man this is fricken awesom brings tears of joy :,}
haha, thanks pal!
Rated 5 / 5 stars February 22, 2008
1 word....
thats it... no words describe the awsome music thats blessing my ears..
Cheers for the awesome words man!
Rated 4.5 / 5 stars February 21, 2008
I like this quite a bit indeed. Particularly the drums, plenty of interesting beats and patterns. The really fast picking has that righteous feel to it, very nice. I'd really like to hear vocals on this, that would be totally awesome.
Rated 5 / 5 stars February 20, 2008
*dies from brutalness*
*brans on the wall behind me*
Rated 5 / 5 stars February 17, 2008
Dude...this blows my mind.
I don't understand how you come up with your shit, but it's fucking incredible.
I've never attempted vocals on something like this; I'd love to try, though.
Metal forever!


text:
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Genre: Series, Harlequin Superromance, Current Series Imprints
Financier widower Troy Cramer returns to his hometown, hoping to find safety and security as well as a more normal life for his twin daughters. When he sees policewoman Sadie Evans, the girl everyone loved in high school, handling a juvenile delinquent, he hires her to help his daughters become "ladies." Surprised to see that the geek from high school has turned into such a handsome man, Sadie finds herself falling for him. Will Troy learn to loosen his grip on everyone's life and let nature take its course? Susan Meier's THE TYCOON'S DOUBLE TROUBLE (2) has some problems. Troy is entirely too overbearing and overprotective. The premise is good and has potential, but two bratty children and their overbearing father make this a tough read.
Reviewed By: Judith Rippelmeyer
Publisher: Silhouette
Published: March 2003


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APARTMENTS Paris12 apartments available | Reset criteria
A small but fully functional rental apartment near the Bastille in Paris. It has a comfortable and peaceful atmosphere with a bright and modern design. Suitable for two guests.
Month Price: 1772€ - 2240€
Paris Apartment - MORNAY
An elegant studio type accommodation situated in the middle of the Bastille and the Saint Louis Island. It is brightly lit and has undergone recent renovation.
Month Price: 2165€ - 2696€
Apartment of 35 sqm recently renovated composed a separate bedroom. The living room is very sunny with two large windows with balconies.
Month Price: 2250€ - 2948€
This comfortable and lovely apartment will perfectly suit to families or friends who want to discover Paris from a genuine and original neighbourhood.
Month Price: 2515€ - 3306€
This is a one-bedroom apartment located in a central area in Paris and has excellent lighting and comfortable furnishings. The best part is that it comes at a very affordable price.
Month Price: 3738€ - 3738€
Apartment in Paris Bastille located in a modern building, first floor (EU) overlooking a beautiful garden. You'll have the chance to be in a quiet atmosphere in one of the most living...
Month Price: 2861€ - 3801€
This apartment in Paris Bastille is located on the 5th floor of a typical Parisian building with lift. The windows of the living-room gives on a long balcony overlooking Voltaire Boulevard.
Month Price: 3363€ - 4439€
The apartment is sunny all day long, thanks his double exposure. Two bedrooms have an extraordinary view of Paris. Apartment of 75 sqm with large living room and open kitchen, entirely equiped.
Month Price: 3903€ - 5142€
An excellent rental apartment in Paris that offers a spacious and modern accommodation good for two (2) persons. It is situated in the central district of Paris.
Month Price: 5629€ - 6210€
This is a two-bedroom apartment located just beside the Arsenal Port in Bastille, Paris. You will love its excellent views and cozy accommodations.
Month Price: 5339€ - 6715€


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Twenty-six lawyers have been selected to receive the honorary title of Advocatus Emeritus from the Barreau du Québec, the professional order representing more than 24,000 Quebec lawyers. The distinction, which allows recipients to add the honorific Ad. E. … Continue reading
Barreau de Montréal RSS
Once disbarred celebrity lawyer Micheline Parizeau free to practice law
Once disbarred celebrity divorce attorney Micheline Parizeau is now completely free to practice law without legal proceedings challenging that right hanging over her head. This morning the Supreme Court of Canada denied leave to appeal to the Barreau du Québec… Continue reading
Litigator leaving Lavery
Pierre Bourque is leaving Lavery LLP come Jan. 1 to join the Montreal office of Robinson Sheppard Shapiro LLP (RSS). Bourque, a seasoned corporate and commercial litigator who moved over to Lavery with other lawyers from the now defunct Desjardins … Continue reading
Montreal intellectual property lawyer named judge
David R. Collier, a Montreal lawyer specialized in intellectual property, has been appointed as a judge of Quebec Superior Court. Collier brings to the bench almost three decades of legal practice experience in the areas of copyright, trademarks … Continue reading
Big-city legal leaders meet in Montreal
Legal leaders from 18 major cities of the world are meeting in Montreal for the 7th World City Bar Leaders Conference. The conference – hosted by the Barreau de Montréal — is a bi-annual forum for the leaders … Continue reading


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|Blade Type:
|Shipping Weight:
|1.4 lbs.
|1/2 in.
|Teeth Per Inch:
REVIEW SNAPSHOT®by PowerReviews
Best Uses
Reviewed by 11 customers
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Best Uses
cut out ancient door buck on garage to install new prehung entry door.The metal cutting blade made short work of the 16d nails fastening the door buck.
Best Uses
I am well and truly pleased with this selection. I had an old 32 ft treated lumber bridge that I wanted to somewhat salvage and the 30 year old carriage bolts were rusted tight. I used the Torch blade to lop off the bolts and zing through some nails and deck screws. The Axe blade also made short work of damaged planks, some small overhanging branches I cleared and some stove wood just to see how it did with year old 6" logs. I also sliced up some old scaffolding that had been rusting away in my woodlot with the Torch blade. Again - great performance.
Best Uses
I have used them before and got these for gifts for my sons along with the hacksaw.
Best Uses
Nice assortment of blades for various uses.
Best Uses
bought these for a 12 Amp Milwaukee 6520-81 Sawzall. Have used only on plastic pipe so far, but the 4" Torch is strong enough to withstand an end-jam and not yield. I was surprised by the thickness of these blades.
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get answers from real customers and in-house experts with AnswerBox.
Q:Will the general sawzall blades work on the heavy duty super sawzall, or do I have to buy only super sawzall blades?
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A:Yes, these blades should work fine with the heavy-duty super Milwaukee 6520-81 12 Amp sawzall, though they may not be as durable as some of the heavy-duty sawzall blades. The blades included are: two 6-inch Torch blades, two 6-inch Wrecker blades, three 9-inch torch blades, three 9-inch Axe blades, and two 6-inch axe blades.


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The 50th anniversary of the Ford Mustang hasn't gone unnoticed by the rest of the industry, including the muscle car 's fiercest rival, the Chevrolet Camaro . In a move that's a nod of respect to the rivalry, the Camaro — of all cars — has just wished the Mustang a happy 50 years.
If you're thinking that this move is merely a publicity ploy by Chevrolet , there's a good chance that you're right. Partly, at least. But you can't deny that there's also some graciousness behind the act; after all, Chevrolet did recognize the Mustang as the original pony car and that the "healthy competition" between the two Camaro and the Mustang has benefited both models tremendously. I take mild issue with Chevy's claim of the Mustang as the "original" pony car, as the the Barracuda actually predated the Mustang by a few weeks making it the actual original pony car. But it is commonly accepted that the `Stang receives this title, so I am outnumbered.
"For five decades, the Camaro and the Mustang have been battling it out in every possible setting," GM's Executive Vice President of Global Product Development Mark Reuss said in a statement. "These two cars have been striving to beat each other on the track, on the drag strip and on the streets. That competition is a big part of why both cars are so amazing, and so popular, today."
There's a whole lot of truth to that and the respect between both models is evident by this respectful gesture by the Camaro.
Click past the jump to read more about Camaro and Mustang.


text:
Vertical Forest
Bosco Verticale (Vertical Forest) is a project by Stefano Boeri architetti for metropolitan reforestation that contributes to the regeneration of the environment and urban biodiversity without the implication of expanding the city upon the territory. Bosco Verticale is a model of vertical densification of nature within the city. More infos HERE.
(Source: )


text:
Much like the day which Americans were stunned to see the U.S. mainland attacked, relatives of Canfield "Buddy" Boone will never forget.
Local News
We want your news and traffic tips! 888-537-9724 or click here.
Milan Native Remembered On 9/11 Anniversary
VIDEO: Firefighter Honors Fallen Brethren On 9/11
Lawrenceburg firefighter Ernie Theetge musically marked the 13th anniversary of the September 11, 2001 terrorist attacks.
Man Assaulted Woman In Apartment
An Aurora man is accused of an attack on a woman in her apartment.
Bringing Suicide "Out Of The Darkness" In Indiana
With the death of actor and comedian Robin Williams still fresh in the minds of many Hoosiers, mental-health advocates want to keep the conversation and awareness going, as the state and nation recognize Suicide Prevention Week this week.
Dirt Drag Event Benefits Six-Year-Old Crash Victim's Family
Friends are revving up to help the family of a six-year-old boy killed in an ATV accident.
Marriage Challenges From Ind., Other States Will Go To Supreme Court Conference
Indiana's marriage law challenge will be considered with those from four other states when the U.S. Supreme Court meets in a private conference on September 29.
Man Accused Of Breaking Into Impound Lot To Retrieve Drugs
A man allegedly broke into a towing business so he could retrieve drugs stashed in a friend's vehicle.
UPDATE: Tornado, Flood Watches Issued For Most Of Area
The tri-state is being placed under a Tornado Watch by the National Weather Service Wednesday evening. UPDATE: A Flash Flood Warning has been issued for Franklin County through Thursday morning.
Flags To Half Staff On 9/11
Thursday will mark 13 years since the United Stated of America was placed into a state of fear, shock, and disbelief over what they saw happening in New York City, Washington D.C., and rural Pennsylvania.
Dutch Hollow Road To Close Sept. 11-16
Motorists traveling who travel on Dutch Hollow Road from Millstone Road to US 50 need to take a different route for the next six days.


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Not Into You
And after all this time…I still hate you!
I'm really over the all the butterflies. I hate you! (I really do)
And baby even on my best night, I really hate you! (Believe I do)
Yeah I remember what a dick you are.
I don't wanna be with you again by far!
Yeah after all this time, I still hate you!
"I want to feel it even if it hurts."
Listening to music while cooking has to be one of my favorite things.
"I live with the consequences of your senseless actions while you go on unfazed."
"Pain takes my heart's place. The love we made. We can't erase it. Don't wanna face it."
"It doesn't matter how you planned it. It doesn't matter how you envisioned it. Without even knowing it, sometimes life has a way of finding exactly what you need or exactly who you need."
One Tree Hill (via somethingbeyond)


text:
So you feel the need to plaster your mug all over Facebook, do ya? Well here's a few interesting facts Facebook has collected about photos you may enjoy. Chicks are WAY into themselves, old people suck at tag, and New Year's Eve ROCKED! Here's the specifics:
- 6 BILLION photos are uploaded to Facebook each month, and the total will pass 100 BILLION by this summer
What do I make of this? – most of these are mirror chicks and emo kids.
- 750 MILLION photos were posted on New Year's Weekend
What do I make of this? – drunk people like to take pics, and drunker people like to be in pics.
- 33% of all uploads occur on the weekend
What do I make of this? – work sucks, and we don't need to see pics of it.
- Women are responsible for TWICE as many uploads, looks, and tags
What do I make of this? – Women are vain, egotistical, nosy creatures.
- Guys prefer photos of girls and girls prefer photos of girls
What do I make of this? – DUH.
- Older users upload just as much, but tag photos half as often
What do I make of this? – Old people suck at tag. They run slow and might break a hip if they fall.
- The average user has 97,000 viewable photos in their network of friends
What do I make of this? – You will probably care about 10 of them, and you'll be in 8 of those.
Our Conclusion – when an alien race far superior to ours finally decides to wipe us off the face of the planet, they will be sure to preserve the Facebook photo archives first. It will be much easier to laugh at OUR stupid asses than it would be to write their own Sunday comic strips.
February 23, 2011 at 3:12 pm | Entertainment News, General Stupidity, KCAL Crew, KCAL Rocks, News, Technology | No comment


text:
Follow Amelia Nahmias on Facebook.
HARRISONBURG, Va. (WHSV) -- With snow on the way, many people are heading to the grocery store to stock up on supplies.
James Williams went to Red Front Supermarket to prepare for the storm.
"I'm here picking up as many snacks as I can fit in that little basket so I can stay home tomorrow," said Williams.
Omar is also shopping, but not for storm preps.
"Just regular grocery shopping, but now that you're telling me it's going to snow. I'm glad I came today," said Omar.
A few aisles, housing the milk and water have empty spots, but most people are like Omar, buying enough just to get by.
"I wouldn't say stocking up, but pretty much just trying to get through this week. Then we'll see what happens next week," said Omar.
For Williams, this little basket will have to last him for the long haul.
"A week, ten days, two weeks? You have enough snacks for that? Yep," said Williams.
Remember, the longer you wait, the slimmer pickings will be.
© Copyright 2014 WHSV / Gray Television Group, Inc. All Rights Reserved.


text: Although I am a Christian these two (almost adjacent) vast edifices speak volumes of the church's disregard and contempt for the common man. Here set in a small town of small and mean houses, narrow streets and a general air of poverty are these two vast churches with associated large parochial houses etc. When they were built the contrast between... More


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Sustainable DevelopmentBerghahn Books 2014; US$ 95.00
With growing evidence of unsustainable use of the world's resources, such as hydrocarbon reserves, and related environmental pollution, as in alarming climate change predictions, sustainable development is arguably the prominent issue of the 21st century.� This volume gives a wide ranging introduction focusing on the arid Gulf region, where the... more...
Security Arrangements in the Persian GulfGarnet Publishing (UK) Ltd 2011; US$ 14.57
The strategic and economic characteristics of the Persian Gulf have made it of critical importance to all the states bordering its coastline, as well as the entire world's economy and political life. Its significant geopolitical situation, in addition to its dominant position as an energy source and gateway for global energy, has caused the Gulf to... more...
The Gulf Military BalanceCenter for Strategic & International Studies 2014; US$ 49.99
The United States faces major challenges in dealing with Iran, the threat of terrorism, and the tide of political instability in the Arabian Peninsula. The presence of some of the world?s largest reserves of oil and natural gas, vital shipping lanes, and Shia populations throughout the region have made the peninsula the focal point of US and Iranian... more...
Persian Gulf 2013SAGE Publications 2014; US$ 52.00
Persian Gulf 2013 �looks at the growing relationship between India and the countries of the Persian Gulf region, which has assumed greater importance in the recent years and hence demands greater attention.� The book covers India?s bilateral relations in 2012 with nine Persian Gulf countries, namely, Bahrain, Iran, Iraq, Kuwait, Oman, Qatar,... more...
Creating the Arabian GulfLexington Books 2009; US$ 39.99
Whether called 'Arabian' or 'Persian,' the Gulf is one of the most politically important regions of the world, and its history is necessary in understanding the contemporary Middle East. Paul Rich draws on previously closed archives to document the actual heritage of the area and dispel the myths, showing that the influences of Britain and India are... more...
In the Direction of the GulfTaylor and Francis 2013; US$ 190.00
This text analyzes the USSR's interest in the countries of the Persian Gulf. The book places such interest within the context of the USSR's relations with the Arab world and the complexities of power politics. more...
Conflict and Cooperation in the Gulf RegionSpringer Fachmedien 2009; US$ 59.99
Nishapur RevisitedOxbow Books 2012; US$ 40.00
Nishapur in eastern Iran was an important Silk Road city, its position providing links to central Asia and China, Afghanistan and India, the Persian Gulf and the west. Despite previous excavations there are many unresolved questions surrounding the site; when was the city founded? Is Nishapur a Sasanian city? Was it founded by the Sasanian king Shapur... more...
Mountain of the DeadThe History Press 2013; US$ 14.57
In January 1959, ten experirenced young skiers set out to travel to a mountain named Mount Otorten in the far north of Russia. The name Otorten translates as 'Don't go there' in the local Mansi language. One of their skiers fell ill and returned. The remaining nine lost their way and ended up on another mountain slope known as Kholat Syakhl (translated... more...
The Security of the Persian Gulf (RLE Iran A)Taylor and Francis 2012; US$ 145.00
The Persian Gulf, important because of its vast energy resources, emerged into the limelight of geopolitics at the time of the British Labour government?s policy of withdrawal from East of Suez in 1968. Before 1968 it had been recognised that the Gulf lay in the legitimate sphere of influence of Britain, while the United States exerted its influence... more...


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Molecule of the Week
Phosphorus pentoxide
September 8, 2008
Phosphorus pentoxide (empirical formula P2O5) is known to many laboratory workers as a powerful desiccant. It is manufactured by burning elemental phosphorus in a current of dry air. P2O5 exists in several crystalline and amorphous forms, the most common of which is the crystalline P4O10 shown. In the fertilizer industry, phosphorus concentration is expressed as weight percent P2O5 equivalent.
- Get more information on this molecule from CAS (Chemical Abstracts Service)
- Molecule of the Week archive | About MOTW


text: Webexclusive Spinner Wooden Wall Mirror, 36x36 Item #: 120023 $99.99 Ship to Home Can you resist the entrancing beauty of the Spinner Wooden Wall Mirror? With abstract spiral design and mahogany finish, you won't be able to look away from your new wall décor! This item is no longer available for purchase.


text:
Secret Santa helping local seniorsUPDATED 9:21 AM EST Dec 06, 2012
Secret Santa for Seniors gift drive is seeking donations through the Cambridge Police Department.
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text:
My Personal Collection of Photographs
Of John Heartfield His Family,
Friends, and Colleagues
In the sections above, I'll share
never-before-seen photographs of
John Heartfield, his family,
his friends, and his colleagues.
I'll add photos to this section frequently.
To find out when new images are available
and provide comments and suggestions,
please check the
Monteur Twitter Account
Heartfield Facebook Page
Heartfield Blog
Join the Archive Mailing List to get occasional
notices about additions and improvements.
If you have any Heartfield photos
that you believe are unknown,
let me know and I'll add them to this
Many of these previously published images
can be found within
Books Noted In The WORDS Section
Grandson's Note: I wrote the captions
for these images, attempting to make them
as historically accurate as possible.
Please write to me to correct any possible
errors or discrepancies.>


text:
Season two of the bizarrely hilarious TV series Get a Life begins with Chris (Chris Elliott) walking into the kitchen of his parents, Fred (Bob Elliott) and Gladys (Elinor Donahue), and performing his "I have a big announcement to make" dance, which entails dancing around in a circle and waving his arm over his head while shouting, "I have a big announcement to make," in a high-pitched voice. Chris lets his parents know that, as he has reached the age of 31, he is "officially, unequivocally, irreversibly, and pooky-pockily [sic] moving out" of the room above their garage. Chris soon finds himself at the home of Gus (Brian Doyle-Murray), a retired cop with a mean temper. At first, Gus mistakes Chris for a "slobbering brain-dead derelict," but Chris quickly dispenses any question of his social status by pointing out that he is wearing Jordache designer pants. Gus doesn't actually have a room for rent, but when he learns that Chris has 150 dollars to spend each month, he convinces Chris to move into his garage. Actually, he almost convinces Chris that his garage is a spare room, designed with a "garage motif." Chris assesses his new situation astutely, telling Gus, "As Bogart said at the end of Casablanca, this looks like the beginning of two guys who kind of tolerate each other." But Chris soon discovers that spending the night alone in a strange place can be a frightening experience.
by Josh Ralske synopsis