#officine meccaniche

[yesterdaysanswers]

#mauro pagani #gifs #my gifs #officine meccaniche

[sunburnacoustic]

A DIP IN THE MUSE KITCHEN SINK

A wonderfully in-depth interview from 2013 with Muse producers/engineers Adrian Bushby and Tomasso Colliva, who worked on The 2nd Law. The interview goes into the recording of every part of the album, vocals and instruments, and as someone who has been teching bands for live radio sessions, you bet I'm reading every word of it :). Source.

"Tomasso Colliva, Adrian Bushby and Muse at East West Studios in LA. Photo by Tom Kirk"

Muse is arguably the ultimate 21st century kitchen-sink act. Adjectives like “overblown,” “over the top,” “ridiculous,” and “pompous” are regularly used in describing the band’s music, and the British trio’s master stroke is that they have turned these normally damning qualifications into badges of honour. Muse’s many fans adore the band’s bombastic intensity, the classical influences, the juxtaposition of heavily-distorted-in-your-face-over-compressed-monolithic rock with orchestras, choirs, diminished chords, key changes, and many other divergent ingredients, taking things to the limit and, well, far beyond. It makes the band’s music a love-it-or-hate it affair, but with their six studio albums selling 15 million copies to date the trio doesn’t have to worry about the nay-sayers.

Late last year saw the release of The 2nd Law, Muse’s sixth studio album and the follow-up to the commercially very successful The Resistance (2009). While the download era has seen Muse’s album sales are gradually declining, in line with those of any other act with any kind of longevity, in terms of chart figures the new album did almost as well as The Resistance, reaching to #1 in the UK and NZ, and #2 in the US and Oz. The band has gone on record saying that they were “drawing a line under a certain period” would do “something radically different” on the new album, and quoted influences of dubstep and electronic music as inspirations for a new direction. The 2nd Law does have some different touches in that it sounds more electronic than previous Muse albums and there are indeed some dub-step elements thrown in on a couple of songs, plus in other places the rather un-Muse sound of an R&B brass section. But overall it’s very recognisably Muse, as ever alternating moments of spine-tingling beauty with the more mundane, and overall admirably succeeding in obliterating the divide between the sublime and the ridiculous.

Unsurprisingly, perhaps, the kitchen-sink approach isn’t only a central pillar of Muse’s music, it’s also at the heart of their approach to recording it. Almost all their albums have been big budget productions recorded in ways that are reminiscent of the good/bad old days of the 80s and 90s, when spending months if not years and hundreds of thousands of dollars on recording an album was the norm rather than the exception. Apart from the band’s low-budget debut album Showbiz (1999) and The Resistance, which was recorded over a period of a year at guitarist/pianist/singer and main song writer Matt Bellamy’s own studio near Lake Como in Italy, their other albums were made over a prolonged period of time in a range of top quality studios located in different countries. The 2nd Law is a return to this way of working, as it was recorded from November 2011 to May 2011, mostly at Air Studios in London, with a couple of months in Los Angeles to record at East West, Capitol, and Shangri-La, and two string sessions in Milan at Officine Meccaniche (for the tracks “Explorers” and “Prelude”).

At the controls for The 2nd Law were Adrian Bushby and Tommaso Colliva, hailing from the UK and Italy respectively. Bushby also engineered The Resistance, with help from Colliva, and their accounts of the goings-on during the making of The 2nd Law are surprising in several respects, not least the fact that Muse turned Air studio 1 for a whopping six weeks into what surely must have been the world’s most expensive rehearsal space from mid-September to November 2011, and they then continued the recording process as described above. And that was before three of the world’s top mixers, Chris Lord-Alge, ‘Spike’ Stent, and Rich Costey, were brought into action. If the Muse guys are worried about declining album sales and how they’ll continue to generate revenue, their working methods don’t show it. There were other elements of excess, for example recording the drums with a PA system, the hundreds of tracks that were recorded for each session, the wealth of additional musicians and singers that were recorded, and so on. This was, undoubtedly, a Muse project…

On the phone from Milan, Colliva took the story from the top. After Muse, he’s probably the person with the deepest insights into the band’s working methods, because he’s worked with them since 2005, when he helped out with the recordings of Black Holes and Revelations (2006). In addition to working on every Muse album since, he also played a central role in building Bellamy’s Lake Como studio, did the pre-production for the The Resistance tour and also is the band’s live Pro Tools engineer. “I used to be chief engineer at Officine Meccaniche,” added Colliva, “which is Milan’s largest recording studio and one of Italy’s top facilities. Muse came to record there at the end of 2005, and because I was the only person who spoke English I was asked to assist them. I ended up recording a bunch of things. Because Matthew had an Italian girlfriend at the time, he bought a house in Italy, near Lake Como, and I helped him turn the rehearsal space in his villa into a fully-fledged studio, with an SSL 4048 G+ series desk and tons of outboard, where we recorded The Resistance.”

Bellamy and his Italian girlfriend split up towards the end of 2009 and the Briton moved back to the UK. “For the new album the band wanted to record in London,” elaborated Colliva. “Like with The Resistance, they wanted to do pre-production using Pro Tools. They had done this at Matthew’s Lake Como studio for that album, but for the new album they asked me to set up everything they needed at Air. This took me three or four days. They wanted a big set-up, with quite a few microphones, and all signal paths and Pro Tools sessions ready to go. They like to be left alone during this phase, which meant that I set Pro Tools up so that all they had to do was open up a template that gave them access to every instrument at the touch of a button. They didn’t have to think about the technical side of things, and this allowed them to sketch out ideas and arrangements very quickly, and if they stumbled on new ideas these were also captured. There was an assistant if they needed some support, and other than that I was always on call via telephone. Every two weeks I’d go to London to check that everything worked and that the recordings were OK. In November Adrian and I then joined them in the studio to record everything properly.”

"Tommaso Colliva in Brooklyn Recordings Studios NYC. Phot by Francesco Balatti"

The working method described by Colliva sounds sensible enough… until that last sentence. Two things jar: first of all, why spend two months recording what essentially are demos in one of the most expensive studios in the world? Air wouldn’t say, but comparing it with the world’s other top facilities, Air Studio 1, with its 72 Channel custom Neve/Focusrite desk (it has 56 Neve 31106 and 16 Focusrite ISA110 channels) is likely to cost north of A$1000 per day. Spending A$40.000 (or whatever deal the studio offered) on six weeks rehearsal space, however deluxe, really is a throwback to the excess-all-areas eighties and nineties and not very 21st century at all. Moreover, aren’t demos a thing of the past? Isn’t the whole point of the DAW that anyone can record master-quality material anywhere, and going into a commercial studio is purely a matter of using these studios’ specific qualities (acoustics, monitoring, outboard)?

Colliva was almost able to hear the rising eyebrows on the other end of the telephone, and explained, “The band wanted to be able to do things in a very modern way, including the abilities to edit things and try different arrangement in Pro Tools. But they wanted to be able to do this without anyone around. If Adrian and I had been there, it would have been more expensive, and also, the days would have been standard production days during which they’d have felt obliged to go to the studio for at least eight hours a day. Instead they could go to the studio whenever they wanted, whether just for two hours or longer. It gave them a lot of freedom. It’s true that with the mics and signal paths that I had set up it would be possible to track any band and get top quality results, but when we switched to the actual recording process in November, with Adrian and I there, we did really step up things. We changed the miking of the drum kit, we put up many more room mics, we used different guitar and bass amplifiers, and we used a PA kit to enhance the drum sound. In September and October the band was busy writing sketching out arrangements, and in November it was a matter of: ‘OK we now know what the songs are, now let’s get the exact sounds we’re after.”

“Yes, we did replace almost everything they had recorded during the rehearsal phase, apart from some of the soft synth sounds, because Matthew had lived with them for months, and it would have been hard to abandon them. The main three soft synths they used were Pro Tools’ Vacuum, Native Instruments’ Massive, Rob Papen’s Predator, and we also had a separate computer dedicated to samples from VSL and East West. Many of the drum samples came from Battery, and East West’s Stormdrums and RockDrums, with the last one only for demoing. With regards to using the PA system to augment the drum sound, it’s something that I had done when working with Afterhours, one of Italy’s leading alternative rock bands, and when Matthew asked me for ideas, I suggested it to him. The set-up consisted of Roland triggers on the drum kit connected to a Roland TMC 6 trigger to midi converter, that fed a MacBook running Native Instruments’ Battery, with our own sounds in it. We ran these through the PA, and recorded them via the drum kit microphones together with the live kit.”

During the seven months of tracking, Bushby and Colliva had a fairly well-defined role division, with Bushby mainly responsible for the actual recording, ie mic choices and placements and signal paths, and the Italian manning the Pro Tools rig. “I was in fact doing two things,” adds Colliva, “one was handling everything that was digital, meaning Pro Tools, samples, synths and so on, and the other thing was coordinating everything else that related to the logistics side of production, meaning moving instruments around, making sure everything that the band needed was there, and so on. That was a lot of work when we were in LA, because we didn’t have the same degree of support from Muse’s management and the bands touring crew was faraway.”

Colliva’s logistic contributions were one reason for his additional production credit, which was also given the Bushby. The Briton added, “I think we received the additional production credits because recording The 2nd Law was more a group effort than The Resistance had been. We were five in a room, and when decisions had to be made, everybody put in their opinions.” Bushby is a London-based engineer, mixer and producer, who has worked with My Bloody Valentine, New Order, U2, Placebo, Smashing Pumpkins, Dashboard Confessional, Depeche Mode, and the Foo Fighters, and who has won two Grammy Awards, one for his engineering work on The Resistance and one for recording the Foo Fighters’ Echoes, Silence, Patience, Grace. He has a formidable reputation for his awareness of sound, and he reckons that Muse involved him “for the sonic point of view.”

From his state of the art studio in North London (see sidebar), Adrian Bushby gives his side of the story of the goings-on during the making of The 2nd Law, first of all clarifying that, for him at least, the seven-month production period for the album, November 2011 – late May 2012, wasn’t a nose-to-the-grindstone, 16-hours a day, 7/7 affair. “It was always a matter of work for two or three weeks and then I had a few weeks off. Having breaks like that meant that we didn’t get too tired. The approach was a bit different than with The Resistance, because when I arrived in Italy for work on recording that album they had three songs ready to go and the rest was very sketchy. But when I turned up at Air, there was a whole wall with write-ups and details of tracks that were ready to be recorded. In either case Matt always knows what’s going on, which is incredible, considering the complexity of their music. He always knows what has been done and what still has to be done, and where he is going.”

“When they were rehearsing and doing preproduction, they pretty much record the songs as a band, with everything miked up as if they were tracking for real. When we were recording them they regularly played as a three-piece but they also did many individual overdubs. We used the recordings they’d done during preproduction as a template. Sometimes we used the guitars and pianos that Matt had recorded for the demos as backdrops for Chris [Wolstenholme, bass] and Dom [Dominic Howard, drums] to play to. We made sure that everything was well separated, so we could overdub without spill. Chris’s and Matt’s amps were in different booths and rooms, so everything was very isolated. Also, the band works with in-ear monitors, which meant that we didn’t have any problems with things blaring from monitors. They control their own headphone mix with a 16-channel mix system by Aviom. They also use that live, and they’re really happy with it, which made my job a lot easier!”

According to Bushby, on his and Colliva’s arrival in November 2011, one of the first things they did was adjust the recording space, “The live room has a glass dividing wall, and during preproduction they had closed it and placed the drums behind it so the drums didn’t sound too loud in the room. But for some reason the drums sounded really uncontrolled with that partition closed, I think because there’s so much glass. It sounded really big and trashy with no focus on the cymbals. So we opened the doors and turned it into one big room, which sounded much better. It gave the extra close microphones on the kit a lot more focus. In general we carried on from where they had left off during preproduction, trying out new set-ups with different amps, and putting up additional microphones for a more in-depth sound. We first concentrated on getting the drums and bass tracks up and running, experimenting with many different sounds in the process.”

RECORDING DRUMS

Adrian Bushby: “Whilst the band had been demo-ing, Dom had treated many of the drum tracks with plugin EQs, going for very bright and attacky sounds. I decided to go along with that vibe for the drums. But instead of trying to record the drums very flat and natural and then EQ everything afterwards to get the sound they were after, I tried to get the sounds they wanted as they went down. I recorded the drums with a whole range of microphones, generally the same as most people use, but I did try various different ones. I always tried to have something interesting and different and set up lots of different mics in different places and gave them different treatments. Sometimes I used them all, sometimes only a few. I had some AKG D90’s floating around that worked really well, a Russian Lomo mic, which is one of mine, as well as an SM57 and an AKG414 on the floor behind the kit. There also was a Sennheiser, I can’t remember the model number, but it looks like a bullet mic, and it sounded great when put through an amp, just pulling it back from distorting. The drums for the track ‘Unsustainable’ in particular were recorded with many unusual microphones.”

“For more regular sounds I generally had a couple of mics on the kick, one of them the Shure SM91, as well as a 47 slightly outside the kick and an NS10 sub. The snare mics were an SM57 on top and an AKG414 underneath, and I also had a contact mic on the floor. I recorded the toms with 421’s on top and Neumann FET47’s underneath and I had AKG 451’s for the overheads, which I hadn’t used for a long time, but they gave the cymbals in that big room at Air some more focus. There also were a couple of Sennheiser MKH40 mics for closer room sounds and Schoeps from the orchestral set-up at Air for ambience, stuck as far and high back in the room as possible. Like on the previous record we had a piano in the room, and I used the piano mics for additional drum ambience. It’s something that I discovered by accident and it works really well. Because of the resonance of the piano you get some unusual ambience that you don’t get from normal drum ambience mics.”

“Regarding the signal paths, generally speaking everything went through the Neve 31106 mic pres in the Air desk, with some Neve EQ and Pultec EQ on the bass drum and the snare drum groups. I don’t like to compress the bass drum too much when recording, and the snare drum had some compression from a Distressor, but again nothing drastic. Most of the compression was on the room mics. I love compression on room mics, and we initially went for quite a compressed drum sound, but when we switched the PA on it obviously squashed everything down, so we tried to keep the room mics more open this time round. There were just a few close drum mics that were treated with some extra compression, while the room mics generally remained quite open.”

“The PA system was in the room behind Dom and pumped out quite synthetic, dancey sounds, really loud, while he was playing. I’d never done that before. The PA shifted a lot more air than just the acoustic kit, so we got this huge pumping sound in the room, which was very effective. The point of using the PA was to create a more dancey sound for the live kit, because they wanted to incorporate this dubstep thing. I miked up the kit as usual and obviously the room mics were going to pick up most of the PA. The close mics also picked something up, and altogether this added up to a bigger, very interesting sound. We occasionally put live bass and snare drum sounds through the PA, but mostly they were the synthesized sounds from Battery. We also recorded these Battery sounds dry, but generally speaking only used the sounds that had gone through the PA and that were picked up by the drum and room mics.”

RECORDING BASS

Colliva: “Both Matt and Chris are very fond of their live sound, but I always feel that their live setups include pieces that are not really needed in the studio, so the challenge was for them to have the same functionality in the studio, but with shorter signal chains and better sound quality. I had a Radial JD7 Injector splitter, and we would have three chains for the bass, one clean channel via his Markbass amplifiers [MoMark and SD1200], and two distorted channels, one with distortion coming from some kind of Big Muff or Animato pedal sound and the other channel would have a more fuzz-like sound coming from fuzz pedals by ZVex, like the Mastotron or Woolly Mammoth. There would also have been a fourth chain with a hot DI if we wanted an aggressive sound. Chris may also have used pedals, which we automated if they were midi controllable. We’d do a take with Chris playing via a wah-wah pedal and getting it roughly the way he wanted it to sound, and we then sent the DI through a pedal that we automated to make the wah-wah sharper and faster than a human could play it. We did similar things with Matt’s guitar.”

Bushby: “Chris’s sound is incredible. He knows how to get his sounds, and that makes it much easier when you are recording him. The Markbass set-up covered the clean sounds, I think we had two different heads and cabs on which I had an AKG D19 and an RE20 plus an NS10 sub, and they all came into the Neve desk with an 1176 on the clean bass group. The more distorted bass sound was played via two vintage eighties Marshall DBS heads going into two different cabs, placed in the back of the room, and on them I had a Shure SM7 and another RE20, panned left and right, and a couple of Neve compressors just touching things. When you have that much distortion on the track, you don’t really need compression. I didn’t want to squash the life out of the sound. Depending on the track we would sometimes changes pedals and triggered different effects from the computer. We generally speaking didn’t use the DI.”

RECORDING GUITARS

Bushby: “Matt used Diesel V4, AC30, Marshall 1959HW and HiWatt 100 amplifiers and Mills 4×12 cabinets and a Roland JC120 and a couple of Fender combos as well, like a Fender Twin. I’d normally have two mics on the speakers, like a Shure SM57, a 421, a Neumann FET, a Royer 121 (Matt really likes the sound of that), an AKG 414, or an AEA ribbon. The latter works really well because it can handle quite a lot of level. Generally every amp would have a Shure 57 and whatever went with it to taste. We also had a couple of Neumann 87 room mics, which usually picked up the 4×12’s, because they were in the big room, while other amps were screened away or in other rooms. I tended to use the desk Neve mic pres, and then a Pultec or AER EQ across the group, adding a bit more treble and bass overall. I EQ-ed the individual mics as well as the overall summed sound.”

KEYBOARDS

Bushby: “There were many keyboards in this album, with most of them soft synths. They went sort of Native Instrument crazy during the recordings. These generally speaking remained in the box, so for me the keyboards were mainly a question of miking up the piano and the Fender Rhodes. We went for the same set-up as with the previous record, with a couple of DPA mics for the nice classical sound on the piano, and also a couple of Telefunken Elam 251’s, and then I’ll generally add a couple of dynamic mics to do something unusual. These would be an SM58 in the sound hole on the sound board and this time round I also used AKG D19’s. Obviously the sound of the dynamic mics would be different than the lush, open classical sound, and I’d EQ and compress the dynamic mic sound for it to be more interesting, and pan the mics wide. When you balance them with the posh sound you can add some nice extra character. The EQ was mostly done on the desk, and any compression would have been whatever was lying around. I can’t tell you exactly how I did everything, because I just experiment until it sounds right. There is no formula. The Fender Rhodes was recorded with a couple of Neumann 67 microphones.”

STRINGS, BRASS, AND CHOIR

Bushby: “I don’t know why we went to LA, but it probably had to do with the fact that David Campbell, who did the string arrangements with Matt, is based there. I’d never done any classical recording work in LA and it was an interesting experience. The Americans were incredibly efficient, quick and focused. They’d look at a score, play it through once, and you couldn’t fault what they had done. Sometimes you did a second take, just to make sure there were no errors, and that was it. The first sessions in LA took place at Shangri-La, where Matt did guitar and Fender Rhodes overdubs, while the strings and brass were recorded in February at EastWest Studio One, which has an 80-channel Neve 8078 Console. We recorded the choir in a separate session at Capitol Studios.”

“I used Neumann 67’s above each section of the choir, and we also had this sort of Decca tree thing, with a 3-microphone set-up, and a stereo pair as well. The brass was recorded with Neumann 87’s as close mics and Telefunken Elam 251’s a bit further away for a more classical sound. I left the recording of the strings to the assistants at EastWest, because they do strings in that room day in and out and in my experience it’s generally best to go with their know-how. They used valve Neumann 47’s on the cellos and basses and Elam 251’s on the violas and violins. There was also a Decca tree and a couple of room ambience mics, but I can’t recall what they were. There was a Neve desk at EastWest, but I don’t recall the desk number anymore either. I’m too old to keep up with all the numbers. If it works, it works!”

VOCALS

“Chris recorded all his vocals at his house with the help of Paul Reeve, and Matt recorded his own vocals. You just set Matt up with some gear in another studio, and he gets on with it. It’s amazing what he does. Generally I set up a Neumann 67, a FET47, and a BeyerDynamic M88 and they went into a Neve-1176-Distressor chain and there also was an RCA ribbon mic, which went into a Mercury M72 Telefunken clone. Matt owns it, and it has a nice, warm valve sound, just like the original Telefunken. We set up these four mics with four stands and four different input chains, and he tried them out and chose which he wanted to use. He knows exactly what he wants. He’d say, ‘I’m going to do some vocals now,’ and you wouldn’t see him for the entire day, and then he’d come out with his vocals done, comped and everything.”

PUTTING IT ALL TOGETHER

Muse’s predilection for excess had a predictable effect on the size of the sessions. “Most of the sessions for this album were immense, off the scale,” remarked Bushby. “This meant that we regularly had to bounce things because we were running out of tracks and outputs. We did all the bouncing in the computer, so that the faders on the monitor side of the desk always remained at zero. We were always mixing what we had during the sessions, and this was a matter of whoever was closest to Pro Tools bouncing and balancing what was necessary. If I had just recorded four tracks of a guitar part recorded with four mics, I’d just grab them and balance them. Maybe they got tweaked later on, but the main thing for us was that we were always working to a mix, so we know whether what we have is working, and whether what we’re adding fits. I wasn’t involved in the process of selecting the guys who mixed the album, CLA, Spike and Rich. They obviously each have a different slant on things and the band wanted to use that. It’s a taste thing, and I don’t get involved. The band knows what they’re doing, and nobody needs to babysit them to make sure they’re not doing something crazy.”

There are skeptics who would dispute that. But millions will gladly second Bushby’s statement.

#long post #Muse interviews #(well sort of) #Adrian Bushy #Tomasso Colliva #recording #The 2nd Law #studio recording #2013 #Muse band #Muse #technical interviews #recording bands #studio work #in studio #2012 #T2L era #ookie Dom EQed the drums huh #I've been mucking about w/EQ trying to get that brighter sharper sound where live recordings can make the drums sound like dull thuds #EQing in post is well & good but having good mics and enough mics is a big one too— we use two out of a lack of lines #anywho cool read #Muse The 2nd Law

[lamilanomagazine]

San Marcellino, Caserta. Contrasto alla "terra dei fuochi": i Carabinieri Forestali sequestrano un quadriciclo carico di rifiuti speciali mischiati tra loro.

San Marcellino, Caserta. Contrasto alla "terra dei fuochi": i Carabinieri Forestali sequestrano un quadriciclo carico di rifiuti speciali mischiati tra loro. Il contrasto alla “Terra dei Fuochi” si fa lungo le strade. I rifiuti speciali non tracciati prodotti da: laboratori artigianali, imprese edili, officine meccaniche, imprese di giardinaggio, svuotacantine, etc., per poter essere smaltiti lungo le strade di campagna in zone isolate per poi essere dati alle fiamme, devono essere gioco forza trasportati con dei mezzi. I veicoli che generalmente vengono impiegati in tali illecite operazioni sono: furgoni, autocarri, Apecar e Minivan. Naturalmente si tratta di mezzi vetusti ed in pessime condizioni di manutenzione in quanto chi delinque in questo settore è ben conscio che in caso di controllo il veicolo sarà oggetto di confisca. In questo ambito un ruolo determinante lo svolgono gli svuotacantine abusivi, che prestano la loro opera carpendo la fiducia di persone inconsapevoli che hanno la necessità di liberare box auto od appartamenti da vecchi mobili e materiali vari. Detti svuotacantine si preoccupano anche di fare una cernita dei rifiuti ritirati, ovvero rivendendo quei materiali facilmente riciclabili o recuperabili come i metalli che hanno un valore economico, mentre tutto il resto lo smaltiscono illegalmente in campagna od in zone isolate. Una forte azione di contrasto a tali condotte illecite è svolta con assiduità dai militari del Nucleo Carabinieri Forestale di Marcianise (CE). Da ultimo, in comune di San Marcellino (CE), e precisamente al Corso Europa, hanno sorpreso un quadriciclo per trasporto di cose di colore verde carico di rifiuti. Sul cassone del mezzo in argomento sono stati rinvenuti i seguenti rifiuti speciali: nr. 2 condizionatori arrugginiti; nr. 1 fornetto elettrico danneggiato ed arrugginito; imballaggi in ferro; una bicicletta danneggiata; una busta in plastica contente viti arrugginite e barre in alluminio. Tutti i predetti rifiuti erano miscelati tra loro, per un quantitativo complessivo stimato in kg 350. Il mezzo tra l’altro non è risultato iscritto all’Albo dei Gestori Ambientali per cui, essendo integrato il reato di attività di carico e trasporto di rifiuti speciali pericolosi e non pericolosi senza la prescritta iscrizione all’Albo dei Gestori Ambientali, hanno proceduto al sequestro preventivo del mezzo ed hanno deferito in stato di libertà il conducente dello stesso.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[italianiinguerra]

14 marzo 1941, la morte di Pietro Scapinelli il "conte volante"

Il 14 marzo 1941 la Regia Aeronautica doveva registrare la perdita di illustre figura dell’aviazione tricolore il conte di Leguigno Pietro Scapinelli, deceduto durante un volo di collaudo di un nuovo caccia della Regia Aeronautica, il Reggiane Re.2001, “velivolo monomotore, monoplano e monoposto prodotto dalle Officine Meccaniche Reggiane, noto anche, non ufficialmente, come “Falco II. Il “conte…

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#Luigi Scapinelli di Leguigno #Medaglia al Valore Aeronautico #Regia Aeronautica

[flying-cloud-recordings]

Loved working on the wonderful @kazu.makino’s single ‘salty’ from her solo record ‘Adult Baby’ 🐎 recorded at @figure8recording, @pioneerworks, Flying Cloud, and Officine Meccaniche Milano. Featuring Ryuichi Sakamoto, Mauro Refrosco, and Ian Chang. Produced by Kazu and Me. Recorded/mixed by me. Mastered by @heba_kadry 🐳

#electronic #music #music production #audio engineering

[delectablywaywardbeard-blog]

Brasile, quasi 2 milioni di bambini coinvolti nel lavoro minorile

In Brasile sono 1,9 milioni i bambini e adolescenti coinvolti nel lavoro minorile. Il numero equivale al 4,9% del totale della popolazione tra i 5 e i 17 anni. Lo riferisce l’Istituto nazionale di statistica. L’elenco comprende lavori nel settore edile, nei mattatoi, nelle officine meccaniche, nel commercio ambulante in luoghi pubblici, nella raccolta dei rifiuti e nella vendita di bevande…

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[cinquecolonnemagazine]

Officine Meccaniche Reggiane: un'eccellenza nel cuore d'Italia

Le Officine Meccaniche Reggiane (OMR) rappresentano un'importante pagina della storia industriale italiana. Fondata nel 1904 a Reggio Emilia, questa azienda ha svolto un ruolo chiave nello sviluppo dell'industria manifatturiera nel nostro Paese. Officine Meccaniche Reggiane: le origini e la crescita Le Officine Meccaniche Reggiane nacquero nel 1904 come risposta alla crescente richiesta di attrezzature ferroviarie e navali in Italia. Fondata da Umberto Cappelli, l'azienda crebbe rapidamente e si affermò come uno dei principali produttori di macchinari industriali nel nostro Paese. Nel corso degli anni, OMR ampliò il suo campo di attività, producendo aerei, motori e altre attrezzature per l'industria bellica e civile. Durante la prima metà del XX secolo, OMR si affermò come uno dei leader mondiali nell'industria aeronautica. La sua produzione di aerei e motori era conosciuta per l'elevato livello di qualità e innovazione tecnologica. Durante la Seconda Guerra Mondiale, l'azienda divenne un importante fornitore di aerei da combattimento per l'Aeronautica Militare Italiana. Dopo la fine della Seconda Guerra Mondiale, OMR si dedicò alla ricostruzione del nostro Paese. L'azienda giocò un ruolo cruciale nella ripresa economica e industriale dell'Italia del dopoguerra. La produzione di attrezzature e macchinari industriali fu fondamentale per sostenere la crescita economica e soddisfare le esigenze di un'industria in espansione. L'eredità culturale e architettonica di OMR Oltre al suo contributo industriale, OMR ha lasciato un'impronta significativa anche nel panorama culturale e architettonico di Reggio Emilia. I suoi stabilimenti industriali sono stati considerati un esempio di architettura industriale moderna e funzionale. Molti di essi sono stati conservati e restaurati, contribuendo a valorizzare la memoria storica e il patrimonio industriale della città. Nonostante il successo degli anni precedenti, negli anni '70 e '80 OMR affrontò una crisi economica che portò al suo declino. La concorrenza internazionale e i cambiamenti nel mercato industriale resero difficile mantenere la competitività. Nel 1994, OMR venne definitivamente chiusa, segnando la fine di un'epoca industriale e una svolta importante per la città di Reggio Emilia. L'eredità continua Sebbene le Officine Meccaniche Reggiane non esistano più come azienda, la loro eredità continua a vivere attraverso il patrimonio culturale e industriale della città e della regione. Il contributo delle OMR allo sviluppo tecnologico e industriale dell'Italia rimane una testimonianza della nostra capacità di eccellenza e innovazione. Le Officine Meccaniche Reggiane hanno svolto un ruolo fondamentale nello sviluppo industriale dell'Italia. Da pionieri nell'aeronautica a simbolo di eccellenza nel campo della produzione industriale, l'azienda ha influenzato il panorama industriale italiano e ha lasciato un'impronta duratura nella storia e nell'architettura di Reggio Emilia. Sebbene oggi non esista più come azienda attiva, l'eredità delle Officine Meccaniche Reggiane continua a essere un punto di orgoglio per l'Italia e un ricordo di come l'innovazione, la dedizione e la passione per l'industria abbiano plasmato il nostro Paese nel corso dei decenni. In copertina foto di Eleonora Attolini da Pixabay Read the full article

[boomerissimo]

Lupetto, Tigrotto, Leoncino & co. | Quando sulla strada rischiavi di essere sbranato

Lo zoo OM resterà nel cuore. Ma a Milano la sua fabbrica non c’è più

Chi ha abitato in una certa zona di Milano, non potrà mai dimenticare la fabbrica OM, quella dei poderosi autocarri che la facevano da padrone sulle nostre strade. Lupetto, Tigrotto, Leoncino hanno imposto la loro legge dagli anni 50 fino alla fine degli anni ’60. A domare lo zoo delle Officine Meccaniche, e molto altro, ci pensò Mamma Fiat. Ma questa è un’ altra storia, che peraltro ci è costata…

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#Camion #classic cars #vintage #boomerissimo #officinemeccaniche #camionitaliani #camion #omtruck

[sagarg889]

Extrusion Equipment Market Research by Key players, Type and Application, Future Growth Forecast 2022 to 2032

The global extrusion equipment market is expected to be worth US$ 8764.6 million by 2032, growing at a 5.3% CAGR. The target market is expected to be worth US$ 52437 million in 2022. Increasing manufacturing investment, as well as rising extrusion product demand, will propel the extrusion equipment market forward during the forecast period.

Extrusion machinery is compact and versatile. Extrusion equipment’s inherent properties increase its demand in the global market. Increased global awareness of energy conservation will aid the growth of the extrusion equipment market. Furthermore, manufacturers of plastic extrusion equipment are increasingly focusing on the production of dependable and effective twin-screw plastic extrusion machines, which promotes growth in the extrusion equipment market.

Sales of extrusion equipment will rise in tandem with the increasing popularity of the additive manufacturing process. This is because additive manufacturing, also known as fuse deposition modelling (FDM), can produce complex geometries with fine details and is frequently used in the extrusion process. As a result, this process is expected to be a major growth driver in the extrusion equipment market.

Request a PDF Sample Copy of this Report @ https://www.futuremarketinsights.com/reports/sample/rep-gb-2329

Furthermore, the urban population of developing countries is showing a preference for processed product types, which contributes to the growing demand for food extrusion equipment. Also, the high disposable incomes and rapidly changing lifestyles, has bolstered the demand for ready-to-eat products, which are convenient and save effort and time. This factor, too fosters the expansion of the extrusion equipment market size.

Other factors like the initiatives taken by regional government that aim at micro, small, and medium-sized enterprises (MSME) as well as recent technological advancements will further aid the growth of the extrusion equipment market during the forecast period.

“Rising popularity of additive manufacturing process will supplement the global growth of the extrusion equipment market over the forecast period,” says an FMI analyst.

Key Takeaways:

High installation and maintenance costs may stymie market growth.

Rising awareness regarding energy conservation strengthens market prospects.

The extrusion equipment market in Europe will account for 22.9% of the revenue share.

North America’s extrusion equipment market will hold 26.3% of the overall revenue share.

Competitive Landscape

HPM, Tecnomatic, Unicor, Hegler, Vulcan Extrusion, ITIB Machinery International, Toshiba Machine Co. Ltd., Windsor Machines Limited, Krauss-Maffei Group, UNION Officine Meccaniche SpA, Bausano & Figli SpA, Kabra ExtrusionTechnik Ltd., Leistritz Advanced Technologies Corp., Midas Pharma, PMC Isochem, Pensatech Pharma GmbH, Baker Perkins, and Bühler among others are some of the major players in the extrusion equipment market profiled in the full version of the report.

Key market players are employing both organic and inorganic strategies to build their market presence and expand their product portfolio. These businesses are increasing investment in their research and development activities, partnerships, agreements, and collaborations to gain a competitive advantage.

More Insights into Extrusion Equipment Market Report

In its latest report, FMI offers an unbiased analysis of the global extrusion equipment market, providing historical data from 2017 to 2021 and forecast statistics for 2022 to 2032. To understand the global market potential, growth, and scope, the market is segmented on the basis of product type (single screw extruders, twin screw extruders, downstream equipment), load type (variable, hydrostatic), press position (horizontal, vertical), end user (plastic goods, processed food, pharmaceutical, non-conventional energy, construction materials), and region.

According to the latest FMI reports, based on region, the extrusion equipment market in North America will present considerable growth during 2022-2032. The target market in this region will account for a revenue share of 26.3%. The advancing manufacturing infrastructure along with the high per capita income, particularly in the U.S., fuels the growth of the extrusion equipment market in this region during the forecast period. In addition, Europe’s extrusion equipment market, too, demonstrates strong growth potential during this period with about 22.9% revenue share. A well-established snack food sector propels the target market growth in this region during the forecast period.

For More Information on this Report @ https://www.futuremarketinsights.com/reports/extrusion-equipment-market

Market Segments Covered In Extrusion Equipment Market Analysis

By Product Type:

Single Screw Extruders

Twin Screw Extruders

Downstream Equipment

By Load Type:

Variable

Hydrostatic

By Press Position:

Horizontal

Vertical

By End User:

Plastic Goods

Processed Food

Pharmaceutical

Non-Conventional Energy

Construction Materials

By Region:

North America

Latin America

Asia Pacific

MEA

Europe

#Extrusion Equipment Market

[pneusnews]

Midas lancia i pneumatici Tenor All Season

Midas, rete internazionale di officine meccaniche specializzate nella manutenzione auto multimarca, presenta il nuovo quattro stagioni Tenor All Season. Definiti “affidabili, versatili, economici e sicuri”, i Midas Tenor All Season hanno una resistenza al rotolamento di classe C e una frenata sul bagnato di classe B. Certificati 3PMSF (three-peak mountain snowflake), sono quindi omologati come…

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[yesterdaysanswers]

#mauro pagani #nove vite e dieci blues

[mayolfederico]

Bergamo ~ Corrado Alvaro

        Sentimento civile di Bergamo A Bergamo s’arrivò in un treno gremito, tutte persone indaffarate con le loro borse. Ci ritrovammo in folla alla funicolare della Città Alta. Le impressioni meccaniche della vita quotidiana, le officine della pianura lombarda, il movimento di Milano di cui eravamo ancora una lontana vibrazione, occupava i nostri pensieri; ma bastò che si scendesse tutti alla…

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#Bergamo #Colleoni #Corrado Alvaro #Rinascimento

[lamilanomagazine]

Vercelli, riciclaggio di auto rubate: la Polizia Stradale ritrova una Fiat Abarth rubata nel 2022

Vercelli, riciclaggio di auto rubate: la Polizia Stradale ritrova una Fiat Abarth rubata nel 2022.  Nell’ambito delle attività a cui è istituzionalmente deputata la Polizia di Stato, la Sezione Polizia Stradale di Vercelli ha svolto attività di controllo ad alcuni esercizi pubblici connessi alla circolazione stradale quali officine meccaniche e centri di revisione. Ha destato il sospetto degli operatori una FIAT 500 Abarth - da poco acquistata da un cittadino vercellese - che dalla visura storica degli archivi ACI, dal 2015 aveva visto susseguirsi sei proprietari. Da ulteriori verifiche, si è accertato che il terzo proprietario del veicolo nel 2019 incorse in un incidente stradale danneggiando gravemente l’autovettura, circostanza dalla quale si è ipotizzato che l’auto originale potesse essere stata sostituita da un’altra identica, ma di provenienza illecita. Sequestrata l’auto, da un’accurata ispezione è emerso che, nonostante il modello attuale sembrasse genuino, alcuni particolari non corrispondevano a quelli dell’auto originale: il veicolo, infatti, era dotato di un cristallo lato conducente riportante un anno di fabbricazione diverso dagli altri. Questo elemento ha confermato ancora di più il sospetto che l’auto potesse essere provento di furto in quanto il danneggiamento dei cristalli è una dell’attività che viene maggiormente messa in pratica al fine di consentire al malfattore di entrare facilmente all’interno del veicolo. Le dotazioni opzionali di bordo, inoltre, recavano scritte principali in lingua tedesca, facendo ritenere che l’autovettura in origine potesse essere destinata al mercato estero, contrariamente, da quella rinvenuta a Vercelli. L’esame di alcune parti meccaniche e del telaio hanno confermato le ipotesi investigative. In sostanza l’auto, rubata nel 2022 nel nord Italia, è stata dotata delle targhe di quella che nel 2019 ebbe l’incidente. Per completare l’opera gli ignoti malfattori hanno modificato ad arte il numero di telaio punzonato sulla carrozzeria. È opportuno precisare che il cittadino Vercellese a cui l’auto è stata sequestrata è vittima di questo mercato illecito, in quanto ha dimostrato di aver acquistato l’autovettura in buona fede.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[umbriajournal]

Officine meccaniche Foligno from Umbria Journal TV on Vimeo.

[machinedalal]

Preowned  2-head drilling machines for SALE OMM - Officine Meccaniche Marchetti - Venus 2

Buy Directly from SELLER - https://dl.machinedalal.com/nppS

Machine Availability: Immediately Price: On Request Location: Lancaster, United Kingdom

#print #machinedalal

[telodogratis]

Danieli Lavora con noi: tutte le posizioni aperte.

Danieli Lavora con noi: tutte le posizioni aperte.

Danieli, multinazionale italiana che opera nel settore dell’industria siderurgica, ha pubblicato una campagna di assunzioni per varie divisioni aziendali. L’azienda Danieli: Ricordiamo che Danieli & C. Officine Meccaniche SpA è un’azienda italiana leader nel settore della siderurgia che opera da più di cento anni nel settore. Essa è specializzata nella lavorazione dei metalli e dell’alluminio…

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