- published: 20 Jul 2017
- views: 3794
Eric Valentine is an American record producer, who began his career as drummer and producer in the heavy metal band T-Ride.
He subsequently produced albums for artists such as Good Charlotte, Lostprophets, Taking Back Sunday, Nickel Creek, Queens of the Stone Age, Third Eye Blind, Smash Mouth, The All-American Rejects and Slash.
Capital City or Capitol City or variants, may refer to :
Rogue One: A Star Wars Story, or simply Rogue One, is an upcoming American epic space opera film directed by Gareth Edwards and written by Gary Whitta and Chris Weitz, from an idea by visual effects supervisor John Knoll. It will be the first film in the Star Wars Anthology series, a collection of stand-alone stories set in the Star Wars universe, and will star Felicity Jones, Diego Luna, Riz Ahmed, Ben Mendelsohn, Donnie Yen, Jiang Wen, Forest Whitaker, Mads Mikkelsen, and Alan Tudyk. Set shortly before the events of Star Wars Episode IV: A New Hope (1977), the story will center on a group of Rebel spies on a mission to steal the plans for the Empire's new weapon, the Death Star.
The film is produced by Lucasfilm and will be distributed by Walt Disney Studios Motion Pictures. Principal photography began at Elstree Studios, near London during early August 2015. Rogue One will be released on December 16, 2016, one year after the franchise's latest film, Star Wars: The Force Awakens (2015).
Electric Guitars were an English band formed early in 1980 by Neil Davenport (vocals, lyrics) and Richard Hall (bass, vocals) who were both studying English at Bristol University. The band soon increased to a five-man line-up, with Andy Saunders (guitar, vocals), Matt Salt (drums) and Dick Truscott (keyboards), they also later added two backing singers: Sara and Wendy. Their first single "Health" / "Continental Shelf" was released on local label Fried Egg Records in 1980.
They contributed four live tracks to the first edition of the The Bristol Recorder in 1980, and in 1981 released their second single "Work" / "Don’t Wake the Baby" on Recreational Records, which reached No. 45 on the UK Indie Chart. They toured as support to The Thompson Twins, which brought them to the attention of Stiff Records, who promptly signed them up. The band's first single for Stiff was "Language Problems" in 1982, and this was followed by an EP in the same year, from which Toni Basil recorded "Beat Me Hollow" for her TV special. Bert Muirhead in his 1982 book about Stiff Records, said about the band, “The combination of Stiff, Martin Rushent and Worldchief Management (OMITD etc) seems unstoppable. They will undoubtedly be very big in the mid 1980’s.” However, after the "Wolfman Tap" single on Naive Records, they disbanded in August 1983.
Paul White may refer to:
Drum recording can be challenging, even if you’re working in a professional tracking studio. Record drums at home or in a rehearsal space, though, and getting good results can become even harder. Space limitations and less-than-ideal acoustics, for example, can really hamper your efforts. This month, editors Paul White and Hugh Robjohns tackle the thorny issue of drum recording in small rooms. By recording Paul’s drums in his home studio, the pair outline a process for getting usable results without using drum replacement tools. Along the way, they cover acoustics, drum tuning, microphone techniques, making small kicks sound bigger, and how to fake a room when yours doesn't sound great. You can also download the audio from the session to hear the (abominable) room mic and the unprocess...
If you're recording at home you need to watch this. Paul White from Sound on Sound gave a great Q&A; session recently at Dawsons Music Reading, which we caught on camera - it's filled with money-saving home recording techniques and advice!
*Trouble viewing? Try on a laptop or desktop copmuter. Rogue One's gritty, war film aesthetic is a real departure for the Star Wars franchise, and this realism is born out in the sound design. We visited the iconic Skywalker Sound to talk to Supervising Sound Editors Christopher Scarabosio and Matthew Wood about world creation, making sci-fi weapons sound realistic, and how some unexpected sampling brought K-2SO — the film’s sardonic and loveable droid — to life! We also discover the secrets of Foley artist Ronni Brown and Foley Mixer Frank Aglieri-Rinella who reveal how they made the Rogue One stormtroopers sound more menacing. To hear the final effect of all the techniques described in this feature, you can order Rogue One now in Digital HD or Blu-Ray/DVD: http://www.starwars.com/rogue...
Inspired by Norman Petty and Sam Phillips, studio owner Dean Amos has lovingly built a perfect recreation of a 1950s recording environment — right down to the dimensions of the pegboard! We eavesdrop on a session at Sugar Ray’s Vintage Recording Studio to find out why it’s still valid to record an entire band to tape, with one microphone. We also talk to engineer Lincoln Grounds and the band about the challenges they faced when recording this way. What we discovered may surprise you... See the interviews and session in the video above and hear the recordings at http://www.soundonsound.com/techniques/recording-50s-style
Trouble viewing? Try on a laptop or desktop computer. Grammy-winning producer/engineer Vance Powell (Jack White, Seasick Steve, Chris Stapleton) welcomes us to Sputnik Sound in Nashville to show us how he recorded a track for rock act Tyler Bryant & The Shakedown. Over the course of this in-depth video tutorial Vance explains his decisive production approach and deconstructs the track ‘Loaded Dice & Buried Money’, demonstrating the recording and mixing techniques employed to craft a huge rock sound from a band playing together in a room. Listen to the full track — 'Loaded Dice & Buried Money' iTunes: http://sosm.ag/2aRsv1d Spotify: http://sosm.ag/2bvlMYI Tidal: tidal.com/track/53226401
"Safe and Sound" available on Capital Cities' debut album 'In A Tidal Wave of Mystery,' download on iTunes http://smarturl.it/IATWOM Check us out on the Campus Consciousness Tour and on tour with Katy Perry this summer Capitalcitiesmusic.com/tour Capital Cities take you through the history of dance in their official music video for "Safe and Sound" Follow Capital Cities: http://capitalcitiesmusic.com http://twitter.com/capitalcities http://facebook.com/capitalcities http://instagram.com/capitalcities http://youtube.com/capitalcitiesmusic Music video by Capital Cities performing Safe And Sound. (C) 2013 Lazy Hooks, LLC Under Exclusive LicenseTo Capitol Records, LLC
In this episode, LA-based producer Eric Valentine (Queens Of The Stone Age, Slash) recreates the guitar sound from QOTSA's unique 2002 album, Songs for the Deaf. We look at every link in the chain from tuning and guitar choice through to amp settings, pedals, mic selection and post-processing. Keep your eyes peeled for two more episodes coming soon where we examine the sounds of Slash and an emotive surf guitar sound. Huge thanks to Eric Valentine http://www.barefoot-recording.com/ http://www.undertoneaudio.com/
In the third and final part of our series from Eric Valentine on guitar recording, see how the respected producer/engineer crafts a shimmering surf guitar sound in the vein of Smash Mouth or Third Eye Blind. You can look forward to the use of three amps, a real echo chamber and judicial use of modulation effects.
· Download: http://NigelStanford.com · Spotify: https://open.spotify.com/track/2DvTFRgQVrz7CH0xdy12qr · iTunes: https://itunes.apple.com/us/album/solar-echoes/id940979976 · Amazon: https://www.amazon.com/Solar-Echoes-Nigel-Stanford/dp/B00PJULEMY/ · Facebook: https://www.facebook.com/johnstanfordmusic · Instagram: https://www.instagram.com/nigelstanford · Twitter: https://twitter.com/nigel_stanford http://NigelStanford.com/Cymatics Download in 4k / HD. All of the science experiments in the video are real. Watch behind the scenes and see how it was made.
Drum recording can be challenging, even if you’re working in a professional tracking studio. Record drums at home or in a rehearsal space, though, and getting good results can become even harder. Space limitations and less-than-ideal acoustics, for example, can really hamper your efforts. This month, editors Paul White and Hugh Robjohns tackle the thorny issue of drum recording in small rooms. By recording Paul’s drums in his home studio, the pair outline a process for getting usable results without using drum replacement tools. Along the way, they cover acoustics, drum tuning, microphone techniques, making small kicks sound bigger, and how to fake a room when yours doesn't sound great. You can also download the audio from the session to hear the (abominable) room mic and the unprocess...
If you're recording at home you need to watch this. Paul White from Sound on Sound gave a great Q&A; session recently at Dawsons Music Reading, which we caught on camera - it's filled with money-saving home recording techniques and advice!
*Trouble viewing? Try on a laptop or desktop copmuter. Rogue One's gritty, war film aesthetic is a real departure for the Star Wars franchise, and this realism is born out in the sound design. We visited the iconic Skywalker Sound to talk to Supervising Sound Editors Christopher Scarabosio and Matthew Wood about world creation, making sci-fi weapons sound realistic, and how some unexpected sampling brought K-2SO — the film’s sardonic and loveable droid — to life! We also discover the secrets of Foley artist Ronni Brown and Foley Mixer Frank Aglieri-Rinella who reveal how they made the Rogue One stormtroopers sound more menacing. To hear the final effect of all the techniques described in this feature, you can order Rogue One now in Digital HD or Blu-Ray/DVD: http://www.starwars.com/rogue...
Inspired by Norman Petty and Sam Phillips, studio owner Dean Amos has lovingly built a perfect recreation of a 1950s recording environment — right down to the dimensions of the pegboard! We eavesdrop on a session at Sugar Ray’s Vintage Recording Studio to find out why it’s still valid to record an entire band to tape, with one microphone. We also talk to engineer Lincoln Grounds and the band about the challenges they faced when recording this way. What we discovered may surprise you... See the interviews and session in the video above and hear the recordings at http://www.soundonsound.com/techniques/recording-50s-style
Trouble viewing? Try on a laptop or desktop computer. Grammy-winning producer/engineer Vance Powell (Jack White, Seasick Steve, Chris Stapleton) welcomes us to Sputnik Sound in Nashville to show us how he recorded a track for rock act Tyler Bryant & The Shakedown. Over the course of this in-depth video tutorial Vance explains his decisive production approach and deconstructs the track ‘Loaded Dice & Buried Money’, demonstrating the recording and mixing techniques employed to craft a huge rock sound from a band playing together in a room. Listen to the full track — 'Loaded Dice & Buried Money' iTunes: http://sosm.ag/2aRsv1d Spotify: http://sosm.ag/2bvlMYI Tidal: tidal.com/track/53226401
"Safe and Sound" available on Capital Cities' debut album 'In A Tidal Wave of Mystery,' download on iTunes http://smarturl.it/IATWOM Check us out on the Campus Consciousness Tour and on tour with Katy Perry this summer Capitalcitiesmusic.com/tour Capital Cities take you through the history of dance in their official music video for "Safe and Sound" Follow Capital Cities: http://capitalcitiesmusic.com http://twitter.com/capitalcities http://facebook.com/capitalcities http://instagram.com/capitalcities http://youtube.com/capitalcitiesmusic Music video by Capital Cities performing Safe And Sound. (C) 2013 Lazy Hooks, LLC Under Exclusive LicenseTo Capitol Records, LLC
In this episode, LA-based producer Eric Valentine (Queens Of The Stone Age, Slash) recreates the guitar sound from QOTSA's unique 2002 album, Songs for the Deaf. We look at every link in the chain from tuning and guitar choice through to amp settings, pedals, mic selection and post-processing. Keep your eyes peeled for two more episodes coming soon where we examine the sounds of Slash and an emotive surf guitar sound. Huge thanks to Eric Valentine http://www.barefoot-recording.com/ http://www.undertoneaudio.com/
In the third and final part of our series from Eric Valentine on guitar recording, see how the respected producer/engineer crafts a shimmering surf guitar sound in the vein of Smash Mouth or Third Eye Blind. You can look forward to the use of three amps, a real echo chamber and judicial use of modulation effects.
· Download: http://NigelStanford.com · Spotify: https://open.spotify.com/track/2DvTFRgQVrz7CH0xdy12qr · iTunes: https://itunes.apple.com/us/album/solar-echoes/id940979976 · Amazon: https://www.amazon.com/Solar-Echoes-Nigel-Stanford/dp/B00PJULEMY/ · Facebook: https://www.facebook.com/johnstanfordmusic · Instagram: https://www.instagram.com/nigelstanford · Twitter: https://twitter.com/nigel_stanford http://NigelStanford.com/Cymatics Download in 4k / HD. All of the science experiments in the video are real. Watch behind the scenes and see how it was made.
Drum recording can be challenging, even if you’re working in a professional tracking studio. Record drums at home or in a rehearsal space, though, and getting good results can become even harder. Space limitations and less-than-ideal acoustics, for example, can really hamper your efforts. This month, editors Paul White and Hugh Robjohns tackle the thorny issue of drum recording in small rooms. By recording Paul’s drums in his home studio, the pair outline a process for getting usable results without using drum replacement tools. Along the way, they cover acoustics, drum tuning, microphone techniques, making small kicks sound bigger, and how to fake a room when yours doesn't sound great. You can also download the audio from the session to hear the (abominable) room mic and the unprocess...
If you're recording at home you need to watch this. Paul White from Sound on Sound gave a great Q&A; session recently at Dawsons Music Reading, which we caught on camera - it's filled with money-saving home recording techniques and advice!
Inspired by Norman Petty and Sam Phillips, studio owner Dean Amos has lovingly built a perfect recreation of a 1950s recording environment — right down to the dimensions of the pegboard! We eavesdrop on a session at Sugar Ray’s Vintage Recording Studio to find out why it’s still valid to record an entire band to tape, with one microphone. We also talk to engineer Lincoln Grounds and the band about the challenges they faced when recording this way. What we discovered may surprise you... See the interviews and session in the video above and hear the recordings at http://www.soundonsound.com/techniques/recording-50s-style
*Trouble viewing? Try on a laptop or desktop copmuter. Rogue One's gritty, war film aesthetic is a real departure for the Star Wars franchise, and this realism is born out in the sound design. We visited the iconic Skywalker Sound to talk to Supervising Sound Editors Christopher Scarabosio and Matthew Wood about world creation, making sci-fi weapons sound realistic, and how some unexpected sampling brought K-2SO — the film’s sardonic and loveable droid — to life! We also discover the secrets of Foley artist Ronni Brown and Foley Mixer Frank Aglieri-Rinella who reveal how they made the Rogue One stormtroopers sound more menacing. To hear the final effect of all the techniques described in this feature, you can order Rogue One now in Digital HD or Blu-Ray/DVD: http://www.starwars.com/rogue...
Trouble viewing? Try on a laptop or desktop computer. Grammy-winning producer/engineer Vance Powell (Jack White, Seasick Steve, Chris Stapleton) welcomes us to Sputnik Sound in Nashville to show us how he recorded a track for rock act Tyler Bryant & The Shakedown. Over the course of this in-depth video tutorial Vance explains his decisive production approach and deconstructs the track ‘Loaded Dice & Buried Money’, demonstrating the recording and mixing techniques employed to craft a huge rock sound from a band playing together in a room. Listen to the full track — 'Loaded Dice & Buried Money' iTunes: http://sosm.ag/2aRsv1d Spotify: http://sosm.ag/2bvlMYI Tidal: tidal.com/track/53226401
Mastering is arguably the least well understood step in the music production chain. So, to demystify things, we headed to Black Saloon Studios to examine that very process with Mandy Parnell, mastering engineer to Björk, Aphex Twin, Snoop Dogg and White Stripes.
After 5 years working with enigmatic R&B; trailblazer, Frank Ocean, engineer Jeff Ellis talks art, monitoring and a technique called 'The Chicago Jingle' for getting the sound of a large ensemble from few players. Thanks to Jeff Ellis www.jeffellisworldwide.com www.twitch.tv/jeffellisworldwide
This month we step into the studio of Berlin-based engineer, producer and author Moses Schneider. Moses got his big break working at the famous Hansa Tonstudio with Pixies and has since worked with big-selling German acts Kreator and Tocotronic. He has also worked with The Strokes’ producer, Gordon Raphael, who calls him “the Einstein of live recording.” In our video he talks about his approach to production, and demonstrates how he records and processes drums to give them the most character — and specifically about the intriguing ‘wurst’ mic technique.
In the third and final part of our series from Eric Valentine on guitar recording, see how the respected producer/engineer crafts a shimmering surf guitar sound in the vein of Smash Mouth or Third Eye Blind. You can look forward to the use of three amps, a real echo chamber and judicial use of modulation effects.
Three things stand out about 1985: Mario and Luigi took the world by storm, Back To The Future hit cinemas for the first time, and Sound On Sound celebrated its inaugural issue. This month, editors Paul White and Hugh Robjohns jump into the Delorean to revisit key moments in the evolution of recording technology. Get their thoughts on some the most game-changing developments of the last 30 years, and the practical implications of each. Also find out how they think 2015 compares to 1985, and where they think we’re going.
I'm behind you
You can't see me
I watch you
When you are near me
You say words
The sound is missing
I just look and watch and listen
Sound on sound
Love is just
Infatuation
You are me
And I am you
Looking back
It's just reflections
It's just something else to do
Sound on sound
Love is just
Infatuation
You are me
And I am you
Looking back
It's just reflection
It's just something else to do