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mnranger5 · 2 years

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Finally Figured Out Big Bass Bash, Lake of the Ozarks, 4/22/22 - 4/25/22

When it comes to fishing, I am the poster child for the Creature of Habit Club. Whether that be picking a lake, choosing a bait or my fishing technique, I operate like a broken record. For example, I have about 50 great bass lakes within an hour of the house. But I only seem to go to the same handful time and time again. I have thousands of dollars in tackle that sit idol in my boat every summer because I seem to only choose worms, crankbaits and some top water. And as far as technique, I like to think I have an open mind, but rarely do I execute on it. You can find me spring, summer and fall banging docks and coming up empty handed even when I know the fish are out deep. I know I need to change my execution, or at the very least, my way of thinking. It is the only way to more consistently put fish in the boat. This needed to be my mindset going into Big Bass Bash.

I’ve fished the Bash three other times – twice the spring event with Aaron, and once the fall event with Josh. All have been wonderful experiences, but none have produced a fish even close to being weighable. The Bash is a one cast, one fish tournament. The biggest fish is worth $100,000. The next 360 biggest fish range from $20,000 to $190 with a total payout around $350,000. So this week the ultimate goal was one fish worth $100K, but the realistic goal was to catch a respectable fish that was at least in the realm of being weighable.

But before we could go fishing, let’s talk about Jake’s Annual Ozarks Boat Maintenance Surprise. Fortunately, our drive into the Ozarks was only delayed an hour or so by a massive storm system over Iowa that dumped torrential downpours along with 50mph winds.

And while we thought the rain was bad, it was actually the wind that was the silent killer. Because it wasn’t until we got to Columbia Bass Pro, that we took the cover off the boat and realized both windshields had been shattered from the boat cover flapping against them in the crazy wind. So, I was a quick $400 in the hole, and we weren’t even on the water yet. But that’s not all…

If you’ve been a long time reader of this blog, you know I am an expert at breaking my trolling motor! It happens at least once a summer. When we dumped into the lake around 4:15PM, I realized the trolling motor was locked up. I immediately thought back to 2021 when Mike helped me replace the foot sensor board in my trolling motor pedal. It seemed like the exact same issue. I called the local Tracker store, who referred me to Reliable PWC & Marine Service in Camdenten. Google told me Reliable PWC had closed at 4PM, but I called anyway. Jeff answered. I hastily explained my problem and he told me he had the part I needed. I asked him how long he would be open. He didn’t give me a time but did indicate he’d just cracked his first beer. I told him we’d load the boat on the trailer and head straight to him. His response, “Step on it.”

We arrived at PWC at 5:30. Jeff immediately got to taking apart the front dash of the boat so that he could access the foot pedal.

He then ran some tests on the electrical, and stated matter of factly, “Your motor head is bad,” and then turned to walk into his shop. Aaron and I looked at each other in bewilderment. A bad motor head feels like a major, involved fix – a fix that likely could not happen immediately. Jeff returned from the shop with a battery tester and hooked it up to the trolling motor batteries. If the batteries were fine, it was for sure a motor head problem. The first two batteries he tested were fine. The third was shot. “Well, there is your problem,” he said in a satisfied kind of way. I asked if he had batteries for sale…of course he did. But, he said his back couldn’t take any heavy lifting, so we’d be doing the labor. $200 later, we had a new trolling motor battery. Between the windshields and the battery, I was now $600 in the hole before even taking a cast. Gotta love boat maintenance 500 miles from home.

We were back on the water around 7:30. Finally fishing. After an absolute rollercoaster of a day in terms of the weather (rainy and 40 degrees at 6AM, severe thunderstorms in Iowa, 90 degrees with 30mph winds in Missouri) it had finally cooled off and was a very pleasant evening to fish. And it didn’t take long to start catching fish. Casting a spinnerbait up on the shoreline, Aaron picked up this nice two pounder and we caught a couple more before calling it quits for the evening.

While prefishing was short, it did validate that the spinnerbait was working in shallow areas.

Shortly after 8, we returned to the house where mom and dad had Bandana’s ribs, beans and Texas toast waiting for us. We’re so spoiled.

Day 1 Game Plan:

Prior to the trip, I spent considerable time researching a game plan. I really wanted to push myself to get outside my fishing comfort zone and be open minded to fishing new areas of the lake and using techniques and lures that weren’t necessarily in my wheelhouse. So my thought process was this:

Bass Stage: Pre-spawn

Water Temp: low-mid 50’s

Air Temp: 80 degrees

Wind: High Wind Warning, out of the south 20-30mph, with gusts to 40mph

To me, these conditions seemed like we’d want to be in the wind, throwing a moving bait, like a crankbait, jerkbait, spinnerbait, all day long (even though my comfort zone was to throw a Texas-rigged worm around wind-protected docks). Day 1 would be all about fast, power-fishing.

Day 1 Morning:

Aaron and I started just around the bend from my parent’s dock. Our thinking behind starting there every year is that it is untouched water where we know we will be the first boat fishing that stretch - if we are there early enough. It was 6:15, and we were the only boat in sight. Several boats cruised past us going deeper into Jobson Hollow, but none tried inching in on our little finger.

As we sat there waiting for 6:30, there were shad busting at the surface all over the small cove. I whispered to Aaron, this is the setup we were looking for. If there were shad here, there was certainly predator bass here too. It was finally go-time. On Aaron’s third cast of the morning, he set the hook into this feisty little guy.

It wasn’t a weigher, but it felt good to have a fish early. We were both casting spinnerbaits, although, I was frequently alternating with the jerkbait and lipless crankbait as we slowly worked the cove. After an hour, we only had one fish to show for the morning.

Deep in the cove is a rundown, vacant, resort with a dilapidated marina area. Everything about this place, from the cabins to the sprawling covered dock system was in need of some TLC. While pre-fishing yesterday, Aaron had seen a massive bass lethargically cruising under the dock, moving from one slip to the next. We fished the dock thoroughly, without finding it. I hopped in the rod locker and pulled out a little St. Croix/Abu Garcia spinning combo, complete with 6lb test line and a white bucktail jig. This is my lucky finesse setup. I caught my 40” musky on this combo, and I still had the same line strung up 3 years later. Probably a disaster waiting to happen, but I guess I’ve been a little superstitious about changing the line out. I told Aaron, this hair jig and combo was my secret weapon for the weekend. I wanted to take a couple of casts around the decrepit dock to see if that giant bass could be enticed. I put my first cast into the dock area and immediately felt a bump. With resistance on the line, I set the hook ferociously. Whatever was on the other end was unfortunately not living. ��After a few minutes of trying to get my lure unsnagged, the line eventually snapped. On the day, the secret weapon was 0 for 1 on casts. I tied up another hair jig so that I was ready to use it again when the time was right.

The wind was picking up decently, but no white cappers yet. And what happened next really changed the course of the day for us. It was time to be bold.

I told Aaron I wanted to fight the wind and fish channel points – something we had never committed to in any Big Bass Bash. Generally speaking, the waves on the channel get quite large making fishing difficult. Add in today’s wind, and we were expecting to get swamped heading across the lake. So we went for it, and quite honestly, the channel really wasn’t that bad. We flew down to the points near the dam. The spot I wanted to fish was the first point off the dam, circled in blue. But there was a guy spot locked there, and didn’t appear to be moving any time soon. So we went to the red-circled point instead and monitored him, hoping he would move. And in the spirit of trying new techniques, I switched over to the Alabama Rig while Aaron continued casting a spinnerbait.

As we moved to the end of the point, circled in yellow, another boat came around that same point halting our forward progress. As we sat there at a standstill, both casting toward the yellow circle, I had a bass throttle my A-rig. And as with most large lures, anything that hits feels good. In this case, it ended up being a 14” male, under two pounds. I tossed him back in the lake and made another cast. Immediately, I hooked up again, with a cookie cutter fish. The other boat just watched us intently. Over the next five casts, I caught two more, all about a pound and a half. The other boat, who was casting to relatively the same area, caught nothing in that flurry of five minutes. They pulled up their trolling motor and flew to the other side of the channel. Aaron then tied on an Alabama Rig, and was casting the same spot. But the spot seemed to had dried up. We fished around the point and the connected small cove before reaching the point leading into Jennings Branch Cove. I only picked up one more short fish in this time. Unfortunately, Aaron snapped his rod in three pieces trying to cast that giant A-Rig!

By this time, it was pushing 10AM, so we headed back to the house for brunch and to make some decisions about how to fish the remainder of the day. We have to be the luckiest fishermen in the tournament. We returned home to this table full of food – eggs, breakfast potatoes, Italian sausage, cinnamon toast and orange juice. Piping hot! We feasted.

Day 1 Afternoon:

While the winds were howling, they still weren’t as bad as we had expected. Since we caught several fish casting the A-rig on main lake points already, we made the decision to stay on the main lake and fish as many points as possible, so long as the wind didn’t get out of hand.

We worked our way, east to west, hitting every single point, occasionally slipping into the finger and checking out spawning areas. We caught one decent fish off the main lake channel. He came on a Strike King 2.5 squarebill.

Otherwise, it was chucking A-rigs and heavy spinnerbaits all afternoon. Nearly every point had 1-2 fish that would bite. By the end of the afternoon, we must have put 20-25 fish in the boat – virtually all off main lake points. But none were big females. None we weighable. It was still a very fun day. We caught more fish today than any other day we’ve ever fished in this tournament.

For dinner, we continued the tradition of eating like kings! Dad grilled out fillet mignons, while Mom put the rest of the fixings (baked potatoes, corn on the cob, mushrooms, salad (with homemade croutons!) and key lime pie for dessert. The only points to dock here were for the tea, as it wasn’t lemon sweetened. Lemon sweetened vs. unsweetened tea may be a running joke in the family, but it does bring serious consequences when evaluating the overall hospitality. Bottom line, the dinner easily surpassed any steak dinner at JB Hooks, Baxters or Bentley’s.

We made a trip up to Fitz’s bait and tackle as Aaron needed a new A-rig (his ended up being a late day casualty to a submerged rock) and I needed new swimbaits for my A-rig. We already figured we’d be throwing the A-rig all day tomorrow so we wanted to be prepared.

Day 2 Morning:

Bass Stage: Pre-spawn / Spawn

Water Temp: low 50’s to low 60’s

Weather: 70 degrees, overcast, spotty showers

Wind: out of the southwest 30-50mph

Although the wind forecast for the day was completely insane, we must have done a really good job of keeping ourselves protected, because I never felt like it was really that windy.

For the first time in our BBB history, we started a day in an area other than the cove around the corner from my parents’ house. We went all in on main lake points. We took an early morning ride down to Bagnell Dam and fished the first point on the lake. This is the point I wanted to fish yesterday, but another boater had been parked on this spot. Today, we’d get first crack at it.

This is a really cool spot I have fished in previous summers. Not only has it held some decent fish, but it’s also a unique location in that has a little bit of everything a fish could want. Current: check (right next to the dam). Cover: check (boat docks galore). Close proximity to warmer water: check (spawning flat in finger just south of the point). And besides, it’s just fun to fish just under the Ozark strip restaurant area. Neon Taco looks a little different from this angle.

At 6:30, Aaron and I were casting A-rigs, canvassing the point. No luck. We moved in on the dormant Edgewater Cove Marina where Aaron picked up a couple of short fish on the spinnerbait around the docks. But, they were not the size we were looking for. We moved back around the point, in search of some warmer water. But the cove got busy. So busy that Aaron and I had to jump around a bit seeing as anglers kept jumping in right ahead of us.

We then buzzed across the channel to the first point on the north side of the main lake. We casted spinnerbaits, lipless cranks and A-rigs up against the bluff wall in 90 FOW. Unreal. We didn’t get bit. We were two hours into the tournament, and our main-lake-point strategy wasn’t working. It was decision time. Water temps at the dam ranged from 51-54 degrees. That is cold water. I told Aaron, I thought the ticket would be to find the warmest water possible – which was going to be in the back of the fingers/creeks. I suggested we head back to my parents cove and search for some water that wasn’t so chilly. Aaron was on board. Around 8:45, we pulled up on the dock neighboring my parent’s dock. I glanced at the Humminbird, which was displaying 61 degree water. This was an enormous temperature difference from the water down near the dam. This is the exact spot we started the prior morning. Shad were still busting all over the surface. Aaron heaved his A-rig toward the shore, near a partially submerged stump. His lure landed in 6” of water. I am not even sure he got a full crank on his reel when a bass throttled his big ol’ umbrella. “Got one!” I hear from the back of the boat. The way this fish was fighting, I could tell it was better than all the small bucks we caught yesterday. I grabbed the net and landed his fish. It was a very nice 2.5 pounder. Still not large enough to weigh, but probably the biggest fish of the trip thus far.

This breathed some newfound life into us. Maybe fishing shallow in the warmer water is the deal? Aaron took a second cast to the same area, and immediately hooked up again, with a much larger fish. “This is a big one!” trying his best to whisper and not make a make scene. I grabbed the net again. The fish took a couple of darts around the boat toward deeper water, but seemed to tire rather easily. I put the net into the water and Aaron guided him in perfectly. It was a mega! We were both ecstatic. He had our first true Ozark Giant. It was a bottomless serving of high fives and fist bumps for nearly 10 minutes. Neither one of us could actually believe we finally caught a fish that would weigh, and most likely be worth some money. And then came the dilemma…

With just a few minutes left in period, do we weigh the fish now, or save her until the next period? We’d never had to deal with this kind of strategy before. Based on the current leaderboard for the 6:30-9:00AM period, our estimated 4.4lb fish would be about 30th place. But we also know that lots of fish get weighed late in the period, so there is a chance it could get knocked from contention if we weighed it now. I think we were both 50/50 on weighing now vs. later. But our minds were made up quickly when another boat began pulling into the small cove. If we left to weigh the fish now, we’d sacrifice our current spot to the other boat pulling in behind us. In the flurry of fish catches, we spotted another giant bass lurking in the waters. We made the decision to protect our spot and not let any other boats in. We’d wait to weigh the fish in the next period.

For the next hour, Aaron and I protected the shallowest cut in the cove. Although we couldn’t see any big fish on beds, we could definitely see multiple beds with smaller males on them. The other boat loitered in the area long enough to convey the message that they wanted to get back into our little honeyhole. But I am sure we were conveying the opposite message as we blocked any other boat from moving in. Persistence paid off, the other boat left around 9:30. We made the decision to leave just after him, and go weigh our fish.

We ripped over to Point Randall, not knowing exactly where to go or how the weigh-in process worked. We pulled into the covered dock area where a BBB official greeted us and handed us a fish carrying bag. Aaron pulled his trophy from the live well and put it in the bag. Off to the scale.

The weigh station was unusually quiet. We were expecting lots of people to be in line, ready to weigh their fish. But there was nobody. We walked right up to the scale and Aaron turned his fish over to BBB.

They popped her on the scale and she rung in at 4.42lbs!

At the moment, Aarons fish was good enough for 12th place during the 9:00-11:00AM timeslot. We could not get over how cool it was that our boat was finally on the leaderboard. We headed back to our cove to find more warm water, but first, time for breakfast. Once again, a deliciously warm ham and egg feast. We spent the next 20 minutes replaying the catch for Mom and Dad, while constantly refreshing the leaderboard. As expected, his position moved lower, and lower. Our fingers were crossed he’d maintain a money position. And when 11:00 rolled around, Aaron locked in 40th place, and $190, with his fish. So incredibly awesome.

Day 2 Afternoon:

At this point, we had a hunch what was going on, and definitely needed to confirm. Although we didn’t see exactly where Aaron’s fish came from, we were pretty certain that fat mama was sitting up on a bed. Of all the things I thought we’d be doing today, sight/bed fishing was certainly not on the list. And the day was about to get a whole lot wilder.

When we came out from breakfast, we decided to try the next cove down from my parents. This one is no stranger to us. In fact, this spot holds the largest bass we previously caught in the Ozarks. So I guess you could say this actually is our honeyhole. Once again, nobody was fishing in the back of this creek. We had it all to ourselves. There wasn’t a ripple on the surface as the steep banks and docks kept the water completely undisturbed from the wind. The water on the shoreline had about 3 feet of clarity, so as we got closer, we noticed all the shallow beds. It was Bed Heaven. There must have been nearly a dozen beds dotting the tiny pocket. Some of the beds had crappie, others had small male largemouths. But one bed had a decent male paired up with a sloppy thick female. I called it out to Aaron before we were even in casting distance. “Aaron, there are so many fish in here, but the fish on that bed is a game changer!” Aaron agreed.

While I was positioning the boat so that I could cast at that fish, Aaron made his first cast deep into the back right corner of the pocket where there was at least two other beds. Immediately, Aaron set the hook. This fish fought incredibly hard as it zigzagged back and forth through the water. When the fish got close enough, we noticed a second fish swimming directly next to Aaron’s hooked bass. Aaron’s fish was a giant, but the 2nd fish mirroring every turn was at least two to three pounds bigger. It was probably the biggest bass I’ve ever seen up close. I lowered the net into the water and Aaron guided his big lady into captivity. We were in shock. Had he really just caught our 2nd money fish?

And the craziest part about this sequence, is that I still hadn’t even made a cast to the bigger fish that was sitting on a bed on the other side of the pocket. While Aaron tended to his fish, I refocused on the big bass and formed up the perfect game plan for catching her. For only the second time this weekend, I pulled out my secret weapon…the hair jig.

I took a first cast and missed the bed by a couple of inches. On my second cast, I landed the jig up on shore and dragged it down into the lake and into the bed. It was crazy, because you could see the male and female, side by side, spawning. I’ve only seen that one other time in my life on Prior Lake. As I dragged the jig across the bed, it floated in right between cthe two fish. And before I could even react, the large female began swimming off out in front of the boat, with my jig. Remember, my line is 6lb test, so there wasn’t going to be any forceful pulling on my end. The momma peeled out drag as she lethargically pulled across the surface of the water. I never had to call for the net. Aaron was already waiting. I kept telling him I didn’t think she was hooked very well. But in the end, she was hooked up enough to pull her in to Aaron. In less than five minutes, we caught the two biggest fish of the trip, and we guessed they were both darn near 5lbs. I threw mine into the second livewell.

We stood there in silence for a few moments. How do you explain the unexplainable? I don’t know how to convey the amount of happiness I had in that moment. I was so damn proud of us. Like, the most proud I have even been in any fishing tournament. We scrapped our entire main lake/cold water gameplan after 2 hours for a completely different strategy of looking for porky females moving up in shallow warm water. It is the best fishing decision I’ve ever made. And I can honestly say it wasn’t luck. It was by design. The fish were doing exactly what our revised game plan expected them to do.

We continued fishing the handful of beds but no longer saw any giant fish in the area. We moved around to the other side of the pocket, and saw one very large female, but she was easily spooked. We never got a chance to cast at her. With nobody else in the back of the tiny pocket, we decided to sneak a peek of our fish like we were peeking under a parent’s bed for Santa gifts. We pulled the two jumbos out of the livewell. Aaron’s fish was at least an inch longer than my fish, but my lady had a belly like a butterball.

We half heartedly fished another 30 minutes (more sight fishing than casting) before taking our “dates” over to the Point Randall weigh station. Aaron’s fish went on the scale first and came in at 4.92lbs. I then added my girl onto the scale and she tipped the 5 pound mark, coming in a 5.04lbs. For the 11:00-1:00 timeperiod, my fish came in at 18th place, worth $350, and Aaron’s came in at 22nd place, also worth $350.

We searched for beds the remainder of the afternoon, but were unfortunately unable to pluck another big one.

Later on that evening, we pulled the Nitro from the water and got her all put to bed for a long ride home.

Overall, out of the top 360 weighed fish, our three fish came in 146th place, 172nd place and 306th place. In total, our three fish were worth $890.

And as great as the fishing was, I didn’t compare to Mom & Dad’s amazing hospitality and company. There is nothing better than coming off a long day on the water to a 5-star meal, lemon sweetened tea and ironed pillow cases. Mom and Dad, easily another 10/10 ranking for the weekend.

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mikeybalzz · 3 years

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kimmclagan · 4 years

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Interview with Topper Headon, February 1980.

Turn off your mind, lie back on the couch and relax. We're going to have an association test. What do you think of when I say the Clash? Running battles with the grey forces of government? Three cord supercharged thrashes vilifying unemployment and public housing vegetation? Seething hordes of punks dancing themselves into a frenzy? Wrong. Times have changed. Punk is now locked as firmly into the past as hippies were in the sixties. Safety pins and bondage trousers are as passe as headbands and peace signs. The bands that characterized an era have disappeared. The Sex Pistols destroyed themselves, the Damned are a self-parody, which leaves the Clash. After an impressive first album and a fair second effort, their third a double recaptures the drive and energy of the first. The Clash have esestablished them-selves as the most talented band to emerge from the much vaunted new wave.

Their lastest album, London Calling, displays considerable evolution since early days of the band. The songs are more reflective and melodic. Songwriters Joe Strummer and Mick Jones contribute heavily but to a large extent the dexterity and adaptbility of drummer Topper Headon has enabled the Clash to develop their musicality. Topper is, perhaps, the most accomplished musician of the four-man band. His early training with a variety of different music forms from traditional jazz to soul, has provided a firm foundation for Strummer and Jones. Topper provides the matrix from which the rest of the band work. Topper believes the Clash have survived because they have staying power, because they haven't been afraid of changing and because they weren't hesitant to branch out when they grew tired of playing frenetic chords. "We've remained true to what we originally believed in," declares Topper. " We still enjoy playing our own songs. We're not going through any set patterns. The basic idea has been to remain true to what we believe in and not allow ourselves to be dictated to by the industry and become CBS puppets." They've done a deft job of staying ahead of big business machines. "We refuse to do Top of the Pops for example, even when the single came in at 29. CBS started to put pressure on us to do it. They tell us we won't have a hit single, and we say, so what? Who needs it? We wanted our double album to go out for £5 when everybody else's albums go out for a lot more. We had to fight battles to get a cheap record out. Obviously that's not in record company interests. They told us it was impossible. Maybe that's why we've stayed together; we keep setting ourselves impossible tasks. It gives us drive. Even on tour, the Clash are determined to keep prices down which certainly affects the bands take home pay. But money isn't what they want most. "What we want is for the kids to be able to see us," Topper says. Their attitude to irrates businessmen. "If anybody does something like sneak a video of us on television, we'd split up. And CBS know we mean business. We owe them so much money they can't afford for that to happen." The Clash are a refreshing contrast to the kind of bands that do anything to get their name on the dotted line. From the beginning it's been a complete turnaround from the usual state of affairs that exist between band and record company. The companies have been chasing the Clash. Topper joined the Clash between their first and second albums. Previously he was playing with a soul band that regularly toured Germany and British airforce bases. Regularly earning £50 weekly, Headon took a cut in pay to work with the Clash. "I knew at once that it was the gig I'd been looking for. Everything came quite naturally. By the time Topper joined the Clash, he was beginning to think he'd never pass an audition. Not many bands were signed before the British punk explosion. "They'd form a band for somebody from out-of-work musicians who had been thrown out of other bands. They knew the ropes, so they wouldn't kick up a fuss because they knew they were dispensable. Every time I went along for an audition, I was constantly beaten by drummers who had played for name bands and had 'experience'. It just went on and on like that." Topper had been playing drums since he was 13. Drumming was a habit he picked up when he had a broken leg which halted a promising football career. His dad spotted a second-hand kit in the local paper and bought it. By 14 Headon was regularly playing with a traditional jazz band. "For some reason bands were always short of drummers..." As far as tutoring, Topper never got past the introduction in the books. Paradiddles and triple paradiddles were as far as he got. Eventually Headon bought a Premier kit: "At that time it was the cheapest pro kit you could get. You could go into any music store and get one. Everyone stocked spares and fittings. That was one of the reasons why I bought a Premier. I'm still sold on silver kits because they look great under the lights." A few days before his first tour with the Clash he took possession of a silver Pearl kit, which he still uses. After a bit of chopping and changing of toms, he's wound up with a 24" x 17" bass drum, 14" x 10" top tom tom, 16" x 10" and 18" x 10" floor toms, and a Ludwig Black Beauty snare drum. All the cymbals are Zildjian - two pairs of 15" Heavy Rock hi hats, a 16" crash, an 18" crash, a 21" Rock ride, a 19" Rock crash, and a 20" Rock crash, plus a little Zildjian splash cymbal attachted to the top of the bass drum which he claims is driving the rest of the band mad. All the stands are Premier Lokfast Trilok stands. "I go for a real solid kit," claims Topper, "that's why I chose Pearl and Premier. They're really solid and serviceable, no frills on them. You get a good feeling when you sit behind them because they're so workmanlike. You think, 'Great, I ain't gonna knock these over.' I use rubber mats to secure the kit on the riser." "Although I have the kit basically the same most of the time, I do like to change it around occasionally. If I started to use wooden blocks on the riser then I'd be stuck with one position, and that can be limiting." When it became evident that the Clash were here to stay, Topper got the chance of a new kit, which he tried but didn't rate as much. However, he did take Pearl up on the offer of a recover and recon. He expects to have his present kit for at least another five or six years, providing it dosen't get dropped or broken. Another complaint from Topper is lack of service and spares outside London: "We've got a flight case which is like a miniature drum shop, it carries everything down to cymbal felts and spare lugs for the bass drum. We always take it with us on the road and keep it stocked up. "I begin a tour with everything I conceivably need, and gradually I get rid of things I don't need, so the kit gets smaller as the tour goes on. Once the hi hat busted, the spring went right inside, and it was impossible to fix up. It was a Saturday night when we discovered it, and we had a show on Sunday. Luckily, we were able to borrow a high hat stand from the support band." Topper is a man dedicated to acoustic drums. He regards synthisized drums as irrelevant: "They were alright for two weeks, then the novelty wore off. Personally I'm exploring different areas, like percussion. I even use finger cymbals on one track of London Calling. But thats the way to go - into acoustic percussion. There's so much scope there that I don't know why synthisized drums were invented in the first place." Miking up for a gig is a lot similar to miking up for the studio. Topper uses two overhead cymbal mikes, and two mikes for the double hi hat set up he uses. The toms are all miked from the top, and the snare drum is miked from beneath. He keeps both heads on and never keeps anything inside the shells. Topper uses very little damping live. What damping there is, is usually on the bass drum, and always external. All damping is with gaffer tape. Topper prefers AKG mikes, but on tour they vary depending on which PA hire company is being used. "I can go into the studio and get a good drum sound in an hour," continues Topper. Listen to the latest LP London Calling and you'll hear what he means. "The first time I went into the studio I was pretty green but I learnt from it. For London Calling I went straight in and knew exactly what to do. Everybody goes into the studio much more relaxed now. I use AKG mikes and everything is miked from the top except for the snare. Again I use double heads to get the boom sound, and I use room mikes to pick up the spillage, to make it sound more live without going over the top. The set up is exactly the same as I have live, really, except I don't use a bit of damping." The biggest problem with putting out the new album were recording costs. The Clash figure that the longer they spent in the studio, the more it would cost, the more money CBS would have to put up, and consequently they'd have a greater hold over the band. The Clash even put up some of the money themselves. Eventually they had the tape and told CBS: "You can have it if you meet our conditions." Topper admits that there are some mistakes on the album, and more than a few drum errors. That's the price to pay for the energy captured on the vinyl. London Calling was recorded in a month, with Guy Stevens producing. That's how it's going to be in the future, Topper maintains. The second album, Give Em Enough Rope, was not as successful as either the first or the third records, and Topper blames producer Sandy Pearlman for this. "He made it quite dull," Topper says. "He was a dull person to work with. We wanted a producer, CBS gave us a list of producers and his name was on the top. We listened to stuff he'd done with heavy metal bands, and we thought it was rubbish, but it was the production we were interested in. We wanted to get a good sound, and one complaint against the first album was that it sounded too thin. So we wanted some production that would stand up to time. So we got Pearlman. But he took so long to do it, with his perfectionism, that the prevalent feeling in the studio by the time he'd finished was boredom. When I think about recording that album I cringe." Problems don't end in the recording studio for the Clash. For a good few years now they've had constant trouble with local councils who insist on banning their gigs for fear of trouble. The whole surge of reaction against punk bands from "The Establishment" began with the infamous Sex Pistols. The daily newspapers portrayed the Clash as wreckers of society. "We're still getting that sort of prejudice," explains Topper. "We've had 16 gigs booked at various Mecca places, and then about 12 pulled out. You have to completely re-route the tour." The Hammersmith Palais cancelled a concert there because they said there were too many mirrors in the place to safely allow Clash fans in. "But our fans don't smash things anymore. They do if they're told what to do, like sit down in this seat and be a good boy. That's why out of all the gigs on our British tour only have two seats in them." Harassment from local villages takes other forms. The obligatory visit from the fire inspector often results in strict demands being laid down: "He says take that backdrop down, so we take the backdrop down, and he says erect more crash barriers, so we put up more crash barriers, he says this stage has to be rebuilt here, and you need more security. We just laugh at him and do anything he wants. Nothing can stop us playing. But they make life difficult." As time progresses, however, the Clash are becoming more acceptable, though not more respectable, Topper hopes. He makes the point that the Clash have to pay for all the damage that's caused, so why should they promote vandalism? Surprisingly, Topper found that the audiences in America weren't so much different to the British fans. The punk thing is really only just beginning to happen across the pond: "They're still into safety pins," declares Topper. "It's the same as the White Riot tour here, when there were about 300 or 400 fans dancing down the front with the rest there out of curiosity. But we sold out 25 of our 28 gigs there, and that was in 3,000 and 4,000 seater auditoriums. The States is so big. LA was just a load of old hippies lazing around getting stoned in the sun. I liked Chicago best, with all the blues clubs. But we should do well over there because the USA has all the same problems as Britain except they're magnified. They have all the slums and the poverty and more of a racial problem too." Highlighting social problems is one of the bands strong points. They should have plenty to write about in America. The Clash are political, and very definitely anti-National Front. Topper's favourite drummers come from America, such as Harvey Mason and Steve Gadd. His favourite British drummer is Terry Williams, who plays for Rockpile. Musically, his tastes are strictly black; James Brown, Otis Redding and lots of reggae, particularly the Mighty Diamonds. America looks tripe for the Clash. They've toured there twice and soon they should start to take off now that punk has spread. The Americans have been fairly slow catching on to what the 76' British New Wave was all about - perhaps they've been too wealthy for too long. With a new recession biting home, maybe the Clash will take on new relevance to downtrodden, unemployed kids in America. Topper himself represents a new establishment of musicians in Britain that once would have been unthinkable. Two years ago the Clash were vilified as not being "real" musicians. Their drive, talent and staying power has proved the cynics wrong. In general, the Clash have proved themselves to be dedicated professonials with firm ideals at heart. In particular, Topper Headon spearheads the drumming new wave with a forceful and accomplished style that can't be dismissed.

#topper headon #the clash #article #*mine

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organicblog421 · 3 years

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Aria Guitars Serial Numbers

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Aria Guitars Serial Numbers For Sale

In the mid 70's, serial numbers began to be used. At least for Aria guitars, made by Matsumoku, the serial number contains the year of manufacture in the first 2 digits, thus a guitar from 1979 would have a serial number, such as 79####. The manufacturing of Aria guitars were subcontracted out to Matsumoku from 1964 to 1986. If you are a middle-aged woman looking to have a good time dating woman half your age, this advertisement is for you. 1982, serial number 2080692 Aria Pro II PE60 Black n Gold. Face swap app.

The neck block is a part that was already made in Japan, so this is not the correct serial number for the guitar. Yamaha serial numbers are recycled every ten years, 29 formats are supported here based on research available on the yamaha website. Production YMMI (Yamaha Music Manufacturing Indonesia), Indonesia In the period of 1990-1996 an eight-digit serial number was used in this factory. If you want to know the production year of your Squier guitar,you can decipher it with the serial number decoder, or find it in explanation about the dating system below. Little black lines that grow on the guitar, and under the finish, little parts will fall off. The Korean Fender Squiers were produced from 1988, but there were no serial numbers until mid-1993 The 5 digit numbers are the same as the 8 digit numbers but donât have the 3 unit numbers on the end. All Black label Taiwan models have the headstock logo with the 3 tuning forks inside a circle with âYAMAHAâ¦ Yamaha occupies a surprisingly unusual niche in the guitar industry. The first step is to find the serial numberâa combination of letters and/or numbersâ and the 'Made in..' label (Japan, Taiwan, or Indonesia) on the guitar. G-50A label â note no Nippon Gakki on the label â from 1970-1972. RSS. YouTube. Simply enter your Yamaha piano serial number to find out when and where the Yamaha piano was made or look at the full listings of piano serial numbers. Your guitar's serial number is found inside the sound hole and up sharply towards the neck block (see example on the right). May 13, 2017 - The most common Yamaha serial numbers follow a system that uses 2 letters, followed by 5 numbers. 'MADE IN INDIA' on the headstock. My concern..the guitar is made in China. Facebook. Yamaha Piano Serial Numbers (how old / what age is your Yamaha piano) The majority of Japanese Yamaha pianos currently in the UK have a 7 digit (sometimes only 6) serial number which can be found to the top right area of the iron frame (youâll need to lift the top lid of the piano to see it). Images Custom instruments and wiring diagram courtesy of Ben van Dyk Jan 2015. Korean made guitars (just like American or any other country) depend on who, what when and why they where produced. The first two digits represent the week of the year it was made. The information contained in this guide was culled from our archives of Fender price lists and catalogs, beginning with 1968. You should be Aria guitars manufactured in the 1970s typically feature a serial number â¦ First generation 03 Series serial numbers may also be ink stamped on a white label. documented. The Squier IIs made in India seem to follow the numbering scheme in the USA. Note serial numbers recycle every 10 years. Solid top guitar. However, despite this huge stride forward in the companyâs history, these guitars would continue to be available for a Japanese audience only throughout the 1950s and much of the 1960s. It was during this era of Yamahaâs acoustic guitar history that the company proceeded with founding a factory in Hamamatsu, Japan. The plant are so dirty rats can't can't live there. It covers any Yamaha piano made between 1917 and 2012 in all 6 factories. That 'Made in China' sticker is always going to â¦ Although the tables below are as accurate as possible, serial numbers of these acoustic guitars have never been archived and are of no assistance when attempting to date these instruments. SoundCloud. If you get unexpected results please double check that any letters at the start of the piano's serial number aren't actually the end of the Yamaha model number or relate to characteristics of the piano such as scale or finish. I believe it to be mid 60âs. I would appreciate any information on possible year of manufacture. See another guide âYamaha FG Serial Numbers, Interior Markings, and Labelsâ for more info. Almost all white oval labels are made in Taiwan. According to YamahaAustralia all G-50A were made in Japan. These run new around $1200 and I've seen them cheaper in some places. The signature bass of the singular Billy Sheehan, the Attitude was one of the first production instruments developed by YGD. For instance, a '12' means it was made in the twelfth week of the year. Where to find the serial number Yamaha's guitars serial numbers repeat every 10 years, so additional research may be needed to find the exact year your guitar was made. A great example of the fantastic build quality of the Yamaha Taiwan factories in the late 70âies and early 80âies. Guitars since 1966.eval(ez_write_tag(((300,250),'jedistar_com-box-3','ezslot_0',116,'0','0'))); Serial numbers for acoustic and classical guitars, Serial numbers for electric and bass guitars. Serial Number Chart for Acoustic and Classical Guitars In the following charts, you can determine the year of manufacture for a Yamaha acoustic or classical guitar. Items made in China are bad. The serial number is generally stamped on the front or back of the headstock,or in some cases on the neck plate. Hangzhou, China; Taoyuan, Taiwan; As a result, there are six different serial number ranges for Yamaha pianos. I have a Yamaha Nippon Gakki Co.Ltd vintage electric guitar seriel No 12320. cream in color. Twitter. First two numbers in the sequence will tell you when your guitar was produced, while the following numbers represent the serial number of the instrument itself. Some more recent Squiers, including the Vintage Modified series (the serial numbers start here with SH), were in Introduced in 2007. The serial number registration of these countries also leaves sometimes to be desired. The company, which is celebrating the 50th anniversary of its presence on the American market and export to other countries beyond Japan, has consistently produced guitars that have sold in impressive numbers and attracted a notable following of celebrity players and esteemed pros. Guitar made in China are in the worst place you could make a guitar. Example: A serial number starting with W17 indicates the guitar was built in Korea, in 2017. The serial number is on a sticker on the back of the neck, close to the attachment point with the body. Your guitar was made onOctober 24th, 1987, 1997or 2007Production Number: 338 Yamaha â¦ The letters H to Q each represent the number that the year the guitar was built in ends in. In a three-digit serial â¦ GAX70; GRG170DX; GRG270; GSA60; SA120; GRX40; GRG121DX; AS73; All items (668) Based on the serial number, your Dean was built in 2000 (the first two numbers are the year manufactured). If your grand piano is a GH1G, GH1FP, GC1G, or GC1FP, your piano was manufactured in Thomaston, Georgia. Once located, the serial number offers clues as to when the guitar was manufactured, and the first few digits are especially important, as the numbers changed over a few decades. 2020 marks two related anniversaries for Yamaha Guitars: the 30th anniversary of Yamaha Guitar Development - our Los Angeles custom shop - and the 30th anniversary of the Attitude series. China Yamaha Guitar wholesale - Select 2020 high quality Yamaha Guitar products in best price from certified Chinese Guitar manufacturers, Custom Guitar suppliers, wholesalers and factory on Made-in-Chinaâ¦ From about 1971 Yamaha also had a special line of handbuild FGâs of outstanding quality. Instagram. The Yamaha Corporation has grown to become the worldâs largest manufacturer of a full line of musical instruments. YouTube. The first letter indicates the location where the instrument was made, and subsequent digits indicate the year the instrument was made. If the serial number begins with a 'T', the piano was manufactured in Thomaston, Georgia. China Guitar wholesale - Select 2020 high quality Guitar products in best price from certified Chinese Musical Instruments manufacturers, Electric Guitar suppliers, wholesalers and factory on Made-in-Chinaâ¦ Most serial numbers on Danelectro guitars have either three or four digits. Facebook. I believe it to be mid 60âs. (Source: Nigel Barker, Sydney Feb 2015, Hi. For example, if the guitar's serial number starts 'Z0411,' then you know that the guitar was made in China, in 2004 and the month code '11' refers to November. This website possesses NO DATABASE of guitars made by manufactures, instead simple serial code patterns that are available on this site and in the wider guitar community are used. See below for location initials. This place leads to later problems,The China Flu! I would appreciate any information on possible year of manufacture. SoundCloud. L Series High end line of Yamaha acoustic guitars which features the traditional vibe and superb acoustic sound by A.R.E. This orange label says made in Japan. The letter 'H' is â¦ Acoustic catalogs 70,72,78 and more t-shiga.com/sub7-5-1.htm, 2006 Acoustic, Electric and Bass guitar catalog | 2006 Guitar and Bass, 2012 Guitar catalog | 2012 Acoustic guitar catalog | 2012 Classical guitar catalog. Look for the two-digit codes to determine the month in which your guitar was made. The first letter represents the year that the guitar was built. The models included in this category were/are produced in China. Decode your serial number. Yamaha serial number 71024338 can you tell me when this guitar was made? This is because it doesnât have the popularity of a Gibson or Fender nor the resale value. H = 1 I = 2 J = 3 K = 4 L = 5 M = 6 N = 7 O = 8 P = 9 Q = 0 But it gives no clue as to the decade so for each letter it could represent the following years. Twitter. Other low-budget countries followed, like China, Indonesia and India. The Yamaha Guitar Archive data says these models started in 1974 but so far Iâve found Tan label serial numbers as late as August 1975, and I havenât found a Black label earlier than June 1975. Details. CSF series guitars combine the portability of a travel guitar with the focused tone and easy playability of a parlor guitar, while producing a surprisingly full and resonant sound. Generally a Yamaha isnât a guitar that is often faked like a Gibson or Fender. technology. Thank you, Copyright 2007-19 P Carroll Jedistar | All Rights Reserved | GAS: Guitar Acquisition Syndrome, 2006 Acoustic, Electric and Bass guitar catalog. Instagram. If your serial number has 2 lines of numbers please enter only the bottom row to the lookup form below. These had a leather label including signature: If the guitar has a nine-digit code, the two numbers following the year code identify the month. From 1982 Fender Squiers are also produced outside the USA, in that year the production startedin Japan. RSS. If the serial number begins with a 'U', the piano was manufactured in South Haven, Michigan. Trending pages. Look at the first letter of the serial number, which indicates which year the instrument was made. Serial Number Chart for Electric, Archtop, and Bass Guitars In the following charts, you can determine the year of manufacture for a Yamaha electric, archtop, or bass guitar. Some rare white oval labels are Nippon Gakki made in Japan: Thereâs one big exception concerning early FGâs. https://organicblog421.tumblr.com/post/657479049456844801/black-keys-el-camino-rar. CJ 838S, 1980, serial 00827125, made in Taiwan. I have a Yamaha Nippon Gakki Co.Ltd vintage electric guitar seriel No 12320. cream in color. Every Dean guitar made in United States comes with a seven digit serial number that is printed on the back of the headstock. I was a jumbo guitar and the sweetness of solid rosewood back and sides has always appealed to me. Let's look at an example of what this might look like - MM12022. In the late 1970s and early 1980s, Fender was faced with competition from cheaper Japanese guitars. From this we can tell that this is the 22nd guitar built on June 12 of either 1966, 1976, 1986, 1996 or 2006. If the serial number begins with a 'T', the piano was manufactured in Thomaston, Georgia. Very cold and very hot. First Letter Years H 1961, 1971, 1981, 1991, 2001 I 1962, 1972, 1982, 1992, 2002 J 1963, 1973, 1983, 1993, 2003 K 1964, 1974, 1984, 1994, â¦ As a result, there are four different serial number ranges for Yamaha pianos. In 1975 most of the existing models numbers had -1 added to them, on a black rectangular label. Typically, yes. In 1887, Yamaha (then Nippon Gakki Co., Ltd.) began producing reed organs in Japan. I junked one and traded two.

If you are a middle-aged woman looking to have a good time dating woman half your age, this advertisement is for you. 1982, serial number 2080692 Aria Pro II PE60 Black n Gold.

First recorded serial numbers for guitars and bass by year: YEAR / GUITAR / BASS 1980 G000530 B0 G003122 B0 G009886 B0 G011654 B0 G013273 B0 G014690 B0 G017325 B0 G020241 B0 G023725 B0 G006 1990 G026344 B0 G027163 B0 G029962 B024288.

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Aria Guitars Serial Numbers For Sale

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your-dietician · 3 years

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IndyCar driver Josef Newgarden to speak to Nashville Sports Council

New Post has been published on https://tattlepress.com/nascar/indycar-driver-josef-newgarden-to-speak-to-nashville-sports-council/

IndyCar driver Josef Newgarden to speak to Nashville Sports Council

Nashville IndyCar driver Josef Newgarden, coming off his first win of the season and headed into the inaugural Big Machine Music City Grand Prix, will be the featured guest speaker July 13 at the Nashville Sports Council’s monthly luncheon.

Tickets for the 11:30 a.m.-1 p.m. event at Nissan Stadium are available at bit.ly/3ywDjbd. Doors open at 11 a.m.

Newgarden picked up his 19th career win July 4 at the Honda Indy 200 at Mid-Ohio. It snapped a nine-race losing streak for Newgarden and Team Penske, the winningest team in IndyCar series history.

Because the next race — Honda Indy Toronto — on the schedule was canceled for the second straight year due to COVID-19, the Aug. 8 Music City Grand Prix on the streets of downtown is next on the calendar.

“We’ve got some confidence with this win so I feel like we can make it all happen,” Newgarden told Autoweek. “I always believe, I’ve told these guys, I believe we can win any race we go into. Nashville would be a dream to have a great result.”

Chase McCabe of The Game 102.5-FM will moderate the discussion.

“The timing couldn’t be better for Josef to speak in his hometown coming off such a dominant win at Mid-Ohio,” McCabe said. “You can tell the team has confidence right now. I can already tell you that they’ll use that momentum from the win on top of the fact that Josef is looking for a win at his home track.”

Music City Grand Prix:IndyCar Music City Grand Prix pole trophy will honor late driver Bryan Clauson

Nashville sports:Nashville is only U.S. city on SportsPro’s ‘Seven sports event destinations to watch’

Newgarden was tabbed by Music City Grand Prix officials as brand ambassador and spokesperson for the race.

“Anytime you have an inaugural event and you have someone of Josef’s stature and prominence in the sport from here, I certainly think that adds a great piece to the event,” Nashville Sports Council president and CEO Scott Ramsey said. “I think for all the fans that are going to attend the event, especially those from Middle Tennessee, it would be great to see the hometown guy come out in front.”

Those who have signed up to volunteer for the Music City Grand Prix will receive free admission to the luncheon.

Music City Grand Prix single-day tickets on sale

Speaking of the Music City Grand Prix, single-day tickets for the three-day event (Aug. 6-8) went on sale to the general public Tuesday.

Tickets are available by visiting musiccitygp.com/tickets, ticketmaster.com or by calling the Tennessee Titans ticket office at 615-565-4650. Prices are $35 Aug. 6, $65 Aug. 7 and $85 Aug. 8.

With a majority of the reserved grandstands sold out (including grandstands 1, 2, 3, 4, 9 and 10), a limited amount of single-day reserved grandstand and general admission tickets will be available in grandstands 7 and 8 and the recently-added grandstand 11.

Sterling Marlin writing book

Two-time Daytona 500 champion Sterling Marlin is writing an autobiography.

It will go back to his time growing up on a farm in Columbia, being a star quarterback on the Spring Hill football team and how he got into racing at the Nashville Fairgrounds Speedway.

Marlin, who celebrated his 64th birthday June 30, said he should be finished with the book in a few months.

In 1995 retired Tennessean columnist Larry Woody wrote “Pure Sterling: The Sterling Marlin Story,” which focused on Marlin’s racing career.

Marlin retired from the NASCAR Cup Series in 2009 and returned to Nashville Fairgrounds Speedway where he raced in the Pro Late Model series through 2019.

Belmont’s Egekeze signs another pro deal

Former Belmont basketball star Amanze Egekeze signed a pro contract recently with Donar Groningen in Holland.

The 6-foot-8 forward from Lake in the Hills, Illinois, averaged 10.8 points and 4.1 rebounds per game for Gries Oberhoffen in France this past season.

Egekeze was a 2018 All-Ohio Valley Conference selection at Belmont. He helped lead the Bruins to a total of 89 victories and three conference championships.

Former Tennessean sports editor Larry Taft, five others going into sports writers hall of fame

Six individuals will be inducted into the Tennessee Sports Writers Association on Thursday.

Three are from the 2021 class — Maurice Patton, Larry Taft and George Starr — and three are from the 2020 class — Tommy Bryan, Teresa Walker and Mark Wiedmer.

The 2020 induction was canceled due to COVID-19.

Patton worked at the Review Appeal in Franklin, The Tennessean and the Columbia Daily Herald before launching his own web site.

Taft worked at the Knoxville News-Sentinel and the Democrat-Union in Lawrenceburg before joining The Tennessean. He became the sports editor at The Tennessean in 2007. He also served as director of media relations for the TSSAA.

Bryan started as a sports writer for the Lebanon Democrat in 1977 and from1981-2003 was owner and publisher of the Wilson World.

Walker began her career in 1987 and has been the Associated Press sports editor based in Nashville since 1992.

Ex-TSU star Devin Wilson named arena league player of the week

Former Pope John Paul II and Tennessee State receiver Devin Wilson was named the National Arena League offensive player of the week Tuesday.

Wilson, who plays for the Jacksonville Sharks, had nine catches for 138 yards and four touchdowns in a 52-41 loss to the Orlando Predators.

Wilson is Jacksonville’s leading receiver on the season with 27 catches for 254 yards and five touchdowns.

DuPont names 2021 hall of fame class

Former DuPont track and field star John Flatt and his daughter Traci, a three-sport star, are in the 2021 DuPont All-Sports Hall of Fame class along with former basketball star James Ray Pugh and former football star Pete Bush, who went on to coach at the school.

John Flatt, who died in 1997, set the Midstate record in the pole vault with a mark of 11-foot-5½-inches. He broke the record the following spring at 12-1.

Traci Flatt was a volleyball, basketball and softball standout (1983-85).

Pugh was a starter on the 1953 state championship basketball team. He had 23 points and 13 rebounds in the title game and went on to star at Belmont.

Bush was one of the top tight ends in Nashville (1957-59). After an outstanding career at Austin Peay Bush began his coaching career at Goodlettsville before returning to DuPont in 1974 where he remained until the school closed in 1986.

Margie Stoll inducted into Senior Olympics Hall of Fame

Margie Stoll of Nashville was inducted into the Tennessee State Senior Olympics Hall of Fame on June 29.

Stoll has spent the last 20 years competing in the annual event. This year she set an 80-85 age group record for the Tennessee Senior Olympics in each of the six events she entered.

Stoll also is in the USATF Masters Hall of Fame.

Others in the 2021 Tennessee Senior Olympics Hall of Fame class: Joe Sykes (Clarksville), Wayne Matthews (Crossville) and Joyce Manis (Kingsport).

Nashville’s parks and recreation receive low ranking

July is National Parks and Recreation Month and Nashville did not fare well in Wallethub’s “2021’s Best & Worst Cities for Recreation.”

The Music City was 81st out of the 100 cities in the ranking, which was based on 48 metrics connected to the benefits of recreational activities.

Living costs, the quality of parks, the accessibility of entertainment and recreational facilities and the weather were taken into account.

Memphis was 90th.

The top five cities: Orlando, Florida; Las Vegas; San Diego; Cincinnati; Tampa, Florida.

The bottom five: Fort Wayne, Indiana; Chula Vista, California; Garland, Texas; Durham, North Carolina; Oakland, California.

Crigger promoted to fulltime role at Austin Peay

Austin Peay graduate Casey Crigger was recently named assistant director of athletics communications.

The Johnson City native started out as manager on the baseball team and spent the last four years as a member of the athletics communications staff as a student and graduate student.

He will remain the department’s primary athletics communications contact for women’s soccer and women’s basketball and will move into a secondary role for the Austin Peay football program.

Harold Eller Pro-Am registration deadline approaching

The deadline to register for the Tennessee Golf Association Harold Eller Pro-Am Tournament is July 21 at 5 p.m..

The tournament is July 26-27 at Old Hickory Country Club. Register at bit.ly/3wqKHn3.

Pro Tracy Wilkins along with armatures Gary Slayden, Kenny Wilson and Eric Emery tied pro Chase Harris and armatures Buzz Fly, Scotty Hudson and Matt Cooper for the 2020 championship at 26-under.

Registration opens July 14 for Bass Pro Shops U.S. Qualifier

Registration for the biggest amateur fishing tournament ever on Old Hickory Lake opens July 14 for 24 hours only.

Registration for the Sept. 11 Bass Pro Shops U.S. Open Qualifier will be available at basspro.com/usopen.

The tournament with a guaranteed purse of $4.3 million is one of eight national qualifying events.

The top 40 finishers at the Old Hickory qualifier will be eligible to fish the National Championship in November at Big Cedar Lodge on Table Rock Lake in Missouri.

If you have an item for Midstate Chatter contact Mike Organ at 615-259-8021 or on Twitter @MikeOrganWriter.

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droneseco · 3 years

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Cleer Enduro ANC Wireless Headphones Review: Top-Quality Budget-Busting ANC Headphones

Cleer Enduro ANC

8.50 / 10

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Cleer is launching the Enduro ANC as a competitive wireless headphone option on multiple levels: great sound, excellent battery life, tidy ANC, and some style flourishes to boot.

Specifications

Brand: Cleer

Battery Life: 60-hours

Bluetooth: 5.0

Noise Cancellation: Yes

Pros

Substantial 60-hour battery life

Good overall sound

Customizable EQ settings

Comfortable for prolonged periods

Decent ANC

Cons

Ambient sound levels can act strangely

Slightly bass-heavy

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You want your wireless headphones to do two things. First, sound great—that's a given. Second, you hope that the headphones come with decent battery life, too.

Is combining those two essential features into a single package too much to ask?

The good news for you is that Cleer hears your anguished cry and has brought forth the Cleer Enduro ANC wireless headphones, rated for up to 60-hours of audio playback.

So, the battery is good, but how does the Cleer Enduro ANC sound? Read on to find out in our hands-on review.

Cleer Enduro ANC Box Contents

First up, what can you expect to find in the Cleer Enduro ANC box?

Cleer Enduro ANC headset

USB Type-A to Type-C charging cable

USB Type-C to 3.5mm jack

Airplane adapter

Travel case

Surprisingly, these are not the first set of headphones to have hit the test bench in 2021 that include an airplane seat adapter. The adapter allows you to plug your Cleer Enduro ANC headphones into the audio output of your airline seat so you can use your headphones to watch the in-flight movie.

At the time of review, most international travel is still curtailed due to the COVID-19 pandemic. Still, headphones last for a long time, and Cleer is definitely reckoning on you being able to hit the skies at some point soon.

Adding to that, the travel bag is a nice touch and will help to keep your headphones from the inevitable scuffs and scratches that come with everyday use, not least when you're traveling about.

Cleer Enduro ANC Specifications

You know what's in the box. What's powering the Cleer Enduro ANC wireless headphones?

Style: Over-ear, closed-back

Colors: Light grey, navy

Driver: 40mm Ironless Driver

Frequency response: 20-20,000Hz (Bluetooth), 20-40,000Hz (wired)

Connectivity: Bluetooth 5.0, wired optional, NFC fast connect

Codecs: SBC, AAC, aptX Adaptive

Microphone: Two integrated microphones

ANC: Yes, with Ambient Mode

Battery: Up to 60 hours playback with ANC enabled

Fast charge: 2 hours playback on 10 minutes charge

Full charge: Roughly 3 hours

Weight: 280g (9.87oz)

Cleer has a clear goal in mind with the Enduro ANC wireless headphones: battery life. The trend for wireless headphone battery life is trending higher, and consumers are demanding audio hardware that lasts longer than a day. The Enduro ANC has a battery life in spades, putting up alongside other recent releases such as the Anker Life Q35 and Urbanista Miami, both of which tout up 60 hours of battery life.

Another thing to note is that the Cleer Enduro ANC does come with a companion app, Cleer+, which is available for both Android and iOS. From the app, you can change or create a custom EQ or adjust the ANC and ambient sound level—but more on this in a moment.

Cleer Enduro ANC Are Quite Stylish

On removing the Cleer Enduro ANC wireless headphones from the box, you immediately note the smooth, sleek exterior of the earcups. They're really nicely rounded and look great in their presentation box, with the golden bronze style trim set off nicely against the navy of the headset.

The earcups are covered with a soft leatherette style material and, in combination with the presumably memory foam cushioning, make for a comfortable wear. The headband, also imbued with the same golden bronze trim, looks tidy. You'll find the same cushioning on the underside, which, while it is comfortable, doesn't stretch across the entire headband.

It wasn't much of a concern for me, as I don't have a particularly large head, but those with a larger frame might find the cushioning doesn't extend quite far enough to cover the entire skull. Overall, though, the Cleer Enduro ANC delivers in the comfort area.

At the bottom of the left earcup, you'll find the standard array of wireless headphone controls, including an active noise cancellation button, volume controls, and a USB-C charging port. The buttons are easy to use, very responsive, and make the Enduro ANC easy to use on the go.

I'd also add that the overall build quality of the Enduro ANC appears good. There are moving parts, and these are foldable wireless headphones. But the important areas, such as the joint between the headband and the earpads, appear strong and well made, unlikely to fall apart at the drop of a hat.

The Cleer Enduro ANC Has Excellent Battery Life

One of the biggest selling points for the Cleer Enduro ANC is the battery life. Touted as delivering up to 60-hours of playback with ANC switched on, the Enduro talks a big game.

I found that the Enduro ANC very much lived up to the billing, always delivering at least 55-hours of playback and often more. Cranking the volume up knocks a bit of time off, as you might expect, and battery life always varies between charges for myriad factors. Still, overall, Cleer has delivered on the promise of substantial battery life.

Fast-charging also delivers on the specified time frame, picking up between two to four hours of audio playback on a rapid 10-minute charge.

How Does the Cleer Enduro ANC Sound?

Cleer is a long-standing and well-respected name in audio hardware manufacturing. The San Diego-based outfit has been in the audio hardware design and manufacturing game a long old time. Long enough that they've developed their patented Ironless Driver Technology, delivering better mids, clearer highs, and less overall distortion.

It translates into a well-rounded sound profile for the Cleer Enduro ANC, if a little heavy on the bass side of things.

You suddenly notice that low tone inclination when switching from anything making use of the Ironless Driver's excellent mids and highs. The bass comes thudding in, pumping hard, and bringing some extra oomph to your musical experience.

Is it bad? Absolutely not—the overall soundstage of the Enduro ANC is well rounded enough that despite the bass-heavy tone, the rest of the package compensates well and makes listening to music, podcasts, and audiobooks a pleasant experience.

There's also the companion app, Cleer+, which you can use to adjust the EQ settings of the Cleer Enduro ANC, too. The app is extremely easy to use, and while the EQ only has five frequencies, you can easily chop and change to find your perfect balance.

Handily, the EQ moves in notches, noting each change you make and allowing you to return each slider to the previous position with an undo button. It's only a small thing but is useful for making slight adjustments in the quest for a perfect EQ. In future editions of the Cleer+ app, some pre-programmed EQ settings would be a welcome addition for those who don't want to fiddle.

The Enduro ANC wireless headphones hold up well in games, too. When you have headphones with a good soundstage, as the Enduro ANC does, it translates nicely into games with equally well-crafted audio. Without delving too far, go to games such as Doom 2016 and Dirt 5 sound brilliant, and you won't be disappointed for the price.

The Enduro ANC uses Bluetooth 5.0 for connectivity, which works well. Furthermore, Cleer has integrated Qualcomm's aptX Adaptive codec, a nice touch for anyone that wants to stream high-quality audio and has supporting hardware (such as an aptX compatible adapter) and lossless audio to boot.

Is the Cleer Enduro's Active Noise Cancelation Any Good?

I found the ANC function of the Cleer Enduro decent enough, although it does come with some quirks.

In the companion app, you can control the ANC using a slider, adjusting the level of ANC and the volume of external ambient noise. So far, so good.

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However, when you begin sliding the ambient sound up, at times, the microphones appear to go into over-drive, magnifying external noises rather than simply allowing a passthrough. Sitting at my desk with ambient mode switched on, and a passing seagull outside the window sounded like an incoming threat.

The noise-blocking aspect of the Cleer Enduro works well, though, and for the price point the Enduro's retail at, it's a competitive proposition.

Should You Buy the Cleer Enduro ANC Wireless Headphones?

The final verdict: are the Cleer Enduro ANC worth your hard-earned pennies?

Let's look at the facts. The Enduro ANC delivers up to 60-hours of playback with ANC-enabled, which is alone an impressive feat. The headphones are comfortable, fit nicely, and won't cause you undue ear fatigue, weighing a bang-on average 280g (9.87oz).

The sound quality is a little bass-heavy, but overall, the Enduro ANC makes music sound good, and every listening experience is a tidy, well-crafted delve into your favorite tracks. While the ambient noise passthrough can be a little iffy, you can overlook that with the actual ANC itself, which performs well under almost all circumstances.

The Cleer Enduro ANC wireless headphones retail for $150, and for my money, that's a really good deal. The Cleer Enduro ANC enter the wireless headphone marketplace at a very competitive price point, standing up against some well-known competitors. The Ironless Driver Technology helps the Cleer Enduro ANC soundstage deliver, and you won't be disappointed if you pick these headphones up.

Cleer Enduro ANC Wireless Headphones Review: Top-Quality Budget-Busting ANC Headphones published first on http://droneseco.tumblr.com/

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vulturewoodwork · 5 years

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(8/27/19- I found this article useful)

A GUIDE TO PLAYING 78 rpm RECORDS: To play 78s you need the following equipment: Turntable: Cartridge/Styli: A few additional points:

by Roger Beardsley

The idea behind this guide is to help collectors to get the best results from their precious 78rpm records. It is not exhaustive, neither is it highly technical. Whilst it starts from scratch, it is equally applicable to those with some sort of 78 replay system. This is probably the most suitable point to say that electrical reproduction with good, modern equipment is infinitely superior to original 78 gramophones, whether electric or acoustic. Even the EMGs cannot compete. And of course only modern lightweight pickups can be used on vinyl pressings such as those produced by Historic Masters: not even thorns can be used without damage. However, the advantage is that such pressings can produce quite stunning results when reproduced on good, simple equipment.

A turntable with variable speed adjustment, covering a range from about 60 to 90 rpm. Several are available to do this.

A good quality tone arm, containing a stereo cartridge and styli, which have been retipped for playing 78s.

An amplifier, preferably one capable of selecting mono as well as stereo. Ideally, it should have a facility for reproducing the different equalisations used in the 78 era.

High quality loudspeakers. It is easy to think that 78 rpm discs, with their limited acoustic range c.f. modern recordings, do not require good loudspeakers. The opposite is true.

The first item you will need is a suitable turntable with variable speed. This is because so many 78s were not recorded at exactly 78rpm: speeds of between 72 and 85 rpm are quite common, with a few higher or lower. Probably the cheapest option is a second-hand variable-speed Goldring-Lenco unit, one of the ‘GL’ series. They are still easy to find and relatively cheap. They always benefit from some basic maintenance, which will include a new idler wheel. (see end for details of suppliers). The biggest problem with the Goldrings is the incidence of rumble. That new idler wheel will help, as will removing, cleaning and re-greasing the main bearing. If you cannot tackle this yourself, many specialist hi-fi shops can do it for you. Other turntables types include the STD, which has a useful digital read-out, but which can be a nightmare to repair, since spares are hard to find. Many other types can be found that will play 78s, but not usually with the required speed variation. Garrard 301/401 as they stand only have something like a 3% variation, although can at some expense be modified by Loricraft to give very wide speed control. It is perhaps worth mentioning that the Goldring and STD turntables are capable of almost infinite speed variation up to 90 rpm and are thus ideal if you play Pathé discs.

If a larger budget is available, and it is worth relating this to the cost/value of your collection, then probably the best option is the modified Technics SL1200. It is a high quality, ruggedly built unit, capable of seriously good results. In the UK the cost is likely to be around £400 and in the USA $600. It comes complete with arm and removable head shell, a necessary feature with the need for different styli (See next section). In its normally modified form, the speed variation is between 72 and 85. Sufficient for most purposes, but not all. However Digital Recording Services (see below) can alter if necessary, to give speeds of over 100 rpm.

For those wishing to spend more, the Technics SP10 Mk. 2 and EMT 950 are regularly available from firms dealing in ex-broadcast and studio equipment. These however require specialist skills in order to interface with domestic pre-amp/amplifier systems and in both cases, variable speed options may not be installed as standard.

With a suitable turntable, the next item to consider is the cartridge/stylus. Ordinary hi-fi types are not really ideal for the harsh conditions of 78 playback. High surface speeds and recorded velocities, warped and badly centred records and heavier playing weights all conspire to upset delicate stylus systems.

Suitable cartridges are the Shure SC35, Shure M44, Stanton 500 series and Ortofon Pro range. All are very reasonably priced, under £40/$60, and come with LP stylus which can be re-tipped by specialist companies with a 78 type. 78 styli have a tip which is much broader that that used for LPs. All of these will track happily at 4/5 grams, the optimum weight given the groove-wall geometry/dynamics of the 78.

Ideally you will need more than one stylus type. This is because standardisation of groove dimensions did not happen until around the 1940s. Ideally, to cover the entire range from 1900 to 1940, you would need styli with tip radii of between .0015” and .0040” with probably something like 10 or more variations in between. However, to play most records well you don’t need more than two. The most useful are .0032” and .0028”. The .0032” will give good results on most HMV/Victor recordings from the period 1905 to 1940. The .0028” will give better reproduction on most Columbia, Parlophone and Odeon for the same period as well as being good for pre-revolutionary Russian HMVs. Remember, there are no fixed rules. If you have a range of styli experiment with which sounds the best: if it sounds right, it is right!

For those with larger budgets, a greater range of styli will be an advantage although the differences in many cases will not be great. Some early G & Ts and some Fonotipias do best with much smaller styli such as .0018” or .0021”. Quite a number of Odeons from the early electrical era will give a lower surface noise with a .0030” as compared with a .0028”.

These special styli can be obtained from Expert Stylus Co. The BBC, studios and engineers throughout the world use them. Price is approximately £44 to re-tip a stylus assembly, but it does vary according to type. Expert Stylus Co. is always happy to advise you on the most suitable stylus/cartridge.

Whilst you can have just one cartridge/head shell assembly and change the stylus each time you play a record requiring a different type, the day will come when a finger will slip and your expensive stylus will be useless. It is better to purchase extra head shells and cartridges and keep one stylus in each. To change stylus you simply change the head shell. The best/most suitable type of head shell is the Technics type available from Digital Recording Services in the UK and KAB in the USA.

Having arrived at the point of playing your records on a suitable turntable with the right stylus, you will need an amplifier. Actually, you need a pre-amplifier first, that’s the bit with the volume and tone controls on.

Here we run into difficulties. Virtually all pre-amplifiers (or integrated units with pre-amp. built-in) that have a disc (phono) input are pre-set to play modern LPs. However, 78s were recorded using very different characteristics and so the replay is different. In simple terms, there is more recorded bass on a 78 and less treble than on an LP. So if we do nothing, the 78 will sound rather boomy at the bottom and dull at the top. The best option is a special pre-amp designed for 78s, but they are not cheap. They range from around £350/$500 (and a long way upwards!). The basic ones do the job very well but if you cannot afford one, then reducing the bass with the tone control on your system will help balance the bass range greatly. For the top end, if playing an electrical 78, some treble boost will brighten the sound quite nicely but at the expense of more surface noise. It is a question of personal taste. With acoustic records (and some very early electrics), there is little at the top end anyway and any treble boost needed is likely to be minimal, but again, adjust to taste.

If your control unit has a mono switch, use it. What that does is to parallel the two outputs from the cartridge. This helps reduce distortion and rumble. If not, get Expert to wire your cartridges to produce the same effect.

Filtering is another question where personal taste operates. Control units such as the Quad series have a variable slope filter that can, when judiciously used, reduce the noise with little effect on the sound because what you doing is to cut noise that is higher in frequency than the recorded sound. It is an interesting observation that, the better the equipment, the less filtering is necessary.

Keep pick-up leads from the turntable to the pre-amp. as short as possible. Long leads reduce high frequencies and help to induce hum.

Hill & Dale discs (Pathé/Edison etc.) need different styli. Edison discs use .004” and Pathé need .008” ball styli. These are also available from Expert Stylus Co. They can wire a cartridge to play these discs when you order your special H & D stylus. Some pre-amp/control units have a lateral/vertical switch that will do this. Although .004” styli are intended for Edison’s, do experiment. Sometimes noisy-sounding Edisons play beautifully with narrower styli, even down to 0.0021”. After all, there are no grooves to track in the lateral-cut sense.

Play clean records. If your records are dirty, the stylus will be tracing the outline of the dirt and not the groove and reproduction will suffer. Even if your records look clean, dirt and the steel or fibre fragments from needles used in the past, will lurk in the grooves. You would be amazed at the residues collected after records are cleaned by a machine. How to clean them depends upon budget. Ideally you should use a machine which will wet-scrub the record and then vacuum it dry. Top of the range is the Keith Monks used by studios. Much cheaper but effective are the Nitty Gritty, Loricraft and Moth machines, but before buying make sure you have a version meant for 78s. Some hold the record down by a vacuum and this dishes the record slightly – not ideal for breakable 78s! Records can of course be cleaned manually. Use distilled water with a drop of washing-up liquid (proprietary cleaners work well, but are expensive) and apply with a small hand-push spray bottle. Brush in the direction of the grooves (an ideal brush is the Keith Monks type for their machines) and here you can speed things up by using an old 78 turntable if you have or can find one. Place the record on it, spray, start the motor and hold the brush onto the playing surface for 30 seconds or so, then dry with a clean lint-free cotton cloth. Finish off with a velvet-type brush to dry the bottom of the grooves. It’s time consuming but worth it. Your records will sound cleaner with greater definition and your stylus will not get gummed-up as it tracks the record. Try out the method on some worthless records first until you are ready to treat the expensive ones!

On the general subject of reproduction, the most ignored item in the chain from stylus to eventual sound is the loudspeaker. Amplifiers, turntables, cartridges etc. can last almost indefinitely but loudspeakers don’t. The suspension system (or surround) of drive units suffers from fatigue and with very old units like the original Wharfedale and Leak Sandwich the cone suspension will by now, have deteriorated badly. If you decide to upgrade your system, the best speakers that you can buy will be a good investment. Get the dealer to bring them to your home so that you can hear them in situ and check how they handle 78 vocals: very important!

All vinyl records, whether Historic Masters or not, cannot be played on an old gramophone using thorn, fibre or steel needles. They must be played with a modern lightweight pickup.

One further point. I have not suggested seeking out old, original 78 playing equipment. Unless you have practical experience of it, you are most unlikely to be able to get good results. Old 78-only turntables especially should be avoided. Quad and Leak valved (tubed) pre-amplifiers do have some of the replay curves you need, but unless they have been professionally rebuilt are unlikely to give good results and might even be dangerous to use. It can also be difficult to interface them with modern equipment. Having said that, first class reproduction can be obtained using older electronic equipment when it has been restored to original condition.

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rickhorrow · 5 years

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15+5+5 To Watch : 4119

15 TO WATCH/5 SPORTS TECH/POWER OF SPORTS 5

RICK HORROW’S TOP SPORTS/BIZ/TECH/PHILANTHROPY ISSUES FOR THE WEEK OF APRIL 1 with Jacob Aere

As we head to the Final Four, March Madness ratings are way up. Will they stay that way with overall No. 1 seed Duke out of the picture? Sunday came to a close and saw Michigan State, Texas Tech, Auburn, and Virginia packing their bags for Minnesota. As Sports Illustrated noted, “It’s safe to say that the teams heading to Minneapolis were not a popularly selected quartet two weeks ago.” But this year’s NCAA Men’s Basketball Tournament has definitely been popular with viewers. According to Nielsen, the NCAA Tournament on CBS, TNT, TBS, and truTV is having its fifth-best audience since 1991, when the event expanded to its current TV format. The four networks are averaging 9.1 million viewers, up 6% from 8.5 million last year. When streaming from March Madness platforms is added in, the tourney has a total audience delivery of 9.5 million viewers, up 7% from 8.9 million last year. That is the second-best figure since 1991. Since each of the top four conferences has a representative in the Final Four, expect regional interest and intrigue around an unlikely pair of matchups to prevail and keep those numbers strong.

Final Four. Millions of brackets. All of them busted. Brackets are big business, and this year’s ESPN Men’s Tournament Challenge game collected more than 17.2 million completed brackets and set new one- and two-day records for signups, according to the network. By the end of the first day of the tournament, only 42,828 (0.25%) of all brackets remained perfect after just 16 games. At the end of ESPN’s Tournament Challenge Marathon last Tuesday evening, ESPN had collected 9.3 million bracket entries, 1.1 million more than last year. Much was made nationally of Ohio neuropsychologist Gregg Nigl, who had a perfect bracket going into the Sweet Sixteen and stood 49-0 when Purdue busted it with their overtime win against Tennessee. One man who is likely delighted Nigl isn’t his employee? Warren Buffett. For several years, Buffett, a master of market odds, has been so certain that a perfect Sweet Sixteen bracket was statistically impossible that he pledged $1 million for life to any of his several hundred thousand employees who could log one.

Ahead of the Final Four, brands continue to utilize broadcasters as endorsers. The NCAA Tournament is always a prime spot for brands to roll out new campaigns with sports industry endorsers, and one specific group that sees a lot of brand work is tournament broadcasters. Before the Sweet 16, SportsBusiness Daily took a look at which broadcasters are appearing in March Madness-themed ads across the airwaves and internet, and who they are representing. Regular tournament personalities like Charles Barkley and Ernie Johnson are back, while notable newcomers like Candace Parker have also broken onto the scene. AT&T is one brand that has often put NCAA broadcasters in its March Madness spots, but this year it has featured fictional announcers as part of its longtime "Just Ok" campaign. Some notable names who have endorsed brands around March Madness but have not been featured in any NCAA-related spots so far this year include Shaquille O’Neal, Kenny Smith, and Reggie Miller. My favorite? You can't beat Barkley's bright blue "Chuxedo" in ads for Capital One, mirrored in a cameo by fellow sports guy Jim, on his way to the "Big Nance."

Baseball’s Opening Day has come and gone, and gate and viewership were strong. Yet MLB's average salary is "on track to drop" for an "unprecedented second straight season." According to the Associated Press, the 872 players on rosters and injured lists averaged $4.36 million, down from $4.41 million at the start of last season and $4.45 million on Opening Day in 2017. These "back-to-back drops follow consecutive slow free-agent markets." Last season's drop was "only the second" since the end of the 1994-1995 strike. All five of the "highest paid players" this season are pitchers, led by the Washington Nationals' Max Scherzer at $37.4 million and Arizona Diamondbacks' Zack Greinke at $32.4 million. The Boston Red Sox are "set to lead the major leagues in payroll for the second straight year," followed by the Chicago Cubs and New York Yankees. Having the league’s highest payroll paid off for the Red Sox last year – months from now, we’ll know if another World Series is in their players’ well-compensated grasp.

Ahead of The Masters, Augusta National hosts inaugural women’s amateur event. The Masters has long held its honorary first tee ceremony, and on Saturday, Annika Sorenstam, Nancy Lopez, Lorena Ochoa, and Se Ri Pak will continue that storied tradition at the inaugural Augusta National Women's Amateur. Following that first tee ceremony, the top 30 from two days of competition will play a final 18 holes at Augusta National for a silver trophy and the only first-ever women's amateur crown at this famous venue. The first two rounds will be played Wednesday and Thursday at Champions Retreat Golf Club in Evans. The 72-player field will be cut to 30 players after 36 holes. The final round, which will be televised by NBC, is scheduled for Saturday at the home of the Masters Tournament. Meanwhile, the kids’ amateur Drive, Chip and Putt National Finals will air on Golf Channel on April 7. With a long history of the club supporting amateur golf and with a stated mission to grow the game, Augusta National Chairman Fred Ridley took the bold step a little over a year ago to add women to the on-course mix. It’s about time.

With Opening Night this Thursday, Minor League Baseball fans at numerous ballparks will have a more modernized experienced via smart displays and on social media enabled by ISM Connect’s technology and the Allegiant Airline Network. Through its work with ISM Connect, MiLB is introducing new technology to create a more exciting social experience at 25 ballparks on Opening Night, and 31 by the end of 2019. Smart displays located across select stadiums will broadcast exclusive content from both teams and sponsors, giving fans a unique view into the players and teams they root for. In addition to the smart displays, ISM is connecting teams and their fans through mobile devices and social media while they’re at the ballpark. Ballpark Insider (@BallparkInsider) connects fans with MiLB and its teams on Facebook, Twitter, and Instagram. The social channels reach a national audience of MiLB fans and allow stadiums and advertisers to hold exclusive giveaways, share announcements from all teams on the network, and give followers an exclusive look into the world of MiLB.

Kraft Heinz, in partnership with the NHL and NHL Players’ Association (NHLPA), unveiled the four finalist communities competing for the title of Kraft Hockeyville USA 2019. Each of the four finalists will receive funds for rink upgrades from Kraft Heinz, with the grand prize winner awarded the opportunity to host an NHL Pre-Season Game and receive $150,000 in rink upgrades. The four communities advancing to the public voting round are: Calumet Colosseum in Calumet, Michigan; Wexford County Civic Center in Cadillac, Michigan; Eagle River Sports Arena in Eagle River, Wisconsin; and Bernicks Arena in Sartell, Minnesota. The runner-up will receive $30,000 in rink upgrades, and each second-place rink will receive $10,000 in rink upgrades. In addition, each of the four finalists will receive $10,000 worth of new hockey equipment from the NHLPA Goals & Dreams program. Ever since its establishment, the Kraft Hockeyville program has been a shining example of how brands can activate to put the spotlight on small communities whose sports fandom is every bit as big as their major market peers.

NASCAR schedule changes benefit ISM Connect and other circuit partners. NASCAR is giving its Monster Energy NASCAR Cup Series schedule an overhaul next year. The biggest change will see the NASCAR finale shift from Miami to Phoenix, where it will be held at the just-renovated ISM Raceway on November 8. Meanwhile, the Bass Pro Shops Night Race in Bristol will become a part of the 10-week title battle as the first cut-off race on September 19, joining the Bank of America Roval 400 on October 11 and the STP 500 in Martinsville on November 1. The Daytona 500 will once again open the NASCAR season during President’s Day weekend on February 16. “The fans and the industry as a whole have been vocal about the desire for sweeping changes to the schedule, and the 2020 slate is a reflection of our efforts to execute against that feedback,” said Steve O’Donnell, NASCAR executive vice president and chief racing development officer. Besides NASCAR fans, perhaps the biggest winner in the schedule revamp is venue tech leader ISM Connect, which stands to gain millions of dollars’ worth of impressions and exposure since its sponsored racetrack will now host the prestigious NASCAR season finale.

WWE increases its WrestleMania mainstream star power – will Gronk be next? WWE has announced that “Saturday Night Live” cast members Michael Che and Colin Jost, hosts of SNL’s “Weekend Update,” accepted Braun Strowman’s WrestleMania challenge and will both now compete in the Andre the Giant Memorial Battle Royal at WrestleMania 35. WrestleMania 35 will stream live on WWE Network from MetLife Stadium on April 7. Meanwhile, newly-retired Rob Gronkowski's "established image and amiable nature already have him ahead of the game" when it comes to "post-football opportunities," according to the Boston Globe. In Q Scores, Gronkowski has a 39% level of awareness among the general population; the "average sports star" is at 26%. And his 22 positive Q Score, meaning 22% of the "general public that is familiar with him considers him one of their favorite personalities," ranks "sixth among players who were in the NFL last year." It seems like a "sure bet that Gronkowski will end up playing a role in some capacity" for the WWE, after already having "appeared at WWE events, including WrestleMania 33." Don’t count him out at MetLife come Sunday.

As the first full weekend of “real” baseball concludes, Nielsen research has broken down fans of Major League Baseball as the league celebrates its 150th year and boasts more than 170 million fans in the U.S. and 10 million in Canada. According to Nielsen data, the average MLB team fan base is more than 2.5 million people, with St. Louis, Kansas City, Cleveland, Houston, and Pittsburgh having the highest percentages of fans in their local market populations. MLB is also gaining fans around the world, especially in Mexico and Japan, where the league returned to host games in 2019. According to Nielsen Sports Social24, brands sponsoring MLB teams experienced 3% to 13% of additional media value from their social media content. On television, the most visible sponsorship real estate appears on camera behind home plate as a batter is ready to swing at a pitch. But interestingly, the outfield actually gets more exposure via social media channels because big plays like home runs and acrobatic fence line catches often make highlight reels.

Atlanta Falcons owner Arthur Blank has sold 10-12% of his NFL franchise for roughly $300 million, the bulk of which was purchased by Canadian mining magnate Alan Kestenbaum. Kestenbaum was a runner-up last year in the sale of the Panthers. The transaction values the Falcons at around $3 billion – excellent news for Blank, who purchased the team in 2002 for $545 million. “We got a very acceptable valuation based on the trends in the league, sales of teams, sales of ownership and what have you,” Blank said, adding that he plans to use the proceeds for his Arthur M. Blank Foundation, which has gifted $400 million since its founding in 1995. “My (six) kids all want me to do more during my lifetime,” he said during the NFL owners meeting in Arizona. “So, they are encouraging me to do more in terms of philanthropy.” In addition to Kestenbaum, existing limited partners Doug Hertz and Ron Canakaris bought additional small stakes as part of the Blank sale. Asked how much of the team Blank owned, a team spokesperson responded, “A vast majority.” NFL rules require the controlling partner to have at least 30%, and Blank is clearly well above that figure.

Panthers owner David Tepper last week "reemphasized that any future projects for his franchise will impact both Carolinas." According to the Charlotte Observer, Tepper, speaking at the NFL owners' meeting in Phoenix, said, "We're a two-state team. I view it as a whole region." South Carolina Governor Henry McMaster and state legislators have "offered incentives in recent weeks as they woo Tepper and the Panthers" to build their headquarters and training facility in the state. Meanwhile, North Carolina officials have "expressed the desire for the Panthers' facilities to stay put." Tepper said that he has met with North Carolina Governor Roy Cooper and "made it clear" that the state "continues to be included in his future development plans." Tepper has also "previously offered up the idea of team 'fan fests' in cities on both sides of the state line." The team could also positively impact infrastructure: Governor McMaster noted that the team could be the "impetus for developing a new light rail line from Rock Hill to Charlotte, connecting the two states and team facilities."

United Airlines offers to retreat from L.A. naming rights deal. On Friday, United Airlines offered to withdraw from a $69 million deal to change the Los Angeles Memorial Coliseum into United Airlines Memorial Coliseum following criticism that "adding a corporate name is disrespectful to the facility's history of honoring troops who fought and died in World War I." According to the Los Angeles Times, the airline made the offer to USC, which "announced the agreement" for the naming rights last year as part of its $270 million renovation of the venue. United Airlines California President Janet Lamkin said in a letter to USC that the company "made 'a significant commitment to financing this project' in exchange for the naming rights and was careful to keep the words 'Memorial Coliseum' to honor the memory of veterans." However, L.A. County Supervisor Janice Hahn, also President of the Coliseum Commission, soundly "criticized the new name." Other options are possible, including renaming the facility "United Airlines Field at Los Angeles Memorial Coliseum." With the vast majority of Coliseum renovations already completed, it is likely that United, USC, and the city will work quickly to resolve the naming issue to mutual satisfaction.

Ice Cube’s Big3 basketball league has "secured the support" of Serena Williams and Snoop Dogg as content partners for its $10 billion bid to buy the 21 Fox RSNs from Disney, according to sources cited by Bloomberg. Private equity firm Centerbridge Partners and entrepreneur Carolyn Rafaelian are already financial backers of the Big3, and Ice Cube is now "teaming up" with Williams, Snoop Dogg, actor Kevin Hart, and Michael Strahan’s SMAC Productions as "content partners." Sources said that the Big3 presented a plan to "expand the Fox networks with 24-hour, culturally diverse national programming built around live sports." Ice Cube and Big3 co-Founder Jeff Kwatinetz are "targeting young people and want to spend money on marketing and advertising the networks." Rappers Nas and LL Cool J are also "collaborators on the project.” While the Cube group is likely a longshot to purchase the RSNs, their diverse voices and focus on millennials and Generation Z without a doubt represents the next wave of sports and entertainment media property ownership.

MLS has launched its 2019 Soccer For All campaign, showcasing its commitment to end discrimination, as well as the collective effort taking place across the league to drive social change and foster more inclusive communities via the MLS WORKS platform. This year’s Soccer for All Public Service Announcement features a diverse group of players from all 24 clubs, and it includes fans for the first time, looking to further reinforce the message that all are welcome. The PSA, produced in English, French, and Spanish, will be promoted across league partner broadcasts, MLS digital channels, and in-stadium. The broader Soccer For All celebration will begin May 22. MLS has long been considered America’s most progressive and diverse pro sports league. FIFA, however, take note – messaging about ending discrimination and driving social change on the eve of the Women’s World Cup are particularly poignant in light of recent allegations of pay discrepancies and subpar playing conditions faced by women’s soccer teams.

Top Five Tech

Washington Nationals fans have food delivered to their seats through Square. To help start the season off right, the tech company partnered with the team and Levy Restaurants to support in-seat food orders for fans at Nationals games. To order food, fans download the Caviar food-ordering app, place the order, and pay from their seats. Then, they pick up the food at the designated concession stand once they are alerted on their phones. According to Mobile Marketer, Caviar will feature food from its exclusive partners, including a rotating series of pop-up offerings, throughout the season. Overall, professional sports teams are adding more mobile-based services to appeal to fans on smartphones. The future of sports entertainment is through mobile apps, which will provide services like parking information, paperless ticketing, wayfinding through stadiums, food ordering, and real-time data about players and teams.

Opendorse announces a partnership with the MLBPA to enable a larger Twitter presence. The new agreement will enable fans to decide which player’s at-bats will be streamed live on the social media platform through online voting. According to SportsPro, MLB’s official Twitter account will also post highlights of every home run hit during the season, with some dingers presented in a nightly video montage. The league will also produce livestreamed Twitter shows for such mega events as the All-Star Game, Home Run Derby, MLB Playoffs, trade deadline, and the inaugural London Series between fierce rivals New York Yankees and Boston Red Sox. Overall, this partnership aims to give MLB stars access to more content from their team, league, and brand partners, which they can then approve and publish to their own social accounts which will help MLB catch up to tech-savvier sports leagues like the NBA and NHL.

The first esports arena in the U.S. will be built to host the Philadelphia Fusion. This is a big deal, as the Overwatch League's Philadelphia Fusion will start building a $50 million esports arena to host its matches and is expected to game in the new building by early 2021. According to Engadget, the Philadelphia Fusion’s owner, Comcast, has plans to break ground on the 47-acre, 3,500 seat arena site this summer. Strategically placed next to other major sporting arenas, the Fusion arena will be located in the South Philadelphia Sports Complex, home to the city's NFL, NBA, NHL, and NCAA teams. The 60,000 square foot building will house a training facility, broadcast studio, and Philadelphia Fusion team offices and will double as a venue for other live events. Overwatch players are expected to be on the road in 2020, with all teams playing in their home cities. At present, all Overwatch teams continue to flock to Los Angeles' Blizzard Arena to play their games, so a new stadium will be a welcome addition to the buzzing U.S. esports environment.

The NHL selects its official sports betting partner: William Hill. According to Reuters, the league will get marketing revenue from the sports book, which can use NHL brands in its advertising, except for the NHL’s new puck and player data. William Hill already has partnership deals with the Vegas Golden Knights and the New Jersey Devils, but isn’t dominating the hockey wagering market. Previous sports betting deals for the NHL include FanDuel and MGM. MGM justified the investment via the data it will generate from putting sensors inside pucks and on players’ shoulder pads that can be used for specific in-game wagers. William Hill is one of many sports betting partners involved with the NHL, and will thus have to differentiate itself from the other companies to capitalize on the U.S. Supreme Court legalization of regulated and taxed sports wagering.

Twitch uses AI-driven data to properly value esports sponsorships. Amazon’s esports streaming platform has partnered with MVPindex to measure and value its branded content worldwide using artificial intelligence. The motivation behind the agreement is to make it easier for brands and agencies to enter the esports industry, providing value to sponsorship sales Twitch oversees in leagues, tournaments, gamers, and teams. According to SportsPro, MVPindex’s technology leverages AI and speech processing programming to measure and value audience engagement and is able to monitor text and audio mentions, as well as logos within live streams and posts by esports athletes and content publishers. MVPindex can further measure streams and video-on-demand (VOD) files, as well as value hours watched, concurrent views, and lifetime follower and viewer growth within specific streams. As such, it will provide greater marketing value to esports.

Power of Sports Five

The largest mobile esports charity tournament sees players contribute to end breast cancer. Skillz, the worldwide leader in mobile esports, announced that it has raised over $120,000 for Susan G. Komen, the world's leading breast cancer foundation. According to PR Newswire, more than 25,000 esports players participated through the Skillz platform. The total amount raised exceeded the original $100,000 anticipated by more than 20%, and included participants from 38 states as well as more than 60 countries. Susan G. Komen invests in groundbreaking research and provides potentially life-saving education and patient support programs across the country. As esports grows as an industry, charity tournaments help the sport become more deeply ingrained within mainstream culture and attract otherwise absent fans.

FIVB helps launch Good Net volleyball sustainability project. Good Net will be launched on Copacabana Beach in Rio de Janeiro, Brazil, the site of the Rio 2016 Olympic Games beach volleyball tournament. According to sportanddev.org, FIVB has teamed up with marine conservation group the Ghost Fishing Foundation to launch the new program designed to recover discarded fishing nets from the world’s oceans, with many to be recycled into volleyball nets for local community use around the world. Every year, 640,000 tons of fishing gear finds its way into the oceans, where it continues to trap marine wildlife, including whales, dolphins, turtles, and fish of all kinds. Good Net aims to raise global awareness of the problem of pollution while also creating a solution by spreading the game of volleyball. The new initiative is two-fold, as it will help to clean our waters and encourage physical activity while encouraging conversation about eco-friendly practices.

Kirk Gibson’s iconic 1988 World Series home run lives on at Dodger Stadium. The Dodgers announced that the seat where Gibson hit his pinch-hit home run in Game 1 of the 1988 World Series will be painted blue and autographed by the ex-Dodger with a plaque to acknowledgement the moment. Additionally, the seat will be part of a special fundraiser for the Kirk Gibson Foundation. According to the Orange County Register, the seat will be sold as a pair with a companion seat for $300 all season, with $200 of the purchase price to be donated to Gibson’s foundation. His charity raises money and awareness for research into Parkinson’s Disease. The Dodgers also partnered with Gibson’s foundation for a series of events and promotions during the season-opening weekend series against the San Francisco Giants including a 50-50 raffle, a silent auction, and a Kirk Gibson bobblehead. The Dodgers’ game-worn jerseys from the second game of the series will also be auctioned off online to benefit Gibson’s charity. Both Gibson and the Dodgers have immortalized a moment in their storied history to give back to a disease that has personally inflicted Gibson.

Former Harvard basketball player Christopher Egi steps up for social justice. After the murder of Trayvon Martin, Egi began to open his eyes to social justice and formed a team across the Ivy League to create the organization No More Names. The platform was built to spark discussion about social justice issues and connect students to activists and organizations already doing work in their individual communities. The most significant partnership for No More Names has been with Campaign Zero, which has worked to construct concrete plans for police reform through policy change and community initiatives. According to the Boston Globe, No More Names has also worked closely with Save Money, Save Life, the charity founded by Chicago rapper Vic Mensa that teaches civilians throughout the city to be first responders. Ebi’s message is fast spreading across Ivy League schools, and demonstrates how college athletes can also make a community impact.

The biggest charity knockout event celebrates the 25th annual Muhammad Ali Celebrity Fight Night. According to Sports Rants, the stars came out to give, show support, perform, and to continue to raise money and awareness in hopes of one day finding a cure to Parkinson’s disease. Celebrity Fight Night has gifted more than $86 million over the past 24 years benefiting the Muhammad Ali Parkinson’s Center at Barrow Neurological Institute in Phoenix. The Barrow Neurological Institute is the world's largest neurological disease treatment and research institution, and this year the Celebrity Fight Night also supported the BNI’s Alzheimer’s and Cognitive Disorders Program. Special honorees for the evening included 27-time Grammy Award-winner Quincy Jones, Arizona State University President Dr. Michael Crow, and Dr. Abraham Lieberman, the medical director of the Movement Disorders Clinic at Barrow Neurological Institute as well as Renee Parsons of the Bob & Renee Parsons Foundation. Although Ali, long retired from boxing, died from complications of Parkinson’s disease in 2016, his fighting spirit spreads the courage to stand up and battle for change.

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dropshippingreviewslove1-blog · 5 years

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Top 10 Best Open Back Headphones Under 100

We all know that open back Headphones stand out for their accuracy and neutral sound signature. Most people like music producers, audiophiles and specifically purist audiophiles prefer the open back Headphones because most of them are comfortable and they can use them for hours, they are most durable and produce quality sound and are the Best Open Back Headphones Under 100. If you've been looking for the best open back Headphones under 100, then you've come to the right place. No need to search, we have done all the hard work for you. Just take a look at the list below you might just find what you've been looking for at an affordable price. You can also see our Best Open Back Headphones For Gaming.

Best Open Back Headphones Under 100

1. TaoTronics TT-BH22 headphones

Shop on Amazon These headphones are best at canceling noise. They have great features like foldable design, built-in mic and remote controls, reliable wireless Bluetooth connectivity, solid battery life, and very effective noise cancelation. They also have the best earpads which are soft from the get-go and this makes them comfortable to wear for hours. The ear cups aren't that big though but will fit adults ears. Pros of TaoTronics TT-BH22 It is possible to wear these headphones for hours on a long flightThey have passive noise isolation which is very good and also noise cancelation They are very durable as all the joints seem to be well made and the design doesn't seem to have any weak pointsThey are wireless because of its Bluetooth connectivity and up to 25 hours of playtime. However, a wired mode is still an option if you want. Cons of TaoTronics TT-BH22 • They are bass emphasized.

2. Grado SR80e Prestige Series Headphones

These are classic wired on-ear headphones, the earpads are very soft enough to be comfortable for hours and the headband is very simple with just minimum cushioning. The design of these headphones create great soundstage, like the feeling of spacious sound coming from all directions Pros of Grado SR80e Prestige Headphones They create a great soundstageThey are affordableThe sound is okay Cons of Grado SR80e Prestige Headphones They do not have noise isolation meaning you can hear all the surrounding noiseThey are wired and do not have any features or gimmicksWith continuous use if these headphones you might get to feel some discomfort

3. Audio-Technica ATH-M40x Headphones

Shop on Amazon These are Japanese headphones that deliver a lot of value in an over-ear and closed-back design. These headphones are not comfortable in the beginning until the foam ear pads adapt to your head shape. They have passive noise isolation which is above average because they were developed for studios.

The wires of these headphones are detachable and easily replaced whenever you want to and the best thing about these headphones is the sound quality. Pros of Audio-Technica Headphones The sound quality is very goodThey have noise cancelation meaning you get to enjoy your music without any distractionThey are very good for bass lovers Cons of Audio-Technica Headphones They are not durable because they are mostly made of plasticUsers need to be a bit careful with the hinges as they ate not strong either.

4. Sony MDR-7506 Headphones

Shop on Amazon These headphones have the outdated vintage design, however, they are one of the best Over-ear headphones in Sub-100 price range. The other best part about these headphones is that they are so lightweight and very comfortable, you'll barely feel them on your ears. The ear pads are not that thick but have great comfort and do a good job at noise cancelation, you'll enjoy your music without any destruction. The headphones are foldable have coiled cable which is very long and can be only useful for studios or home use. Pros of Sony MDR-7506 Headphones They are very durableThe sound quality is excellentThey are lightweight and very comfortable Cons of Sony MDR-7506 Headphones They don't have detachable cables and can only be used indoors

5. Status Audio CB-1 Headphones

Shop on Amazon These headphones are the most comfortable with deep ear cushions that can fit even the biggest ears. They have noise isolation because of their closed back design and tight fitting ear pads, they are specifically for studios where distractions are not allowed.

They produce a great sound that is flat and balanced and they are great for DJs but can also be used for regular music listening. Pros of Status Audio CB-1 Headphones The sound reproduction is very accurate and flatThey are very comfortable Cons of Status Audio CB-1 Headphones They have an average durability meaning you have to take extra care for them in order to last longer.

6. Sennheiser HD 559 Headphones

Shop on Amazon These are comfortable high quality headphones that won't break your bank. They have big and plush ear pads which are comfy and can be replaced when needed to. And since they are open back, the noise isolation isn't good, they leak sound and let ambient sound in. However the build quality is solid like all Sennheiser designs. Pros of Sennheiser HD 559 Headphones They are very comfortableThe sound is excellentThey are durable Cons of Sennheiser HD 559 Headphones The noise isolation isn't good at allThere's no adapter included you have to find one yourself

7. Sennheiser HD 280 PRO (new model) Headphones

Shop on Amazon These headphones play great with excellent bass response. They have swivel mounts on the ear cups and fairly plush padding that allow for a more comfortable fit. Pros of Sennheiser HD 280 PRO Headphones They have a wide frequency response rangeThey ate durableThey are comfortable Cons of Sennheiser HD 280 PRO Headphones These headphones ate heavy

8. Superlux HD668B Headphones

Shop on Amazon These open back Headphones under 100 deliver natural, spatial and precise sound. They provide balanced bass and excellent voice reproduction. Pros of Superlux HD668B Headphones There's sound isolationThey are durable Cons of Superlux HD668B Headphones The sound it produces is not that impressive

9. AKG K240 Headphones

Shop on Amazon These are studio headphones featuring a 3m cable and semi-open design. They have comfortable ear pads that will allow you to enjoy music for as long as you like.

10. Samson SR850 Headphones

Shop on Amazon These headphones feature an over-ear design for maximum isolation, 50mm drivers that feature exceptional wide-range of Crystal clear audio sounds. Pros of Samson SR850 Headphones Amazing slightly V-shaped sound with sparkly well-extended highsDeep lows that rumble when it is called for Cons of Samson SR850 Headphones Ear cover likely to come off Top 10 Best Soundbars Under 200Logitech G560 vs Logitech z625Top 10 Best Soundbars Under 300Top 10 Best Gaming SoundbarsBest Portable Speakers For iPhone Read the full article

#bestopenbackheadphonesforgaming #openbackheadphonesforgaming #openbackheadphonesgaming #sennheiserhd6 #sonymdrma #studioearphone

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networkpersonal534 · 3 years

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Catch Matchmaking In Prattville Alabama

Catch Matchmaking In Prattville Alabama Funeral Homes

Catch Matchmaking In Prattville Alabama Newspaper

Catch Matchmaking In Prattville Alabama

Catch Matchmaking In Prattville Alabama Restaurants

Find groups in Prattville, USA that host online or in person events and meet people in your local community who share your interests. Pay Fishing Ponds in Prattville on YP.com. See reviews, photos, directions, phone numbers and more for the best Fishing Lakes & Ponds in Prattville, AL.

Follow Tournament Guidelines for Social Distancing Updated 1/8/2021- Read More

Catch Matchmaking In Prattville Alabama Funeral Homes

Bass Pro Shops Fishing Tour Div 24 Alabama Central Director: Barry Woodward (251)423-0753

Find the best Hunting and Fishing Supplies on Yelp: search reviews of 5 Prattville businesses by price, type, or location.

Grahamhaven Lake is a reservoir located just 1.6 miles from Prattville, in Autauga County, in the state of Alabama, United States. Join us as we discuss the Alabama Fishing License options, fishing rules and fishing regulations. Please remember to check with the local Fish and Wildlife department to ensure the stream is open to the public.

Photos

2020 Schedule - 2021 Schedule - Other Divisions

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Catch Matchmaking In Prattville Alabama Newspaper

2020 Season Schedule - Download PDF Flier

Date (Link to others)Lake/ResultsInfoRegTemp ResHotel PlannerPhotos Jordan State Ramp PDF Mitchell Higgins Ferry PDF Alabama RiverCooters PondPDFPhotos MitchellHiggins FerryPDFPhotos Jordan State Ramp PDFPhotos Alabama River Cooter's Pond PDF Mitchell Higgins Ferry PDFPhotos Alabama River/JordanSwift Creek/State RampPDFPhotos

Catch Matchmaking In Prattville Alabama

10/21/202010/23/2020Old HickorySanders FerryPDF

Catch Matchmaking In Prattville Alabama Restaurants

Division 24 Points Top 25PlaceNameEventsFishPoints1Jeremy Renfroe53011642James Haughton Jr73711623Troy Woodham73211504Joe Wikoff63011485Gene Townsend83611426Richard Hoefle73211377John Havard83611367David Campassi84011369Barry Woodward52311269Jim Boyle527112611James Bonner625111212Donald Cawthon720110613Kenny Moore52276814Wade Parker51161515Joe Bridges31357116James Glover31356317John Burt2554818Brian Metcalf11038819Kevin Revay21038320David Hartselle2637021Chris Gillis2524822Russell Hazelton2523523Jimmie Ellis2223024Wesley Gore1519924Dusty Jordan15199

Division News

Russell Hazelton wins on Lake Mitchell

January 9, 2021, Clanton, AL. Russell Hazelton of Enterprise, AL won the American Fishing Tour Central Alabama Division tournament presented by American Bass Anglers. Running out of Higgins Ferry Boat Launch on Lake Mitchell near Clanton, AL Hazelton brought back five fish that locked in the scales at 15.3 pounds. For the victory Hazelton took home a check for $401.

Daniel White wins D24 Tournament on Jordan Lake

November 14, 2020, Wetumpka, AL. Eighteen anglers launched from Bonner’s Landing Boat Ramp near Wetumpka, AL, but when the scales closed Daniel White from Prattville, AL took the victory with five fish weighing 13.15 pounds. White also caught the Biggest Bass of the tournament. His fished locked in the scales at 3.79 pounds. For his efforts he took home $500 in prize money plus another $90 for Biggest Bass.

Mitchell Tournament Moved to 10/11

Out of an over abundance of caution the Tournament scheduled for 10/10/2020 on Lake Mitchell has been moved to 10/11/2020. The safety of our anglers is out number one priorty. All entries that have been pre-registered will roll over automatically. For More information on this event call local director Barry Woodward at 251-423-0753.

Eddie Cox Takes the Win on the Alabama River

September 19, 2020, Prattville, AL. Eddie Cox of Elmore, Alabama won the American Fishing Tour Division 24 tournament presented by American Bass Anglers. Running out of Cooters Pond Park on the Alabama River near Prattville, AL, Cox brought back five fish that locked in the scales at 8.57 pounds. For the victory Cox took home a first place check for $249. Cox caught the Biggest Bass of the tournament at 3.83 pounds earning him an additional $35 in prize money.

Brian Metcalf Takes the Win for District 24

May 24, 2020, Wetumpka, AL. Brian Metcalf of Pensacola, Florida won the American Fishing Tour Division 24 Two Day tournament presented by American Bass Anglers. Metcalf brought back a two day total that locked in the scales at 23.66 pounds. For the victory Metcalf took home $812.

Jeremy Renfroe wins District 24 Tournament on Lake Mitchell

April 25, 2020, Clanton, AL. Thirteen anglers launched from Higgins Ferry Boat Launch on Lake Mitchell near Clanton, AL, but when the scales closed Jeremy Renfroe from Birmingham, AL took the victory with five fish weighing 14.36 pounds. For the win Renfroe took home $425 in prize money.

Jeremy Renfroe wins District 24 Tournament on Jordan Lake

February 15, 2020, Wetumpka, AL. Sixteen anglers launched from Jordan Lake State Ramp near Wetumpka, AL, but when the scales closed Jeremy Renfroe from Birmingham, AL took the victory with the five fish weighing 11.97 pounds. For the win Renfroe took home $451 in prize money. Second amongst the competitors was Troy Woodham with 3 fish that locked in the scales at 11.45 pounds. Woodham also caught the Biggest Bass of the tournament.

Russ Haughton Wins on Lake Mitchell

January 25, 2020, Clanton, AL. Russ Haughton of Verbena, Alabama won the Bass Pro Shops American Fishing Tour Division 24 tournament presented by American Bass Anglers.

Haughton Wins on the Alabama River

December 21, 2019, Prattville, AL. Russ Haughton from Verbena, AL wins the Bass Pro Shops Fishing Tour Division 24 tournament held on the Alabama River Saturday, December 21, 2019.

Russ Haughton Wins on Lake Mitchell

November 23, 2019, Mobile, AL., Russ Haughton of Verbena, AL., won the Bass Pro Shops Fishing Tour (BPSFT) Division 24 - Alabama Central tournament presented by American Bass Anglers (ABA).

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randomvarious · 5 years

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The Bass Project - “Feel the Beat” Maximum Boom for Your System: The Ultimate Collection, Volume 1 Song released in 1994. Compilation released in 1996. Breaks / Bass Music

The Bass Project appears to have been a one-off trio centered around the underappreciated producer and remixer Albert Cabrera. Cabrera co-produced all of the Bass Project’s only album, 1994′s Trans-Euro Bass Vol. 1. His partners in crime, Carlos Rodgers and Joey Moskowitz, each co-produced a different half of the album with him. Today’s song, “Feel the Beat,” is a product of Cabrera and Moskowitz.

Albert Cabrera and Joey Moskowitz were essentially on the same track in the music business. Never in the spotlight, these guys were constantly behind the boards and the scenes, putting in work across a whole host of genres for some of music’s biggest names. Cabrera’s credits include work for Thelma Houston, Afrika Bambaataa, Marc Anthony, KC & the Sunshine Band, Tori Amos, Aretha Franklin, Backstreet Boys, Britney Spears, Brandy, the Beach Boys, Mariah Carey, the Rolling Stones, Pointer Sisters, Warren Zevon, Vanessa Williams, Digable Planets, Lenny Kravitz, Hall & Oates, and Missy Elliott. Moskowitz’s credits include Dolly Parton, Kid ‘N’ Play, Orchestral Manoeuvres in the Dark, John Mellencamp, Marc Anthony, Madonna, Ce Ce Peniston, Robin S., Cyndi Lauper, Lisa Lisa, Janet Jackson, Snow, Michael Jackson, Quincy Jones, Maxi Priest, Spice Girls, Selena, Foxy Brown, Mariah Carey, Salt ‘N’ Pepa, Aretha Franklin, Backstreet Boys, Pet Shop Boys, Simply Red, Whitney Houston, Enrique Iglesias, Basement Jaxx, Kelis, Nelly Furtado, MC Hammer, Seal, Cher, Prince, Duran Duran, Moby, k.d. lang, Gloria Estefan, Donna Summer, Amber, Shaggy, Montell Jordan, Sisqo, Toni Braxton, Beyoncé, Maroon 5, Christina Aguilera, Engelbert Humperdinck, and Savage Garden. And those are only the top names. Clearly, these guys are seasoned pros with more than enviable track records.

So it was very interesting in 1994, when Cabrera, Moskowitz, and Rodgers very quietly put out their breaksy bass music album on the Miami bass label Pandisc. And just as you’d expect, they didn’t disappoint. This vintage mid-90s midtempo piece is rooted in bass music, with a very early to mid-90s sounding drumkit, but plants an array of rotating and intricately woven vocal samples and looped melodies atop. There’s flutes, there’s piano, and there’s strings. A smooth and polished, unpredictable groove.

Two of pop music’s unsung heroes trying their hand at bass music and breaks. Good stuff.

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droneseco · 3 years

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EPOS H3 Wired Gaming Headset Review: EPOS Delivers the Goods for Gamers

EPOS, the Danish audio hardware manufacturer, is pushing its gaming credentials. The EPOS H3 wired gaming headset is full of promise, delivering a comfortable and well rounded audio product that'll suit gamers and music lovers alike.

EPOS H3

9.00 / 10

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