The FADER, or FADER, is an United States-based music/culture/fashion magazine that covers hip-hop, reggae, independent rock, pop and dance music from around the world.

Overview[link]

Founded by Rob Stone and Jon Cohen in 1998, The FADER is an independent Manhattan-based magazine which the New York Times dubbed the new music-and-fashion bible.^[1] The magazine's editorial content focuses on music, style, art and culture.

Led by President & Publisher, Andy Cohn, The Fader has won multiple awards for its arts coverage, online presence and within the genre Consumer Entertainment. Among them was the FOLIO magazine Gold Eddie award for "Best Consumer Entertainment Magazine" in 2008.^[2] It was also the first print publication to be released on iTunes.^[3] FADER TV won Clicker awards in 2009 and 2010, and the magazine won two OMMA awards for integrated marketing campaigns in 2010 with Nike and Levi's.

Covers[link]

The FADER has a track record for being the first to feature up and coming artists on its cover.^[4] Notable 1st covers^{[citation needed]} include:

• Issue #3 – Mos Def – Beck – Deangelo
• Issue #4 – Eminem
• Issue #5 - Outkast
• Issue #7 – Bjork
• Issue #9 - The Strokes
• Issue #11 - The Neptunes
• Issue #20 - Kanye West
• Issue #24 - M.I.A
• Issue #31 – The White Stripes
• Issue #35 - Lupe Fiasco
• Issue #39 - Rick Ross
• Issue #63 - Drake
• Issue #64 - Bon Iver
• Issue #66 - Nicki Minaj

FADER Media[link]

The FADER Media Network includes The FADER magazine, thefader.com, FADER films, FADER label, FADER TV, which has been called one of the definitive voices on both mainstream and fringe music,^[5] rcrdlbl.com, XLR8R, XLR8R.com, thetripwire.com, 1200squad.com, The Cornerstone Player, The Cornerstone Mixtape, Suite903.com, and shockhound.com.

The FADER Fort[link]

The FADER Fort is an invite-only installation at Austin’s South by Southwest (SXSW) at 1101 E. 5th Street. Produced by Lacy Maxwell Productions^[6] and founded in 2002, the 4-day party features live performances that have included artists Bone Thugs-n-Harmony, Sleigh Bells, N.E.R.D., Jadakis, Lil B, Major Lazer and Kid Cudi and Neon Indian. Formerly sponsored by Levi’s, the media company announced a partnership with Fiat in January 2011.^[7] FADER Fort, FADER Fort NYC is a party produced during the annual CMJ Music Marathon that provides an ‘’airy respite from CMJ’s subterranean scene.’’^[8] Theophilus London and Royal Bangs, among others, played the New York City show in 2010.^[9]

Awards[link]

2010[link]

• Best of Clicker Awards: “Best Web Music Show” – FADER TV
• min Online Editorial & Design Awards: Single Magazine Issue (Consumer)
• The OMMA Awards: “The Levi’s®/FADER Fort” Entertainment (ExcludingTV & Movies) - Integrated Online Campaigns.
• The OMMA Awards: “Nike Sportswear + FADER Presents Pitch Perfect” - Apparel, Fashion - Integrated Online Campaigns.

2009[link]

• Clicker: Best Web Original Music Show – Fader TV
• Clicker: The Best of Clicker 2009
• FOLIO Awards: Editorial Best Consumer, Entertainment, Single Article Gold Winner: “David Byrne Icon Cover Story”
• FOLIO Awards: Design, Best Overall Design, Consumer Silver Winner, May 2009
• Utne Independent Press Awards: Arts Coverage
• FOLIO FAME Awards: Best Custom Advertiser Event: Silver Award

2008[link]

• FOLIO Awards: Editorial - Folio’s Gold Eddie Award for Best full Issue (March 2008) of a consumer/entertainment magazine
• FOLIO Awards: Editorial - Folio’s Gold Eddie Award for Best online column/blog for Schnipper’s Slept On (March 4, 2008)
• FOLIO Awards: Design - Folio’s Silver Ozzie Award for Best Use of Illustration, “Culture Clash” in July 2007 issue
• Pearl Award: Best Web Publication in the Digital category: F2

2006 – 2001[link]

• FOLIO Awards: Editorial: Gold Eddie Award for Best Consumer Entertainment Magazine
• Advertising Age: 7th Best Magazine Cover of the Year
• L Style Report: Top 10 Style Brands
• FOLIO Magazine: Ozzie Award for Best Black & White Photography
• New York Press End of Year Awards: Best Urban-Lifestyle Magazine
• Gear 100 List: The Hottest People and Places on the Planet

References[link]

External links[link]

• The FADER website

This article may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (May 2012)

Audio mixer faders at the Bull & Gate pub in Kentish Town, North London.

In audio engineering, a fade is a gradual increase or decrease in the level of an audio signal.^[1] The term can also be used for film cinematography or theatre lighting, in much the same way (see fade (filmmaking) and fade (lighting)).

A recorded song may be gradually reduced to silence at its end (fade-out), or may gradually increase from silence at the beginning (fade-in). For example, the songs "Bitter Sweet Symphony" by The Verve^{[citation needed]} and "Turn to Stone" by Electric Light Orchestra^{[citation needed]} fade in from the beginning, while the songs "Born to Be Wild" by Steppenwolf,^{[citation needed]} "Boogie Oogie Oogie" by A Taste of Honey,^{[citation needed]} and "Hey Jude" by The Beatles^{[citation needed]} fade out. However, "Born to be Wild" and "Boogie Oogie Oogie" fade out in a matter of seconds, whereas "Hey Jude" takes over 2 minutes to completely fade out. "Goodbye Stranger" by Supertramp takes about a minute to fade out.^{[citation needed]} Fading-out can serve as a recording solution for pieces of music that contain no obvious ending.

Though relatively rare, songs can fade out, then fade back in. Some examples of this are "Helter Skelter" and "Strawberry Fields Forever" by The Beatles,^{[citation needed]} "Suspicious Minds" by Elvis Presley,^[2] "Thank You" by Led Zeppelin,^{[citation needed]} "Undercover of the Night" by The Rolling Stones,^{[citation needed]} and "Bop Gun (Endangered Species)" by Parliament.^{[citation needed]} The Smiths' song "Some Girls Are Bigger Than Others" features a fade-out in its intro section before fading back in.

The term fade is also used in multi-speaker audio systems to describe the balancing of power between front and rear channels.

History[link]

Origins and early examples[link]

"Neptune," part of the orchestral suite The Planets, written by Gustav Holst between 1914 and 1916, was the first piece of music to have a fade-out ending.^{[citation needed]} Holst stipulates that the women's choruses are "to be placed in an adjoining room, the door of which is to be left open until the last bar of the piece, when it is to be slowly and silently closed", and that the final bar (scored for choruses alone) is "to be repeated until the sound is lost in the distance".^[3] Although commonplace today, the effect bewitched audiences in the era before widespread recorded sound—after the initial 1918 run-through, Holst's daughter Imogen (in addition to watching the charwomen dancing in the aisles during "Jupiter") remarked that the ending was "unforgettable, with its hidden chorus of women's voices growing fainter and fainter... until the imagination knew no difference between sound and silence".^[4]

The technique of ending a spoken or musical recording by fading out the sound goes back to the earliest days of recording. In the era of mechanical (pre-electrical) recording, this could only be achieved by either moving the sound source away from the recording horn, or by gradually reducing the volume at which the performer/s were singing, playing or speaking. With the advent of electrical recording, smooth and controllable fadeout effects could be easily achieved by simply reducing the input volume from the microphones using the fader on the mixing desk.

No single recording can be reliably identified as "the first" to use the technique. In 2003, on the (now-defunct) website Stupid Question, John Ruch listed the following recordings as possible contenders:

Bill Haley’s cover version of "Rocket 88" (1951) fades out to indicate the titular car driving away. There are claims that The Beatles’ "Eight Days a Week" (recorded 1964) was the first song to use the reverse effect—a fade-in.

The earliest such recording anybody could name for me is an 1894 78 rpm record called "The Spirit of ’76", a narrated musical vignette with martial fife-and-drum that gets louder as it 'nears' the listener and quieter as it 'moves away'.

The fade-out as a simulation of a moving sound source seems to continue right up to "Rocket 88". But other examples aren’t so obvious (though fade-out may always imply that the song continues forever and we’re only passing by it for a few minutes).

The oldest true songs with fade-out pointed out to me by 78 record fans bear no obvious relationship to movement. One is "Barkin’ Dog" (1919) by the Ted Lewis Jazz Band. Another contender is "America" (1918), a patriotic piece by the chorus of evangelist Billy Sunday.

By the early 1930s longer songs were being put on both sides of records, with the piece fading out at the end of Side One and fading back in at the beginning of Side Two. Records at the time held only about two to five minutes of music per side. The segue allowed for longer songs (such as Count Basie’s "Miss Thing"), symphonies and live concert recordings.

However, shorter songs continued to use the fade-out for unclear reasons—for example, Fred Astaire’s movie theme "Flying Down to Rio" (1933). Even using fade-out as a segue device doesn’t seem obvious, though we certainly take it for granted today.

As a film buff, I have a gut feeling that movies were an influence here. Fade-ins and fade-outs are cinematic devices that begin and end scenes—film language that developed at the same time as these early recordings. The term 'fade-out' itself is of cinematic origin, appearing in print around 1918. And jazz, a favorite of early records, was a popular subject of early movies, too.^[5]

Contemporary[link]

More recently: "For Henri Lefebvre (1971a:19), 'everyday life in the modern world' is a privileged site for the crucial fact of recurrence. The question of how to end a song now becomes pressing. The answer, often, is not to end: the harmonically inconclusive or artificially abrupt finish, or - quintessentially - the fade. As Sean Cubitt points out (1984: 210), this refers us"^[6]

to the activity of the auditor, with whom lies the only available fulfillment...[It] pledges that the performer...has an existence beyond the recording...This refusal of completion refers us, not back into the song, as is the case with the classic aesthetic object but outwards to the ways in which the song is heard.^[6]

"At the meta-song level, the prevalence of pre-taped sequences (for shops, pubs, parties, concert intervals, aircraft headsets) emphasizes the importance of flow. The effect on radio pop programme form [are] a stress on continuity achieved through the use of fades, voice-over links, twin-turntable mixing and connecting jingles."^[6]

Fader[link]

A fader is any device used for fading, especially when it is a knob or button that slides along a track or slot. A knob which rotates is usually not considered a fader, although it is electrically and functionally equivalent. A fader can be either analogue, directly controlling the resistance or impedance to the source (e.g. a Potentiometer); or digital, numerically controlling a digital signal processor (DSP). A fader can also be used as a control for a voltage controlled amplifier, which has the same effect on the sound as any other fader, but the audio signal does not pass through the fader itself. Digital faders are also referred to as virtual faders, since they can be viewed on the screen of a digital audio workstation. Modern high end digital mixers often feature "flying faders", faders with piezo-electric actuators attached; such faders can be multi-use and will jump to the correct position for a selected function or saved setting. Flying faders can be automated, so that when a timecode is presented to the equipment, the fader will move according to a previously performed path.

Crossfading[link]

A crossfader on a dj mixer essentially functions like two faders connected side-by-side, but in opposite directions. It allows a DJ to fade one source out while fading another source in at the same time. This is extremely useful when beatmatching two sources of audio (or more, where channels can be mapped to one of the two sides of the crossfader individually) such as phonograph records, compact discs or digital sources.

The technique of crossfading is also used in audio engineering as a mixing technique, particularly with instrumental solos. A mix engineer will often record two or more takes of a vocal or instrumental part and create a final version which is a composite of the best passages of these takes by crossfading between each track.

In the perfect case the crossfader would keep constant output level. However, there's no standard on how this should be achieved.^[7] Many DJ equipment manufacturers offer different mixers for different purposes (e.g. scratching, beatmixing, cut mixing, etc.). High-end mixers often have crossfade curve switches allowing the DJ to select the type of crossfade necessary. Experienced DJs are also able to crossfade between tracks using the channel faders.

There are many software applications that feature virtual crossfaders. For instance, burning-software for the recording of audio-CDs.

Pre-fader, post-fader[link]

On a mixer with auxiliary send mixes, the send mixes are configured pre-fader or post-fader.

If a send mix is configured pre-fader, then changes to the main channel strip fader does not affect the send mix. In live sound reinforcement, this is useful for stage monitor mixes where changes in the Front of House channel levels would distract the musicians. In recording and post production, configuring a send to be pre-fader allows the amount of audio sent to the aux bus to remain unaffected by the individual track fader.

If a send mix is configured post-fader, then the level sent to the send mix follows changes to the main channel strip fader. This is useful for reverberation and other signal processor effects.

See also[link]

• Beatmatching
• Beatmixing
• Harmonic mixing

References[link]

External links[link]

• WikiRecording's Article on Faders

Tame Impala
Tame Impala at the V Festival, 2009
Background information
Origin	Perth, Western Australia
Genres	Psychedelic rock, Neo-Psychedelia
Years active	2007–present
Labels	Modular Recordings
Associated acts	The Dee Dee Dums Pond Mink Mussel Creek Space Lime Peacock Giant Tortoise Allbrook Avery
Website	http://www.tameimpala.com/
Members
Kevin Parker Dominic Simper Jay Watson Nick Allbrook

Tame Impala is the psychedelic rock project of Kevin Parker^[1] from Perth, Australia. They are signed to Modular Records. The band came to prominence in 2010 with the release of their debut album, Innerspeaker. Their name refers to the impala, a medium sized antelope.^[2] They like to see themselves as "a steady flowing psychedelic groove rock band that emphasizes dream-like melody."^[3]

Biography[link]

Early Career[link]

Tame Impala were formed from Kevin Parker's original blues/jazz/psychedelic band, the Dee Dee Dums. The Dee Dee Dums consisted of Parker (drums ) and Luke Epstein (guitar), with the band getting second place at the 2005 AmpFest^[4] and winning third place that year in the state final of The Next Big Thing.^[5] In October 2006 Epstein was replaced by drummer Sam Devenport, Epstein going on to play with Sugarpuss. The Dee Dee Dums went on to win the WA state final of the National Campus Band Competition.^[6] In late 2007 the band renamed to Tame Impala unveiling another new drummer and replacing the two-guitar attack for the more traditional guitar/bass/drums format. Devenport went on to pursue an acting career.^[7]

In July 2008 the band signed a worldwide deal with independent label Modular Recordings.^[8]

[edit] Tame Impala EP

The signing was soon followed by the release on their self-titled debut EP in September 2008.^[9] Due to Kevin Parker's original artwork there was some confusion with the EP title and many believed it to be called Antares Mira Sun.^[10][11] The artwork is an interpretation of a slide he saw in an astronomy lecture, which demonstrated the difference in size between the stars Antares, Mira and the Sun.

The cover art is meant to be a painting; an interpretation of a diagram, so those labels are just there to make the diagram make sense. But lo and behold, there were reviews coming out saying "And Tame Impala's new EP 'Antares, Mira, Sun".

—Kevin Parker^[12]

Tame Impala went to number 1 on the Australian Independent Record Labels (AIR) Chart and number 10 on the ARIA Physical Singles Chart,^[13] with three songs, "Desire Be, Desire Go", "Half Full Glass of Wine" and "Skeleton Tiger" which received national radio airplay on the Triple J Network.^[14][15] Tours in 2008 included supports for You Am I, The Black Keys, Yeasayer and MGMT, as well as performances at Southbound, Meredith Music Festival, and Falls Festival, as well as a national headline tours in support of their EP. 2009 tours include a sold out 6 date 'Skeleton Tiger' national headline tour, a 5 date UK tour including Nevereverland UK, V Festival, Groovin The Moo and a stadium tour with The Living End and Gyroscope.

Tame Impala appeared on Triple J's Hottest 100 2008, their first appearance on the list, with "Half Full Glass of Wine" reaching number 75. The song is also on the Hottest 100 compilation.^[16][17]

[edit] Sundown Syndrome

Tame Impala’s first single, "Sundown Syndrome", was recorded at Toerag Studios in London, with recording engineer Liam Watson, whilst the band was there in March 2009.^[18] "Sundown Syndrome" was premiered by Richard Kingsmill on his 2009 show on triple j on Sunday 10 May. It was released in July 2009 on vinyl and electronically along with a cover of Blue Boy's "Remember Me".^[19]

The band embarked on a national tour supporting the single through September and October 2009.^[20]

"Sundown Syndrome" was included on the soundtrack of the Oscar-nominated film "The Kids Are All Right."

"Half Full Glass Of Wine" was used in HBO's hit TV series Entourage as the closing song for an episode.

Tame Impala appeared at Big Day Out in early 2010, performing alongside bands Muse, The Mars Volta, Kasabian and Rise Against, among others.

"Remember Me" appeared at number 78 on Triple J's Hottest 100 for 2009.

[edit] Innerspeaker

Tame Impala's debut album, Innerspeaker, was released on 21 May 2010. In the U.K. it's official release date was 28 June, however iTunes accidentally made it available to buy immediately (not pre-order) on 12 May. The album was released in the United States on 8 June to general and critical acclaim. Pitchfork named it Best New Music.^[21]

On a interview with Triple J talking about the album's recent nomination for the J Award, Parker stated that they have secretly been recording a new album. "Jay and I have been recording pretty compulsively and album number two is nearing potential completion already and I'm so excited about it that I'm having trouble keeping myself from telling you all about it." This comes as a big surprise as this statement was released only months after their debut album, Innerspeaker, was released.

The band has been busy touring during mid 2010, with their 'Innerspeaker album tour' commencing on 13 May 2010, as the opening band for MGMT's 2010 American tour. The band returned to Australia to play at Splendour in the Grass festival, which was followed by a European Tour in July (including an appearance at the Reading Festival) and a national Australian tour in October. In November they returned to the UK and Europe for a fifteen date tour, including their largest London headline show to date which was attended by Noel Gallagher, Tom Meighan, Sergio Pizzorno, Noel Fielding, Alexa Chung and Alison Mosshart,^[22] the band then went on to the United States for twenty headline dates including sold out New York, LA and San Francisco. They also received four 2010 ARIA Music Awards nominations which include, 'Album of the Year' and 'Best Rock Album' for Innerspeaker, 'Best Group' and also 'Breakthrough Artist'.^[23]

On 29 November 2010 Tame Impala's debut album "Innerspeaker" won Australian youth-oriented radio network Triple J's highest honor, taking out the J Award for Album of the Year ^[24]

Second Album[link]

On 7 December 2011, Kevin Parker began mixing a new album with producer Dave Fridmann.^[25]

On 2 March 2012, they stated via Facebook that the new album was "finished, mixed, mastered, mooged, broinged, and beeped". Drummer Jay Watson expects it to be released in Mid 2012. Stated in an Interview posted on their website, Kevin Parker said that the next batch of songs "Represents a departure from his previous work by incorporating an expanded sonic palette, more emotional song writing, and a more pronounced narrative perspective." The album, set to be released in October 2012 was created by a similar set up as the debut album, being that Kevin Parker wrote and recorded the great majority of the album by himself at his home in Perth, Australia. ^[26]

In an article published in April 2012 by Triple J Magazine, Kevin Parker revealed some details about the forthcoming, currently untitled second album by Tame Impala. The majority of recording had taken place in France, and as a result, one of the tracks are titled, Un, Deux, Trois. Other song titles revealed are, Nothing That Has Happened So Far Has Been Anything We Could Control, and Apocalypse Dreams, one of the first songs Parker has co-written with drummer Jay Watson.

Band members[link]

Live[link]

• Kevin Parker – vocals, guitar, kazoo
• Jay "Gumby" Watson – drums, backing vocals
• Dominic Simper – guitar & synth (previously bass)
• Nick "Paisley Adams" Allbrook – bass (previously guitar & keys)

Studio[link]

• Kevin Parker – vocals, guitar, bass, drums, keys
• Jay Watson – drums, keys, guitar
• Dominic Simper – percussion, bass, guitar, effects

Discography[link]

Albums[link]

• Innerspeaker - Modular Recordings (21 May 2010) AUS #4^{[27][28][29][30][31]}
• Untitled (TBA) - Modular Recordings (October 2012)^{[32] [33]}

Live albums[link]

• Live at the Corner - Modular Recordings (May 2010)^[34]

EPs[link]

• Tame Impala [H.I.T.S. 003] - Hole in the Sky (August 2008) (12" vinyl)^[35] (limited re-issue April 2009)
• Tame Impala EP - Modular Recordings (September 2008) AUS #82^[36]

Singles[link]

• "Sundown Syndrome"/"Remember Me" - Modular Recordings (July 2009) (7" vinyl)^[37][38]
• "Solitude Is Bliss" - Modular Recordings (April 2010)^[39]
• "Lucidity" - Modular Recordings (July 2010) ^[40]
• "Expectation" - Modular Recordings (December 2010) ^[41]
• "Why Won't You Make Up Your Mind" - Modular Recordings (February 2011)^[42]

Remixes[link]

• "Mammalian Locomotion" - Abbe May (October 2010) [Track 2 of "Mammalian Locomotion" single]^[43]
• "End of Line" - Daft Punk - Walt Disney Records (August 2011) [Track 11 of Australian version of "Tron: Legacy Reconfigured" CD]^[44]

Collaborations[link]

• "Big City Lights" - Canyons - Hole in the Sky (May 2008) [Track 3 of "The Lovemore EP"]^[45]
• "Tonight" - Canyons - Modular Recordings (November 2011) [Track 8 of "Keep Your Dreams"]^[46]
• "When I See You Again" - Canyons - Modular Recordings (November 2011) [Track 9 of "Keep Your Dreams"]^[46]
• "Children of the Moon - The Flaming Lips - Warner Bros. Records (April 2012) [Track 5 of "The Flaming Lips and Heady Fwends"]^[47]

Awards and nominations[link]

WAMI Awards[link]

ARIA Awards[link]

J Awards[link]

Rolling Stone Awards[link]

APRA Awards[link]

The APRA Awards are presented annually from 1982 by the Australasian Performing Right Association (APRA), "honouring composers and songwriters".^[53]

References[link]

External links[link]

• Tame Impala on Myspace
• Tame Impala official website