the Art of Mixing - David Gibson

Get ready for an in-depth exploration into the aesthetics of what makes a great mix! David Gibson's unique approach to mixing gives you a visual representation of the dynamics of the sounds involved in creating a musical mix. Through this three-dimensional, colorful explanation, you are introduced to a framework that will help you understand everything that an engineer does-- enabling you to not only recognize what you like, but how to achieve it in your studio. Expand your recording techniques by learning what your recording equipment does and how it all works together in a simple, visual manner. From bluegrass to big band, new age to heavy metal, classical to hip-hop, jazz to rap, and alternative rock to techno, Gibson has mapped out everything that can be done to create various effects in all standard mixes. Once you have a perspective on what can be done, you have the power to be truly creative on your own: to make art out of technology. David Gibson has engineered and produced albums in a wide range of styles of music - acoustic rock, jazz, rock, new age, heavy metal, rap, hip-hop, and electronica. He has been teaching, engineering, and producing groups in major 24-track studios since 1982 and is the founder of Globe Institute of Recording and Production in San Francisco. Gibson has also done recording for James Brown's band, Bobby Whitlock (Derek and the Dominos), the Atlanta Rhythm Section, and Hank William's Jr.'s band, as well as having worked with members of the Doobie Brothers, Lacy J. Dalton's band, Herbie Hancock's band, and It's a Beautiful Day. Gibson is also the inventor of the patented "Virtual Mixer" mixing plug-in which uses 3D visuals to control a mix

The Mother of All Demos, presented by Douglas Engelbart (1968)

 The Mother of All Demos is a name given retrospectively to Douglas Engelbart's December 9, 1968 computer demonstration at the Fall Joint Computer Conference in San Francisco. The live demonstration featured the introduction of a complete computer hardware—software system called the oN-Line System or more commonly, NLS. The 90-minute presentation essentially demonstrated almost all the fundamental elements of modern personal computing: multiple windows, hypertext, graphics, efficient navigation and command input, video conferencing, the computer mouse, word processing, dynamic file linking, revision control, and a collaborative real-time editor (collaborative work). Engelbart's presentation was the first to publicly demonstrate all these elements in a single system. The demonstration was highly influential and spawned similar projects at Xerox PARC in the early 1970s. The underlying technologies influenced both the Apple Macintosh and Microsoft Windows graphical user interface operating systems in the 1980s and 1990s

Mercury Rev - Deserters Songs - the Movie

it's TEOTWAWKI

Streaming live video by Ustream

...Messrs. Stetson, Wackem, Shoddy & Waft proudly present...

...it's the EVENT of the CENTURY, it's the LAST SHOW on EARTH, it's TEOTWAWKI...

...starring local beat combo the ASCENSION Plan, featuring the guitar and vocal stylings of Martin Jackson (Ethatone, Quietly Torn), and the ethereal electric violin of the Waft (Eden's Ashes, Bates Motel) backed by solid rhythm engineers Gurt Wackem and Mungo Shoddy, featuring Fabio Montana, Vicky Abbott & friends...

...described as "warm and unusual" the Plan will take us on a journey from a whisper to a scream, thru Love, Death and Rebirth with Lightshow/Projections by WSW in association with Ko0oT303...

...support comes from Ella Turk-Richards...

...and Shelley Macphail...

...TOMORROW'S FEAR becomes TODAY'S NIGHTMARE...

...20:12:2012 - 8pm till the END of TIME* at the Acorn, Penzance...

... streaming LIVE via USTREAM...

...the most MEMORABLE, the most STARTLING EXPERIENCE of YOUR LIFE...

...YOU can't AFFORD to MISS...

...a GIGANTIC production to STARTLE your IMAGINATION...

...anotherQUATILYproduct...

Powers of Ten™ (1977)

Uploaded by EamesOffice on Aug 26, 2010

Powers of Ten takes us on an adventure in magnitudes. Starting at a picnic by the lakeside in Chicago, this famous film transports us to the outer edges of the universe. Every ten seconds we view the starting point from ten times farther out until our own galaxy is visible only a s a speck of light among many others. Returning to Earth with breathtaking speed, we move inward- into the hand of the sleeping picnicker- with ten times more magnification every ten seconds. Our journey ends inside a proton of a carbon atom within a DNA molecule in a white blood cell. POWERS OF TEN © 1977 EAMES OFFICE LLC (Available at www.eamesoffice.com)

50 Degrees

...by Ben Mankin...

Chronos.(Ron.Fricke.-.1991)

...

Chronos is 42 minutes long and has no actors or dialog. The soundtrack consists of a single continuous piece by composer Michael Stearns. Filmed in dozens of locations on five continents, the film relates to the concept of time passing on different scales -- the bulk of the film covers the history of civilization, from pre-history to Egypt to Rome to Late Antiquity to the rise of Western Europe in the Middle Ages to the Renaissance to the modern era. It centers on European themes but not exclusively. Other time scales include the passing of seasons, and the passing of night and day, and the passing shadows of the sun in an afternoon to the passing of people on the street. These themes are intermingled with symbolic meaning.

Background

Chronos shares its particular style with the film Koyaanisqatsi (1983), for which Ron Fricke was the cinematographer, as well as his later films Sacred Site and Baraka (1992). The theme of the film is "[t]he celebration of life", and does not include the themes of technology as the culprit for society or "life out of balance", which were present in Koyaanisqatsi. American Cinematographer described the film as "a musical poem praising the evolution of Western man from Cairo to Los Angeles."^[3] The film was produced by Canticle Films, a production company founded by Fricke. Funding for Chronos came from the seed money acquired through the publicity surrounding the production of Koyaanisqatsi.^[3]

Fricke designed and built a 65 mm camera for the film, which included a motion control system for the film's special effects.^[3] The director also used the system in his later films.

Michael Stearns, while composing the soundtrack for the film, used a custom-made instrument called "The Beam" to generate many of the sounds he required. The Beam was 12 feet (3.7 m) long, made of extruded aluminum with 24 piano strings of gauge 19-22.

The name of the film comes from the Ancient Greek word χρόνος, khronos, which means time and is also the source to many modern terms related to time, such as chronology, synchronous etc.