A simplified illustration of the parallax of an object against a distant background due to a perspective shift. When viewed from "Viewpoint A", the object appears to be in front of the blue square. When the viewpoint is changed to "Viewpoint B", the object appears to have moved in front of the red square.

This animation is an example of parallax. As the viewpoint moves side to side, the objects in the distance appear to move more slowly than the objects close to the camera.

Parallax is a displacement or difference in the apparent position of an object viewed along two different lines of sight, and is measured by the angle or semi-angle of inclination between those two lines.^[1][2] The term is derived from the Greek παράλλαξις (parallaxis), meaning "alteration". Nearby objects have a larger parallax than more distant objects when observed from different positions, so parallax can be used to determine distances.

Astronomers use the principle of parallax to measure distances to celestial objects including to the Moon, the Sun, and to stars beyond the Solar System. For example, the Hipparcos satellite took measurements for over 100,000 nearby stars. This provides a basis for other distance measurements in astronomy, the cosmic distance ladder. Here, the term "parallax" is the angle or semi-angle of inclination between two sight-lines to the star.

Parallax also affects optical instruments such as binoculars, microscopes, and twin-lens reflex cameras that view objects from slightly different angles. Many animals, including humans, have two eyes with overlapping visual fields that use parallax to gain depth perception; this process is known as stereopsis. In computer vision the effect is used for computer stereo vision, and there is a device called a parallax rangefinder that uses it to find range, and in some variations also altitude to a target.

A simple everyday example of parallax can be seen in the dashboard of motor vehicles that use a needle-style speedometer gauge. When viewed from directly in front, the speed may show exactly 60; but when viewed from the passenger seat the needle may appear to show a slightly different speed, due to the angle of viewing.

Visual perception[link]

This image demonstrates parallax. The Sun is visible above the streetlight. The reflection in the water is a virtual image of the Sun and the streetlight. The location of the virtual image is below the surface of the water, offering a different vantage point of the streetlight, which appears to be shifted relative to the more distant Sun.

As the eyes of humans and other animals are in different positions on the head, they present different views simultaneously. This is the basis of stereopsis, the process by which the brain exploits the parallax due to the different views from the eye to gain depth perception and estimate distances to objects.^[3] Animals also use motion parallax, in which the animals (or just the head) move to gain different viewpoints. For example, pigeons (whose eyes do not have overlapping fields of view and thus cannot use stereopsis) bob their heads up and down to see depth.^[4]

Distance measurement in astronomy[link]

Stellar parallax[link]

On an interstellar scale, parallax created by the different orbital positions of the Earth causes nearby stars to appear to move relative to more distant stars. By observing parallax, measuring angles and using geometry, one can determine the distance to various objects. When the object in question is a star, the effect is known as stellar parallax.

Stellar parallax is most often measured using annual parallax, defined as the difference in position of a star as seen from the Earth and Sun, i. e. the angle subtended at a star by the mean radius of the Earth's orbit around the Sun. The parsec (3.26 light-years) is defined as the distance for which the annual parallax is 1 arcsecond. Annual parallax is normally measured by observing the position of a star at different times of the year as the Earth moves through its orbit. Measurement of annual parallax was the first reliable way to determine the distances to the closest stars. The first successful measurements of stellar parallax were made by Friedrich Bessel in 1838 for the star 61 Cygni using a heliometer.^[5] Stellar parallax remains the standard for calibrating other measurement methods. Accurate calculations of distance based on stellar parallax require a measurement of the distance from the Earth to the Sun, now based on radar reflection off the surfaces of planets.^[6]

The angles involved in these calculations are very small and thus difficult to measure. The nearest star to the Sun (and thus the star with the largest parallax), Proxima Centauri, has a parallax of 0.7687 ± 0.0003 arcsec.^[7] This angle is approximately that subtended by an object 2 centimeters in diameter located 5.3 kilometers away.

The fact that stellar parallax was so small that it was unobservable at the time was used as the main scientific argument against heliocentrism during the early modern age. It is clear from Euclid's geometry that the effect would be undetectable if the stars were far enough away, but for various reasons such gigantic distances involved seemed entirely implausible: it was one of Tycho's principal objections to Copernican heliocentrism that in order for it to be compatible with the lack of observable stellar parallax, there would have to be an enormous and unlikely void between the orbit of Saturn and the eighth sphere (the fixed stars).^[8]

In 1989, the satellite Hipparcos was launched primarily for obtaining parallaxes and proper motions of nearby stars, increasing the reach of the method tenfold. Even so, Hipparcos is only able to measure parallax angles for stars up to about 1,600 light-years away, a little more than one percent of the diameter of the Milky Way Galaxy. The European Space Agency's Gaia mission, due to launch in 2012 and come online in 2013, will be able to measure parallax angles to an accuracy of 10 microarcseconds, thus mapping nearby stars (and potentially planets) up to a distance of tens of thousands of light-years from earth.^[9]

Computation[link]

Stellar parallax motion

Distance measurement by parallax is a special case of the principle of triangulation, which states that one can solve for all the sides and angles in a network of triangles if, in addition to all the angles in the network, the length of at least one side has been measured. Thus, the careful measurement of the length of one baseline can fix the scale of an entire triangulation network. In parallax, the triangle is extremely long and narrow, and by measuring both its shortest side (the motion of the observer) and the small top angle (always less than 1 arcsecond,^[5] leaving the other two close to 90 degrees), the length of the long sides (in practice considered to be equal) can be determined.

Assuming the angle is small (see derivation below), the distance to an object (measured in parsecs) is the reciprocal of the parallax (measured in arcseconds): Failed to parse (Missing texvc executable; please see math/README to configure.): d (\mathrm{pc}) = 1 / p (\mathrm{arcsec}).

For example, the distance to Proxima Centauri is 1/0.7687=1.3009 parsecs (4.243 ly).[7]

Diurnal parallax[link]

Diurnal parallax is a parallax that varies with rotation of the Earth or with difference of location on the Earth. The Moon and to a smaller extent the terrestrial planets or asteroids seen from different viewing positions on the Earth (at one given moment) can appear differently placed against the background of fixed stars.^[10][11]

Lunar parallax[link]

Lunar parallax (often short for lunar horizontal parallax or lunar equatorial horizontal parallax), is a special case of (diurnal) parallax: the Moon, being the nearest celestial body, has by far the largest maximum parallax of any celestial body, it can exceed 1 degree.^[12]

The diagram (above) for stellar parallax can illustrate lunar parallax as well, if the diagram is taken to be scaled right down and slightly modified. Instead of 'near star', read 'Moon', and instead of taking the circle at the bottom of the diagram to represent the size of the Earth's orbit around the Sun, take it to be the size of the Earth's globe, and of a circle around the Earth's surface. Then, the lunar (horizontal) parallax amounts to the difference in angular position, relative to the background of distant stars, of the Moon as seen from two different viewing positions on the Earth:- one of the viewing positions is the place from which the Moon can be seen directly overhead at a given moment (that is, viewed along the vertical line in the diagram); and the other viewing position is a place from which the Moon can be seen on the horizon at the same moment (that is, viewed along one of the diagonal lines, from an Earth-surface position corresponding roughly to one of the blue dots on the modified diagram).

The lunar (horizontal) parallax can alternatively be defined as the angle subtended at the distance of the Moon by the radius of the Earth^[13] -- equal to angle p in the diagram when scaled-down and modified as mentioned above.

The lunar horizontal parallax at any time depends on the linear distance of the Moon from the Earth. The Earth-Moon linear distance varies continuously as the Moon follows its perturbed and approximately elliptical orbit around the Earth. The range of the variation in linear distance is from about 56 to 63.7 earth-radii, corresponding to horizontal parallax of about a degree of arc, but ranging from about 61.4' to about 54'.^[12] The Astronomical Almanac and similar publications tabulate the lunar horizontal parallax and/or the linear distance of the Moon from the Earth on a periodical e.g. daily basis for the convenience of astronomers (and formerly, of navigators), and the study of the way in which this coordinate varies with time forms part of lunar theory.

Diagram of daily lunar parallax

Parallax can also be used to determine the distance to the Moon.

One way to determine the lunar parallax from one location is by using a lunar eclipse. A full shadow of the Earth on the Moon has an apparent radius of curvature equal to the difference between the apparent radii of the Earth and the Sun as seen from the Moon. This radius can be seen to be equal to 0.75 degree, from which (with the solar apparent radius 0.25 degree) we get an Earth apparent radius of 1 degree. This yields for the Earth-Moon distance 60 Earth radii or 384,000 km. This procedure was first used by Aristarchus of Samos^[14] and Hipparchus, and later found its way into the work of Ptolemy.^{[citation needed]} The diagram at right shows how daily lunar parallax arises on the geocentric and geostatic planetary model in which the Earth is at the centre of the planetary system and does not rotate. It also illustrates the important point that parallax need not be caused by any motion of the observer, contrary to some definitions of parallax that say it is, but may arise purely from motion of the observed.

Another method is to take two pictures of the Moon at exactly the same time from two locations on Earth and compare the positions of the Moon relative to the stars. Using the orientation of the Earth, those two position measurements, and the distance between the two locations on the Earth, the distance to the Moon can be triangulated:

Failed to parse (Missing texvc executable; please see math/README to configure.): \mathrm{distance}_{\textrm{moon}} = \frac {\mathrm{distance}_{\mathrm{observerbase}}} {\tan (\mathrm{angle})}

Example of lunar parallax: Occultation of Pleiades by the Moon

This is the method referred to by Jules Verne in From the Earth to the Moon:

Until then, many people had no idea how one could calculate the distance separating the Moon from the Earth. The circumstance was exploited to teach them that this distance was obtained by measuring the parallax of the Moon. If the word parallax appeared to amaze them, they were told that it was the angle subtended by two straight lines running from both ends of the Earth's radius to the Moon. If they had doubts on the perfection of this method, they were immediately shown that not only did this mean distance amount to a whole two hundred thirty-four thousand three hundred and forty-seven miles (94,330 leagues), but also that the astronomers were not in error by more than seventy miles (≈ 30 leagues).

Solar parallax[link]

After Copernicus proposed his heliocentric system, with the Earth in revolution around the Sun, it was possible to build a model of the whole solar system without scale. To ascertain the scale, it is necessary only to measure one distance within the solar system, e.g., the mean distance from the Earth to the Sun (now called an astronomical unit, or AU). When found by triangulation, this is referred to as the solar parallax, the difference in position of the Sun as seen from the Earth's centre and a point one Earth radius away, i. e., the angle subtended at the Sun by the Earth's mean radius. Knowing the solar parallax and the mean Earth radius allows one to calculate the AU, the first, small step on the long road of establishing the size and expansion age^[15] of the visible Universe.

A primitive way to determine the distance to the Sun in terms of the distance to the Moon was already proposed by Aristarchus of Samos in his book On the Sizes and Distances of the Sun and Moon. He noted that the Sun, Moon, and Earth form a right triangle (right angle at the Moon) at the moment of first or last quarter moon. He then estimated that the Moon, Earth, Sun angle was 87°. Using correct geometry but inaccurate observational data, Aristarchus concluded that the Sun was slightly less than 20 times farther away than the Moon. The true value of this angle is close to 89° 50', and the Sun is actually about 390 times farther away.^[14] He pointed out that the Moon and Sun have nearly equal apparent angular sizes and therefore their diameters must be in proportion to their distances from Earth. He thus concluded that the Sun was around 20 times larger than the Moon; this conclusion, although incorrect, follows logically from his incorrect data. It does suggest that the Sun is clearly larger than the Earth, which could be taken to support the heliocentric model^{[citation needed]}.

Measuring Venus transit times to determine solar parallax

Although Aristarchus' results were incorrect due to observational errors, they were based on correct geometric principles of parallax, and became the basis for estimates of the size of the solar system for almost 2000 years, until the transit of Venus was correctly observed in 1761 and 1769.^[14] This method was proposed by Edmond Halley in 1716, although he did not live to see the results. The use of Venus transits was less successful than had been hoped due to the black drop effect, but the resulting estimate, 153 million kilometers, is just 2% above the currently accepted value, 149.6 million kilometers.

Much later, the Solar System was 'scaled' using the parallax of asteroids, some of which, like Eros, pass much closer to Earth than Venus. In a favourable opposition, Eros can approach the Earth to within 22 million kilometres.^[16] Both the opposition of 1901 and that of 1930/1931 were used for this purpose, the calculations of the latter determination being completed by Astronomer Royal Sir Harold Spencer Jones.^[17]

Also radar reflections, both off Venus (1958) and off asteroids, like Icarus, have been used for solar parallax determination. Today, use of spacecraft telemetry links has solved this old problem. The currently accepted value of solar parallax is 8".794 143.^[18]

Dynamic or moving-cluster parallax[link]

The open stellar cluster Hyades in Taurus extends over such a large part of the sky, 20 degrees, that the proper motions as derived from astrometry appear to converge with some precision to a perspective point north of Orion. Combining the observed apparent (angular) proper motion in seconds of arc with the also observed true (absolute) receding motion as witnessed by the Doppler redshift of the stellar spectral lines, allows estimation of the distance to the cluster (151 light-years) and its member stars in much the same way as using annual parallax.^[19]

Dynamic parallax has sometimes also been used to determine the distance to a supernova, when the optical wave front of the outburst is seen to propagate through the surrounding dust clouds at an apparent angular velocity, while its true propagation velocity is known to be the speed of light.^[20]

Derivation[link]

For a right triangle,

Failed to parse (Missing texvc executable; please see math/README to configure.): \sin p = \frac {1 AU} {d} ,

where Failed to parse (Missing texvc executable; please see math/README to configure.): p

is the parallax, 1 AU (149,600,000 km) is approximately the average distance from the Sun to Earth, and Failed to parse (Missing texvc executable; please see math/README to configure.): d
is the distance to the star.

Using small-angle approximations (valid when the angle is small compared to 1 radian),

Failed to parse (Missing texvc executable; please see math/README to configure.): \sin x \approx x\textrm{\ radians} = x \cdot \frac {180} {\pi} \textrm{\ degrees} = x \cdot 180 \cdot \frac {3600} {\pi} \textrm{\ arcseconds} ,

so the parallax, measured in arcseconds, is

Failed to parse (Missing texvc executable; please see math/README to configure.): p'' \approx \frac {1 \textrm{\ AU}} {d} \cdot 180 \cdot \frac{3600} {\pi} .

If the parallax is 1", then the distance is

Failed to parse (Missing texvc executable; please see math/README to configure.): d = 1 \textrm{\ AU} \cdot 180 \cdot \frac {3600} {\pi} \approx 206,265 \textrm{\ AU} \approx 3.2616 \textrm{\ ly} \equiv 1 \textrm{\ parsec} .

This defines the parsec, a convenient unit for measuring distance using parallax. Therefore, the distance, measured in parsecs, is simply Failed to parse (Missing texvc executable; please see math/README to configure.): d = 1 / p , when the parallax is given in arcseconds.^[21]

Parallax error in astronomy[link]

Precise parallax measurements of distance have an associated error. However this error in the measured parallax angle does not translate directly into an error for the distance, except for relatively small angles. The reason for this is that an error toward a smaller angle results in a greater error in distance than an error toward a larger angle.

However, an approximation of the distance error can be computed by

Failed to parse (Missing texvc executable; please see math/README to configure.): \delta d = \delta \left( {1 \over p} \right) =\left| {\partial \over \partial p} \left( {1 \over p} \right) \right| \delta p ={\delta p \over p^2}

where d is the distance and p is the parallax. The approximation is far more accurate for parallax errors that are small relative to the parallax than for relatively large errors. For meaningful results in stellar astronomy, Dutch astronomer Floor van Leeuwen recommends that the parallax error be no more than 10% of the total parallax when computing this error estimate.^[22]

[edit] Parallax error in measurement instruments

Measurements made by viewing the position of some marker relative to something to be measured are subject to parallax error if the marker is some distance away from the object of measurement and not viewed from the correct position. For example, if measuring the distance between two ticks on a line with a ruler marked on its top surface, the thickness of the ruler will separate it's markings from the ticks. If viewed from a position not exactly perpendicular to the ruler, the apparent position will shift and the reading will be less accurate than the ruler is capable of.

A similar error occurs when reading the position of a pointer against a scale in an instrument such as an analog multimeter. To help the user avoid this problem, the scale is sometimes printed above a narrow strip of mirror, and the user's eye is positioned so that the pointer obscures its own reflection, guaranteeing that the user's line of sight is perpendicular to the mirror and therefore to the scale. The same effect alters the speed read on a car's speedometer by a driver in front of it and a passenger off to the side, values read from a graticule not in actual contact with the display on an oscilloscope, etc.

Photogrammetric parallax[link]

Aerial picture pairs, when viewed through a stereo viewer, offer a pronounced stereo effect of landscape and buildings. High buildings appear to 'keel over' in the direction away from the centre of the photograph. Measurements of this parallax are used to deduce the height of the buildings, provided that flying height and baseline distances are known. This is a key component to the process of photogrammetry.

Parallax error in photography[link]

Contax III rangefinder camera with macro photography setting. Because the viewfinder is on top of the lens and of the close proximity of the subject, goggles are fitted in front of the rangefinder and a dedicated viewfinder installed to compensate for parallax.

Parallax error can be seen when taking photos with many types of cameras, such as twin-lens reflex cameras and those including viewfinders (such as rangefinder cameras). In such cameras, the eye sees the subject through different optics (the viewfinder, or a second lens) than the one through which the photo is taken. As the viewfinder is often found above the lens of the camera, photos with parallax error are often slightly lower than intended, the classic example being the image of person with his or her head cropped off. This problem is addressed in single-lens reflex cameras, in which the viewfinder sees through the same lens through which the photo is taken (with the aid of a movable mirror), thus avoiding parallax error.

Parallax is also an issue in image stitching, such as for panoramas.

In computer graphics[link]

In many early graphical applications, such as video games, the scene was constructed of independent layers that were scrolled at different speeds when the player/cursor moved. Some hardware had explicit support for such layers, such as the Super Nintendo Entertainment System. This gave some layers the appearance of being farther away than others and was useful for creating an illusion of depth, but only worked when the player was moving. Now, most games are based on much more comprehensive three-dimensional graphic models, although portable game systems (such as Nintendo DS) still often use parallax. Parallax-based graphics continue to be used for many online applications where the bandwidth required by three-dimensional graphics is excessive.

Parallax in sights[link]

Parallax affects sights in many ways. On sights fitted to small arms, bows in archery, etc. the distance between the sighting mechanism and the weapon's bore or axis can introduce significant errors when firing at close range, particularly when firing at small targets. This difference is generally referred to as "sight height"^[23] and is compensated for (when needed) via calculations that also take in other variables such as bullet drop, windage, and the distance at which the target is expected to be.^[24]

Parallax in optical sights[link]

In optical sights parallax refers to the apparent movement of the reticle in relationship to the target when the user moves his/her head laterally behind the sight (up/down or left/right),^[25] i.e. it is an error where the reticle does not stay aligned with the sight's own optical axis.

In optical instruments such as telescopes, microscopes, or in telescopic sights used on small arms and theodolites, the error occurs when the optics are not precisely focused: the reticle will appear to move with respect to the object focused on if one moves one's head sideways in front of the eyepiece. Some firearm telescopic sights are equipped with a parallax compensation mechanism which basically consists of a movable optical element that enables the optical system to project the picture of objects at varying distances and the reticle crosshairs pictures together in exactly the same optical plane. Telescopic sights may have no parallax compensation because they can perform very acceptably without refinement for parallax with the sight being permanently adjusted for the distance that best suits their intended usage. Typical standard factory parallax adjustment distances for hunting telescopic sights are 100 yd or 100 m to make them suited for hunting shots that rarely exceed 300 yd/m. Some target and military style telescopic sights without parallax compensation may be adjusted to be parallax free at ranges up to 300 yd/m to make them better suited for aiming at longer ranges.^{[citation needed]} Scopes for rimfires, shotguns, and muzzleloaders will have shorter parallax settings, commonly 50 yd/m^{[citation needed]} for rimfire scopes and 100 yd/m^{[citation needed]} for shotguns and muzzleloaders. Scopes for airguns are very often found with adjustable parallax, usually in the form of an adjustable objective, or AO. These may adjust down as far as 3 yards (2.74 m).^{[citation needed]}

Non-magnifying reflector or "reflex" sights have the ability to be theoretically "parallax free". But since these sights use parallel collimated light this is only true when the target is at infinity. At finite distances eye movement perpendicular to the device will cause parallax movement in the reticle image in exact relationship to eye position in the cylindrical column of light created by the collimating optics.^[26][27] Firearm sights, such as some red dot sights, try to correct for this via not focusing the reticle at infinity, but instead at some finite distance, a designed target range where the reticle will show very little movement due to parallax.^[26] Some manufactures market reflector sight models they call "parallax free",^[28] but this refers to an optical system that compensates for off axis spherical aberration, an optical error induced by the spherical mirror used in the sight that can cause the reticle position to diverge off the sight's optical axis with change in eye position.^[29][30]

Artillery gunfire[link]

Because of the positioning of field or naval artillery guns, each one has a slightly different perspective of the target relative to the location of the fire-control system itself. Therefore, when aiming its guns at the target, the fire control system must compensate for parallax in order to assure that fire from each gun converges on the target.

Parallax rangefinders[link]

Parallax theory for finding naval distances

A coincidence rangefinder or parallax rangefinder can be used to find distance to a target.

As a metaphor[link]

In a philosophic/geometric sense: An apparent change in the direction of an object, caused by a change in observational position that provides a new line of sight. The apparent displacement, or difference of position, of an object, as seen from two different stations, or points of view. In contemporary writing parallax can also be the same story, or a similar story from approximately the same time line, from one book told from a different perspective in another book. The word and concept feature prominently in James Joyce's 1922 novel, Ulysses. Orson Scott Card also used the term when referring to Ender's Shadow as compared to Ender's Game. The artist Sarah Morris named her studio Parallax, in reference to her parallel production of paintings and films.

The metaphor is invoked by Slovenian philosopher Slavoj Žižek in his work The Parallax View. Žižek borrowed the concept of "parallax view" from the Japanese philosopher and literary critic Kojin Karatani. "The philosophical twist to be added (to parallax), of course, is that the observed distance is not simply subjective, since the same object that exists 'out there' is seen from two different stances, or points of view. It is rather that, as Hegel would have put it, subject and object are inherently mediated so that an 'epistemological' shift in the subject's point of view always reflects an ontological shift in the object itself. Or—to put it in Lacanese—the subject's gaze is always-already inscribed into the perceived object itself, in the guise of its 'blind spot,' that which is 'in the object more than object itself', the point from which the object itself returns the gaze. Sure the picture is in my eye, but I am also in the picture."^[31]

Notes[link]

See also[link]

• Triangulation, wherein a point is calculated given its angles from other known points
• Trilateration, wherein a point is calculated given its distances from other known points
• Disparity
• Spectroscopic parallax
• Trigonometry
• Xallarap
• Lutz Kelker bias

References[link]

External links[link]

• Instructions for having background images on a web page use parallax effects
• Actual parallax project measuring the distance to the moon within 2.3%
• BBC's Sky at Night programme: Patrick Moore demonstrates Parallax using Cricket. (Requires RealPlayer)
• Berkely Center for Cosmological Physics Parallax
• Parallax on an educational website, including a quick estimate of distance based on parallax using eyes and a thumb only

Between the Buried and Me
Between the Buried and Me performing in 2010 in Puerto Rico.
Background information
Origin	Raleigh, North Carolina, USA
Genres	Progressive metal, metalcore, death metal
Years active	2000–present
Labels	Lifeforce, Victory, Metal Blade
Associated acts	Glass Casket, Prayer for Cleansing
Members
Tommy Giles Rogers Paul Waggoner Dustie Waring Dan Briggs Blake Richardson
Past members
Will Goodyear Nicholas Shawn Fletcher Jason Schofield King Mark Edward Castillo Kevin Falk Shane Blay Jason Roe

Between the Buried and Me is an American heavy metal band from Raleigh, North Carolina. They have released a total of five studio albums, as well as a cover album, an EP and a live DVD/CD. A majority of the group's releases were made through Victory Records, until their shift to Metal Blade in 2011 where they released their first EP, The Parallax: Hypersleep Dialogues through the label on April 12, 2011.

Biography[link]

Between the Buried and Me was founded in 2000 in Raleigh, North Carolina by vocalist Thomas Giles Rogers Jr., guitarist Paul Waggoner, drummer Will Goodyear, guitarist Nick Fletcher (formerly of Empire Falls), and bassist Jason King. The band's name is derived from a section of lyrics in the Counting Crows song, "Ghost Train;" "Took the cannonball down to the ocean/Across the desert from the sea to shining sea/I rode a ladder that climbed across the nation/Fifty million feet of earth between the buried and me."^[1]

Between the Buried and Me's first release was a three-song demo, containing the tracks "Use of a Weapon", "What We Have Become", and "More of Myself to Kill". These three tracks were re-recorded for the band's self-titled debut album, released through Lifeforce Records in 2002. The album includes the track "Arsonist", a protest against the beliefs and practices of the Westboro Baptist Church in Topeka, Kansas. The song "Aspirations" became the band's first music video. At the time, the release was not widely known, but did manage to catch the attention of Victory Records, to which they later signed. Victory reissued the album in 2004 as an enhanced CD. Today, songs from the album are rarely played live.

In 2003, the band released their second studio album, The Silent Circus, featuring the singles "Mordecai", "Aesthetic", and "Camilla Rhodes".^[2] "Mordecai" was produced as their second music video. The album was re-released in 2006 with a live DVD of the band's performance at The Cat's Cradle in Chapel Hill, North Carolina on July 17, 2005. Mark Castillo played drums on The Silent Circus, replacing Will Goodyear, though for the live DVD Blake Richardson, Dustie Waring, and Dan Briggs had already joined the band, and recording for the third Between the Buried and Me album, Alaska, was already finished.

After the release of The Silent Circus, the band went through numerous members before the current lineup was assembled for Alaska. On drums, Mark Castillo was replaced by Jason Roe, and later by Blake Richardson. On guitar, Nick Fletcher was replaced by Shane Blay, and later by Dustie Waring. And on bass, Jason King (not to be confused with their engineer/producer Jamie King) was replaced by Kevin Falk, and later by Dan Briggs. This remains the current lineup.

In the summer of 2005, Between the Buried and Me released their third studio album, Alaska. The title track "Alaska" became their third music video. The album released the songs "Selkies: The Endless Obsession", "The Primer", and "Backwards Marathon" as singles. Then in the following year, the band released The Anatomy Of, a collection of covers of bands that influenced Between the Buried and Me, including Metallica, King Crimson, Pantera, Queen, Pink Floyd, Earth Crisis, Counting Crows, and Soundgarden.

In September 2007, the band released their fourth studio album, Colors. Band members have said that "it's a 65 minute opus of non stop pummeling beautiful music... we have described this release as 'new wave polka grunge'."^[3] The band has also described the album as "adult contemporary progressive death metal".^[4]

On November 6, 2008 the song "Prequel to the Sequel" was made available as downloadable content for the video game Rock Band 2, for free download to users who redeemed a one-time use code in new copies of the game.^[5] Since then, the tracks "Mordecai", "Obfuscation", "Alaska" and "Selkies: The Endless Obsession" have also been made available via the Rock Band Network.

On May 31, 2009, the group went into the studio to record their fifth original album, The Great Misdirect. They have described one song as having "a noisy Coalesce breakdown, 3/4 Mastodon groove, 9/8 The Mars Volta, Queen chromatic build up, and Megadeth chorus".^[6] Tommy Giles Rogers had stated that they planned to "out do Colors".^[7]

In early fall 2010, the group confirmed that they were recording an EP, which was cited as being a possible precursor for their next full-length album.^[8] In October 2010, they put up a video on their YouTube account with the band in the studio.^[9] January 18 a second teaser with them in the studio was posted.^[10]

On February 21, 2011, Between the Buried and Me stated their move from Victory to Metal Blade Records, on which they released their EP entitled, The Parallax: Hypersleep Dialogues on April 12, 2011.^[11] In May, Victory Records announced the release of a greatest hits album as a three-disc set.^[12] On January 16, 2012, Between the Buried and Me revealed that work on the part two to The Parallax has begun and it will be a full-length album rather than an EP.^[13]

Touring[link]

This article or section may need to be rewritten entirely to comply with Wikipedia's quality standards, as This is simply an unverified list of tour dates.. You can help. The discussion page may contain suggestions. (May 2009)

In early 2006, Between the Buried and Me was on tour supporting Bleeding Through along with Every Time I Die and Haste the Day. They were also on the Ozzfest 2006 Second Stage.^[14] In late 2006, they were on the Radio Rebellion Tour headlined by Norma Jean.^[15]

In September 2007, after the release of Colors, the band went on tour with Animosity and Horse the Band. Giant (now known as BraveYoung) also supported their shows in the USA. The run concluded with their November 4 appearance at the Saints and Sinners Fest in Asbury Park, New Jersey. In December 2007, they again embarked on a headlining tour, supported by August Burns Red and Behold... The Arctopus. The band were also the main support on The Dillinger Escape Plan's 2008 U.K. tour. Between the Buried and Me were one of the acts that took part at "Progressive Nation '08", the first in what became an annual progressive music festival, also featuring Dream Theater, Opeth, and 3.

Starting in summer 2008 and continuing in the fall, they performed as a supporting act for Children of Bodom's US headlining tour, alongside The Black Dahlia Murder. In early December 2008, they went on a short 4-show tour around the Carolinas and Georgia (US) with other Carolina-based bands, such as He Is Legend, Advent, and Nightbear. Between the Buried and Me finished a month-long tour of Australia on January 9 with headliners Bleeding Through, As Blood Runs Black, In Trenches and The Abandonment. In September 2009, Between the Buried and Me performed a Canadian Tour with Killswitch Engage and In Flames co-headlining, along with the support of Protest the Hero.^[16]

In early 2010, Between the Buried and Me toured across North America with Cynic, Devin Townsend, and Scale the Summit.^[17] Afterwards, they traveled to Europe supporting Lamb of God, along with Job for a Cowboy and August Burns Red.

In February 2010, Between the Buried and Me supported Mastodon along with Baroness on their US headlining tour. During the summer of 2010, they were on the Cool Tour with As I Lay Dying, Underoath, War of Ages, The Acacia Strain, Architects, Cancer Bats and Blessthefall.^[18]

In February 2011, Between the Buried and Me were confirmed to play at the New England Metal & Hardcore Festival on Saturday, April 16 in Worcester, MA. They will be main support for Hatebreed. In April and May 2011 they will headline a tour featuring Job for a Cowboy, The Ocean and on select dates Cephalic Carnage.

Between the Buried and Me also announced a headline European tour beginning in Paris, France on 02 Sept 2011 and continuing throughout the mainland and into the UK, ending up in Moscow, Russia on September 30. The tour was be supported by Animals as Leaders.

In July 2011, Between the Buried and Me announced their headlining North American tour, "Saints&Sinners Tour" playing throughout November and December with Animals as Leaders and Tesseract. The band created a few medleys just for this tour, and performed songs that they hadn't played in years.

They are confirmed to play on the 2012 Summer Slaughter tour with bands like Cannibal Corpse, Periphery, and Job For A Cowboy.

Musical style and influence[link]

Between the Buried and Me's general musical style has been stated by critics to be primarily a blend of metalcore,^[19] progressive metal^[19] and death metal,^[19][20][21] along with various musical styles: "One minute the band may be playing thrash metal and the next they're flowing into death metal growls and thick guitar riffs... the metal take on things can seemingly change in a flash as lead singer Tommy Rogers flashes out his vocals and utilizes the keyboards to create something that sounds more like it should be on a Smashing Pumpkins album".^[22]

On the band's cover album, The Anatomy Of, the band pays tribute to many of their diverse influences, including Metallica, Queen, King Crimson, Soundgarden, Pantera, Pink Floyd, Earth Crisis, and The Smashing Pumpkins.^[23]

Band members[link]

Discography[link]

Studio albums

• Between the Buried and Me (2002, Lifeforce)
• The Silent Circus (2003, Victory)
• Alaska (2005, Victory)
• Colors (2007, Victory)
• The Great Misdirect (2009, Victory)

Other projects[link]

• Tommy Giles Rogers has an electronica side project named Giles. A music video for the song "Slumber Party" is featured on the DVD that is included on the re-release for Between the Buried and Me's second album The Silent Circus. Rogers also released a solo album on February 1, 2011, entitled Pulse. The album is credited under the name Thomas Giles.
• Dustie Waring and Blake Richardson are members of the deathcore band Glass Casket.
• Rogers and Jacob Troth run a clothing line named Jacob Rogers.
• Dan Briggs and members of Fear Before and Abigail Williams are members of an experimental supergroup named Orbs.
• Will Goodyear is now the drumline instructor for the East Carolina University Marching Pirates.^[24]
• Shane Blay is now in the Christian metalcore band Oh, Sleeper.

References[link]

External links[link]

• Official website
• Between the Buried and Me on Facebook

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (April 2010)

Cartland Blake Richardson is the drummer for the American band, Between the Buried and Me as well as the ex-drummer for the deathcore band Glass Casket.^[1] Joining in early 2005, Richardson replaced Between the Buried and Me's former drummer Mark Castillo.

Richardson is notably the only member of Between the Buried and Me who is not vegetarian.^[2]

Life[link]

Richardson attended to middle school at Calvary Baptist Day School in Winston-Salem, later attending Mt. Tabor High School and performed an annual drum solo for one of his school's club's project named 'Spartan Spectacular'. Playing since he was 11 years old, he became an immediate fan of 1990s grunge music. Being inspired by bands such as Soundgarden, Nirvana, and Smashing Pumpkins, his passion for heavy music grew as much as his love for drumming did. After taking lessons for several years from local jazz percussionist/drummer Robert Crutchfield, he developed his skills and started playing out with his first band, Glass Casket at the age of 17. After significant touring throughout the US, he graduated high school in 2003 and attended NC State University for two years.

After getting an offer to play drums for home state friends, Between the Buried and Me, he helped to start writing the band's third full length album Alaska and finally left school in 2005 to tour full time. Since then, the band has toured relentlessly. Sharing the stage with friends in Black Dahlia Murder, Bleeding Through, Every Time I Die, and Dillinger Escape Plan helped land them a spot on Ozzfest 2006 with System of a Down and Ozzy Osbourne. After seemingly endless touring to support his first album with Between the Buried and Me, the band began writing for their fifth studio album entitled "Colors." This album helped push the band, as well as Richardson's drumming style, into the more progressive metal element. Not going unnoticed, the band's developed new sound and groundbreaking new album helped earn them a spot on the first ever "Progressive Nation Tour", featuring Dream Theater, Opeth, and Three.

Style[link]

Richardson's drumming is characterized by a fusion of death metal and metalcore elements as well as jazz influences. Noted for his blast beats, odd timing, double bass drumming, and fill-heavy style, Richardson is considered a standout in his field. His favorite drummers include Terry Bozzio, Dennis Chambers, Dave Grohl, Simon Phillips, Mike Portnoy and Tomas Haake.

During the Progressive Nation 2008 tour Blake performed alongside Mike Portnoy (ex Dream Theater) where the two soloed together.

Equipment[link]

Tama Starclassic Performer B/B:

• 2x 20" x 18" kick drums
• 8" x 7" rack tom
• 10" x 8" rack tom
• 12" x 9" rack tom
• 16" x 16" floor tom
• 14" x 6.5" snare drum

Sabian Cymbals:

• 9" Radia Cup Chime
• Sabian Low Max Stax
• 10" HH Duo Splash
• 18" HHX Evolution Crash
• 19" AAXplosion Crash
• 17" AAXtreme China (on left)
• 19" AAXtreme China (on right)
• 21" HH Raw Bell Dry Ride
• 12" Chopper Cymbal

Tama Iron Cobra Kick Pedals, Tama Hardware

3A Vic Firth Drumsticks

Evans Drumheads (Hybrid on snare, Gmad on kick drums, and EC2 SST on toms)

References[link]

Template:Tama.com

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (March 2011)

Oliver Lieb (born December 31, 1969, Frankfurt, Germany) is a German electronic music producer and DJ. Lieb is known to have more than a dozen aliases with over 200 productions and remixes in various electronic genres such as, trance, house, and techno.^[1] He has also produced tracks for other artists. One such production was "Electric Blue", a track by Mars & Mystre.^[2]

Career[link]

Lieb began his musical career at the age of fourteen, as a bassist, playing in funk and soul bands. However, he often left the bands he played in before they found any real success. Eventually he started exploring electronic music.

His first records, under the alias 'Force Legato', were released by ZYX Music. In 1992, Lieb met Matthias Schindehutte, A&R man for the newly formed Harthouse record label, who contracted him for the Spicelab project. At the same time, Lieb started work on harder tracks, released using the alias Psilocybin. 1993 saw his first releases under the alias L.S.G., which he discontinued in 2007. In 1994, he first co-operated with Harald Großkopf (whom he later also performed with live), releasing tracks using the alias The Ambush.

In 1997, using the alias LSG, Lieb spent one week at #63 in the UK Singles Chart with "Netherworld".^[3] In 2000, and using his own name, he appeared in the UK Singles Chart for one week at #72 with the track "Metropolis", billed as 'Oliver Lieb presents Smoked'.^[4]

References[link]

External links[link]

• Oliver Lieb discography
• Oliver Lieb/Maschine on Myspace