The BLUEDIAMOND® MICROBLUE® utilises the ground-breaking patented GYROK™ technology to offer a small pump but with big features. The pump is totally self-priming, and offers advertised flow even in high lift and high head applications, a unique feature in the condensate removal pump market. The MICROBLUE® is also dual voltage and covered by the market-leading BLUEDIAMOND® 3 year …
MicroBlue® Racing-Home Of The Friction Fighters. Denver, NC 28037 Phone: 704-489-2216
Blue offers premium USB and XLR microphones, and audiophile headphones for recording, podcasting, gaming, streaming, YouTube, and more.
Blue's Micro Pub. 9 hrs ·. Fresh cask for the weekend 🍻. We’ve got a few new beers set to go on over this weekend including beers from @pomonaislandbrew @pollysbrewco and @buxtonbrewery 🥳. Open today until 10:30pm! 99. 2 Shares. Like Comment Share.2.6K likes
Macro-Blue Tactical Cockpit Displays are engineered to optimize the output from infrared sensors, EO cameras and moving map systems. Macro-Blue displays provide the clearest image possible under all conditions, (especially under extremes) such as direct sunlight, night and (NVG operation). We start with the highest grade industrial LCD panels, then modify and optimize to meet or exceed the MIL-STD …
Mar 05, 2015 · Blues, the blues and blues music - TWO hours of best music blues instrumental songs. This blues music collection is compiled for your enjoyment by musician ...Author: LewisLuong Relaxation Cafe
IMPRO BLUES #1 (70 Vidéos - Cours et exercices) https://www.oreille-moderne.com/impro-blues-1-programme/Arrêtez de tourner en rond sur votre penta !!!"INTERV...
Blue microphones capture broadcast-quality audio, helping you connect with your audience and build a successful stream. Say goodbye to bad audio with professional sounding content powered by Blue. YETI NANO $ 99.99. BUY NOW FIND A DEALER Learn more. YETICASTER $ 199.99. BUY NOW Learn more. YETI X $ 169.99.
Lyndon Laney started out as a bass player in England in the s, and has the distinction of being in a group called Band of Joy, which featured John Bonham and Robert Plant. Musurgiana Volume 3. L'allemand musicologique. Journal of the Society of Arts. Xenharmonic Wiki blog at macrospaces. Enharmonic instruments and music — Proceedings of the Musical Association, 38th Session — : JSTOR London: Longmans, Green. New Haven: Yale University Press. Each model has its own personality, yet they all possess a magic that reminded me of why we fell in love with the electric guitar in the first place. I wish the Drive function was footswitchable, but the TubeMeister 5 sounds so good, we can look past that. Microtonal music. Many microtonal equal divisions of the octave have been proposed, usually but not always in order to achieve approximation to the intervals of just intonation. Acustica accordatura e temperamento nell'illuminismo Veneto. Digital synthesizers from the Yamaha TX81Z on and inexpensive software synthesizers have contributed to the ease and popularity of exploring microtonal music. American instrumental trio Consider the Source employs microtonal instruments in their music. Retrieved 4 April Along with its two siblings, the JCM-1H is absolutely adorable and makes a majestic racket. The tone controls are effectively voiced, offering lots of sound-sculpting capabilities, especially on lower-gain settings. Unsourced material may be challenged and removed. Darmstadt: Wissenschaftliche Buchgesellschaft. Views Read Edit View history. Experimented with microtones, including third tones. Bologna: Forni Editori, This section needs additional citations for verification. Removing the 15 screws that hold the rear cover in place provides full access to the handwired circuitry, which is laid out neatly on a phenolic board with flying leads to the pots, jacks, and switches. A MIDI player that supports pitch bending will also be required. Venice: Fondazione Giorgio Cini. Urbana and Chicago: University of Illinois Press. The cabinet and cosmetics are mostly businesslike, although the black grille cloth on the review model was a little slack across the speaker front. The speaker-emulated output is effective for recording and headphone rehearsing alike. A Dictionary for the Modern Flutist. The reverb sounds good on the clean channel, but it gets a little lost in high gain tones. Clarence Barlow b. Its two footswitchable channels have independent EQ — a simple tone control on Clean, but three knobs and ISF control for Overdrive — plus global reverb. Well, not really, but certainly something that is worthy of being miked up, as it spews frothy distorted tones that are full of fang-y midrange and sweet top end. A tiny tube amp pushed into saturation typically delivers warm, beautifully compressed distortion, minus the deafening roar that a larger amp produces. I even used it to run the Greta in front of my Deluxe Reverb with excellent results. The standard twelve-tone equal temperament ET , which was originally invented in ancient China and rediscovered in Europe in the 18th century, is determined by two additional conditions. Charles Ives U. Boretz, Benjamin; Cone, Edward T. Microsoft Academic. New York: Da Capo Press. What you get by cranking the Master Volume is more touch and tonal sensitivity and power tube compression. The Daily Californian. Injected with the seminal purity of a Telecaster or an SG Standard, the Defender 5H Mini-Stack delivers everything from shimmering cleans, to throbbing Brit-rock crunch, to mouse-that-roared lead tones. Enharmonic keyboard Generalized keyboard Modernism music. Moscow: Sov'etskii Kompozitor.
Microtonal music or microtonality is the use in music of microtones— intervals smaller than a semitone , also called "microintervals". It may also be extended to include any music using intervals not found in the customary Western tuning of twelve equal intervals per octave. In other words, a microtone may be thought of as a note that falls between the keys of a piano tuned in equal temperament. The standard twelve-tone equal temperament ET , which was originally invented in ancient China and rediscovered in Europe in the 18th century, is determined by two additional conditions. Firstly the octave is divided into twelve semitones. Secondly the octave, the most fundamental of all intervals, is postulated to be pure beatless , as described by the frequency ratio Microtonal music can refer to any music containing microtones. The words "microtone" and "microtonal" were coined before by Maud MacCarthy Mann in order to avoid the misnomer " quarter tone " when speaking of the srutis of Indian music. In French, the usual term is the somewhat more self-explanatory micro-intervalle , and French sources give the equivalent German and English terms as Mikrointervall or Kleinintervall and micro interval or microtone , respectively. Ezra Sims , in the article "Microtone" in the second edition of the Harvard Dictionary of Music defines "microtone" as "an interval smaller than a semitone",  which corresponds with Aristoxenus 's use of the term diesis. In English the word "microtonality" is mentioned in by Rudi Blesh who related it to microtonal inflexions of the so-called " blues scales ". McNaught with reference to developments in "modernism" in a record review of the Columbia History of Music, Vol. The term "microtonal music" usually refers to music containing very small intervals but can include any tuning that differs from Western twelve-tone equal temperament. Many microtonal equal divisions of the octave have been proposed, usually but not always in order to achieve approximation to the intervals of just intonation. Terminology other than "microtonal" has been used or proposed by some theorists and composers. In , A. Ivan Wyschnegradsky used the term ultra-chromatic for intervals smaller than the semitone and infra-chromatic for intervals larger than the semitone;  this same term has been used since by ethnomusicologist Victor Belaiev Belyaev in his studies of Azerbaijan and Turkish traditional music. The Austrian composer Franz Richter Herf and the music theorist Rolf Maedel, Herf's colleague at the Salzburg Mozarteum , preferred using the Greek word ekmelic when referring to "all the pitches lying outside the traditional twelve-tone system". Some authors writing in French have adopted the term "micro-intervallique" to describe such music. The analogous English form, "microtonalism", is also found occasionally instead of "microtonality", e. The term "macrotonal" has been used for intervals wider than twelve-tone equal temperament,  [ permanent dead link ] [ better source needed ] or where there are "fewer than twelve notes per octave", though "this term is not very satisfactory and is used only because there seems to be no other". Examples of this can be found in various places, ranging from Claude Debussy 's impressionistic harmonies to Aaron Copland 's chords of stacked fifths, to John Luther Adams ' Clouds of Forgetting , Clouds of Unknowing , which gradually expands stacked-interval chords ranging from minor 2nds to major 7thsm. Louis Andriessen 's De Staat — contains a number of "augmented" modes that are based on Greek scales but are asymmetrical to the octave. The Hellenic civilizations of ancient Greece left fragmentary records of their music, such as the Delphic Hymns. The ancient Greeks approached the creation of different musical intervals and modes by dividing and combining tetrachords , recognizing three genera of tetrachords: the enharmonic, the chromatic, and the diatonic. Ancient Greek intervals were of many different sizes, including microtones. The enharmonic genus in particular featured intervals of a distinctly "microtonal" nature, which were sometimes smaller than 50 cents , less than half of the contemporary Western semitone of cents. The Italian Renaissance composer and theorist Nicola Vicentino — worked with microtonal intervals and built a keyboard with 36 keys to the octave known as the archicembalo. While theoretically an interpretation of ancient Greek tetrachordal theory, in effect Vicentino presented a circulating system of quarter-comma meantone , maintaining major thirds tuned in just intonation in all keys. Shortly afterward, in a letter published in the Mercure de France in September , the celebrated flautist Pierre-Gabriel Buffardin mentioned this piece and expressed an interest in quarter tones for the flute. Alexander John Ellis , who in the s produced a translation of Hermann Helmholtz 's On the Sensations of Tone , proposed an elaborate set of exotic just intonation tunings and non-harmonic tunings. During the Exposition Universelle of , Claude Debussy heard a Balinese gamelan performance and was exposed to non-Western tunings and rhythms. Some scholars have ascribed Debussy's subsequent innovative use of the whole-tone six equal pitches per octave tuning in such compositions as the Fantaisie for piano and orchestra and the Toccata from the suite Pour le piano to his exposure to the Balinese gamelan at the Paris exposition,  and have asserted his rebellion at this time "against the rule of equal temperament" and that the gamelan gave him "the confidence to embark after the world exhibition on his fully characteristic mature piano works, with their many bell- and gong-like sonorities and brilliant exploitation of the piano's natural resonance". Prominent microtonal composers or researchers of the s and s include Adriaan Daniel Fokker 31 equal tones per octave , Partch continuing to build his handcrafted orchestra of microtonal just intonation instruments , and Eivind Groven. Digital synthesizers from the Yamaha TX81Z on and inexpensive software synthesizers have contributed to the ease and popularity of exploring microtonal music. Electronic music facilitates the use of any kind of microtonal tuning, and sidesteps the need to develop new notational systems. In —80 Easley Blackwood composed a set of Twelve Microtonal Etudes for Electronic Music Media , a cycle that explores all of the equal temperaments from 13 notes to the octave through 24 notes to the octave, including ET and ET. In , Wendy Carlos experimented with many microtonal systems including just intonation , using alternate tuning scales she invented for the album Beauty In the Beast. In , electronic music composed with arbitrary microtonal scales was explored on the album Radionics Radio: An Album of Musical Radionic Thought Frequencies by British composer Daniel Wilson , who derived his compositions' tunings from frequency-runs submitted by users of a custom-built web application replicating radionics-based electronic soundmaking equipment used by Oxford's De La Warr Laboratories in the late s, thereby supposedly embodying thoughts and concepts within the tunings. The General MIDI Specification does not directly support microtonal music, because each note-on and note-off message only represents one chromatic tone. However, microtonal scales can be emulated using pitch bending , such as in LilyPond 's implementation. Although some synthesizers allow the creation of customized microtonal scales, this solution does not allow compositions to be transposed. For example, if each B note is raised one quarter tone, then the "raised 7th" would only affect a C major scale. A form of microtone known as the blue note is an integral part of rock music and one of its predecessors, the blues. The blue notes, located on the third, fifth, and seventh notes of a diatonic major scale, are flattened by a variable microtone. Musicians such as Jon Catler have incorporated microtonal guitars like tone equal tempered guitar and a tone just intonation guitar in blues and jazz rock music. English rock band Radiohead has used microtonal string arrangements in its music, such as on "How to Disappear Completely" from the album Kid A. American band Secret Chiefs 3 has been making its own custom "microtonal" instruments since the mid s. The proprietary tuning system they use in their Ishraqiyun aspect is ratio-based, not equal temperament. The band's leader Trey Spruance , also of Mr. Bungle challenges the terminology of "microtonality" as a development that instead of liberating tonal sensibility to a universe of diverse possibilities, both new and historical, instead mainly serves to reinforce the idea that the universal standard for "tone" is the western semitone. Australian band King Gizzard and the Lizard Wizard utilises microtonal instruments, including custom microtonal guitars modified to play in TET tuning. G , and their album L. American band Dollshot used quarter tones and other microtonal intervals in their album Lalande.
The little combo hides a 12" Celestion G12M Greenback in its compact, semi-closed back cabinet. The blue notes, located on the third, fifth, and seventh notes of a diatonic major scale, are flattened by a variable microtone. Louis Andriessen 's De Staat — contains a number of "augmented" modes that are based on Greek scales but are asymmetrical to the octave. Murray Australian band King Gizzard and the Lizard Wizard utilises microtonal instruments, including custom microtonal guitars modified to play in TET tuning. Retrieved March 28, Electronic music facilitates the use of any kind of microtonal tuning, and sidesteps the need to develop new notational systems. Retrieved 3 February Cranking up the Gain quickly brings on more chewy distortion and compression, and switching to the High input transforms the AC4 into a raging little beast with plenty of sustain for solos. In Sadie, Stanley; Tyrrell, John eds. Wikimedia Commons has media related to Microtonal music. Berlin, Frankfurt, and Vienna: Verlag Ullstein. No tone control? Download as PDF Printable version. Moscow: Sov'etskaya Entsiklopediya. ISSN The real glory of simplicity like this — and, arguably, one of the main points of the micro amp in the first place — other than its premise of keeping down the volume, is that this is truly a plug-and-play machine. Retrieved 2 February McComb, Todd ed. Paris: Fasquelle. Leipzig: Verlag F. Musique-philosophie in French. Geschichte der Musiktheorie, Vol. Meantone quarter-comma , septimal Schismatic Miracle Magic Regular diatonic. Contact me with news and offers from other Future brands. Proceedings of the Royal Society of London. It seemed to bring out the best in any pickup combination and even dealt with the PRS piezo tones no problem. Barlow, Clarence ed. Case in point: the TubeMeister 5 — a tiny Teutonic tube terror that is potently portable at 7. In Sadie, Stanley ed. There was a problem. Cologne: Verlag M. Fans of simplicity will love this spartan beastie, with its lone Loudness and Tone controls. Perfect Sound Forever online music magazine accessed 6 December With a 12AX7 in the front end, a 6V6 for power, and solid-state rectification, the Cub offers a useful range of sounds that can be optimized for a cleaner response by using the Low input. Paris: Larousse. Mandelbaum, M. Modernist music. Schnebel, Dieter ed. The Musical Times. Gig loud? Transcript from an audio recording of the broadcast on Citizen Insane website. For sounds on the time scale shorter than musical notes, see microsound. New Haven: Yale University Press. L'allemand musicologique. The Austrian composer Franz Richter Herf and the music theorist Rolf Maedel, Herf's colleague at the Salzburg Mozarteum , preferred using the Greek word ekmelic when referring to "all the pitches lying outside the traditional twelve-tone system". Vremennik Zubovskogo instituta 7. ISBN Facsimile edition, edited by Georg Frey. Die Reihe English ed. July Learn how and when to remove this template message. Tone-wise, the amps come surprisingly close to replicating vintage sounds, which is particularly remarkable given the diminutive power tubes in their output sections. Freiburg im Breisgau and Munich: K.
A tiny tube amp pushed into saturation typically delivers warm, beautifully compressed distortion, minus the deafening roar that a larger amp produces. And in a recording studio or a practice session — or even on a gig where low levels are mandatory — amps that use one 6V6 or EL84, or even just a 12AX7 dual triode for power, may be the perfect thing to plug into. In a near-physics-defying feat, this Its two footswitchable channels have independent EQ — a simple tone control on Clean, but three knobs and ISF control for Overdrive — plus global reverb. The HT-5R achieves its 5-watt goodness by using both sides of a 12BH7 dual triode — normally a preamp tube — in a pushpull output stage, rather than following the traditional single-ended format. The cabinet and cosmetics are mostly businesslike, although the black grille cloth on the review model was a little slack across the speaker front. The Overdrive channel is surprisingly versatile, and runs confidently from chewy blues crunch to high-gain sizzle — all of which are a total blast to play. The reverb sounds good on the clean channel, but it gets a little lost in high gain tones. The speaker-emulated output is effective for recording and headphone rehearsing alike. All in all, the HT-5R is a surprisingly versatile little tone generator. Using the onboard speaker, the tones are small, funky, and kind of fun. But plug the Greta into a speaker cabinet and stand back — it sounds remarkably real, true, and loud. Gig loud? Well, not really, but certainly something that is worthy of being miked up, as it spews frothy distorted tones that are full of fang-y midrange and sweet top end. Very fun! We typically cranked the Tone control all the way, which yielded excellent results with humbuckers and single-coils. The Greta can also run into the front-end of another amplifier — think of it as a tube-powered stompbox with Volume and Tone controls and a 4" speaker! I even used it to run the Greta in front of my Deluxe Reverb with excellent results. Case in point: the TubeMeister 5 — a tiny Teutonic tube terror that is potently portable at 7. Kicking in the Drive switch, all hell breaks loose with crushing high gain that manages to stay tight and focused, even when Master and Gain are cranked. The TubeMeister excels at classic and modern rock tones. I wish the Drive function was footswitchable, but the TubeMeister 5 sounds so good, we can look past that. Designed by boutique pioneer Andy Marshall of THD fame, the Jet City PicoValve rocks the rugged roll-cage look, and boasts a gauge steel chassis, as well as a circuit that can handle nearly any octal-based tube such as a 6V6, EL34, or The PicoValve is one of those amps that sounds good right from the get-go, no matter where you set the controls. What you get by cranking the Master Volume is more touch and tonal sensitivity and power tube compression. The PicoValve also excels at giving up clean-ish distorted tones — preferably with the preamp Gain about halfway up, and the Master Volume cranked. With a Telecaster and the amp in 5-watt mode — and the Gain less than halfway up — we were able to elicit some sparkling clean tones that really shined through our open-back Fender 1x10 and 1x12 cabinets. The PicoValve is thick and meaty with a side of sparkly jangle. No tone control? Made in China? Who cares? Within its lunchbox-sized 12" x 4" x 7" vented-steel box, the Defender 5H taps a single 12AX7 preamp tube and single EL84 output tube to churn out 5 incontrovertible class-A watts. If you need more, look elsewhere. The real glory of simplicity like this — and, arguably, one of the main points of the micro amp in the first place — other than its premise of keeping down the volume, is that this is truly a plug-and-play machine. Injected with the seminal purity of a Telecaster or an SG Standard, the Defender 5H Mini-Stack delivers everything from shimmering cleans, to throbbing Brit-rock crunch, to mouse-that-roared lead tones. Buckets of fun! Lyndon Laney started out as a bass player in England in the s, and has the distinction of being in a group called Band of Joy, which featured John Bonham and Robert Plant. After those guys went on to bigger things, Laney himself got into building amplifiers. He was quite good at it, too, as Laney amps have been used by a lot of great players over the years, most notably Tony Iommi. Not that the Cub 8 is a heavy amp, but the squishy rubber handle sure makes carrying it a breeze. With a 12AX7 in the front end, a 6V6 for power, and solid-state rectification, the Cub offers a useful range of sounds that can be optimized for a cleaner response by using the Low input. Keeping the Volume control below lets you work in that edge-of-breakup zone that sounds great for blues and jazz, while turning the Volume control up to half or higher allows the amp to go into grinding overdrive that you can easily control from the guitar. Vintage 47 makes hand-made, point-to-point wired, period-correct recreations of killer old Valco-style i. Sporting super-cool cosmetics, simple controls, and weighing almost nothing, the Oahu Suitcase delivers a surprisingly big range of class-A tones from its 8" hempcone speaker. Some of the most famous Supro tones can be found on the first Led Zeppelin album, and we wanted to see if the VA could cop them. Even with the controls maxed out, the Oahu was very quiet and cleaned up really well when we picked lightly or turned the guitar down a bit. The Tone control has a lot of range and can get incredibly bright when cranked. The real sweet spot on this amp, though, was when we kept the Volume at about 80 percent and the Tone at about 50 percent. This produced a full, warm sound that was ultra-dynamic. It seemed to bring out the best in any pickup combination and even dealt with the PRS piezo tones no problem. And, in addition to sounding sweet, this amp feels great to play through. Sticking a mic in front of the Oahu Suitcase instantly showed why so many great guitarists and producers love having amps of this type in the studio. This little amp is a winner. The Vox AC4, one of a series of small amps that the English company introduced in the early to mid s, was basically a renamed AC2 that featured the same complement of tubes: an EF86 and a 12AX7 in the preamp, an EL84 for power, and an EZ80 rectifier.