Who we are...,

DINOSAUR APPENDIX MUSIC ENSEMBLE is a prominent Vorfuehrer of music 20 and 21. Centuries. The ensemble is inaugurated getting the public by of edge of cutout music of the living composers. The group was created in 1975 as the concert-giving thing �annex� new England of the dinosaur dance theatre and was contained independently since 1977. When emphasizing the Boston range composer, places appendix of dinosaur work of both 20. Century master and contemporary composer over of the ball. Concerts mark frequently world premieres, beauftragene pieces and United States or Boston premieres. Appendix of dinosaur has a reputation for bright, stylistic expanded, daydream-calibrates concert representations won. Members of the ensemble accomplish regularly with Boston�s finest musical organizations, including the Boston Symphonie, Boston bangs, Boston ballet, trade
Source: http://youngcomposersfestival.blogspot.com/2007/12/who-we-are.html

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How many message posts also many?

MySpace musicians are, in their whole diverted enthusiasm, you are sometimes so eagerly, the word from too received, which they communicate and hope to message after the message that someone takes message. Sometimes they do not use its message post for the promotion, but for other causes they believe the fact that in.This them consider indeed but for all injustice reasons receives. Each MySpacer has a short message window, which appears in its main expensive lining. If any "friend" incessant up all or most of these real estates with entry sucks, it becomes irritating. More than 3 post a day and you is officially horrible. Even if you communicate over world peace.Being, pushy a poster is one of the fastest ways, to keep stepped away from the lists of your friends. Too many posts, which are connected with nothing and/or misleading headlines, and you are irrelvant. Fair at the beginning of the people, which ignores you. They represent that you betrogen them too many marks into clicking have, on their message headlines, only, to you to find the something communicated lame.So, let its message post count. Use it for messages and interesting bitebite bites, as way, to inform and find out with fans, what happens with them. Otherwise you can do you find to turn to "off" your fans, instead of switching on, them to your music.
Source: http://myspaceformusicians.blogspot.com/2007/07/how-many-bulletin-posts-are-too-many.html

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Taser for You?

The LawDog is not enthused.I'm, as tried for the citizen version of the Taser. I really in the morning. 30 seconds of the dying scrape is the kind of the thing, which warms straight my little Neandertal heart -- however I have something interests over the complete set up.Once, which is the 30-seconds of the travel more rueber its, the organism perfectly to arrive to its feet and away from none the worse Taser C2.The for wear..., if you become philosophically the complete "blood out opposite, is to be jumped air" in the method of the organism price increase okay; or if you in any third world hell drilling are clung, a feuerwaffe to carry does not leave you (like New York or California) [ or Wisconsin ]; or possibly, if shots, blood and crying your stomach -- however differently than which I tilts, thinks you that I straight with mine fear for sticks.About $350,00 einzelverkauf, plus $25.00 ever for reloading remains.
Source: http://dad29.blogspot.com/2008/02/taser-for-you.html

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As one lets your film clay/tone receive like a material Movie

I a quantity of questions on, if I sound to box "", sweet-end, normally by those wildly film producers and in the middle in the night designates. They are wild, because the clay/tone is bad in their film or in screen. It VE used inexpensive mic, clogs into the camera, or more badly, the Aufkamera mic used. They let point a friend aimlessly mic to the floor or the sky, everywhere however to the actor, that its lines murmur and shifted that mic after the coincidence during shooting. Some, of the clay/tone of it, mic directly to whirring the camera or electrical generator of rumbling or sum air conditioning system or humming fluorescent lamp showed that. They VE pushed that mic against the wall or the cover or trees or shrubs. They concerning far away from which concerning the admission, not in the same proximity smooth it. There s as much "stereophonic sound," can hardly hear you the actor to murmur along. Thus the sound chap (more whoever, they for some minutes received know - normally a property meaning person without experience) turns, up the level too far, which fair marks the clay/tone distorts terriblly, or too low, which buries the good clay/tone in the mud. Sound drawing up adds more error and builds the problem up. The film producer has the equipment, and wishes the film to be good. They D think that it read D a book on the topic. They would be wrong. It chops the clay/tone, if it chops the illustration, and this s it. It doesn t split it up into rails or replaces bad clay/tone or finesse the rails or spends differently the time, which applies Obacht and talent to its precious clay/tone of the film s. Essentially if it thinks s effected shooting and cutout and putting of of music, it, it is done to have without spending the minimum of time and Obacht and money, which take it, in order a good sound rail. Thus the film producer points his film, with his bad clay/tone, to lukewarm public the reaction. Autsch! People draw t know, why the film is bad, really on. Not in 10 can "bad clay/tone recognize," it think the straight Filmgestank. If the film producer much is, very lucky, someone explains to it that the clay/tone is bad. Otherwise it does not have a reference point. It disappointed s, but it would like still it to possibly regulate. Someone says that "the sweet" of the clay/tone helps. Thus he comes to me. He would like to know, if bad clay/tone can be specified locally. I must explain the bad messages to him - No.. present it is it much time and money has, and is ready to begin completely more rueber and the care to use nothing can be done. Bad clay/tone is the product of the carelessness. If you spend the time and, from the beginning are interested, it no reason give, so that your film or screen clay/tone is bad. They the VE, that probably many commercial films with good clay/tone, so why doesn t is seen to your film clay/tone, like it? They draw probably t know really on, how a good film sounds and which effort entered into forming it sound good. Last some time, and you hear actively. As after one while you ll message, which good film sounds. I was very lucky, when I began out. I read a book by Ivan Watson of England, which spelled out exactly which it for recording takes and draws up and mixes good film clay/tone. They can "the uncle Ivan s", either or at your library nor on-line find books. If you read port t any filmmaking books, they needs a receiving you going! What can you do, around its film rail clay/tone to form smaller like a screen and a more like a material film? Possibly is a better question, ", why does the videobad clay/tone so?" I think this s an appropriate question, because sincere, most video clay/tone, (all elements of music dialogue effects) sucks. VE I heard exceptions, therefore I do not know it s the straight screen. Film sounds very different, as screen, I to its is safe. Material films rich-sound, with only the tones and the music, which shift history along. Screen, shot even by film producers, who should know better, is frequent tinny and absorbed, with Thumps and noises on the rails. How is film clay/tone different to screen? Forming a film clay/tone like a film begins production with the clay/tone film clay/tone becomes on similar machines (, they exist still) or on cool new recorders of the specimen 96Khz/24bit notes. Mini data processing camera clay/tone is uncompressed specimen 48Khz/16bit. These s better than CD audio quality, but camera manufacturer save money, by using inexpensive audio electric circuits into most under-$5k video cameras. Inexpensive-and-dirty analog-digital electric circuits add noises and distortion their high-quality mic s clear similar clay/tone. Best found clay/tone the I of the video camera of VE is on the Panasonic DVX-100A. Its audio section is good as the most DAT or sharp memory solid recorders. Shooting with one is like a noting on a different digital recorder. Film clay/tone is noted with a central range impact and a EQ increase over 6KHz. 6KHz is the high end of the human voice. Central range is around 2.5KHz., which the film clay/tone "EQ increase" increases at 6KHz dialogue comprehensibility and noticed freshness. In the screen clay/tone is noted outside forwards or post EQ. Video clay/tone also uses normally inferior mics for those, which are used in the film clay/tone. Film sound mics have a cleaner clay/tone and to flatter the answer and sound better than mics, which is used, in order to note video clay/tone. They are in high degrees direction (noises express rejecting). Give to its video central range of the clay/tone s a EQ impact and an increase at 6Khz, and it is more as, as film clay/tone is noted. Receive any acceptable mics, not those cheapies. A Sennheiser ME66 or a audio Technika 835b, is centrallevel not terriblly expensive, and functioned really well. Those give you a rich and full clay/tone. They do not know doubling system (sound recorder separately from the camera) note to wish, but, if you can, they do! If you have a Nagra or other similar tape recorder, use it. They sound better straight. to draw up 35mm likes film? Sounds large. It if it s a 1/4"magnetische rail at 18ips and if you with metal lump supply fill empty areas, s selfwith a gate provide it. In the film clay/tone the sound designer brings clay/tone together for the view of the film. A sad film has tendency lighting, and the clay/tone is sketched, in order to bring it together in the emotional clay/tone. Its dialogue is EQ D smaller clearly, with a low frequency increase. In a lucky comedy lower frequencies are destaged, and mixed it s EQ D and, to be around brighter "." Film clay/tone "is versuesst" by manipulating stereophonic sound, mixes audio levels forwards, and carefully regards dialogue, music and effects for its correct audio EQ. Film clay/tone expects sweet-ends post production, the film audio clay/tone so differently to audio for screen forms. Video clay/tone can be versuesst, but islands use, which it prettily much as it is noted. Yuck! What can be done over it? How can you form your film clay/tone like a material film? Intended for first message, like videomuddled schnell-und simple enterprise are not real and for quality. I think that most video clay/tone, because the camera operator also the sound is recordist and the camera OI suck doesn t Obacht over clay/tone. It wishes that to shapes and focus and color and bla bla bla. Clay/tone is not not real its priority, and it s hearing too, which s, which by mic and the mixer and headphone come. It box t. Thus your clay/tone is good, must be interested you in it being well. That Obacht forces you, on your rail, most video lovers and many film producers to hear, simply, t tighten something. Until they consider VE a film festival lost and, the winner saw good clay/tone or her some Indy film, which comes along into a blue moon, that with good clay/tone. If you hear actively to your rail, them ll initial audition (it lasts time to train your ears), that whole Troedel them concerning the admission. It ll taking the steps necessarily (screening, mic placing, EQ, drawing up), to throw everything away which expresses is. You will cause everything for this doesn t a tendency you, press loosely or you your history along. They set that mic, which is as near at your topic fair, how you can, and destages the wind noises and uses a piece of fur on that mic and mix only in sufficient area or in surrounding noises, and only if it necessary s. If s would say there a particular "most important part," I, it is "Gewininszenierung." Stop your levels carefully - at each stage! When we noted in correspondence, there was a certain forgiving quality to the photograph process. Over-regulation "would satisfy and would limit" the tape smooths, before it really distorted. Now all s digitally and if you note concerning digital (to DAT, to CD, to the mini disk or to the sharp memory), there very little "passage height are," and much less tolerance for cutout, than in correspondence. If your measuring instrument enters "into the red," the clay/tone becomes chattery a digital nightmare. It is always ruined. Places so it use "- 6Db" for you "0Db surely,", to keep it clean. Always "you expect the unexpected", if you stop your levels. VE I considered actors to accomplish always 6Db "more louder", than them "," and musicians rehearsed also. I always draw in a mono signal to both Stereoschienen, with L at the "correct" horizontally aligned, and R withdrew itself 6Db in such a way or. If the clay/tone keeps too loud, L distorts, but I ll have still another probability to save this section from R to if I m drawing up. How much are enough? Experience informs they hearing you! The main difference between, as and the EQ videodialogue-sounds film dialogue tones and the compression is, which is used, around it understandably and "fatter to form." With practice you learn, how one receives this clay/tone. There is no abbreviation - you must practice! They learn, which sounds to distortion, and you learn to stop the profit correctly and load the central range or add on compression in the admission or mixing, if it like necessary s to push the important signal up from the mud and into its public consciousness. How much increase? Again experience. This s, why you need a sound mixer with clay/tone as its only job, one who, with sufficient faith in its ears and experience in the attitude of the profit and the EQ is interested and also a trained and experienced boom operator to shift with necessary abilities for showing and the boom. Make it clear your sound crew that you regard clay/tone as fair as important as the illustration, and you expect good work of them. Persist that them kreischen "cut!" if he explains distorted and to you, when they need another taking. Pull to t put on the error of leaving "straight each" freiwilliger clay/tone to note. Guarantee they the VE, which took place before it. Mic on a boom location straight to hang is better than nothing, but not very much better. Obacht must be used at each stage. Receive the best clay/tone, which you can do, if them entry thread, your drawing up smoothly to thus go. Few things are worse than draw up-learn-cut off, which becomes an audio recovery enterprise. It takes off from creativity and replaces it with an air of the despair. They would like to draw up, if you draw up. After your illustration is locked, begin the clay/tone to draw up. Split your rails up, therefore you can change the profit on each possible element. If two letters speak, you should have everyone on its own rail. Cut your dialogue and then effects. Use your drawing up audio program "normalize" your levels and clean up the clay/tone seeing you, what must be regulated, and regulate you it. Any material box, like boom mic collides and surrounding noises, but, if and is locally fixed box is somewhat bad t, replace it with addr, to sharpening and foley. I.e. Foley is not extremely subjective it realistic s. They tighten t message of steps at all in the material life, but in the films, if you must know someone s appropriate along going, are the steps loud and purely and pristine. Tik, tik, tik. Papers or clothes, which, which are same thing rustling. There are persons, who form its living screen end clothes, which are noises rustling, and going and everything those noises. It concerning the called "wanderer," or "the Foley artist." I tighten the having t understanding each step and line of the dialogue to note. The VE I, which took place him enough, I can let it seem material. How? From doing it begun and from doing it, thus, if you liked to learn, as, you keep, to recording somewhat. I actually prefer much it to replace position dialogue. This releases me, in order to shoot with each possible camera literally, loud or not. Eyemo? Arri or Cameraflex? Mitchell, Eclair, Konvas? Completely rather wonderful results, if you note a rail straight, in order to use as leader rail. Or you shoot two taking, one with the camera enterprise, one outside, but photograph clay/tone both marks, and would amount to you camera-less clay/tone over the camera taking, and cut you it in synchronization. Looney, but they work and this s, which I do, and I receive good clay/tone. The harder and that longer work you on your clay/tone draw up, probability, those, must its mixture the better be well. In my experience sharpening or addr is not whole that expensive, if you have one vocal area in your house and any good mics. In one a wandschrank is fully the coats or a tent adequate, that by the carpet is formed and hangs of the cover. Simply you set mics away from your computer fan or open you for window. My friend Jimmy O Brien, publishers and director of dialogue at universality for many years, explained him D, which was flown to NY and to the remote places to me, in order to note some lines at opportunity, if it a line repair measured value or would change, or even change the Ganzplotlinie! I know much of, what I over film clay/tone of A long interview with walter Murch, in an expenditure "of the film producer circular,", where he guessed/advised, in order to replace all lines, instead of straight in, thus her ll all same one know. Persistent attitude, but its rails is attractive. One of those, come itself to care, are "Apocalypse now,", which had practically no usable clay/tone, when they registered post production. Think of - everything was addr and Foley! Which to the point gets me, if it forms "your film clay/tone like a material film." Material films have the material good sound rails to begin to also and have ready to replace most and sometimes ALL clay/tone in order to educate it really well. Use your fantasy to determine over which process power form your sound "sound right." Cause a sound area for each scene, which serves history. Use EQ and reverb and sound effects, in order to cause this area. Compression is still another useful tool, which is even on these days of the digital audio. It forms "louds" more calmly, and "calmed down" more louder and the entire noticed level raises. To mix this marks the rail more simply, because it "before-mixed." The mixture flies itself. Hardly use compression, therefore them make doesn t total changes, which wish you to t tighten. Instead of, all squeezing together, you use your drawing up audio software, in order to draw into your changes of profit. This is really a manual kind compression, with intelligence, (you). Drawing into your horizontally aligned changes forms the rail fatter and more understandably. Last the whole time and be interested you your film required, with only one result in the understanding, in order to form for its film rails clay/tone better. Let the illustration of a composer count, who knows, what it tuendes s and to the very best mixture receives, which you can do. Good audio takes as much planning as good illustration, from beginning to end. Good Audiodoesn t "straight happen," are it the result of careful hearing and time and Obacht. Most video lovers draw t giving clay/tone the attention, which he earns and this s on, s such sound why there an amazing difference concerning the quality between screen and film. You are different. Begin to hear! Mach's well! Document.
Source: http://video-sms.blogspot.com/2008/01/how-to-make-your-movie-sound-like-real.html

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Maia Horvaths Sichtwonderland

And now, an announcement of my good friend John, over upcoming art-appear at its bookshop (books, etc..) in Macedon:Visual are fairy tale country the newest accumulation to that originally whimsical creations by local artist Maia Horvath now on exhibition at the books, ETC.Maia�s, which takes eklektische kind prisoner wonderful the fantasy. polymer plastics Self taught the loam to reflect their desire a view God D of the crucial Creator�s brightness to offer beauty and to gift of humor.Maia writes the joy in its journey for the enormous support of their wonderful family well in a quantity artistic means, is safe these new experiences in. She lives in fair haven, New York with her married man Alex and its two children Cameron and Saige.The community becomes cordial an opened admission for the new art exhibition on November 24, 2007 from 5:00 P.M. to 8:00 P.M. at the books, etc., 78 W. Main STR, Macedon NY 14502.John invited
Source: http://mariestarr.blogspot.com/2007/11/maia-horvaths-visual-wonderland.html

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