Wednesday, April 30, 2014

KEF SPEAKERS

KEF SPEAKERS

Of the many landmark innovations KEF has pioneered, arguably the greatest of all is the Uni-Q point source driver array, with its outstanding acoustic clarity and off-axis dispersion. With over twenty years of continuous innovation and development the Uni-Q driver array achieves a level of sound quality over a broad area simply not achieved from conventional speakers.With Uni-Q, sounds come at you so naturally that it seems as if the musicians or actors are actually there in front of you. Whether you are in the centre of the room or off to one side, recordings sound uncannily real and utterly convincing. Uni-Q achieves this because, unlike conventional speakers, the sound that is critical to the experience comes from the same point in space, and is produced in a controlled and continuous way over the whole audio range. It is not easy to produce a convincing and realistic illusion of a live performance because the sound from a high quality loudspeaker does not come from a single source, or drive unit. Two or more units are required to faithfully reproduce the entire audio spectrum from the low bass produced by a concert organ or a cinema explosion, to the delicate nuances of the human voice in the midrange right up to the shimmering treble of cymbals. Most loudspeakers have the midrange and treble drive units mounted one above the other, so the sound is coming from two different places, causing audio ‘confusion’ and losing the chance of achieving a truly natural sound. With Uni-Q, the midrange and treble units are mounted at precisely the same point in space – allowing them to integrate perfectly and create the ideal sound field for the listener to experience a convincingly natural sound

 
 

Monday, April 28, 2014

NEW THIS & THAT !

NEW THIS & THAT...

SO...IT HAS TAKEN ME SOME "WASTED" HOURS TO ....
- SOUND PROOF 3 WALLS
- RE-TUNE MY DRUMS
- BAFFLE MY DRUMS
- RE ARRANGE MY DRUMS....& THIS IS THE END RESULT !!

I`VE ALSO RE-DONE MY "THANK YOU " CARD THAT I GIVE TO MY CLIENTS THAT INCLUDES THESE 2 PICS...
ALTHOUGH I DO NOT ! I REPEAT DO NOT LIKE THE YANKEES...MY NANCY DOES !
HER FAVOURITE PLAYER IS JETER. SO SINCE HE IS RETIRING THIS YEAR, I GOT HER HIS HOME JERSEY...( BLAHHHHH ) !!

 

Wednesday, April 2, 2014

FRANK`S "MANIC DEPRESSION"

FRANK`S "MANIC DEPRESSION"


a "Wee Bit" about Mitch Mitchell ( borrowed from Wikipedia )


Mitchell auditioned for Hendrix's band in October 1966, edging out drummer Aynsley Dunbar on the flip of a coin. His contribution to Hendrix's music is widely and deeply appreciated. In the studio, Hendrix would often record alone with Mitchell. On stage, the two fed off each other to exciting effect. Mitchell's ability to provide an inspiring rhythmic platform for the pre-eminent guitar groundbreaker of his day, stands alongside Ringo Starr's accomplishment of providing a vital, creative, but ultimately supportive role with the Beatles. Highly praised examples of his collaboration with Hendrix include the songs "Manic Depression", "Stepping Stone", "Little Miss Strange", "Fire", "Third Stone from the Sun", and Hendrix's signature "Voodoo Child (Slight Return)".


Mitchell came from a jazz background, and like many of his contemporaries in the London scene, was influenced by Elvin Jones, Max Roach, and Joe Morello.[5] He played in Hendrix's Experience trio from October 1966 to mid-1969, in the Woodstock band, (August 1969), and in the 1970 "Experience" version with Billy Cox on bass, known posthumously as the "Cry of Love band".

Jazz fusion is a lead style of playing distinguished by interplay with lead instruments such as guitar or keyboards, and the blending of jazz and rock drumming styles. Though the use of lead drums was not a new concept in jazz, it was relatively unheard of in rock. Upon joining Hendrix in late 1966, it became evident to Mitchell that the trio format of the band was similar to the recently formed Cream, and that it would allow him to become more free with his playing. Like a jazz drummer, Mitchell's playing not only provided a rhythmic support for the music, but also a source of momentum and melody. He made heavy use of snare rudiments, fast single and double stroke rolls, and jazz triplet patterns, and shifted between both traditional and matched grips. Examples of his style include the rudiment-heavy fills on "Hey Joe", which help to carry the song through a series of increasingly intense climaxes. "Manic Depression" is a 3/4 rock waltz that finds Mitchell playing a driving Afro-Cuban inspired beat, which then shifts to an explosion of triplets around the drumkit .