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Email Advertisement Greetings, peasants! Remember how everyone used to have an MP3 player? In the days before the iPhone, MP3 players were a must-have item. Smartphones have eaten into MP3 player sales over the years — why purchase a Come, climb on my fixie. See if you can find anything by Nickelback. Okay, now see if you can find anything by The Pixies. Why do you think that might be? Simple economics, my friend. People who listen to vinyl tend to be quite discerning with what they listen to.


I was looking to expand on a project to visually document every South African record ever pressed. Admittedly, an asymptotic endeavor, if not quixotic! There are a number of significant archives of South African music in various institutions and private collections across South Africa and indeed around the world. Many of these entities have made great efforts to digitize the sound component of their collections but, interestingly, not the visual artifact itself—the object that carries the sound.

Naturally the primary focus of any music collection should be the music.

Today, rock ’n’ roll 78s are among the hottest commodities in the record-collecting world, with any survey of America (or the U.K.’s) most-valued records of the era literally bursting with high-ticket 78s.

The full details of the book which inspired this web page: The book is still available and may be obtained from the Society. Obviously, a record with a long catalogue life would appear with many sorts of labels as it was re-pressed. However, from about , when the groove of a record ran on very long, smaller labels were produced as and when required. Generally speaking these will keep the design of the normal size label, as we would expect. But there is one important departure from this.

Past posts on Zayde’s Turntable

Here’s a complete guide Play the piece to a Frenchman and he may tell you that it sounds like Ravel. Put crudely, they think it sounds Chinese. Is this great music? Vaughan Williams was no escapist.

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Kabul The Taliban would jail people for owning record players. Now, Afghans can enjoy their own sombre folk music – and the collected works of Modern Talking – without fear of punishment, reports Chris Menist Sunday 1 February The Observer The re-emergence of music in the streets and homes of Kabul’s residents was as clear a sign as any that the miserable reign of the Taliban had drawn to a close.

As in many countries in the region, it is impossible to buy ‘legal’ CDs. Bootlegs are available in shop upon shop in Flower Street, one of the main shopping thoroughfares. I’m full of the romantic idea that there might have been a group of underground musicians who met in secret, playing rebabs a local lute until the early hours, decrying the vicious regime they were under as had happened in former Yugoslavia.

If there had been, Fardin certainly didn’t know of any, and was pretty reluctant to talk at all of the Taliban, their presence an all too recent memory. Instead he agrees to draw me up a ‘Top Ten’ list of artists currently popular in the city. I’m astounded to find Modern Talking still have a constituency in Central Asia.

As well as Western imports, Fardin lists national artists, divided eerily into those who are in exile and those who have come back to live in the country. If you’re after something a bit more acoustic take the trip to the Inter-Continental Hotel. There one can hear rebab recitals every other night.

GRAMOPHONE NEEDLES – HMV Half tone with new needles.

Where can I learn more? What is a vintage record? Vintage records fall into two categories: Vintage disc records were made roughly from to They are also referred to as coarse-groove or short play SP records.

Some however, were recorded both acoustically and electrically for specific inclusion in the series. Some recordings were also taken from HMV’s American affiliate, Victor – including the Cortot Chopin 78, (DB ) which was recorded electrically, and the first electric recording to be issued in the series.

This will be an on-going project, so all additional information is welcome. Big thanks to fellow Raresoulforum. Further breakdowns and explanations follow this grid: Capitol Records Found extensively on the Capitol, Tower and Uptown labels, the markings of the Capitol pressing plants are either of the following: So does that make it a 64 or a 66 record?

The master number is whilst the label number is

50s and 60s record players

Vocalion Catalog – September, Not only do I collect 78s, but for the past couple of years I have been collecting record catalogs from the 78 era. I find them fascinating; like 78s themselves, the catalogs are windows to a lost world. And while any record collection is formed by the taste of its owner, record catalogs give a fuller picture of the taste of the record-buying public of the time.

And of course, it’s fun to find records from your collection listed, as well as listings of particularly rare or collectible records. Most of the major labels issued complete catalogs of their in-print records annually, with supplements containing new releases printed monthly, or at least several times per year.

78 rpm labels. Der yidisher Gramofon: 78 rpm recordings of European Jewish music _____ Catalogs. Catalogs by company name A-D. This section is limited to record labels beginning with the A-D. The Yale University Music Library and Historical Sound Recording Archives will be cataloging 78 rpm recordings in the record label range A-D. Print sources. Ruppli, Michel.

Editing and its implications 3. As with any source of evidence, their production and original function need to be understood before we can understand what they transmit: Above all, we need to know what a recording is of. A necessary step towards a musicology of recorded performance, then, is to find out. And that means learning rather a lot about the history of recording, its economic, social and technological history, all of which have a significant bearing on what comes off a record when we play it.

The drum was rotated, and at the same time moved along a metal rod, by means of a screw attached to a handle which the operator turned. As the cylinder moved along the rod, it passed across a metal stylus, attached to one side of a diaphragm. On the outer side of the diaphragm was a small mouthpiece into which the operator spoke. The sound waves focussed onto the diaphragm caused it to vibrate, which in turn caused the stylus to press into the tinfoil.

As the drum rotated and moved across the stylus a groove was embossed in the tinfoil consisting of undulations related to the pressure patterns of the sound waves. Playback involved placing the stylus at the beginning of the groove made during recording, and winding the cylinder along the rod once again. The undulations in the tinfoil caused the stylus to move in and out, and so the diaphragm to vibrate, which in turn moved the air in the mouthpiece, recreating the sound.

From the electrical transmission of sound to the recording of it is an imaginable step; from speaking to recording is not. Only then were phonographs set up to record music on any scale, and then only as slot-machines for use in restaurants and bars.

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Kokopelli is one of the favorite images of North American folkloric ideology. The likeness of a flute player with a hump, aged over 1, years through the oral and artistic traditions of the Hopi, can be found all over the southwest. Malotki, a professor of languages, analyzes the mystical fascination people have for the Panesque player of the flute. Kokopelli has been used in forms varying from wall decorations to characters in popular literature.

Malotki believes that there is a connection between Kokopelli and two of the Hopi gods and uses Hopi text and folktales to share with the reader the many stories surrounding Kokopelli and to reveal what he sees.

McCormack’s horn-recorded HMV and Victor 78s mix variously successful operatic arias with touching lighter fare, some with Fritz Kreisler on violin. Personal favourites include Braga’s ‘Angel’s Serenade’ and the politically loaded ‘The Wearing of the Green’.

Gamage Ltd, of Holborn, London. They are very rare nowadays and little is known about what may be found on this label, or for how long it was available. They use the same source of masters as Homochord, i. The catalogue numbers are in a G series and they don’t quite seem to reach G The earlier Green labelled one here, I know nothing about. My thanks to Bill Dean-Myatt for providing the label image.

Girmac records may be found both as direct cut acetate discs or as solid stock pressing like the example seen here. Many, if not all the 78rpnm issues were also issued on 45rpm using the same matrix numbers but with a different prefix. Masters from both Beka and Favorite were also used. It is conjectured that these were sold using the tallyman system of selling direct to customers door-to-door. My thanks to Derek Kell for providing the label scan.


Model 10B Acoustic Gramaphone Bearing in mind that he is listening to hi-fi technology that is over a hundred years old, Haden Boardman is suprised to discover how good the old, purely acoustic method of sound reproduction can sound. Looking back at the history of hi-fi, it’s hard not to notice one or two conflicts. In recent times we have seen the valve versus transistor debate, CD versus LP, Moving Magnet cartridges versus Moving Coil, and whether to use a head amp or a transformer to amplify the latter.

But back in the s, when hi-fi pioneers were cutting the first all-electric recordings and playing them back on the first all-electric gramophones, arguments raged as to whether electrical or purely acoustic methods offered higher fidelity. Joe Winstanley beside his E.

As regards HMV/EMI and the Decca group of labels, these systems remained steadfastly in place, hardly changed, right until the end of the production of 78 rpm discs in If you take ‘smash hit’ records that sold in their hundreds of thousands, you can find some astonishingly high stamper numbers.

These refer to the different stages in the manufacture of discs. If you are not sure of how records in general — 78s in particular — were made, click this link for an outline of the process. The most important things about most recent records are their performer, and the title. And often so do we, to help us keep our collections in order.

As late as , Odeon had a series for Austria that had no consistent number on each side — there may be much later examples too. Here is such an Odeon: One can only have ordered it by quoting one side. Perhaps even people in Austria found difficulty in ordering these too, because they are quite scarce.

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No images or content on this page may be used without permission. Those hardships can be likened to the claustrophobic layers of concrete that gradually seek to nullify all viable options available to an individual under such weight. But as Russian historian and novelist, Alexander Solzhenitsyn once remarked, “If the whole world were covered in concrete, a single blade of grass would sooner or later break through. However, there are many examples of people who, like blades of grass, have broken through and defied the power of the concrete.

These are the stories we will tell. Blades of grass cracking the mighty concrete from beneath.

References – M. This page lists references with citation tags that begin with the letter other references and a documentation on how these references are cited, see the main references can also click on these direct links to the various pages.

Howard was a horse-drawn taxi driver and electrician, and Lida a versatile pianist who played accompaniment at silent movies and for parties. The family moved frequently, as Howard sought better employment for his growing family. By high school, the piano was the focus of his after-school life, and for inspiration he would listen to ragtime pianists Hank Wells and Hube Hanna. After graduating in , he moved to Miami to join a local law firm but, failing the bar exam, returned to Indiana in He had discovered his method of songwriting, which he described later: The song, an idiosyncratic melody in medium tempo — actually a song about a song — later became an American standard, recorded by hundreds of artists.

Despite his growing prominence, at this stage Carmichael was still held back by his inability to sight-read and notate music properly, although he was innovative for the time. With coaching, he became more proficient at arranging his own music. It was a low-paying but steady job at a time when the Depression was having a harsh effect on live jazz performance and many musicians were out of work. Of that time, he wrote later:


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