Sheets of sandpaper with different grits (40, 80, 150, 240, 600).

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2010)

Sandpaper, also known as glasspaper,^[1] is a heavy paper with abrasive material attached to its surface.

Sandpaper is part of the "coated abrasives" family of abrasive products. It is used to remove small amounts of material from surfaces, either to make them smoother (painting and wood finishing), to remove a layer of material (e.g. old paint), or sometimes to make the surface rougher (e.g. as a preparation to gluing).

History[link]

The first recorded instance of sandpaper was in 13th century China when crushed shells, seeds, and sand were bonded to parchment using natural gum.

Shark skin was also used as a sandpaper. The rough scales of the living fossil Coelacanth are used by the natives of Comoros as sandpaper.^[2]

Boiled and dried, the rough horsetail is used in Japan as a traditional polishing material, finer than sandpaper.

Sandpaper was originally known as glass paper, as it used particles of glass. Glass frit has sharp-edged particles and cuts well, sand grains are smoothed down and did not work well like sandpaper made from glass. Cheap counterfeit sandpaper has long been passed off as true glass paper; Stalker and Parker cautioned against it in the 17th century.^[3]

Glass paper was manufactured by John Oakey's company in London by 1833, who had developed new adhesive techniques and processes, enabling mass production. A process for making sandpaper was patented in the United States on June 14, 1834 by Isaac Fischer, Jr., of Springfield, Vermont.

In 1921, 3M invented a sandpaper with a waterproof backing, known as Wet and dry. This allowed use with water, which would serve as a lubricant to carry away particles that would otherwise clog the grit. Its first application was automotive paint refinishing.^[4]

Types[link]

320 grit silicon carbide sandpaper, with close-up view.

There are many varieties of sandpaper, with variations in the paper or backing, the material used for the grit, grit size, and the bond.

Backing[link]

In addition to paper, backing for sandpaper includes cloth (cotton, polyester, rayon), PET film, and "fibre", or rubber. Cloth backing is used for sandpaper discs and belts, while mylar is used as backing for extremely fine grits. Fibre or vulcanized fibre is a strong backing material consisting of many layers of polymer impregnated paper. The weight of the backing is usually designated by a letter. For paper backings, the weight ratings range from "A" to "F," with A designating the lightest and F the heaviest. Letter nomenclature follows a different system for cloth backings, with the weight of the backing rated J, X, Y, T, and M, from lightest to heaviest. A flexible backing allows sandpaper to follow irregular contours of a workpiece; relatively inflexible backing is optimal for regular rounded or flat surfaces. Sandpaper backings may be glued to the paper or form a separate support structure for moving sandpaper, such as used in sanding belts and discs. Stronger paper or backing increases the ease of sanding wood, so good quality sand paper is much better than low quality sandpaper. The harder the backing material, the faster the sanding, the faster the wear of the paper and the rougher the sanded surface.

Material[link]

Materials used for the abrading particles are:

• flint: no longer commonly used
• garnet: commonly used in woodworking
• emery: commonly used to abrade or polish metal
• aluminium oxide: The most common in widest variety of grits, lowest unit cost; can be used on metal (i.e. body shops) or wood
• silicon carbide: available in very coarse grits all the way through to microgrits, common in wet applications
• alumina-zirconia: (an aluminium oxide–zirconium oxide alloy), used for machine grinding applications
• Chromium(III) oxide: used in extremely fine micron grit (micrometre level) papers
• ceramic aluminum oxide: used in high pressure applications, used in both coated abrasives, as well as in bonded abrasives.

Sandpaper may be "stearated" where a dry lubricant is loaded to the abrasive. Stearated papers are useful in sanding coats of finish and paint as the stearate "soap" prevents clogging and increases the useful life of the sandpaper.

The harder the grit material, the easier the sanding of surfaces like wood. The grit material for polishing granite slab must be harder than granite.

Later abrading surfaces include long-life stainless steel sanding discs.

Bonds[link]

Different adhesives are used to bond the abrasive to the paper. Hide glue is still used, but this glue often cannot withstand the heat generated during machine sanding and is not waterproof. Waterproof or wet/dry sandpapers use a resin bond and a waterproof backing.

Sandpapers can also be open coat, where the particles are separated from each other and the sandpaper is more flexible. This helps prevent clogging of the sandpaper. The wet and dry sandpaper is best^{[citation needed]} used when wet.

Shapes[link]

Sanding sponge

Sandpaper comes in a number of different shapes and sizes:

• sheet: usually 9 by 11 inches, but other sizes may be available
• belt: usually cloth backed, comes in different sizes to fit different belt sanders.
• disk: made to fit different models of disc and random orbit sanders. May be perforated for some models of sanders. Attachment includes pressure sensitive adhesive (PSA) and "hook-and-loop" (similar to velcro).
• rolls: known as "shag rolls" by many contractors
• sponge: for tight places

Grit sizes[link]

Grit size refers to the size of the particles of abrading materials embedded in the sandpaper. Several different standards have been established for grit size. These standards establish not only the average grit size, but also the allowable variation from the average. The two most common are the United States CAMI (Coated Abrasive Manufacturers Institute, now part of the Unified Abrasives Manufacturers' Association) and the European FEPA (Federation of European Producers of Abrasives) "P" grade. The FEPA system is the same as the ISO 6344 standard. Other systems used in sandpaper include the Japanese Industrial Standards Committee (JIS), the micron grade (generally used for very fine grits). The "ought" system ({0, 00, 000, ...} aka {1/0, 2/0, 3/0, ...}) was used in the past in the US. Cheaper sandpapers sometimes use nomenclature such as "Coarse", "Medium" and "Fine", but it is unclear to what standards these names refer.

Grit size table[link]

The following table, compiled from the references at the bottom, compares the CAMI and "P" designations with the average grit size in micrometres (µm).

See also[link]

• Belt sander
• Dremel
• Emery (mineral)
• Grinding machine
• Particle size (grain size)
• Polishing
• Sander
• Sanding block
• Emery cloth
• Crocus cloth
• Grind

References[link]

Further reading[link]

• Michael Dresdner (1992). The Woodfinishing Book. Taunton Press. ISBN 1-56158-037-6

External links[link]

Wikimedia Commons has media related to: Sandpaper

• Federation of European Producers of Abrasives
• sizes.com on sandpaper

M. Shadows
M. Shadows in 2011
Background information
Birth name	Matthew Charles Sanders
Also known as	M. Shadows, Shadows
Born	(1981-07-31) July 31, 1981 (age 30)
Origin	Huntington Beach, California
Genres	Hard rock, hardcore punk, metalcore, heavy metal
Occupations	Musician, Vocalist
Instruments	Vocals, piano, keyboards, guitar, bass guitar
Years active	1999–present
Labels	Warner Bros., Good Life Recordings, Hopeless Records
Associated acts	Avenged Sevenfold, Good Charlotte, Steel Panther, Cowboy Troy, Death by Stereo, Bleeding Through, Dream Theater, Slash, Hell Or Highwater

Matthew Charles Sanders (born July 31, 1981), better known by his stage name M. Shadows, is the lead vocalist, songwriter, and founding member for the American rock band Avenged Sevenfold. Shadows possesses the voice type of a high baritone, and is well known for his gritty singing style as well as occasional screaming.

Early life and musical beginnings[link]

Shadows began singing at an early age, but his interest in rock music grew as he became older and began to play the guitar.^[1] Shadows links this early musical experience with the piano as a major factor in developing his skills with the guitar and his voice.^[1] He attended Huntington Beach High School, where he played for a brief stint in a punk band named "Successful Failure".^[1] Following this, Shadows formed Avenged Sevenfold in 1999 along with high school friends Zacky Vengeance, Jimmy "The Rev" Sullivan, and Johnny Christ .^[1] Soon after, Sullivan's friend Synyster Gates joined Avenged Sevenfold as the lead guitarist.

In the DVD "All Excess," Shadows claims that everyone in the band had been assigned to come up with a list of names, but that only he had followed through. The name Avenged Sevenfold, a reference to the Book of Genesis, was chosen over Lips of Deceit, another Biblical reference.^[2]

Stage name[link]

Shadows, like the other members of Avenged Sevenfold, uses a stage name. In an interview, Shadows says that he chose "M. Shadows" as his stage name because he thought of himself as "the darker character in the group,".^[3] The M is in place of his first name, Matthew, which he did not want to be in his stage name because of the way it sounded.^[3] He also added that he and the band took stage names because many other successful musicians that they were influenced by had them (e.g. Slash of Guns N' Roses and Munky of Korn).^[3]

Vocal style[link]

Shadows' vocal style has evolved significantly over the years. On the band's first full-length record, Sounding the Seventh Trumpet, he features a harsh, metalcore-style scream, with limited instances of clean vocals.^[4] The release of Waking the Fallen in 2003 showed his progression towards more melodic vocal lines, but his voice still demonstrated a strong metalcore influence. The most important change, however, came with the release of the bands major label debut, City of Evil, in 2005. The album featured no screaming and much more defined vocal melodies,^[5] with an increased emphasis on vocal hooks. This style has remained prevalent on every record the band has released since that time, with the exception of the song "God Hates Us" on their album Nightmare, and newer released song "Not Ready To Die", which both return to the metalcore sound of earlier releases.

Rumors began to spread that Shadows had lost his ability to scream due to throat surgery he had needed after Warped Tour 2003.^[6] However, this is not true. Producer Andrew Murdock put down these rumors by saying "When I met the band after Sounding the Seventh Trumpet...Matt handed me the CD, and he said to me, 'This record's screaming. The record we want to make...is going to be half-screaming and half-singing. I don't want to scream anymore...the record after that is going to be all singing.'"^[7] Later on the album Nightmare M. Shadows screams on the track "God Hates Us" by returning back to harsh, metalcore-style scream.

Influences[link]

Shadows draws his singing and performing style heavily from classic metal bands. He cited Guns N' Roses as his biggest influence in an interview, commenting that "I love that band. You can compare us all you want — they're a huge reason why I'm even in a band and even write music."^[8] Shadows also commented that he was heavily influenced by Metallica, Megadeth, Slayer, Ozzy Osbourne, and Pantera.^[8] Megadeth and Metallica, Shadows says, are the reason why Avenged Sevenfold try to infuse a classic metal sound into their music. "Metalheads are so bitter, they're like, 'Why doesn't a super-extreme band have all the success that Avenged Sevenfold is having?'," said Shadows in an interview, "It's 'cause we have that traditional classic sound that bands like Metallica and Megadeth paved the way for a while ago. That sound crosses over and the extreme metal doesn't," he added. He also stated later in that interview that guitar expert Scott Taylor taught him how to play guitar.^[8]

Musical career[link]

Avenged Sevenfold[link]

Shadows was one of the founding members of Avenged Sevenfold, along with The Rev and Zacky Vengeance in 1999. In 2001, the band released their first studio album, Sounding The Seventh Trumpet.^[9] The self-produced album, which was in the metalcore style, gained mixed to positive reviews from critics.^[10] Following the success of their first album, the band released a second album, Waking the Fallen, in 2003.^[11] Later in 2003, Shadows and Avenged Sevenfold played in the Vans Warped Tour.^[12]

Other projects[link]

Shadows has made guest appearances on numerous albums by various artists. He is featured on the Steel Panther album Feel the Steel and sings a verse of "Turn Out the Lights." He also produced The Confession's 2007 album, Requiem, which, according to an interview, was one of the first steps which led to Avenged Sevenfold self-producing their 2007 self-titled album.

Discography[link]

With Avenged Sevenfold[link]

Featured guest appearances[link]

2002:
"Savior, Saint, Salvation" (with Synyster Gates) | Bleeding Through - Portrait of the Goddess
2005:
"Entombed We Collide" | Death By Stereo - Death for Life
"This Is Not The End" | Death By Stereo - Death for Life
2007:
"The River" (with Synyster Gates) | Good Charlotte - Good Morning Revival
"The End Is Near" | The Confession - Requiem
"Buffalo Stampede" | Cowboy Troy - Black in the Saddle
"Like Always" | Kisses for Kings - Demo
2009:
"Turn Out the Lights" | Steel Panther - Feel the Steel
2010:
"Nothing To Say" | Slash - Slash
"Check the Level (remix)" (with Slash) | The Dirty Heads - Any Port in a Storm (Special Edition)
2011:
"Go Alone" | Hell or Highwater - Begin Again

References[link]

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2010)

Leroy Anderson (June 29, 1908 – May 18, 1975) was an American composer of short, light concert pieces, many of which were introduced by the Boston Pops Orchestra under the direction of Arthur Fiedler. John Williams described him as "one of the great American masters of light orchestral music."^[1]

Early life[link]

Born in Cambridge, Massachusetts to Swedish parents, Anderson was given his first piano lessons by his mother, who was a church organist. He continued studying piano at the New England Conservatory of Music. In 1925 Anderson entered Harvard University, where he studied theory with Walter Spalding, counterpoint with Edward Ballantine, harmony with George Enescu, composition with Walter Piston and double bass with Gaston Dufresne.^{[citation needed]} He also studied organ with Henry Gideon. He graduated with a Bachelor of Arts degree in 1929 and Master of Arts in 1930.

Career[link]

Anderson continued studying at Harvard, working towards a PhD in German and Scandinavian languages. (Anderson spoke English and Swedish during his youth but he eventually became fluent in Danish, Norwegian, Icelandic, German, French, Italian, and Portuguese.) During this time he was also working as organist and choir director at the East Milton Congregational Church, leading the Harvard University Band, and conducting and arranging for dance bands around Boston. His arranging work came to the attention of Arthur Fiedler in 1936 and Anderson was asked to show Fiedler any original compositions.^[2] Anderson's first work was Jazz Pizzicato in 1938.^[3] Fiedler suggested that a companion piece be written and thus Anderson wrote Jazz Legato in 1938.^[4]

In 1942 Leroy Anderson joined the U.S. Army, and was assigned to Iceland as a translator and interpreter. Later in 1945 he was assigned to the Pentagon as Chief of the Scandinavian Desk of Military Intelligence. But his duties did not prevent him from composing, and in 1945 he wrote "The Syncopated Clock"^[5] and "Promenade." Anderson was a reserve officer and was recalled to active duty for the Korean War. In 1951 Anderson wrote his first hit, "Blue Tango," earning a Golden Disc and the No. 1 spot on the Billboard charts.

His pieces and his recordings during the fifties conducting a studio orchestra were immense commercial successes. "Blue Tango" was the first instrumental recording ever to sell one million copies. His most famous pieces are probably "Sleigh Ride" and "The Syncopated Clock", both of which are instantly recognizable to millions of people. In 1950, WCBS-TV in New York City selected "Syncopated Clock" as the theme song for The Late Show/ the WCBS late-night movie. Mitchell Parish added words to "Syncopated Clock", and later wrote lyrics for other Anderson tunes, including "Sleigh Ride", which was not written as a Christmas piece, but as a work that describes a winter event. Anderson started the work during a heat wave in August 1946. The Boston Pops' recording of it was the first pure orchestral piece to reach No. 1 on the Billboard Pop Music chart.^[6] From 1952 to 1961, Anderson's composition "Plink, Plank, Plunk!" was used as the theme for the CBS panel show I've Got A Secret.

Anderson's musical style employs creative instrumental effects and occasionally makes use of sound-generating items such as typewriters and sandpaper. (Krzysztof Penderecki also used a typewriter in his orchestral work "Fluorescences" (1961–62), but with a decidedly less humorous effect.)

Anderson wrote his Piano Concerto in C in 1953 but withdrew it, feeling that it had weak spots. In 1988 the Anderson family decided to publish the work. Erich Kunzel and the Cincinnati Pops Orchestra released the first recording of this work; four other recordings, including one for piano and organ, have since been released.

In 1958, Anderson composed the music for the Broadway show Goldilocks with orchestrations by Philip J. Lang. Even though it earned two Tony awards, Goldilocks did not achieve commercial success. Anderson never wrote another musical, preferring instead to continue writing orchestral miniatures. His pieces, including "The Typewriter," "Bugler's Holiday," and "A Trumpeter's Lullaby" are performed by orchestras and bands ranging from school groups to professional organizations.

Anderson would occasionally appear on the Boston Pops regular concerts on PBS to conduct his own music while Fiedler would sit on the sidelines. For "The Typewriter" Fiedler would don a green eyeshade, roll up his sleeves, and mime working on an old typewriter while the orchestra played.

Anderson was initiated as an honorary member of the Gamma Omicron chapter of Phi Mu Alpha Sinfonia at Indiana State University in 1969.

In 1975, Anderson died of cancer in Woodbury, Connecticut^[7][8] and was buried there.^[9]

For his contribution to the recording industry, Leroy Anderson has a star on the Hollywood Walk of Fame at 1620 Vine Street. He was posthumously inducted into the Songwriters Hall of Fame in 1988 and his music continues to be a staple of "pops" orchestra repertoire. In 1995 the Harvard University Band's new headquarters was named the Anderson Band Center in honor of Leroy Anderson.^[10] The Leroy Anderson House in Woodbury, Connecticut has been nominated for designation on the National Register of Historic Places.^[11]

In 2006, one of his piano works, "Forgotten Dreams", written in 1954, became the background for a British TV advertisement for mobile phone company '3'. Previously, Los Angeles station KABC-TV used the song as its sign-off theme at the end of broadcast days in the 1980s, and Mantovani's recording of the song had been the closing theme for WABC-TV's Eyewitness News for much of the 1970s.

The Typewriter was used as the theme song for Esto no tiene nombre, a Puerto Rican television comedy program – loosely based on the US television series Rowan & Martin's Laugh-In – produced by Tommy Muñiz between the late 1960s and late 1970s.

Name[link]

His first name was pronounced the classical way, with the stress on the second syllable: /ləˈrɔɪ/ lə-ROY, rather than with the now-prevalent pronunciation of that name, LEE-roy.

Works[link]

• Alma Mater (1954)
  1. Chapel Bells
  2. Freshman on Main Street
  3. Library Reading Room
  4. Class Reunion
• Arietta (1962)
• Balladette (1962)
• Belle of the Ball (1951)
• Birthday Party (1970)
• Blue Tango (1951)
• Bugler's Holiday (1954)
• Cambridge Centennial March of Industry (1946) (written for organ)
• Captains and the Kings, The (1962)
• Chatterbox (1966)
• Chicken Reel (1946)
• China Doll (1951)
• Christmas Festival, A (1950) (original version was 9:00, later shortened in 1952 to 5:45)
• Clarinet Candy (1962)
• Classical Jukebox (1950)
• Concerto in C Major for Piano and Orchestra (1953) (withdrawn by the composer, and released posthumously)
• Cowboy and His Horse, The (1966)
• Do You Think That Love Is Here To Stay? (1935)
• Easter Song (194-) (written for organ)
• Fiddle-Faddle (1947)
• First Day of Spring, The (1954)
• Forgotten Dreams (1954)
• Girl in Satin, The (1953)
• Golden Years, The (1962)
• Goldilocks (musical) (1958) (some numbers in the Suite did not appear in the original musical, and some numbers from the musical are not in this Suite)
  1. Overture (1958)
  2. Come to Me (1958)
  3. Guess Who (1958)
  4. Heart of Stone (Pyramid Dance) (1958)
  5. He'll Never Stray (1958)
  6. Hello (1958)
  7. If I Can't Take it With Me (1958)
  8. I Never Know When to Say When (1958)
  9. Lady in Waiting (1958)
  10. Lazy Moon (1958)
  11. Little Girls (1958)
  12. My Last Spring (1958)
  13. Save a Kiss (1958)
  14. Shall I Take My Heart and Go? (1958)
  15. Tag-a-long Kid (1958)
  16. The Pussy Foot (1958)
  17. Town House Maxixe (1958)
  18. Who's Been Sitting in My Chair ? (1958)
• Governor Bradford March (1948) (published posthumously)
• Harvard Fantasy (1936)
• Harvard Festival, A (1969)
• Hens and Chickens (1966)
• Home Stretch (1962)
• Horse and Buggy (1951)
• Irish Suite (1947 & 1949)
  1. The Irish Washerwoman (1947)
  2. The Minstrel Boy (1947)
  3. The Rakes of Mallow (1947)
  4. The Wearing of the Green (1949)
  5. The Last Rose of Summer (1947)
  6. The Girl I Left Behind Me (1949)
• Jazz Legato (1938)
• Jazz Pizzicato (1938)
• Love May Come and Love May Go (1935)
• Lullaby of the Drums (1970) (published posthumously)
• March of the Two Left Feet (1970)
• Melody on Two Notes (~1965)
• Mother's Whistler (1940) (published posthumously)
• Music in My Heart, The (1935)
• Old Fashioned Song, An (196-)
• Old MacDonald Had a Farm (1947)
• Penny Whistle Song, The (1951)
• Phantom Regiment, The (1951)
• Piece for Rolf (1961)
• Pirate Dance (1962) (optional SATB chorus)
• Plink, Plank, Plunk! (1951)
• Promenade (1945)
• Pussy Foot Ballet Music, The (1962)
• Sandpaper Ballet (1954)
• Saraband (1948)
• Scottish Suite (1954)
  1. The Bluebells of Scotland
  2. Turn Ye To Me
• Second Regiment Connecticut National Guard March (1973)
• Serenata (1947)
• Sleigh Ride (1948)
• Song of Jupiter (1951)
• Song of the Bells (1953)
• Suite of Carols for Strings (1955) (six carols)
• Suite of Carols for Brass (1955) (seven carols)
• Suite of Carols for Woodwinds (1955) (six carols)
• Summer Skies (1953)
• Syncopated Clock, The (1945)
• Ticonderoga March (1939) (Anderson's only work written for concert band)
• To a Wild Rose (1970) (arranged from the song by Edward MacDowell) (published posthumously)
• Trumpeter's Lullaby, A (1949)
• Typewriter, The (1950)
• You Can Always Tell a Harvard Man (1962)
• Waltz Around the Scale (1970)
• Waltzing Cat, The (1950)
• Wedding March for Jane and Peter (1972)
• What's the Use of Love? (1935)
• Whistling Kettle, The (~1965)
• Woodbury Fanfare (1959) (for four trumpets)

References[link]

• "Leroy Anderson: A Bio-Bibliography", Praeger 2004, Chapter 2 – "Works", Pages 25–81.
• "Published Music" of the Leroy Anderson's official website, maintained by his family.

External links[link]

• Official Leroy Anderson website maintained by his family.
• Leroy Anderson Foundation official website maintained by his family.
• Once Upon a Sleigh Ride PBS website devoted to a 1999 documentary about Anderson; biographical sketches, photographs, etc.
• Leroy Anderson Papers at Yale University Music Library
• The Typewriter, played on a Garrard 4HF.
• The Typewriter, Martin Breinschmid with Strauß Festival Orchestra Vienna.