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UncleSG Group

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Louis Wonsley
Louis Wonsley

Sonic Academy How To Make Peak Time Trance.30


Pink Floyd are an English rock band formed in London in 1965. Gaining an early following as one of the first British psychedelic groups, they were distinguished by their extended compositions, sonic experimentation, philosophical lyrics and elaborate live shows. They became a leading band of the progressive rock genre, cited by some as the greatest progressive rock band of all time.




Sonic Academy How to Make Peak Time Trance.30



The group rebranded in late 1965, first referring to themselves as the Pink Floyd Sound. They would later be referred to as the Pink Floyd and later simply Pink Floyd. Barrett created the name on the spur of the moment when he discovered that another band, also called the Tea Set, were to perform at one of their gigs.[22] The name is derived from the given names of two blues musicians whose Piedmont blues records Barrett had in his collection, Pink Anderson and Floyd Council.[23] By 1966, the group's repertoire consisted mainly of rhythm and blues songs, and they had begun to receive paid bookings, including a performance at the Marquee Club in December 1966, where Peter Jenner, a lecturer at the London School of Economics, noticed them. Jenner was impressed by the sonic effects Barrett and Wright created and, with his business partner and friend Andrew King, became their manager.[24] The pair had little experience in the music industry and used King's inheritance to set up Blackhill Enterprises, purchasing about 1,000 (equivalent to 19,800 in 2021[25]) worth of new instruments and equipment for the band.[nb 7] It was around this time that Jenner suggested they drop the "Sound" part of their band name, thus becoming Pink Floyd.[27] Under Jenner and King's guidance, the group became part of London's underground music scene, playing at venues including All Saints Hall and the Marquee.[28] While performing at the Countdown Club, the band had experimented with long instrumental excursions, and they began to expand them with rudimentary but effective light shows, projected by coloured slides and domestic lights.[29] Jenner and King's social connections helped gain the band prominent coverage in the Financial Times and an article in the Sunday Times which stated: "At the launching of the new magazine IT the other night a pop group called the Pink Floyd played throbbing music while a series of bizarre coloured shapes flashed on a huge screen behind them ... apparently very psychedelic."[30]


EMI-Columbia released Pink Floyd's second single, "See Emily Play", on 16 June 1967. It fared slightly better than "Arnold Layne", peaking at number 6 in the UK.[42] The band performed on the BBC's Look of the Week, where Waters and Barrett, erudite and engaging, faced tough questioning from Hans Keller.[43] They appeared on the BBC's Top of the Pops, a popular programme that controversially required artists to mime their singing and playing.[44] Though Pink Floyd returned for two more performances, by the third, Barrett had begun to unravel, and around this time the band first noticed significant changes in his behaviour.[45] By early 1967, he was regularly using LSD, and Mason described him as "completely distanced from everything going on".[46]


Released in June 1968, the album featured a psychedelic cover designed by Storm Thorgerson and Aubrey Powell of Hipgnosis. The first of several Pink Floyd album covers designed by Hipgnosis, it was the second time that EMI permitted one of their groups to contract designers for an album jacket.[84] The release peaked at number 9, spending 11 weeks on the UK chart.[50] Record Mirror gave the album an overall favourable review, but urged listeners to "forget it as background music to a party".[83] John Peel described a live performance of the title track as "like a religious experience", while NME described the song as "long and boring ... [with] little to warrant its monotonous direction".[82][nb 19] On the day after the album's UK release, Pink Floyd performed at the first ever free concert in Hyde Park.[86] In July 1968, they returned to the US for a second visit. Accompanied by the Soft Machine and the Who, it marked Pink Floyd's first major tour.[87] That December, they released "Point Me at the Sky"; no more successful than the two singles they had released since "See Emily Play", it was their last single until "Money" in 1973.[88]


Throughout March 1973, The Dark Side of the Moon featured as part of Pink Floyd's US tour.[118] The album is one of the most commercially successful rock albums of all time. A US number-one, it remained on the Billboard Top LPs & Tape chart for more than fourteen years during the 1970s and 1980s, selling more than 45 million copies worldwide.[119] In Britain, the album peaked at number 2, spending 364 weeks on the UK chart.[50] The Dark Side of the Moon is the world's third best-selling album, and the twenty-first best-selling album of all time in the US.[120] [121] The success of the album brought enormous wealth to the members of Pink Floyd. Waters and Wright bought large country houses while Mason became a collector of expensive cars.[122] Disenchanted with their US record company, Capitol Records, Pink Floyd and O'Rourke negotiated a new contract with Columbia Records, who gave them a reported advance of $1,000,000 (US$5,494,602 in 2021 dollars)[123]. In Europe, they continued to be represented by Harvest Records.[124]


Rarely will you find Floyd dishing up catchy hooks, tunes short enough for air-play, or predictable three-chord blues progressions; and never will you find them spending much time on the usual pop album of romance, partying, or self-hype. Their sonic universe is expansive, intense, and challenging ... Where most other bands neatly fit the songs to the music, the two forming a sort of autonomous and seamless whole complete with memorable hooks, Pink Floyd tends to set lyrics within a broader soundscape that often seems to have a life of its own ... Pink Floyd employs extended, stand-alone instrumentals which are never mere vehicles for showing off virtuoso but are planned and integral parts of the performance.[293]


Rolling Stone critic Alan di Perna praised Gilmour's guitar work as integral to Pink Floyd's sound,[302] and described him as the most important guitarist of the 1970s, "the missing link between Hendrix and Van Halen".[303] Rolling Stone named him the 14th greatest guitarist of all time.[303] In 2006, Gilmour said of his technique: "[My] fingers make a distinctive sound ... [they] aren't very fast, but I think I am instantly recognisable ... The way I play melodies is connected to things like Hank Marvin and the Shadows."[304] Gilmour's ability to use fewer notes than most to express himself without sacrificing strength or beauty drew a favourable comparison to jazz trumpeter Miles Davis.[305]


In these videos Singomakers are using plugins from Sonic Academy, Voxengo, Fabfilter, A.O.M. Factory, Xfer Records, DMGAudio, Sample Magic, Valhalla, Softube, Audified, D16, Cableguys, Eventide, Arturia, Izotope, Camel Audio, Kush Audio, UVI, Reveal Sound, U-he, IK Multimedia but all this settings and tricks can be applied in any DAW to any other plugins.


Get ready for the new "EuroDance 90s" expansion pack - containing the best sounds of the biggest music decade ever - and this expansion pack has everything which made the 90s so great: these FM basses, these rave pianos, these characteristic knocking drums, jungle breakbeats, pizzicato plucks, 303s, digital pads, oldschool stabs, voxy leads and female vocal hooks & male raps as multiloop kits (yes!). Each sound is authentic to the highest level - mostly designed on actually 90s hardware - its like a journey, back to the time when music was inspiring, unique and fun. Manuel Schleis and Stephan Endeman pulled all triggers to make this expansion the best of its kind. Its time to bring a lot classic sounds to a new audience - get this outstanding XP pack now!


Craig has also been a forerunner in the online community with his "Sound, Studio, and Stage" Forum and that has been going strong with over a million posts since 1995. It is currently hosted on www.harmonycentral.com, where Craig is the Editorial Director. Craig has given speaking engagements on music technology in 38 out of 50 states, in 10 countries, and in three languages. Anderton maintains an active career doing; mastering, writing, video production, mixing, and performing, and he still finds time to be an Executive Vice President for Gibson Brands.


KIM BJØRN is an author, speaker, electronic musician, and designer, with a profound interest in the interactions between people, and between people and machines. PATCH & TWEAK is his eighth book following the now industry-standard PUSH TURN MOVE. Kim lectures, write and give regular talks and workshops on the topics of musical interface design and electronic music instruments. Based in Copenhagen, he runs his boutique publishing company Bjooks while traveling all over the world, as he loves to meet artists, makers, and readers and experience diverse musical creative cultures.


We will discuss the common acoustic issues found in workspaces and give you real ways of fixing issues using site selection, speaker placement, and the proper use of items you can make or purchase and even install yourself.


It's a trip! Kaleidoscope is the ultimate sound-design tool and creative effects toy! It is an entirely new class of visual audio effects processors and is one of the most unique generative signal processing tools to come to market in recent history. Technically speaking, Kaleidoscope is a massively parallel bank of physically modeled resonators that can be tuned completely arbitrarily with scientific precision and dynamically modulated over time by over two million points of automation. In simplistic terms, Kaleidoscope uses pictures to control sound! Link >


"Abstraction 05: Wet & Wild Tribe" is a cacophony of tech house and tribal madness performed by sentient underwater robots. Abstraction 05 arrives just in time for the start of the spring and summer club season and is well suited to help evaluate the mood of the opening parties for global sea-side dance music destinations such as Miami, Ibiza, Saint-Tropez, Rio, and other maritime paradises. Enhanced organic percussion performances permeate the package, aided and abetted by heavy creative use of reverb and spatial wizardry. Performances range from lyrical rhythmic phrases suitable for poolside and terrace romances, to full blown 4AM peak-time sprints. Abstraction 05 takes you on a journey in search of the white-whale of all grooves. Link >


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