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At first it was hard to know whether to focus on the band or the film. Before long we're drowning or hallucinating but is the drug in the music or the vision?Getting used to the concept took a while. Woven in amongst Johnson's life story and the boxing footage there's vision of trains and race cars, wood being chopped and swelling waves - all with their jazzy sounds, sometimes urgent, sometimes haunting. Exciting too that something as aggressive as boxing could make such beautiful, hypnotic music. ![]() And it's all there in the musical tribute as the band tap into Davis' enthusiasm for the flamboyant Johnson who during his life, from 1878 to 1946, was known for his love of flashy cars, fast women, champagne and cigars.The timing is impeccable with punches and undercuts becoming almost balletic as the music kicks in. ![]() When Davis was approached to provide the soundtrack for the film, produced by Jim Jacobs and edited by John Dandre, he began to think of the shuffling feet and movement of a pugilist, which reminded him of a train. It's well known that Davis was an avid boxer and that his music, at it's punchiest, was inspired by Jack Johnson who, he said, portrayed freedom in a way which rang out just as loud as the bell proclaiming him to be a champion. They deviate in remarkable fashion - backwards and forwards, up and down, in and out from the original recording which featured an uncredited performance by Jack DeJohnette. Using Davis' original soundtrack, A Tribute To Jack Johnson, as a platform, the band launch their own musical flights of fantasy to match the footage, playing either side of the screen. And they presented as a deceptively laidback, slick little machine in their punchy, hardbop tribute to two Afro American legends - one a son of a former slave who clawed his way out of poverty to become the first black heavyweight champion of the world, the other - born 38 years later into a much more privileged family to become one of the most influential musicians of the 20th century.But in honouring the lives of these two long gone legends - Jack Johnson and Miles Davis - Jack DeJohnette took the audience on a most unusual journey as the band played their own live soundtrack to the 1971 documentary, Jack Johnson.William Clayton's film, which chronicles the extraordinary life of the "Galveston Giant" who won 50 fights against black and white opponents before taking the World Coloured Heavyweight Championship in 1903 takes centre stage with it's crackly archive vision gleaned from old newsreel footage. It was the most unlikely entertainment coupling - a jazz quintet playing against a cinematic backdrop of grainy black and white footage of boxers belting each other around the ring, but it hit all the right notes, right down to staccato cymbal crashes in time with stab punches and trumpeting raspberries designating the knockouts.Even the stifling heat couldn't stop the sweaty audience calling for more from the coolest dudes in the house.Those cool dudes were Jack DeJohnette - one of jazz music's greatest living drummers - and his band: Jason Yarde on sax, Byron Wallen on trumpet, Jerome Harris on bass and David Fiuczynski on guitar. ![]() TWO fists and one heart might sum up the essence of a boxer, but it was the ten nimble hands providing one unified, heartfelt sound which won over the enthralled audience of jazz lovers in Soundtrack to a Legend at the Astor Theatre last night. ![]() Izotope Nectar 2 Free Download Nectar 2 Production Suite (Nectar 3 Updated) iZotope 2.04 (3.0.0 update Apr/2019) 32-bit and 64-bit Mac OSx 10.6.8 – 10.14 (VST, AU) Instructions: Install and activate it with PKG Installer Direct Download (502 MB). 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IZotope Nectar 3 Crack voice assistant is our latest supporting audio technology that uses machine learning to create a custom Nectar preset tailored to your voice. ![]() ![]() Navigate the list of applications until you locate txd workshop, версия 4.5 or simply activate the Search feature and type in "txd workshop, версия 4.5". A list of the applications installed on the PC will be shown to you 6. Click on the Uninstall Programs feature 5. Advanced Uninstaller PRO is a powerful system optimizer. Take your time to get familiar with Advanced Uninstaller PRO's interface and number of functions available.
The Phrase Loop function is also a great addition. While there are compromises to be struck with a unit like the SPD-30 (its compact nature means a certain degree of menu navigation via the on-board LCD), the operating system is such that everything is as logical and easily accessible as it can be.Įditing parameters rarely involves more than half a dozen button/control pot actions, and there's a good deal of scope for tweaking everything from tuning to sound layering to sensitivity. In short, it sounds ace.īut Roland also has a track record of managing to balance functionality with ease of use - of prime importance to demanding users working on stage and studio. The great thing about a company so steeped in electronic music production as Roland is that the R&D resources lavished on top-end synth engines permeate through its disparate ranges, and the Octapad benefits hugely from decades of heavy-duty programming and sound creation. The acoustic sounds (both drum kit and ethnic percussion) are involving and realistic, while the electronic offerings are chunky and have that lovely 'produced' depth that is typical of all that Roland has turned out, from the JV synth series on. The wonderfully responsive pads are lovely to play and the stock of preset patches serves up an endlessly satisfying selection of full-bodied tones. Hands onĮven without delving into the complexities of creating loops or editing sounds, the new Octapad is impressive. In short, it's a powerful little package. Fifty kits made up from nearly 700 sounds, 30 multi-effect types, seven ambience settings and the ability to create up to 50 phrase loops are just some of the SPD-30's highlights. Internally, things continue in much the same vein. In all, it's a thoroughly modern package that's been well conceived to meet the demands of both studio and live use. MIDI in/ out is to be expected, as are L/R stereo and headphone outs and Mix In socket for iPods etc but there are also five 0.25" sockets to allow for use with V-Drum ride, hi-hat, snare and kick pads (so you could potentially use the Octapad as a super-compact e-kit), plus USB MIDI connection and a USB memory slot for storing user-created data. If you're looking for a full size option then check out our recommendations in our guide to The Best Electronic Drum Sets.The rear of the unit is equally impressive - assuming you're fascinated by the interconnectivity offered by hi-tech musical production tools, of course. Whether you're looking for a portable kit, or you just want to expand your sonic palette, the Roland Octapad SPD-30 V2 will get the job done. ![]() ConsĪside from not being a conventional electronic drum set, there aren't any noteworthy complaints. Jordan McLachlan of Music Radar gave the pads a perfect score and concludes his review by saying: "Combine predictably gorgeous sound with better-than-ever functionality, the ability to connect external pads for an extensive playing set-up and the Phrase Loop feature for creativity on-stage and you're on to a winner." NB - Jordan McLachlan's review was for Version 1 but the hardware is the same and can be upgraded to Version 2 with a firmware update. It gets most of its praise from pros who are using it to expand their percussion sounds, but it also gets some love from those who use it as a portable kit. The Roland Octapad SPD-30 has become a fixture in many drum setups, and it's all thanks to its practicality and quality. Power Supply: 9V DC power supply (sold separately).Module Outputs: 2 x 1/4" (main out), 1 x 1/4" (headphones).Extra Features: Phrase Loop function, Multi-Effects, Compatibility with MIDI devices, and other Modules.Module Sounds: 99 kits, 600+ Percussion Sounds. ![]() But it can also work as a compact electronic drum kit complete with a kick trigger pedal and a hi-hat control pedal.Īt its core are the SPD-30 percussion pads that utilize the latest technology that Roland has to offer, as seen in their premium V-Drums line.įor easy setup, the unit comes with a double-braced tripod stand with height adjustments. It is often used as an add-on tool by drummers on stage, especially in worship and pop music circles. ![]() While not exactly a conventional drum kit, the Roland Octapad SPD-30 V2 gets a special spot on this list for being an add-on tool for drummers, while still being a capable and easily portable stand alone kit.
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She even chooses to take a large step outside of her comfort zone in performing a lead role in the school play, albeit with initial difficulties. She embraces events such as the summer rock music festival to an extent that even surprises Ritsu and voices an almost childish wish to keep playing with the band forever. Mio starts to consider coming of age and the ephemerality of her high school years more than any of her bandmates. She comes to appreciate the affection of others, such as that of her fan club, although it still leaves her flustered. Mio even finds herself acting like an older sister figure to Azusa.ĭuring her final year of high school, Mio begins to loosen up more, concentrate on the present, and give in to the hijinks of her friends, which she previously viewed as immature. Understanding Azusa's reservations about the Light Music Club, Mio was the first to open up to her, convinces her to remain in the club, and stands up for Azusa's ambitions to her fellow bandmates. She also becomes more comfortable on stage and more open to the attention that may come with it. She comes into her own as a musician and composer, stepping up as the band's main songwriter and embracing the dual roles of bass and vocals despite her fear of standing in the spotlight. She establishes herself as the voice of reason amongst her bandmates when their carefree ways get the better of them and becomes the most vocal about the band's direction and motivation. Throughout high school, Mio gradually comes to grips with her anxieties and insecurities. ![]() Her bandmates often turn to her when faced with academic troubles or when curious about musical technique. She even takes over lead vocals from Yui when she needs to, despite strongly preferring to solely play bass. She is very driven when it comes to the Light Music Club and, in her own words, is committed to the club as if it were her boyfriend. She is a very dedicated musician and is technically advanced at the bass guitar. She is academically inclined, always ranking within the top 10 students of her grade, and a keen reader and writer. Mio is diligent, responsible, and sober, especially when contrasted with her happy-go-lucky bandmates. She also has trypophobia, an irrational fear of collections of small holes. Her weakness is the macabre and horrific, and she can be incapacitated with fear by stories involving the supernatural, horror, and gore. Mio's softer side comes out in her, at times peculiar, writing and lyrics, which often feature cutesy and overly girlish themes and lines. She also seems to have a knack for offering her friends comforting words when they are distressed, particularly when it comes to Ritsu. She is also the first to shed tears following their final school festival concert. Mio is very aware and expressive of her feelings, though not always intentionally, be it her appreciation of her friends or her passion for the bass guitar. She even has a heart to heart with the band's new recruit, who she hardly knew at the time, hoping to make her feel welcomed. Her kindness is possibly best demonstrated in her sister-like treatment of Azusa. Mio is warm-hearted and in touch with her emotions, possessing a very sensitive side that reveals itself more than she would like. ![]() Mio specifically chose the bass guitar as her instrument because it is not as conspicuous as the guitar. Her bandmates' antics and jokes are hence often at her expense. She also embarrasses very easily and does not easily live down mortifying moments. She struggles to interact with strangers, has few friends outside the Light Music Club (despite her popularity), and is strikingly sensitive to attention from others. She has been socially anxious and self-conscious since she was small, hence falling prey to a young Ritsu's teasing, and typically retreated into the sanctuary of her books. She is private and soft-spoken, even amongst close friends, and seems to enjoy time alone, which she often dedicates to songwriting. ![]() Mio is very reserved and bashful by nature. Her voice providers are Yōko Hikasa (Japanese) and Cristina Valenzuela (English). Despite her timid streak she often finds herself as the voice of reason amongst her bandmates, who often rely on her sensibility when in trouble. She is a kind and warm girl, albeit very shy and sensitive. Mio Akiyama ( 秋山 ( アキーヤマ ) 澪 ( ミオ ), Mio Akiyama) is one of the 5 main characters in K-ON! She is a passionate and technical left-handed musician and writer who serves as the bassist, second vocalist and main lyricist of the band Ho-kago Tea Time. Manga only: Fender Precision Bass in 3-Tone Sunburst (Left-Handed) Fender Japan '62 Reissue Jazz Bass in 3-Tone Sunburst (Left-Handed) named "Elizabass" ![]() Warranty does not extend to dash cams, CCTV, surveillance camera and other write-intensive uses. 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