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Ice Age: Freezing Finale (also known as Ice Age 6: Freezing Finale or simply Ice Age 6) is an American computer-animated adventure comedy-drama film produced by 20th Century Animation and distributed by 20th Century Studios. It is the sixth and final main installment and the seventh overall installment in the Ice Age franchise, and the direct sequel to Ice Age: Collision Course (2016), while ignoring the events of the previous film The Ice Age Adventures of Buck Wild (2022), since the latter was declared non-canon to the entire series. The film was directed by Troy Quane and Nick Bruno, written by Michael Berg, Michael J. Wilson, and Mike Reiss, and produced by John C. Donkin. The music for the film was composed by Hans Zimmer and John Powell, the latter of whom previously composed the first three sequels.
In the film’s ensemble voice cast, Ray Romano, John Leguizamo, Denis Leary, Seann William Scott, Josh Peck, Jack Black, Keke Palmer, Adam DeVine, Josh Gad, Jessie J, Jennifer Lopez, and Queen Latifah reprise their roles from the previous films. The returning cast is joined by Ryan Reynolds as a returning character from the first film, with Djimon Hounsou, Rachel Bloom, Diego Luna, Michael Peña, Gabriel Iglesias, Harvey Guillén, Josh Hutcherson, Zachary Levi, Bradley Cooper, and Dave Franco voicing new characters introduced in this film.
The computer animation for the film was provided by Reel FX Creative Studios, who had also provided animation for 2011’s Ice Age: A Mammoth Christmas.
Originally planned as the seventh Ice Age film for Disney+, with Ray DeLaurentis penning the script, it was later redeveloped into the sixth and final mainline film and DeLaurentis’ version of the film was scrapped in favour of a new script, due to The Ice Age Adventures of Buck Wild’s poor critical reception and audience viewership.
The film received positive reviews from critics who praised its animation, themes, voice acting, humor, Quane and Bruno’s direction, musical score, human characters, and satisfying conclusion of the series. It was also deemed a significant improvement over its predecessor and was considered to be the best installment of the Ice Age franchise.
Ice Age: Freezing Finale was the final film in the Ice Age series to be theatrically released after Collision Course.
Premise
Some time after the events of the fifth film, Manny and the rest of the Herd are expecting their daughter Peaches and her husband Julian to have their first child after their marriage, until they come across a human friend Roshan, who warns them about a possible mammal hunting season that would change their lives forever. To save themselves from being hunted down, Manny, the Herd and Roshan team up with the other mammals and humans to defeat the hunters and create a peaceful life where both human and mammal can co-exist together.
Cast
Ray Romano as Manny, a woolly mammoth and the leader of The Herd
John Leguizamo as Sid, a ground sloth and the founder of The Herd
Denis Leary as Diego, a saber tooth tiger and the member of The Herd
Seann William Scott and Josh Peck as Crash and Eddie, two opossums and Ellie's brothers
Ryan Reynolds as Roshan, an adult human friend who reunites with The Herd to warn them about a possible mammal hunting season
Djimon Hounsou as Jeger, an evil human hunter who killed Manny's past family in the flashback and plans to start the next possible mammal hunting season
Jack Black as Zeke, a saber tooth tiger - Jeger's henchman and former member of Soto’s pack
Jessie J as Brooke, a female ground sloth - Sid's wife and former resident of Geotopia
Jennifer Lopez as Shira, a female saber tooth tiger – Diego's wife and former first mate pirate
Queen Latifah as Ellie, a female woolly mammoth – Manny's wife
Keke Palmer as Peaches, a female woolly mammoth – Manny and Ellie's daughter
Adam DeVine as Julian, a woolly mammoth and Peaches' husband
Josh Gad as Louis, a molehog and Peaches' best friend
Rachel Bloom as Lola, a female molehog and Louis' love interest
Diego Luna as Santiago, a Chalicothere and the leader of the Fantabulous Four
Michael Peña as Pablo, an Andrewsarchus and the member of the Fantabulous Four
Gabriel Iglesias as Carlos, a Gigantopithecus and the member of the Fantabulous Four
Harvey Guillén as Miguel, a grey wolf and the member of the Fantabulous Four
Josh Hutcherson as Leroy, the younger brother
Zachary Levi as Artie, the middle brother
Bradley Cooper as Everett, the oldest brother
Dave Franco as Baxter and Thraxter, a pair of twins
Chris Wedge as Scrat, a saber-toothed squirrel
Karen Disher as Mary, a female woolly mammoth – Manny's past wife who got killed by hunters in the flashback
Iain Armitage as Junior, a child woolly mammoth – Manny and Mary's past son who got killed by hunters in the flashback
Tara Strong as Sheldon, a baby woolly mammoth – Peaches and Julian’s son
Cedric the Entertainer as Carl, an Embolotherium
Stephen Root as Frank, a Brontops
Clea Lewis as Female Mini-Sloth
Jay Leno as Fast Tony, a giant armadillo
Will Arnett as Lone Gunslinger Vulture
Bill Hader as Gazelle
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Entertainment Weekly, June
Cover: The Pride Issue cover 3 of 4 -- Lena Waithe
Page 3: Contents, other covers featuring Lil Nas X, Mj Rodriguez, Bowen Yang
Page 4: Sound Bites
Page 7: The Cold Open
Page 14: The Must List -- In the Heights
Page 15: Instructions for Dancing by Nicola Yoon, Iceage -- Seek Shelter, Ziwe
Page 18: Trying Q&A with Esther Smith and Rafe Spall, Day Zero by C. Robert Cargill
Page 20: Milestone Returns #0: Infinite Edition, In Treatment
Page 21: Brat: An '80s Story by Andrew McCarthy, The Empty Man
Page 22: My Must List Pride Edition -- Niecy Nash
Page 25: Pride 2021
Page 26: Lil Nas X -- the 22-year-old rapper is still breaking barriers one song and several clapbacks at a time
Page 29: St. Vincent -- the chameleonic singer-songwriter returns with Daddy's Home, an adventurous new album inspired by her father's prison time
Page 30: Olly Alexander -- after a lauded lead turn in It's a Sin, the artist returned with the single Starstruck, from his newly solo musical act Years & Years
* Rostam -- the new solo album from the multi-instrumentalist is rooted in society's fear of change
Page 32: Lena Waithe -- the producer and actor, and the new star of Master of None season 3, wants to create provocative art while elevating voices
Page 35: Josh Thomas -- the Australian creator-star of Everything's Gonna Be Okay is telling his story through his art
Page 36: Meet Your Maker -- Natalie Morales -- the queer star directs her first film(s), the sharp indies Plan B and Language Lessons. Here's what got her behind the camera
Page 37: Joshua Safran -- the man behind Alex Parrish's attitude and Blair Waldorf's one-liners shares how his sexuality helps him empathize with his characters
* Brandon Taylor -- coming off his explosive, best-selling debut novel Real Life, the lauded author is looking toward his second act and beyond
Page 38: Mj Rodriguez -- with the final season of the history-making FX drama Pose, it's leading lady is ready to claim what's hers
Page 41: Colman Domingo -- after decades of stellar work, the scene-stealer is front and center on Euphoria, Fear the Walking Dead, and more
Page 42: Auli'i Cravalho -- the star of Disney's Moana proved how far she'll go to be her authentic self, and is now focused on joy and inclusion
Page 43: Queen Supremes -- the international RuPaul's Drag Race winning class speaks power to the franchise's worldwide domination and looks ahead to a fab future
Page 44: Bowen Yang -- the Saturday Night Live breakout is defining funny for a whole new generation and pushing boundaries in the process
Page 47: Margaret Cho -- the stand-up comedian plays the lesbian pal we all wish we had in the comedy Good on Paper
Page 48: Molly Bernard -- after playing Younger's pansexual publicist, she's ready to explore the full spectrum of queerness
* Josie Totah -- from Disney's Jessie to the Saved by the Bell revival and Amy Poehler's Moxie, the actress has made a name for herself twice and Hollywood's paying attention
Page 49: Calendar -- 10 upcoming LGBTQ projects to get excited for --from eye-opening documentaries to sweeping romances, there is plenty to add to your Pride watch queue
* Pride season's 6 essential reads
Page 51: Summer TV Preview
Page 52: Loki with Tom Hiddleston
Page 53: Panic, The Celebrity Dating Game, Gossip Girl
Page 54: September Mornings, Schmigadoon!, Masters of the Universe: Revelation, Ted Lasso
Page 55: Heels, The Good Fight
Page 56: Power Book III: Raising Kanan
Page 57: Sweet Tooth, Blindspotting, Kevin Can F**k Himself, Mr. Corman
Page 58: We Are Lady Parts, Love Victor, Sex/Life, Turner & Hooch
Page 59: Physical, Hit & Run, American Rust
Page 60: Bosch, Marvel Studios' What If...?, Lisey's Story -- Q&A with Julianne Moore
Page 61: Calendar
Page 62: The Fast and the Furious oral history -- how did a little movie about underground racing speed off to become one of the most profitable franchises in history? The cast and crew reminisce about 20 years of Fast, one quarter-mile at a time
Page 68: News + Reviews -- Nominate Them, You Cowards -- on July 13, the Academy of Television Arts & Sciences will announce the 2021 Emmy nominees. Here are some standout shows and performances we insist not be overlooked
Page 72: Movies -- Summer Star -- taking the lead in blockbusters A Quiet Place II and Jungle Cruise, Emily Blunt is the face of Hollywood's comeback summer
Page 74: Making the Scene -- Army of the Dead -- Zack Snyder explains how he bet big on destroying Las Vegas in his bloody zombie heist movie
Page 75: Oxygen, The Woman in the Window -- the journey from smash best-seller to star-studded streaming thriller was long and fittingly bizarre
Page 76: Meet the Fab G -- director Kay Cannon on how Billy Porter found a fresh, inclusive take on the fairy godmother in the new Cinderella
Page 79: My Favorite Shot Pride Edition -- Sebastian Lelio, A Fantastic Woman -- the Chilean director revisits a gravity-defying sequence in his groundbreaking Oscar-winning drama
Page 80: TV -- The Underground Railroad
Page 81: The Upshaws
Page 82: Oral History -- in 2011, Teen Wolf premiered on MTV. Ten years later, we look back at the pilot episode that introduced us to Scott, Stiles and the werewolves of Beacon Hills -- Jeff Davis, Tyler Posey, Russell Mulgahy, Dylan O'Brien, Crystal Reed
Page 84: What to Watch
Page 86: Music -- Miranda Lambert Q&A -- for The Marfa Tapes, Lambert decamped to the quiet artsy town in West Texas and recorded songs around a campfire. She talks to EW about the album and being an introverted superstar
Page 88: Ear Kandi -- Xscape member and current Real Housewives of Atlanta star Kandi Burruss reflects on the hits she's made for Destiny's Child, *NSYNC, TLC and more
Page 89: The Black Keys
Page 90: Books -- summer books special -- a comedy of eras -- in a sharp new essay collection, The Wreckage of My Presence, actor Casey Wilson weaves big feelings into even bigger laughs
Page 92: Poetic Justice -- prolific romance writer and political powerhouse Stacey Abrams bookend an incredible year with more thrills, this time in her first novel not written under her pen name Selena Montgomery
Page 93: Author Spotlight -- Silvia Moreno-Garcia -- Velvet Was the Night
Page 94: Fatal Attraction -- inside the intoxicating depravity of Animal, Lisa Taddeo's meaty follow-up to Three Women
Page 95: Critic's Pick -- The Great Mistake by Jonathan Lee
Page 96: Critic's Pick -- In the Country of Others by Leila Slimani
Page 97: The Conversation -- Taylor Jenkins Reid and Paula Hawkins -- the names behind Daisy Jones & the Six and The Girl on the Train are coming for your beach tote
Page 98: Q&A with Zakiya Dalila Harris -- The Other Black Girl, former book editor Zakiya Dalila Harris' genre-bending evisceration of workplace privilege, is set to become the debut of the summer
Page 99: Critic's Pick -- Afterparties by Anthony Veasna So
Page 101: Q&A with Billie Eilish -- in between winning Grammys and releasing her sophomore album, the pop star is publishing her first (self-titled) book, a collection of never-before-seen pics of her early life on the road
Page 103: Parental Guidance -- your crib sheet on the best entertainment for kids from toddlers to tweens
* Q&A with Gabrielle Union-Wade and Dwyane Wade -- the actress and her NBA legend husband, bring it on with their new children's book Shady Baby
Page 112: The Bullseye
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The Weekend Warrior 4/23/21: MORTAL KOMBAT, DEMON SLAYER, TOGETHER TOGETHER, STREET GANG, SISTERS WITH TRANSISTORS
Ugh. Trying to maintain this column as a weekly entity during the final few weeks of the longest Oscar season ever has been really hard, and I��m not sure that will change once the Oscars are over either, because I look at the number of movies being released both theatrically and streaming over the next few weeks, and it makes my head hurt. Sorry for the kvetching, it just is what it is.
There are two big theatrical releases this weekend, Warner Bros’ MORTAL KOMBAT and DEMON SLAYER THE MOVIE: MUGEN TRAIN from FUNImation Entertainment, both which have already been released internationally. I also probably won’t be able to watch or review either before this column gets posted.
Mortal Kombat seems like the easiest sell being that it’s based on the popular Midway Games video game franchise introduced in the early ‘90s that led to a series of films, books, comics and you name it. It was a very popular fighting game that had over a dozen iterations including one in which MK characters fought against DC superheroes.
The very first Mortal Kombat movies opened in 1995, right amidst MK-mania, and it was directed by one Paul W.S. Anderson, his very first movie in a long line of video game-related movies, including a number of Resident Evil and the recent Monster Hunter. There are a lot of people who love those games, and yes, even people who love that and other movies, but to others, who may have been too old to get into the games when they came out, the whole thing about different fighters fighting each other just looks kind of studio. Even though I’m interested to see what producer James Wan brings to this reboot, I just don’t have much interest otherwise.
Unfortunately, and this is pretty daunting, Warner Bros. wasn’t sending out screeners to critics until Wednesday with a review embargo for Thursday night at 7pm, which is never a good sign, and yet, it continues Warner Bros. continuing the trend of being one of the only studios that screeners EVERY movie to film critics rather than just making them pay to see it on Thursday night or Friday. I hope to watch it and maybe add something Thursday night, time-permitting. Not sure you heard but the Oscars are Sunday.
As far as box office, Mortal Kombat opens on Friday but also premieres on HBO Max, and I’m not sure there will be as much urge to see MK on the largest screen possible, as there was with Godzilla vs. Kong. Because of that, I think the cap for this one over the three-day weekend is about $10 million but not much more and probably more frontloaded to Friday than we’ve seen in some time.
Mini-Review: As you can imagine from my statement above, I don’t hold the Mortal Kombat games or other iterations in any particular high esteem, so I’m basically jumping into this movie, directed by Simon McQuoid, just as a movie and not necessarily as a video game movie.
It starts off promising enough like a samurai movie with a flashback where we watch Hiroyuki Sanada’s hero sees his wife and son be killed by Joe Taslim’s character that will later become Sub-Zero. The general principle seems to be that there’s a world where people from other worlds fight each other to gain complete control. The hero is Lewis Tan’s MMA fighter Cole Young, presumably a popular character from the game? He is also soon attacked by Sub-Zero presumably because he’s marked with a dragon tattoo that deems him a champion of these fights, but he needs to find someone named Sonya Blade (Jessica McNamee) to help him get to the “Mortal Kombat.” At the same time, he meets the movie’s most entertaining character, Kane,
played by Australian actor Josh Lawson, mainly because he swears constantly and cracks wise -- he’s a bit like Wolverine, actually, and he’s actually the best part of the movie.
Otherwise, everyone and everything is always so deadly serious that everyone else we meet just doesn’t have much impact, because frankly, none of these names or characters mean jack shit to me. Sure, some of them sound vaguely familiar but I was more interested in the great Asian actors who turn up including Tadanobu Asano’s Lord Raiden, who is gonna claim Earth if its champions lose at Mortal Kombat. And Sub-Zero basically just shows up and tries to kill everyone.
As with far too many action movies, the action itself is great, the writing and acting not so much.
As it goes along, things become more epic and fantasy-driven but that also makes the dialogue seem even worse. Similarly, the fight choreography is pretty great, but the movie still leans way too heavily on visual FX to keep it more interesting for anyone not too interested in MMA… like myself. When all else fails, they can show off Sub-Zero’s cool ice powers every chance possible as well as the other’s powers, but some of them (like Lord Raiden) just made me think of this as a rip-off of the great Big Trouble in Little China.
The thing is I’m not a fan of the video game nor of MMA, so Mortal Kombat really doesn’t have much to offer me. The whole thing just seems very silly, just like almost everything from the ‘90s. (How’s THAT for a bad take?)
That said, I thought the final battle was great, and I enjoyed some of the gorier aspects of the fights, too, and it all leads to my favorite part, which is the three-way fight between Cole, Sub-Zero, and… actually I’m not sure if it’s a spoiler or not, but it’s a pretty cool fight that almost makes up for some of the dumber characters introduced earlier on. (LIke that guy with four arms. I know he’s a character in the games, but I didn’t even care enough to look up his name.)
It’s perfectly fine that they decided to go Rated R with the movie since most of the nostalgia for this movie and franchise will be towards older guys, but at times, the CG blood is so hinky it feels like the decision to go R-rated was made well after it was filmed.
Even though I went in with the lowest of expectations, I still found most of Mortal Kombat kinda trite and boring, maybe something I’d appreciate more as a teenager but not so much as a grown adult. But what do you expect for a movie based on a video game that’s just a bunch of “cool fights”?
Rating: 5.5/10
And yet, Demon Slayer could be the surprise breakout of the weekend, considering the theatrical success FUNimation has had with theatrical releases of the My Hero Academia movies into theaters in 2018 and 2020, and the hugely successful Dragon Ball Super: Brolly, which grossed $31 million domestically after a surprise $20.2 million in its first five days in roughly 1,200 movies. In fact, it made $7 million its opening Wednesday in January 2019, and FUNimation is hoping that Demon Slayer will have a similar success by opening it for a single day (Thursday) in IMAX theaters before Mortal Kombat takes over on Friday.
Demon Slayer has already grossed $383.7 million internationally compared to Mortal Kombat’s $10.7 million, and you cannot ignore the huge popularity that anime has seen over the past few decades. In fact, a bunch of screenings for Demon Slayer in NYC have already sold out, although you have to bear in mind that these are 25% capacity theaters. Even so, I still think this can make $4 to 5 million on Thursday and another $7 to 8 million over the weekend, depending on the number of theaters. Yes, it will be quite frontloaded, and I’m not sure what the cap is on theaters and how that will affect how it does over the weekend, but expect a big Thursday and a more moderate weekend but one that might give both Mortal Kombat and Godzilla vs. Kong a run for the top of the box office.
Also hitting theaters before streaming on Netflix (on April 30) is THE MITCHELLS VS. THE MACHINES, the new animated movie produced by Chris Miller and Philip Lord, following their Oscar win for Spider-Man: Into the Spider-Verse. It’s a little weird to open a new animated movies, presumably in select theaters, when such a hugely anticipated animated movie like Demon Slayer is opening, but Netflix won’t
The movie itself is directed by Michael Rianda and Jeff Rowe, and it involves a family named the Mitchells, whose eldest daughter Katie (voiced by Abbi Jacobson) is leaving home for college, so her father (voiced by Danny McBride) decides that he’s going to drive her there and use it as the chance for a cross-country family trip. Meanwhile, it’s set up how the world becomes overrun with robots when a tech giant creates a new personal assistant.
I wasn’t sure whether I’d like this even though I’m generally a fan of all of Lord/Miller’s animated movies including both Cloudy with a Chance of Meatballs movies. It took me a little time to get into the family and the general premise. In some ways it reminded me of Edgar Wright’s The World’s End where it’s trying to merge these two disparate genres, but when they actually merge, it just doesn’t work as well as it may have seemed on paper. That worry is soon expunged, because Rianda finds ways to integrate the two ideas over time.
On the trip, the Mitchells run into their perfect family neighbors, the Poseys -- voiced by Krissy Teigen, John Legend and Charlyne Yi -- and you’d think they might be a bigger part of the movie then they actually are. I’m not sure I would have liked doing the family-vs.-family thing so soon after last year’s Croods movie, but I did love the dynamics of the Mitchells being a very relatable imperfect family with Danny McBride being particularly great voicing the family patriarch. It even has a really touching Pixar’s Up moment of Katie’s father watching old home movies of them together when she was younger.
In general, the filmmakers have assembled a pretty amazing voice cast that includes Conan O’Brien, Olivia Colman, Fred Armisen and Beck Bennett. Actually the weirdest voice choice is Katie’s younger brother Aaron, voiced by Rianda himself, and it sounds like a strange older man trying to be a kid, so it doesn’t work as well as others.
What I genuinely liked about Mitchells vs. the Machines is that it doesn’t go out of its way to talk down to overly sensitive kiddies or skimp on the action while also including elements that parents will enjoy as well, and to me, that’s the ideal of a family film.
While some might feel that The Mitchells vs. the Machines is fairly standard animated fare, it ends up being a fun cross between National Lampoon’s Vacation (cleaned up for the kiddies) with Will Smith’s I, Robot, actually, and yet, it somehow does work. It’s a shame that it’s really not getting a theatrical release except to be awards-eligible.
Next, we have two really great movies I saw at Sundance this year and really enjoyed immensely…
So as I mentioned, I first saw Nikole Beckwith’s TOGETHER TOGETHER (Bleecker Street), starring Ed Helms and Patti Harrison, at Sundance, and it was one of my favorite movies there with Helms playing a middle-aged single guy named Matt, who hires the much-younger Anna (Harrison) to be his surrogate, because he wants a baby. It’s a tough relationship thrown together due to each of their respective necessities.
Part of what drives the movie is how different Matt and Anna are, him being quite inappropriate with his suggestions and requests but not really having a working knowledge of female anatomy, pregnancy, delivery etc, but being really eager to raise a child and having the money that Anna clearly does not.
While I was familiar with Helms from The Office, The Hangover, etc. I really didn’t know Patti Harrison at all. Apparently, she’s a stand-up comic who hasn’t done a ton of acting, comedic or otherwise. That’s pretty amazing when you watch this movie and see her dry sardonic wit playing well against Helms’ generally lovable doofus. What I also didn’t realize and frankly, I don’t really see this as something even worth mentioning, is that she’s a trans woman playing a clearly CIS part, and she kills it. I certainly wouldn’t have known nor did it really affect my enjoyment of the movie, yet it still seems like such a brave statement on the part of the director and Harrison herself. The thing is that Harrison isn't just a terrific actress in her own right, but she brings out aspects of Helms that I never thought I would ever possibly see. (If it isn't obvious, I'm not the biggest fan of Helms.)
The movie has a great sense of humor, as it gets the most out of this awkward duo and then throws so many great supporting actors into the cast around them that it’s almost impossible not to enjoy the laughs. There’s the testy Sonogram tech, played by Sufe Bradshaw from Veep, who tries to maintain her composure and bite her tongue, but you can tell she’s having none of it. Others who show up, including Tig Notero, Norah Dunn and Fred Melamed. Just when you least expect it, Anna Conkle from Pen15, shows up as one of those delivery gurus that make the two of them feel even more awkward.
What’s nice is that this never turns into the typical meet cute rom-com that some might be expecting, as Beckwith’s film is more about friendship and companionship and being there for another, and the lack of that romantic spark even as chemistry develops between them is what makes this film so enjoyably unique. Beckwith’s sense of humor combined with her dynamic duo stars makes Together Together the best comedy about pregnancy probably since Knocked Up.
Another great Sundance movie and actually one of my two favorite recent documentaries AND one of the best movies I’ve seen this year is… you know what? I haven’t done this for a while so this is this week’s “CHOSEN ONE”!! (Fanfare)
(Photo courtesy: Robert Fuhring/Courtesy Sesame Workshop)
Marilyn (Mad Hot Ballroom) Agrilo’s STREET GANG: HOW WE GOT TO SESAME STREET (Screen Media/HBO Documentaries) is a fantastic doc about the long-running and popular PBS kids show that’s every bit as good as Morgan Neville’s Mr. Rogers doc, Won’t You Be My Neighbor? Which was robbed of an Oscar nomination a few years back.
Let me make something clear on the day I’m writing this, April 21, 2021, that this is my favorite movie of the year, the only one I’ve already given a 10/10, and the end of the year might come around, and I have a feeling it will still be my #1.
You see, I was raised a Sesame Street kid. It’s not like I didn’t read or play outside or not get the attention of my parents or family, but there was so much of my happy, young life that I could attribute to my time watching Sesame Street, and when you watch Marily Agrilo’s amazing doc, it all comes rushing back. There is stuff in this movie that I haven’t seen in maybe 50 years but that I clearly remember laughing at, and there’s stuff that got into the mind of a young Ed that influenced my love of humor and music and just outright insanity. Sure, I loved The Muppet Show, too, but it was a different experience, so to watch a movie about the show with all sorts of stuff I had never seen or knew, that’s what makes Street Gang such a brilliant documentary, and easily one of the best we’ll see this year. Of that I have no doubt.
From the very origins of the show with Joan Cooney developing a show that will be entertaining and educational to the kids being plopped down in front of the TV in the ‘60s and ‘70s, so they can learn something, it’s just 1:46 of straight-up wonderment.
Besides getting to see a lot of the beloved actors/characters from the show and many of the surviving players like Carol Spinney aka Big Bird/Oscar, you can see how this show tried to create something that wasn’t just constantly advertising to young minds.
More than anything, the show is a love letter to the bromance between Jim Henson and Frank Oz, and you get to see so many of their bits and outtakes that make their Muppets like Burt and Ernie and Grover and, of course, Kermit, so beloved by kids that even cynical adults like myself would revert childhood just thinking about them. Then on top of that there’s the wonderful music and songs of Christopher Cerf and Joe Raposo and others, songs that would permeate the mainstream populace and be remembered for decades.
The movie is just a tribute to the joy of childhood and learning to love and sing and dance and just have fun and not worry about the world. I’m not sure if kids these days have anything like that.
It also gets quite sad, and I’m not embarrassed to say that in the sequence that covers the death of Mr. Hooper, I was outright bawling, and a few minutes later, when Jim Henson dies in 1990, I completely lost it. That’s how much this show meant to me and to so many people over the decades, and Brava to Ms. Agrilo for creating just the perfect document to everything that Sesame Street brought to so many people’s lives. This is easily the best documentary this year, and woe be to any Academy that doesn’t remember it at year’s end.
The other fantastic doc out this week, though I actually got to see it last year, is Lisa Rovner’s SISTERS WITH TRANSISTORS (Metrograph Pictures), which will play at the Metrograph, both on demand and part of its Digital Live Screenings (available to join for just $5 a month!). This is an endlessly fascinating doc that looks at the women of electronic music and the early days of synthesizers and synthesis and some of the female pioneers. It’s narrated by Laurie Anderson, which couldn’t be the more perfect combination.
The movie covers the likes of Suzanne Cianni; Forbidden Planet composers Louis and Bebe Barron, who created the first all-electronic score for that movie; the amazing Wendy Carlos, who electronically scored one of my favorite movies of all time, Kubrick’s A Clockwork Orange; Delia Derbyshire, who was also the subject of Caroline Catz’s short, Delia Derbyshire: The Myths and Legendary Tapes, which tragically, I missed when it premiered at the SXSW Film Festival in March. Derbyshire was also famous for creating the iconic theme to “Doctor Who” while working at the BBC Radiophonic Workshop in the '60s. Others who appear in the movie, either via archival footage or more recent interviews are Pauline Oliveros and Laurie Spiegel, who I was less familiar with.
The point is that as someone who was a fantastic for electronic music and synthesizers from a very early age and for someone who feels he’s very familiar with all angles of music, I learned a lot from watching Rovner’s film, and I enjoyed it just as much a second time, because the footage assembled proves what amazing work these women were doing and rarely if ever getting the credit for what they brought to electronic music, something that still resonates with the kids today who love things like EDM.
An endlessly fascinating film with so much great music and footage, Sisters with Transistors can be watched exclusively through the Metrograph’s Live Screening series, so don’t miss it!
Hitting Shudder this week is Chris Baugh’s BOYS FROM COUNTY HELL (Shudder), which I didn’t get a chance to watch before writing this week’s column, but Shudder in general has been knocking it out of the park with the amazing horror movies it’s been releasing on a weekly basis. This one involves a quarelling father and son on a road who must survive the night when they awaken an ancient Irish vampire.
Also hitting theaters and streamers and digital this week:
THE MARIJUANA CONSPIRACY (Samuel Goldwyn Films)
MY WONDERFUL WANDA (Zeitgeist Films)
WET SEASON (Strand Releasing)
CRESTONE (Utopia)
VANQUISH (Lionsgate)
BLOODTHIRSTY (Brainstorm)
SASQUATCH (Hulu)
SHADOW AND BONE (Netflix)
And that wraps up this week. Next week? No idea… I know there’s stuff coming out but I probably won’t think about it until after THE OSCARS!!!! On Sunday.
#movies#mortalkombat#demonslayer#weekendwarrior#reviews#sisters with transistors#togethertogether#mitchellsvsmachines#streaming
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Reviews 312: Joe Morris
I’ve had considerable difficulty putting down my thoughts concerning Joe Morris’ Exotic Language, though not because of the music…a sonic paradise so panoramic and immersive that my mind is completely overwhelmed with hyperbolic descriptors and imagined fantasy landscapes. No, the difficulty comes from determining how to properly contextualize the work of an artist whose music has meant so much to me over the last few years and who has been a constant guidepost as I’ve explored this vague soundworld we all call “balearic”. So perhaps it’s best to go back to the beginning, which involved me trawling through the Is It Balearic? Discogs page picking out titles whose label art resonated with me…visuals that captured some indefinable spirit of beachside meditation and solar fantasy dancing. This of course led me to Joe’s Golden Tides 12”, the label art of which was given over to impossibly beautiful sunset scenes, ones that were washed out into a sparkling tapestry of golden radiance. It was exactly what I was looking for and from then on, I’ve been in a near constant love affair with the producer’s work, which has led my spirit through so many wonderful musical environments, whether it’s the mystically inclined Bahia EP on Balearic Social, the Cloud Nine 12″ on Wonder Stories, or the increasingly esoteric remix work of Clandestino, Joe’s party crew and studio project run in conjunction with Iain Mac and Nick J. Smith, who have perfected a particularly tripped out style of jacking dancefloor ritualism.
But as great as those works are, the undoubted high point for me came with the release of Jacaranda Skies on Pleasure Unit, an EP that opened Joe’s sound up considerably and foreshadowed many of the adventurous environments he would travel to on his epic full length. Across the 12”, the listener was treated to a tropical house slammer, a futuristic acid jazz ritual, and one of my favorite tracks of recent memory, “The Lost Garden,” which melted the heart with timeless string descents while mallet instruments danced amidst sparkling synths, reverberating guitars, and island percussion exotica. After the release of Jacaranda Skies, I just knew Joe had to drop an album, one that would allow his increasingly adventurous and cinematic sonics to spread all the way out, unrestricted by space or time considerations. Thus I was completely blown away in 2019 as my fantasies came true in the form of Exotic Language, the producer’s magnum opus and a near perfect summary of the many colorful sonic universes he has visited across his career. It’s a true album experience, with well considered track sequencing taking the listener on a oceanic dream journey encompassing Italo deep house, Chicago club workouts, spiritual Afro-trance, ethereal pop-ambient, acid-laced downtempo, aqueous guitar mesmerism, amorphous dub, and so much more. And though mostly realized as a solo effort, including the fantastic artwork, Joe is joined by some crucial guests in the form of Private Agenda and his son Milo.
Joe Morris - Exotic Language (Shades of Sound, 2019)
We open on “Firefly Beach,” with guitar swells creating aqueous ripples amidst cricket chirps and crashing waves...the vibe not unlike Onyricon’s “Sweet Dream.” Plucked harps flow through interstellar fluids and synthetic arps smear into seafoam as momentum builds, with hand drums and cymbal taps leading to a low-key climax of downbeat ocean grooving. Tambourines shake through layers of brass synthesis and basslines blur in and out of focus…all while crystalline tones descend amidst solar flare vibrato orchestrations. Next is “Perfume,” a collaboration with Private Agenda that, if released in the 90s, would have appeared on every single balearic comp, so closely does hit that essential seaside pop vibe, with touches of ethereal R&B married to oceanic chill-out in away strongly evoking the work of Afterlife, especially “Dub in Ya Mind (Beach Club Mix)” and the legendary “Speck of Gold.” Rhodes keys sparkle, big bottomed jazz breaks keep the body vibing, and dreampop guitars swim through ether as funk basslines slide through sexual smoke. Elsewhere, pianos constructed from ocean glass play melodies of dream melancholia alongside blazing string themes and laserbeam sequencing. And carrying the whole thing is a chilling vocal performance from Sean Phillips, his multi-layered and soulful hooks pushing the heart towards pure sunset euphoria. Our first taste of club fire comes via “A Dance With Jupiter,” which touches on Chicago house as well as the intense rave workouts of Clandestino. The track starts with loon calls, spectral rattles, mermaid hazes, and bongos popping over tubular basslines before we flash into a jacked out four-four house groove. Anxious cymbal work cuts up the air, electrified claps crack on the beat, and waves of angel synthesis wrap around the spirit while elsewhere, we breakdown into smacked kicks, brass heatwaves, and hand drum tribalisms. And as acid lines filter in from the void, the track snaps back into a tech house fever dream, with increasingly wild 303 patterns spraying neon liquids over anthemic chord riffs while 90s rave whistles are danced around by polychrome pan-pipe tracers.
At the start of “Echo Station,” cymbals flow through timelag generators, guitars flutter, and hand drums pop through mutating fx chains until we drop into a subsonic bass groove, with dubwise drum beats pulsing through a stoner paradise. Weirdo reggae riffs wiggle in each ear, with organs and trumpets mutating into insect psychedelia and metallic chords wavering through delay-soaked mirages. Spacey six-strings shimmer, pianos skip across new age sunbeams, and flutes execute LSD dances as the rhythms refuse to coalesce, creating that classical drug touch…a sort of fevered fantasy space where everything constantly shifts through humid layers of rainbow fog…the vibe not unlike the recent work of Androo. There’s a moment where the rhythms fade to gas amidst rimshot cloudforms while anthemic ocean wavefronts fade in, with touches of ambient prog glory shining through the deep blue hazes. Fantasy sequences climb playfully towards the clouds and synthesizers filter into neon magic as the dub riddims finally return, now with piano starlight sparkling amidst drunken brass fanfares. Next comes “Celestial Plantation,” wherein pads settle like a ghostly ocean fog, one aglow in prismatic hues of mother-of-pearl. Birds chirp, waves crash, and hand drums cascade through delays before blurring into a flutter of blutterfly wings…all while bass pulses give the abstracted groove a touch of tribal body magic. Melodic brass themes peel away to reveal sparkling gemstone electronics and electro cymbals hiss across the spectrum as the vibe grows ever more blissed out, with the spirit soaring on waves of coral colored euphoria. The heart overflows with balearic majesty and all bad vibrations are washed away by starlight electronics and glowing melodic crystals as Joe sets the body afloat via gaseous chill-out rhythmics. And best of all, there are these glorious moments where the spirit seems to rise above the clouds, with synths swelling and white noise hazes parting to reveal spiritual whistle tones and elven pan-pipes…a sort of new age paean to the spirits of the sea pulling the mind towards a beachside oasis, with palm trees blowing in a tropical wind while birds of paradise flit amongst the fronds.
In “Dream Clouds,” galactic vapors rattle amidst an angel choirs comprised of male cyborg breaths and glimmering fairy voices. A four-to-the-floor pulse is accented by acid bass jacking, hi-hats spread into ticking psychedelia, and clipped snares give the beat a faint disco pulse as we soar through Joe’s own paradisal imagining of Italo dream house....a euphoria-kissed fantasy world of lush dancefloor exotica…spread out, gaseous, and with billowing waves of ether stoking hallucinogenic visions. Filtering phasers infuse the aqueous pad motions, paranoid rimshots transform into kosmische energy tracers, and feedback marbles glisten in cold solar light as the snares and claps fire in that distinctly Clandestino way…the mind never allowed to settle while pushing ever closer towards hyperventilated delirium. Elsewhere, kicks pull away for a machine jazz jam, all rigid robot bopping before slamming back into fantasy dance magic, with blistering chords ringing out, white light pads bending into dolphin sirensong, and crystalline chords conversing with reverb-soaked cricket chirps. “Acid Safari” hits similar notes of freaky forest acid as “Mangrove Dawn” from Jacaranda Skies, though replacing that track’s ritualistic percussion flow with fat-bottomed rave breaks and a dubwise bass skank. The baggy and zoned out 90s-style beat science is accented by industrial tom-tom splatter, echo-soaked hand percussion, cave crack snares, and mechanized cymbal hiss, with the mix increasingly suffused by monkey howls and orchestral heatwaves. Sunbeam guitar percolations and syncopated synth riffs morph through delay layers until the vibe grows murky, resulting in a mystical environment of dispersed rhythms and machines that growl like jaguars. Cosmic acid lines diffuse in and hand drums carry the soul towards the heart of the jungle, with sunlight filtering through the dark tropical growth in the form of six-string echo dances. Blasting back into sunshine rave breaks and dub-kissed psychedelics, mutating acid lines roar at the edges of the mind and as we move towards the end, saloon-leaning Rhodes chords portend a cinematic western sunset while string synths melt towards an impossible horizon.
There’s some mystical magic happening within “Spirit Walker,” with Joe taking deep inspiration from Larry Heard as he crafts an ambient house epic. But that’s not all, for amidst the mermaid choir fantasias, harmonious whalesong hazes, and clouds of cyborg psychedelia, snare drums rattle into a free jazz fever dream, shakers keep a hypnotic pulse, and hand drums alight on adventures of Afro-beat intensity…the track coming together as some inspired amalgam of ecstatic future dance energy and ancient tribal magic. Animalistic acid lines growl down low and dream house piano chords blur through sunset colorations until eventually being replaced by pure trance vocal synthesis…these chopping waves of angel bliss pushing the mind towards transcendence. There’s a moment where the basslines pull away, leaving behind a gaseous world of spiritual jazz, wherein pianos decay while cinematic pads are surrounded by whooshing layers of aquatic ambiance. Then, as we slam back into Afro-house firedance, balafons and kalimbas weave in and out of the Goan voice layers…a mix of idiophonic rainfall and slow motion trance ecstasy that could float my spirit forever. Closer “Milo’s Theme” begins with morphing synth chords…like pianos obscured by alien foam. Hovering sea-spirits radiate aquamarine while dream sequences dance ear-to-ear and after a gaseous burst, we flow into an immersive groove of downtempo drumming and bongo tropicalia. Chopping vibrato hazes diffuse in and out of empty space, guitars sing spiritual songs of seaside blues, and gemstone melodies flow upwards as feedback tracers mimic sad seagull cries. Then, the rhythms disappear and the song gives over to a new age soundbath, one that celebrates the newness of life with joyous baby babbles (sourced from Joe’s son Milo) and bubbling strands of melted ocean glass. And after a climactic reprise of sunset groove majesty, with layered guitars, tremolo psychedelics, and squelching piano chords hovering over post-rock rhythmics and balearic beat expanses, we return again to a world of ambient sea-spray, abstracted echo weirdness, and gurgling infant breaths.
(images from my personal copy)
#joe morris#clandestino#leeds#exotic language#shades of sound#2019#balearic#italo#dream house#deep house#afro#exotic#new age#ambient#pop#private agenda#chicago house#ethereal#dream journey#album reviews#vinyl reviews#music reviews#vinyl#sun lounge#octagon eyes#acid#dub#horizontal#sunset
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Libya Star Saad Altashany 2020
#music_vevo
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Critical Role Miniature Rollout: C2E29
With Andrew Harshman
A summary and review of the minis used on Critical Role.
A quick disclaimer up top, in much the same way fighting an invisible opponent can be difficult, identifying minis with the live show mini cam quality was pretty tricky. Please forgive any lapses in accuracy and completeness.
Grab something to drink and prepare a dish best served cold, it’s time for Critical Role Miniature Rollout Campaign 2 Episode 29!
The Characters
The Mighty Nein and Shakäste Steamforged Games Critical Role Miniatures
Photo by @RogueReader47
Originally Frumpkin was just part of Caleb’s model base. Fortunately, he has been given his own mini. This cat’s a full fledged party member. He’s gotta have his own mini and it sure looks good. Very natural, very cat like.
Shakäste is looking super suave. As with the other figures, this is such a well executed rendition of the official art. The miniature looks exactly like the art by @ornerine. Now that I’m seeing this character as a fully painted figure, I gotta wonder about Shakäste’s morning routine. With this many belts, it has to be a minimum three hour process. Which just makes Shakäste that much cooler.
Kidnapped Party Member Legendary Realms Mummy
Seen in the left prison chamber, this is a clever usage of the Legendary Realms mummy mini. It has a pretty distinct appearance and works well in this capacity. It looks somewhat familiar, not unlike Shakäste outfit in fact.
The Villains
Lorenzo Steamforged Games
Photo from Matthew Mercer’s Twitter
Everyone take notes, this is the proper way to do a boss battle. Kidnap half the party, murderlize a beloved character, then get a professional miniature studio to custom sculpt a figure. What a miniature!
When word starting getting around the internets that Lorenzo was potentially a shapshifted oni, I got to worrying. Not about the longevity of the party, but about the potential oni mini choices. There are some solid prepaints in the D&D Miniatures Game back catalog, but those are well out of production. The two currently available onis are frankly terribly in comparison.
How silly of me to worry. Of course Matthew Mercer and Steamforged Games did it right. A phenomenal figure for a monumentous session and story point. Talk about table presence, even zoomed out on a live feed, this mini looked amazing. DMs, let’s learn from this excellent example of a villain confrontation.
The List
Campaign Coins DEVEN RUE COMPASS ROSE
Dwarven Forge Dungeons
Dwarven Forge Dungeon of Doom
Legendary Realms Double Bed
Tiny Furniture Medieval Bath Furniture
Dungeon of Doom LED Torch Wall
Deadly Foes Dressing: Candelabra
Dwarven Forge Dungeon of Doom Vaulted Doorway
Dungeon of Doom Vaulted Narrow Door
Legendary Realms Wooden Chest
Legendary Realms Beds
Dwarven Forge Medieval Furniture Set
Dwarven Forge Dungeon of Doom Vaulted Open Arch Wall
Dwarven Forge Dungeon of Doom Bars Insert
Dwarven Forge Dungeon of Doom, 4x4 Dungeon Floor
Dungeon Floor Pack A
Dungeon of Doom Passage Wall
Legendary Realms Hirst Arts Open Barrel
Legendary Realms Wooden Large Open Crate
Short Rubble Pile
Deadly Foes Dressing: Cage
Legendary Realms Hirst Arts Wooden Large Open Crate
Crown of Fangs Dressing: Rectangular Table
Deadly Foes Dressing: Candelabra
Dwarven Forge Dungeon of Doom Weapon Rack
Dwarven Forge Castle Builder Stone Stairs
Dwarven Forge Dungeons Door Pack
Icons of the Realms Adventurer’s Camp Weapon Rack
Dwarven Forge Dungeon of Doom Vaulted Door Corner
Dwarven Forge LED Lighted Brazier
Axe N Shield Single Flyer Risers - Clear Mithril
Real Game FX Fog Monster Remote Controlled LED Terrain
Legendary Realms Mummy
Rusty Dragon Inn Dressing: Table
Desert of Desolation #32 Rot Scarab Swarm
Lost Coast #008 Lamashtu Thug 1
Lost Coast #013 Lamashtu Thug 2
Lightfoot Halfling Rogue Epic Level Starter Set
Deathknell #25 Voice of Battle
Rusty Dragon Inn Dressing: Crate
Steamforged Games Critical Role Miniatures
Steamforged Games Oni
Unknown Green Spiritual Weapon Marker
The Terrain
Sour Nest Dungeon Furnaces Real Game FX Fog Monster Remote Controlled LED Terrain
What I thought initially was a piece from the Dwarven Forge Sewers set turned out to be a lighting item by company Real Game FX. They do some excellent work, I’ve played at a table that used one of their tabletop fog machines. This component is really cool, but it did not get to shine due to the live lighting conditions. I’m sure the next time we see these they will have their LEDs active.
Not a whole lot of new terrain, say for the Dwarven Forge LED Lighted Brazier and Dwarven Forge Dungeon of Doom Bars Insert which were both used to wonderful effect. A good amount of furniture again in this episode and I got my wish from last blog post:
We have seen a lot of tables on Campaign 2, I am eagerly awaiting the moment when one of them gets flipped dramatically to provide cover.
Prato, my man!
The Spells
Party Spells Desert of Desolation #32 Rot Scarab Swarm and Unknown Green Spiritual Weapon Marker
It is a little tough to see, Rot Scarab Swarm is the figure in the left section of the dungeon, near the green spiritual weapon I’ve been unable to identify. A convenient miniature and it’s perfectly employed here. This mini has a glossy paint finish that really pops and is most appropriate for an exotic beetle.
The Villains
Iron Shepherd Lackeys Lost Coast #008 Lamashtu Thug 1 and Lost Coast #013 Lamashtu Thug 2
Generally I stick to reviewing/discussing only the miniatures that have not been seen previously in Campaign 2. But I have a crackpot prediction to share. I conspiracy theory based on minis, a Conspiramini Theory if you will.
The Mighty Nein pursue three members of the Iron Shepherds through the first level of the basement dungeon, Prato, Rusa, and a hireling dressing in the signature black and red Iron Shepherd attire. The mini is the dual dagger wielding Pathfinder Battles Lost Coast #013 Lamashtu Thug 2 figure. But in the following scene down in the second level of the Sour Nest basement, the hireling is replaced with Lost Coast #008 Lamashtu Thug 1 a similar character with a crossbow.
I posit that this is not a mini swap to portray the change in equipment, nor a simple oversight, but in fact a deliberate choice indicating that a member of the Iron Shepherds has survived! Hopefully this will pan out better than my other conspiramini theories.
Closing Remarks
Is it Thursday yet? Yes it is. Very excited for the new episode tonight.
#criticalroleminiaturerollout
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Sound Monitors
what are sound monitors?
sound monitors are big speakers either used for professional recording studios, stage performances, dance studios or even for your own use at home, for a surround speaker example.
we will be reading about:
-studio monitors
-stage monitors
-combo monitoring
let’s talk about studio speakers...
studio speakers are made to hear the details and fix the sound before it is fully developed and finished. “most popular, more reviewed and highly recommended” are the KRK Rokit 5 G3 according to research found on ehomerecordingstudio.com . These type of speakers are active speakers/monitors: which are self amplified. You’d know which ones they are as they have a distinct yellow dot in the middle. Price starting at £126.21 on Amazon
or for a pricier studio monitor we also have the old classic:
Event 20/20 BAS , the original was released back in 1995.
“Compared to the original models, the new ones boast DOUBLE the power, with HALF the Total Harmonic Distortion (THD).
And that’s DAMN impressive.” - ehomerecordingstudio.com
something you can notice is:
- A front base support- better suited for smaller rooms
-250 W power- which is exceptionally high for monitors of this size
The average price is $1000 audio range -gearspace.com
now moving onto front of house
there’s a lot what you could consider being a stage monitor:
for example Front of house which are stage speakers (not called monitors). Speakers are there not only for the audience but also for the performers to hear themselves play and sing. types of stage speakers:
-wedges
-High range and mid range
-Bass bin
-Amplifiers
however there could be a problem of loudness wars. When one increases sound cause of hearing difficulties and other sounds on stage increase as well which would create one LOUD SOUND WAR. which is then why there needs to be communication and planning before.
here we’re gonna take a look at a wedge style which is a stage monitor :
Active 2-way coaxial monitor system.
“• Frequency response 45 Hz - 20 KHz
• Low-profile, lightweight plywood cabinet with black ultra-durable polyurethane paint
• Reinforced metal grille with dust protection
• Recessed connection panel for added protection
• 2 recessed handles for easy transport
• Pole socket”
-bliaudio.com
prices on thomann.de can go up to $331
as for high range/mid range here we have an example of a solid state combo for electric guitar:
the Orange Crush 35 RT
“The Crush 35RT is the largest and most feature-laden model in the Crush range. Our new twin channel, high gain preamp coupled to a beefier 35 Watt output stage and 10″ Voice of the World speaker yields amazing results, delivering even greater punch, presence and volume. In addition to onboard reverb and an integrated chromatic tuner, the Crush 35RT also features an Aux In for backing tracks and our CabSim-loaded headphone output.” - orangeamps.com
Output power: 35 W
Equipped with 1x 10" loudspeaker
Clean/ Dirty switch
Controls for Gain, Clean and Dirty
3 Band EQ
Aux input: 3.5 mm mini jack
Digital reverb
Tuner
Headphone output with cabinet simulation
FX loop (Foot switch not included, suitable footswitch: Orange FS-1 - Article Nr:170368
color: orange
prices can go up to $222
-info from thomann.de
moving on to the bass bin:
the Active 18" Subwoofer: EV EKX-18SP
QuickSmartDSP has best-in-class processing, EV's unique single-knob user interface, and an LCD that allows for straightforward menu navigation.
On the EKX-18SP, a high-efficiency 1300 W Class D power amplifier with high-sensitivity transducers built and engineered by EV provides up to 134 dB peak SPL.
Two XLR outputs allow for simple extension of the system to include more loudspeakers or subwoofers. Large slot ports for superb bass extension and minimal distortion. Metal reinforcing bar for the grille (two on the 18SP). Pole mount plate with M20 threads.
info found on products.electrovoice.com
prices on thomann.de can go up to $769
then we also have amplifiers:
this particular amplifier is made for either an acoustic guitar and vocals.
the Boss ACS Acoustic Singer Live:
The Acoustic Singer Live pushes the boundaries of acoustic stage amp sound quality and creative creativity. This small powerhouse, which incorporates BOSS's most recent developments in amplifier research, creates rich, vivid sound with unsurpassed punch and clarity. For acoustic guitar and singing, separate channels are supplied, each with distinct analog input circuitry and three-band EQ for studio-quality sound. Acoustic Singer Live provides acoustic artists with everything they need to execute inspirational and dramatic live performances, including Acoustic Resonance, looping, automated vocal harmonies, effects, and much more.
Natural Sound with Power, Definition, and Presence
Guitar Channel with Acoustic Resonance
Mic Channel for Vocals and More
Automatic Vocal Harmonies and Looping
Advanced Connectivity and Control
info found on boss.info
prices on thomann.de can go up to $449
even tough all of the above are great and efficient to work with, nowadays we mostly use in-ear monitors, it’s where performers hear the sound trough a small wireless ear-bud. These in ear monitoring allows us to have different mixes for each musician, but we also have another problem as we need someone to be there adjusting the mixing as now we need a mix for everyone, 1 person for the entire monitoring and one for the entire front of house stage-speakers.
something which is also very crucial is the speaker placement. if you’re setting up your own studio, you need to have an equilateral triangle, you would need to have the two speakers facing you and you on the other end.
This is the Wired Miniature In-Ear Amplifier: Fischer Amps In Ear Stick
For live and studio use
Robust metal housing
XLR/Jack Combined Input
Balanced mono input signal or unbalanced stereo input signal
3.5 mm headphone output
Electronic limiter in the input stage to protect hearing
Max. 2x 100 mW / 16 Ohm output
Impedance: 1.5 Ohm
Up to 10 hours of operation with 2 AAA batteries
Dimensions: 140 x 30 x 35 mm
Weight: 120 g
Made in Germany
prices can go up to $118
info found on thomann.de
now for ....combo monitoring:
combo monitoring is for when you example have a guitar with an amplifier and another monitor in front that gives the audio from the rest of the crew (drums, mic, keyboard, etc) so that the guitar player will be able to hear and synchronise with the rest of the band.
research and explanation as credits to lecturer. (sound in performing arts)
some information which is important as well is feedback:
Feedback is a loop of when the sound coming from the microphone into the speaker, is the speaker is direct at the microphone, it will create a very ugly distorted sound which will go back into the microphone and back into the speaker which is why it is called a loop.
thank you for reading this article!
END OF ARTICLE
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Forest Whitaker
Forest Steven Whitaker III (born July 15, 1961) is an American actor, producer, and director.
Whitaker has earned a reputation for intensive character study work for films such as Bird, Platoon, Ghost Dog: The Way of the Samurai, and The Butler, and for his work in independent films and for his recurring role as LAPD Internal Affairs Lieutenant Jon Kavanaugh on the Emmy Award-winning television series The Shield.
For his performance as Ugandan dictator Idi Amin in the 2006 film The Last King of Scotland, Whitaker won the Academy Award, British Academy Film Award, Golden Globe Award, National Board of Review Award, Screen Actors Guild Award, and various critics groups awards.
Early life
Whitaker was born in Longview, Texas, the son of Laura Francis (née Smith), a special education teacher who put herself through college and earned two master's degrees while raising her children, and Forest Steven Jr., an insurance salesman. According to DNA tests, his father was of Igbo descent, while his mother had Akan ancestry. When Whitaker was four, his family moved to Carson, California. Whitaker has two younger brothers, Kenn Whitaker, an actor, and Damon, and an older sister, Deborah. Whitaker's first role as an actor was the lead in Dylan Thomas' play Under Milk Wood.
Whitaker attended California State Polytechnic University, Pomona on a football scholarship, but a back injury made him change his major to music (singing). He toured England with the Cal Poly Chamber Singers in 1980. While still at Cal Poly, he briefly changed his major to drama. He was accepted to the Music Conservatory at the University of Southern California to study opera as a tenor, and subsequently was accepted into the University's Drama Conservatory. He graduated from USC in 1982. He also earned a scholarship to the Berkeley, California branch of the Drama Studio London. Whitaker was pursuing a degree in "The Core of Conflict: Studies in Peace and Reconciliation" at New York University's Gallatin School of Individualized Study in 2004.
Career
Film work
Whitaker has a long history of working with well-regarded film directors and actors, as well as, for a brief period of time, working in direct-to-video films alongside novice actors such as Lil Wayne, Maggie Grace, and 50 Cent. In his first onscreen performance of note, he had a supporting role playing a high school football player in the 1982 film version of Cameron Crowe's coming-of-age teen-retrospective Fast Times at Ridgemont High. In 1986, he appeared in Martin Scorsese's The Color of Money and Oliver Stone's Platoon. The following year, he co-starred in the comedy Good Morning, Vietnam. In 1988, Whitaker appeared in the film Bloodsport and had his first lead role starring as musician Charlie "Bird" Parker in Clint Eastwood's Bird. To prepare himself for the part, he sequestered himself in a loft with only a bed, couch, and saxophone, having also conducted extensive research and taken alto sax lessons. His performance, which has been called "transcendent", earned him the Best Actor award at the 1988 Cannes Film Festival and a Golden Globe nomination.
Whitaker continued to work with a number of well-known directors throughout the 1990s. He starred in the 1990 film Downtown and was cast in the pivotal role of Jody, a captive British soldier in the 1992 film The Crying Game, for which he used an English accent. Todd McCarthy of Variety described Whitaker's performance as "big-hearted", "hugely emotional", and "simply terrific". In 1994, he was a member of the cast that won the first ever National Board of Review Award for Best Acting by an Ensemble for Robert Altman's film, Prêt-à-Porter. He gave a "characteristically emotional performance" in Wayne Wang and Paul Auster's 1995 film, Smoke.
Whitaker played a serene, pigeon-raising, bushido-following, mob hit man in Ghost Dog: The Way of the Samurai, a 1999 film written and directed by Jim Jarmusch. Many consider this to have been a "definitive role" for Whitaker. In a manner similar to his preparation for Bird, he again immersed himself in his character's world—he studied Eastern philosophy and meditated for long hours "to hone his inner spiritual hitman." Jarmusch has told interviewers that he developed the title character with Whitaker in mind; The New York Times review of the film observed that "[I]t's hard to think of another actor who could play a cold-blooded killer with such warmth and humanity."
Whitaker next appeared in what has been called one of the worst films ever made, the 2000 production of Battlefield Earth, based on the novel of the same name by L. Ron Hubbard. The film was widely criticized as a notorious commercial and critical disaster. However, Whitaker's performance was lauded by the film's director, Roger Christian, who commented that, "Everybody's going to be very surprised" by Whitaker, who "found this huge voice and laugh." Battlefield Earth won seven Razzie Awards; Whitaker was nominated for Worst Supporting Actor, but lost to his co-star, Barry Pepper. Whitaker later expressed his regret for participating in the film.
In 2001, Whitaker had a small, uncredited role in the Wong Kar-wai-directed The Follow, one of five short films produced by BMW that year to promote its cars. He co-starred in Joel Schumacher's 2002 thriller, Phone Booth, with Kiefer Sutherland and Colin Farrell. That year, he also co-starred with Jodie Foster in Panic Room. His performance as the film's "bad guy" was described as "a subtle chemistry of aggression and empathy."
Whitaker's 2006 portrayal of Idi Amin in the film, The Last King of Scotland earned him positive reviews by critics as well as multiple awards and honors. To portray the dictator, Whitaker gained 50 pounds, learned to play the accordion, and immersed himself in research. He read books about Amin, watched news and documentary footage featuring Amin, and spent time in Uganda meeting with Amin's friends, relatives, generals, and victims; he also learned Swahili and mastered Amin's East African accent. His performance earned him the Academy Award for Best Actor, making him the fourth African-American actor in history to do so, joining the ranks of Sidney Poitier, Denzel Washington, and Jamie Foxx. For that same role, he was also recognized with the British Academy Film Award, Golden Globe Award, National Board of Review Award, Screen Actors Guild Award, and accolades from the Broadcast Film Critics Association, London Film Critics’ Circle Award, Los Angeles Film Critics Association, National Society of Film Critics, and New York Film Critics Circle among others.
In 2007, Whitaker played Dr. James Farmer Sr. in The Great Debaters, for which he received an Image Award nomination for Outstanding Supporting Actor. In 2008, Whitaker appeared in three films, first as a business man known only as Happiness, who likes butterflies, in the film The Air I Breathe. He also portrayed a rogue police captain in Street Kings, and a heroic tourist in Vantage Point.
In 2013, after working in several limited releases and independent features such as Freelancers and Pawn, Whitaker has enjoyed a bit of career resurgence, having played the lead role in Lee Daniels' The Butler, which has become one of his greatest critical and commercial successes to date.
Whitaker also starred in the film Black Nativity, alongside Jennifer Hudson, Angela Bassett, and Jacob Latimore. He also co-starred with Arnold Schwarzenegger in 2013's The Last Stand, playing an FBI agent chasing an escaped drug cartel leader.
Whitaker played Saw Gerrera in the 2016 film Rogue One: A Star Wars Story.
Television work
After completing several films in the early 1980s, Whitaker gained additional roles in multiple television shows. On the series, Diff'rent Strokes, he played a bully in the 1985 episode "Bully for Arnold". That same year, Whitaker also played the part of a comic book salesman in the Amazing Stories episode "Gather Ye Acorns". He appeared in the first and second parts of North and South in 1985 and 1986. Throughout the 1990s, Whitaker mainly had roles in television films which aired on HBO, including Criminal Justice, The Enemy Within, and Witness Protection.
From 2002 to 2003, Whitaker was the host and narrator of 44 new episodes of the Rod Serling classic, The Twilight Zone, which lasted one season on UPN. After working in several film roles, he returned to television in 2006 when he joined the cast of FX's police serial The Shield, as Lieutenant Jon Kavanaugh, who was determined to prove that the lead character, Vic Mackey, is a dirty cop. As opposed to his previous character work, Whitaker stated that he merely had to draw on his childhood years growing up in South Central Los Angeles for the role. He received rave reviews for his performance—Variety called it a "crackling-good guest stint"—and he reprised the role in the show's 2007 season.
In the fall of 2006, Whitaker started a multi-episode story arc on ER as Curtis Ames, a man who comes into the ER with a cough, but quickly faces the long-term consequences of a paralyzing stroke; he sues, then takes out his anger on Dr. Luka Kovač, who he blames for the strokes. Whitaker received a Primetime Emmy Award nomination for his performance in the series. Also in 2006, Whitaker appeared in T.I.'s music video "Live in the Sky" alongside Jamie Foxx.
Whitaker was cast in the Criminal Minds spin-off, Criminal Minds: Suspect Behavior, that was subsequently cancelled by CBS on May 17, 2011.
In December 2016, it was announced that Whitaker would reprise his role as Saw Gerrera from Rogue One for the Star Wars Rebelsanimated series.
Theatre
Whitaker made his Broadway debut in 2016 in a revival of Eugene O'Neill's play Hughie at the Booth Theatre, directed by Michael Grandage.
Producing and directing
Whitaker branched out into producing and directing in the 1990s. He co-produced and co-starred in A Rage in Harlem in 1991. He made his directorial debut with a grim film about inner-city gun violence, Strapped, for HBO in 1993. In 1995, he directed his first theatrical feature, Waiting to Exhale, which was based on the Terry McMillan novel of the same name. Roger Ebert observed that the tone of the film resembled Whitaker's own acting style: "measured, serene, confident." Whitaker also directed co-star Whitney Houston's music video of the movie's theme song, "Exhale (Shoop Shoop)".
Whitaker continued his directing career with the 1998 romantic comedy, Hope Floats, starring Sandra Bullock and Harry Connick, Jr. He directed Katie Holmes in the romantic comedy, First Daughter in 2004 while also serving as executive producer; he had previously co-starred with Holmes in Phone Booth in 2002. He had previously gained experience as the executive producer of several made-for-television movies, most notably the 2002 Emmy-award-winning Door to Door, starring William H. Macy. He produced these projects through his production company, Spirit Dance Entertainment, which he shut down in 2005 to concentrate on his acting career.
Whitaker and his partner Nina Yang Bongiovi produced the film Fruitvale Station, which won the Grand Jury Prize and the Audience Award for U.S. dramatic film at the 2013 Sundance Film Festival, as well as Repentance (2014), Dope (2015) and the upcoming Sorry to Bother You.
JuntoBox Films
Whitaker plays an active role as co-chair of JuntoBox Films since his initial involvement as co-chair with the collaborative film studio starting in March 2012. JuntoBox was developed as a social-media platform for filmmakers and fans to share ideas to create films and then collaborate to make them. Since Whitaker joined as co-chair, five projects have been greenlit for production.
Honors
In addition to the numerous awards Whitaker won for his performance in The Last King of Scotland, he has also received several other honors. In September 2006, the 10th Annual Hollywood Film Festival presented him with its "Hollywood Actor of the Year Award," calling him "one of Hollywood's most accomplished actors." He was honored at the Santa Barbara International Film Festival 2007, where he received the American Riviera Award.
Previously, in 2005, the Deauville (France) Festival of American Film paid tribute to him. On April 16, 2007, Whitaker was the recipient of the 2,335th star on the Hollywood Walk of Fame for his contributions to the motion pictures industry at 6801 Hollywood Boulevard. He received the honorary degree of Doctor of Humane Letters from Xavier University of Louisiana in 2009 at the 82nd Commencement Ceremony. He received the honorary degree of Doctor of Humane Letters from California State University, Dominguez Hills on May 16, 2015.
Personal life
In 1996, Whitaker married actress Keisha Nash, whom he met on the set of Blown Away. They have four children: two daughters together (Sonnet and True), and his son (Ocean) and her daughter (Autumn) from their previous relationships.
Whitaker studies yoga and has a black belt in kenpō. He also trains in the Filipino martial art of Arnis, under Dan Inosanto. Inosanto is best known for having been a student of the late Bruce Lee and has trained actors such as Denzel Washington and Brandon Lee.
Whitaker's left eye ptosis has been called "intriguing" by some critics and "gives him a lazy, contemplative look". Whitaker has explained that the condition is hereditary and that he has considered having surgery to correct it, not for cosmetic reasons but because it affects his vision.
Activism
Charity work
Whitaker, who is a vegetarian, recorded a PSA with his daughter, True, promoting vegetarianism on behalf of People for the Ethical Treatment of Animals (PETA). He is also a supporter and public advocate for Hope North, a boarding school and vocational training center in northern Uganda for escaped child soldiers, orphans, and other young victims of the country's civil war.
Politics
In politics, Whitaker supported and spoke on behalf of Senator Barack Obama in his 2008 presidential campaign. On April 6, 2009, he was given a chieftaincy title in Imo State, Nigeria. Whitaker, who was named a chief among the Igbo community of Nkwerre, was given the title Nwannedinamba of Nkwerre, which means A Brother in a Foreign Land.
Whitaker was inducted as a UNESCO Goodwill Ambassador for Peace and Reconciliation, in a ceremony at UNESCO headquarters on June 21, 2011. As Goodwill Ambassador, Whitaker works with UNESCO to support and develop initiatives that empower youths and keep them from entering or remaining in cycles of violence. At the induction ceremony, U.S. Ambassador to UNESCO David Killion described Whitaker as a "perfect choice as a Goodwill Ambassador... he has exemplified compassion in every area of his life, with humility and grace. He does this because it's the right thing to do."
In 2010, Whitaker received the Artist Citizen of the World Award (France).
Whitaker co-founded the International Institute for Peace (IIP) at Rutgers University in Newark, New Jersey. Launched during the international Newark Peace Education Summit, IIP's mission is to develop programs and strategic partnerships to address cutting-edge issues such as increasing citizen security through community-building; the role of women and spiritual and religious leaders in peacebuilding; the impact of climate change; and the reduction of poverty. IIP operates under the auspices of UNESCO as a Category 2 Center.
Wikipedia
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3D TOONFLIX REVIEW BY MEI-REVIEW
Home: https://mei-review.com/3d-toonflix-review/
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I'm ready to continue my Xman character (in voice & attitude) into this decade with a new fever and gratitude in living. In 2026, it will be 20 yrs since the release of "the Xman Cometh". Bringing the band back into the studio this fall to create new horizons in my sound. Namaste, I seek the divine in you!
A review about my CD "The Xman Cometh" on iTunes.
While he's primarily a drummer and vibraphonist, Charles Xavier's incredibly diverse résumé includes developing electronic drums for Tom Petty, creating computer scores for pop singer Martika, and doing FX sampling sessions for legendary rockers like Ray Manzarek; working with some partners, he also facilitated video productions for everyone from ZZ Top to Garth Brooks and Luther Vandross. Part social commentary, part spoken word (with some rap) and backed by the exuberant spirit of wild and crazy electronic free jazz, The Xman Cometh is a unique hodgepodge that draws on Xavier's many talents. Launching with the oddly appealing funk-jazz number "They Say," Xavier embarks on a journey which cruises Hollywood's streets in search of sex, politics and a little street hustle. The tracks with actual singing ("Gonna Change America") work more effectively than the spoken word poetry on top of the jazz on tracks like the Hurricane Katrina commentary "American Refugee," but the intention of every song, no matter how rhythmic and melodic, is to create an unforgettable statement about human rights, class struggle and how to change "the system" (even at the risk of self-indulgence). More conventional jazz fans might just wish Xavier would X out the vocals and leave in the exquisite musicianship. This is created by a handful of L.A.'s best underrated working musicians are on hand, including one time smooth jazz star saxman Sam Riney, trumpeter Warren Gale, Frankie "Blue" Sposato and synthesist Barry Reynolds. Then again, Xavier does warn us to expect the unexpected — and there was nothing else like this out in 2006.
https://itunes.apple.com/us/album/xman-cometh-expect-unexpected/id201438022
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Best Auto Tune Voice App
Auto tuning is an audio processor which uses a proprietary device to measure and after that pitch in vocal and instrumental music recording and performances. It is the process of using auto tune apps or devices for tuning something automatically and also allows to enables the correction of an out of tune vocal performance.
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Auto Tune is one specific piece of software, pitch correction is usually referred to as Auto Tune, while Voice Transmission is normally increasing or decreasing the pitch of a recording.
Every one of us like to perform different hits. While some peoples do not shy to reveal their talent to the public and others elect to leave it in the bathroom. The difference between Auto Tune, pitch correction and voice transformation the vocals should be cleared.
Auto tune apps are the real game changers that lets the film actors into singers and allows them to challenge award winning singers and artists and all the all credit goes none other than the Auto Tune.
May 25, 2019 #voloco #autotune Autotune is easy and quite enjoyable with this free app. Voloco includes free presets and effects to get your T-Pain on. I find this app worth discussing because it.
Auto tuner for singing is the best app to have in any sort of a situation. It will liven a party up an allow you to play a prank on your friends. Download Autotune for Singing Voice Changer.
Mar 19, 2018 Hello Guys, in this video I suggested you auto tune android app if you want record your song or wanna make Rap songs. Watch and enjoy this video. My Social Address.
Nov 06, 2019 14. Auto Tune app- Voice changer with sound effects by Best Apps Storehouse Android This app allows you to record your voice or opening music and allows you to edit it with audio effects. In this app, you can record your voice and its built in special effects will change your voice.
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Download Auto Tune Voice Changer App right now and we guarantee that this auto tune voice recorder will quickly become one of your favorite free apps! Features: The best auto tune voice changer. Voloco Auto Tune is a real-time voice processing app that combines automatic tuning and pitch changing. In other words, it's an app that lets you auto-tune your voice to create songs out of any phrase or sentence you speak (or sing). This free version of Voloco Auto Tune has four different effects that let you create completely different sounds. Nov 30, 2015 Voloco is a real-time voice-processing app that combines automatic tuning, harmony, and vocoding. Pick a track from your music collection or Voloco's free beat library to sing or rap over, and Voloco will guess the key of the track and tune your voice to that key. EASY TO SHARE Voloco allows you t.
It is really a fun to turn your untrained voice into super cool professional like melody with the help of auto tune apps. The professional auto tuners can be expensive too, but don’t worry because there are also the plenty of apps that allows you to tune your voice for free.
Now there is no need to get expensive music systems or software, your smartphone with a tuning app installed in it, is all you need. So Let’s have a look at the top 10 interesting and super quick auto tuning apps that will definitely bring out the Michael Jackson and Madonna from you.
1- AutoRap by Smule
AutoRap by smule is an auto tuning app that lets you to change the words you sing in the form of authentic rap due to its rapification technology. The app is based on auto tune technology and allows you to create high quality rap songs. Due to its amazing features (mentioned below), we listed this top of all auto tune apps.
The app features two different modes, talk mode and rap mode, (i) the talk mode enables the users to dictate the lyrics of the future song and the utility is featured in it which will match the speech to the rhythm; (ii) the rap mode is dedicated to Rap artists and it features the utility designated by the bit. The app easily matches the syllables and matches the rapper connected to your voice.
Features:
Talk Mode
Rap Competitions
Top Rappers list
Share with others
The Smule Auto tuning is the perfect auto tuning app. It is the one of the breakthrough in the musical industry.
Price: Free+
Price: Free+
2- Tune Me
Tune Me is an auto tuning app that easily allows you to record your favorite songs, the auto tune app records track with pitch shifts and allows you to sing like a pro.
The pitch correction is embedded in it that allows you to easily alter any sound so that your voice may sounds like any popular pop stars. The app is the best hip hop and R&B recording studio.
As comparted to the other auto tune apps, it features the auto pitch effect that gives the professional look to your voice. The auto tune app also has freestyle mode, background voice effects and a wave form display, it also allows you to adjust the vocal and the background beat volume.
Features:
Fast Processing
Waveform Display
Calibration
Adjust Volume and Speed separately
Price: Free+
You can also use this app for your personal entertainment. It even allows you to record and load any tracks and also lets you to share your personal creativity on social networks like Facebook and Twitter.
You will also love our best karaoke apps.
3- Star Maker Free to Sing
Star Maker Free to Sing is one of the perfect auto tuning apps for android devices that features the pitches with 500 tracks, while this app also lets you to select your favorite song from the myriad collection of best songs. You can also purchase new canto, sing, record and share your songs with your friends.
Star Maker allows you to sing song and save in MP3 format and then do the auto tuning of the pitches, even you can synchronize your voice with your favorite artists.
Features:
Record and edit your karaoke songs
collab with others
Powerful recommendation engine
Sing only the best part of the song
Quality sound
This app features the cutting edge technology of voice enhancement, while this app also allows you to share your MP3 singing audio via Facebook and Twitter.
Price: Free+
Price: Free+
4- Voloco Auto Voice Tune + Harmony
Voloco Auto Voice Tune + Harmony is the real time voice processing that empowers the users to connect the voice recording with an automatic tuner. It combines automatic tuning and vocoding. You just only need to pick any song from your library and this app will automatically guess the key and pitch of the song and on the spot correct your voice to that key.
Features:
Big Chrous
Automatic Tuning
Hard Tune
SuperVocoder
Compress recording both in AAC and MP4 formats
The four awesome effects featured by the Voloco are Big Chorus, Hard Tune, Natural Tune and Super Vocoder. The app allows you to record the vox and adjust the intonation of the selected music. It also allows you to record the video of your-self while singing and share it on the social media.
Price: Free+
Price: Free+
5- Speaker Studio
Speaker Studio features audio FX Library that controls all mix and volume channel independently. The unique feature of this app is that it enables you to transform your device into a radio studio which empowers you to broadcast live or prerecorded podcast and you can also add sound and track effects.
The also offer you a live chat box that allows you to remain connected with your audience in real time.
Features:
Record or Sing Live
User-friendly Interface
Live Chatbox to get in touch with fans
Auto post on social media
Mix you voice with tracks and sound effects
This app also allows you to start with the audio blog. The interface is user friendly and easy to use. No doubt that it is one of the best auto tuning apps for android. They plenty of new and unique features help it to beat other pro auto tune apps.
Price: Free
Price: Free+
6- Spongify by Smule
Spongify by Smule is one of the amazing and interesting auto tune apps. The app features the ability to turn the normal speech into the proper song in seconds, the auto app also allow you to turn your spoken words into the song.
It is built in, use to easy and fun application that allows you to compose funny songs and share it with your friends as joke, create and send various funny songs of your composition.
Features:
Simple and easy to use interface
Speech into Rap or song
Share with friends
Once you are done with your track, you can send it through email and can also share it on the social media like Facebook and Twitter. But one of the draw back about this app provide only few free minutes to record. It is one of the most popular and free auto tuning apps for android.
See our review on Karaoke Sing and Record App.
Voice Auto Tune Free Download
7- Micdroid
Micdroid auto tuning app is very similar to the I Am T-Pain Program app, because of this feature you will always get into nodes. The app features variety of options to correct the tune and pitch of your sound. It also keeps the track of your recorded songs in its database.
The auto tune app also deploys the automatic pitch correction and recording of your emails. It also enables you to block or unblock adds through its settings, while you can also utilize your recording as your ringtone.
Free Auto Tune Apps
Features:
Automatic Pitch Correction
Send Recordings via email
Set records as ringtone
Pitch correction while recording
The singer app come up with various options that enable you to correct your voice, keep record of your recordings and share It on the social platforms.
Price: Free
8- Glee Karaoke
This app is perfect for the ones, who prefer to sing karaoke. The Glee App utilizes the recording function. For each recorded song you will be granted some points for which you may load new songs.
The app also allows you to create your group and invite your friends to join that group. You can also recount others your record by posting an entry to Twitter or Facebook. Auto tune apps like this, can correct vox also.
The app is unique in the fact that it corrects your vox so you will always be sound exclusive, while you can also listen to the songs performed by several voices simultaneously. The app also organizes the competition for best performance and the two winners are selected on each best performance. It is one the unique auto tuning apps as compared to other apps.
9- The Voice Sing and Connect
The Voice Sing and Connect app will give you the feel of a star. This app is bee developed from the TV show “The Voice”. The app features an embedded auto tone functionality that improves the quality of the sound.
The auto tune app is a form of Karaoke app that senses you like you are been performing on the voice. The app possesses the myriad range of the voice effects ,while it also allows you to share your voice with your dear ones.
Features:
Sing like a star
Record songs a music videos
Watch other recordings
Auto Tune
Pitch Pointer
A range of audio effects
The voice sing and connect come up with stylish and interactive interface.
Price: Free+
Price: Free+
10- Perfect Vocal Free
The Perfect Vocal Free app ensures you that your sound will be clean in any key. Just select the desired pitch and the app will do anything for you.
As compared to the other many auto tune apps some of the unique features of the app are customize the tonality, correction of the format, configure the speed of the sound, set the recordings as the ring tones and while it also allows you to share your recording.
Nitin Nagi
My name is Nitin Nagi I'm here working as an author and I mostly writing about sports news, health, entertainment, etc and which assign by admin. My hobbies are writing, reading and playing tennis.
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Cubase Le 5 Mac Download
Cubase 5 Version 9.2.1 Full Version 32 Bit / 64 Bit new Version finally found the files that is exactly we are looking for, and for the sake of good will, I will share it to you! CLICK HERE TO DOWNLOAD THE FULL FILE CLICK HERE TO DOWNLOAD THE FULL FILE CLICK HERE TO DOWNLOAD THE FULL FILE. Steinberg Cubase Elements 10.5 (download) Audio/MIDI DAW Software with 40 Audio FX Plug-ins, 3 Virtual Instruments, and 1,000 Sounds - Mac/PC VST 2, VST 3 Rated 4/5.
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Growing Fame (1/??)
summary: A modern AU where the losers are semi-famous for different things, and when they all run into each other at a certain event, all of their fans go bat-shit crazy – wanting the seven to spend more time together. What they didn’t expect even more than that, though, was a well-known and mean journalist to write bad reviews on them all. Their growing fame could soon shrink, they quickly realized.
warnings: nothing, really; swearing.
pairings: not yet decided
a/n: I am excited for this, not gonna lie. To sum up the reasont that they’re famous: Most of the losers are YouTubers. Stan, Eddie, and Bill are this funny famous trio who used to be on Vine. Bev is a make up/FX artist. Mike is a singer on YouTube who’s slowly getting famous. Richie’s in a band. & Ben makes educational history vids with the occasional blog of him & Mike together bc they’re bffs. Hope you guys enjoy!!
oh & this is like 2.4k words, so beware bc its a bit long.
CH 1 | CH 2 | CH 3
Day Off
Mike Hanlon laid on the couch in his apartment – head propped up by cushion, a guitar on his stomach, clothes mismatched from being lazy, and his golden retriever laying beside the couch while the black cat was curled between his feet. He strummed the guitar and hummed a tune of one of his songs with his eyes closed. He was simply relaxing, enjoying the time by himself with his two lovely pets. He could faintly hear his friend in the guest bedroom, an occasional yell being heard that made Mike halt his strumming for a short second before starting again. The dark skinned male had no idea what his friend was doing but he didn’t matter. He had a day off.
A day off from working his ass off to get his EP done for his fans – a surprise for them, actually. Mike was a singer/song writer on YouTube who had just recently been signed a record label deal for the next five years. He had been working on the EP before, but now it’s basically officially official that it will all happen. The work was tiresome, surprisingly. He stood in a studio all day, singing his heart out, and it was fun, don’t worry, but he just couldn’t help but feel that he needed everything for it to be perfect. Besides, he needed one more song plus the name for the EP and he had no idea what to do for those two things.
He was in a writing slump and all the names for EP he came up with sounded idiotic. But he had to admit that this all beat working at the family farm. He loved it there, too; he loved all the animals and spending time with family. But he also loved music, and once his grandfather agreed that Mike could give the music career a go, he was ecstatic.
Mike halted his strumming and humming once again as the guest bed room flung open. His eyes opened as well when the sound of footsteps were heard to be coming closer, and as Sandy the golden retriever lifted her head. Not too soon later, Ben Hanscom stood in the living room with a fowl expression and crossed arms. It was rare to see Ben so upset at somethings, so Mike quickly sat up.
Ben and Mike had been friends ever since they started college together a couple years ago. At the time, Mike was working on becoming an engineer with the side job of music - just playing at little venues to get the money with the occasional video up on YouTube just like he had done in high school. But once his videos got more popular and as he realized that music could be his career, he focused more on the music. Still, though, he was working on a minor in engineering with a major for general studies. It wasn’t too much to handle.
Ben had become Mike’s roommate. He was in love, and still is, with history. All his life he had been fascinated by it, and he was glad to know Mike didn’t find it annoying; the boy actually agreed. At some point in time he started putting up videos explaining history and doing little cartoons along with it; the first video got pretty popular pretty quickly, surprising both boys, and now two years later Ben has a contract with a company that pays him. He posts explanatory and educational videos of history. He also has a vlog, just posting there once in a while when there’s a longer time period in between videos.
So, the two boys knew each other pretty well. After two years of dealing with each other, becoming close friends, and slowly rising to popularity together, both of them noticed what made the other tick. What made them annoyed, or happy, or scared, or angry. So Mike Hanlon was pretty quick to pick up on Ben Hanscom’s annoyance.
“Dude, everything okay?” Mike asked carefully, making sure not to accidentally kick Salem (yes he named the cat after the black cat from Sabrina the Teenage Witch, okay?) as he moved his legs. Salem was quick to leave.
“We need to go to comic con this year.”
Mike stared for a moment before cracking a smile. “Is that why you’re pissed?” He asked.
“Mike, we missed last year, okay? We can’t miss two years in a row! I need to dress up as Star Lord at least once in my life without getting weird looks and to geek over Game of Throwns with other people.”
“I geek about it.”
“You complain about the nudity.”
“Well, I watch the show for the action; not the sex scenes!”
For a few seconds the two twenty year olds were quiet, staring at one another, waiting to see if the conversation was going to turn into a debate that they usually had when Game of Throwns was brought up. Was there too much nudity in the show? Mike often with yes, most of the time, while Ben said it was fine; they once got in an argument about it in a public place and the looks they got made them regret having being so loud about it.
Thankfully, though, neither boy continued on with the subject. Ben uncrossed his arms and shrugged as he said, “Anyway, we’re going to comic con.”
“Alright, fine. Need me to buy the tickets?”
“Ah, no, I have the money. Thanks for offering, though, Mike,” Ben told him.
The taller boy gave a smile and nodded. “Welcome, B.”
“Hey, guys, I have a day off from school and work and editing videos, so here I am doing a live stream! With Stan and Bill!”
“I was forced into this,” Stanley Uris’ voice sounded as he situated himself in front of the propped up phone. He gave a small glare to Eddie Kaspbrak but at seeing the smaller boy smile innocently at him, he rolled eyes and smiled back. “It’s barely started and I already regret this.”
“Aw S-Stan, it won’t even last th-thuh-thirty minutes,” Bill Denbrough said. He refrained from making a face as he stuttered; most of the time he didn’t now a days, but once in a while it would pop up. Stan glanced over at him and shrugged. He had already sat down on the other side of Eddie, one arm thrown around the back of Eddie’s chair and the other in his lap as he held his phone.
The three boys were known for goofing off in front of the camera together on YouTube. It used to be Vines, once upon a time. Bill and Eddie started out there and soon Stan joined and they had both separate accounts and a joint account where they would constantly make stupid yet funny videos together. They got pretty famous, too, so once Vine ceased to exist, they moved on YouTube. Still stupid but funny. Once in a while ranting videos. An occasional vlog here and there. Then the rare live stream, something Eddie decided to do today.
“Anyway, we are here to answer some questions!” Eddie exclaimed, clapping his hands together and giving a smile. “So ask away.”
Bill leaned forward to read one of the many comments. “ ‘BILL’,” he paused and laughed at the fact that his name was in all caps, “ ‘What’s is like living with Stan and Eddie?’ Oh, wow- o-okay. Not that bad, actually. They’re both nice and neat people. I’m the messy one, they clean up after me a lot.”
“No one likes your dirty socks under the couch, William,” Stan informed him with a teasing attitude. Bill flipped him off but they all laughed.
“ ‘When will Bill’s book be done’?” Stan read the next question. He then turned to look at Bill, who gave a shrug and a nod. Stan nodded back before answering. “Sometime in November! We’re excited about it. Bill won’t let us read it until then, so we’ve been stuck to waiting with you guys.”
“It’s a surprise, idiots,” the tallest male explained.
They then went on and answered more questions. Are you guys going to comic con in 2 weeks? The answer was an enthusiastic yes from all three boys. When will we get another video of Stan with the birds? Stan had answered sometime soon, when the raining whether outside was sunshine instead. Then they got questions about the different types of birds and Stan grinned the entire time answering the ones he could. Then Eddie answered one about how his nursing major was going; despite being popular in the media, Eddie still went to school.
They all did. He didn’t want to be left in the dust, having to work random jobs, when they decide to stop making videos, so he decided nursing would do just fine. Bill majored in English and constantly had papers to write, but still somehow found time to write his upcoming book and make videos with his two friends, even sometimes his little brother, Georgie, back at home. Stan decided to just do general studies but then also decided to minor in World Religions. Between all of that, he also had a wide knowledge of birds.
“ ‘Favorite bands’?” Eddie read one of the comments after complaining about his lack of sleep. “Imagine Dragons,” he quickly answered.
“The Records,” Bill said at the same time, excitement evident on his features and in his voice.
“Who the fuck are The Records?” Stan asked.
Eddie pointed at their Jewish friend, “I’m with Stan on this one.”
Bill grinned. “Remember that guy I told you about who made dick jokes and your mom jokes a lot at my high school?”
“Oh, no,” Eddie groaned with a grimace on his face.
Stanley frowned and rolled his eyes. “Your best friend until you came here?”
“He’s still my best friend! I’m bitter that you guys haven’t met him yet, but he’s in a band called The Records. He’s the lead singer, too, and they’re good. They got a record deal last year and they’ve been getting more popular since.”
“Huh,” came from both Eddie and Stan.
“Maybe I’ll give them a listen,” Stan muttered.
“He sounds annoying from all the things you’ve told us about it. But good for his band, I guess,” Eddie said. He glanced at his phone and chuckled at one of the comments. My aesthetic: Bill gushing about his friends and promoting them. He read it out loud, which just caused everyone to laugh and agree with the fan.
Shortly after, the livestream on Instagram ended and three boys piled out of the apartment and went to dinner.
Richie Tozier was grinning from ear to ear by the end of the live stream that had his best friend in it - the best friend that wasn’t Beverly Marsh, of course. He laughed slightly and laid across his bed. It was no secret that Richie watched every livestream, YouTube video, vlog, or whatever that Bill Denbrough was in; they were best friends in high school and supported each other then. He wasn’t going to stop supporting the guy now just because they lived in different cities.
(And, no, he wasn’t watching the smaller boy’s videos daily; just the one’s with Bill. He didn’t follow Eddie Kaspbrak on all social media platforms, either, no he did not).
(Fucking liar).
Richie went to the message app and sent Bill a text.
to Big Bill: aw bill u sure ur not in love with me???
He got a quick response.
from Big Bill: i’m in love with chicken wings, rich, how many times do we have to discuss this
to Big Bill: until the die I day
to Big Bill: wait
to Big Bill: until the day I die!
from Big Bill: fucking hell
Richie laughed and exited out of the app. He was about to go onto Twitter, to see if there was any drama regarding anything interesting, when his door flung open to reveal his redheaded best friend standing there with a pissed off expression. Richie raised an eyebrow. She should be on a date; he should be having the rest of the day to himself. He quickly sat up and rolled off of his bed and walked over to Beverly.
“Bev, what happened?” He asked. He could slowly feel himself getting pissed at whatever the situation was.
Beverly Marsh was like his sister and damned be any girl or guy who hurt her feelings. They met a year ago, outside of the a club after being kicked out for being underage. Ever since then, they’ve been inseparable. They got an apartment together not even three months after knowing each other; that’s how well they got along. Of course, though, they got into their little quarrels and fights but not once did they say they hated the other or that they wanted to move out. There was like an unspoken agreement to never say those words.
“Do I need to fight her? I will, just say the word!”
Beverly rolled her eyes yet there was a tiny smile on her lips that soon vanished as quick as it came. The scowl was back and Richie could faintly see tears building up in her eyes. “She didn’t fucking show,” she seethed out finally. “I mean, last time she had actually came and gave an explanation before leaving right after. But this time she fucking- I sat there for nearly two hours! It was humiliating, Rich.”
Richie sighed and extended his arms. “Do you need a hug?”
“No,” Bev shook her head. But she glanced up and slouched her shoulders at seeing the look on Richie’s face. “Fine,” she sighed. She was then instantly pulled into a bone crushing hug by the lead singer of The Records. She didn’t hesitate to hug back. “I’m going to go plan out my next make up video later. Can I do yours again sometime soon?”
“Sure can, Bev. Oh, and guess what I got tickets for today,” Richie told her. A smirk formed on his lips.
Beverly pulled away from the hug and looked up at him after wiping under her eyes. She had blinked back most of the tears but still some leaked out.
“Dude, no way?” She asked, excited about it all even though Richie didn’t actually say the words. They have both been talking about it for days now, not knowing if they could actually get tickets.
“Yes way! Get your costume ready, Miss Marsh, because we’re going to comic con!”
#give this some love and attention if like this bc I'm low key anxious about this#the losers club#modern au#*growing fame#it#it 2017#richie tozier#eddie kaspbrak#bill denbrough#ben hanscom#mike hanlon#beverly marsh#stan uris#beverie#stenbrough#reddie#stike#bichie#streddie#steddie#stozier#pls don't hate me for adding all the ships bc idk which ships will be in this so i'm being prepared#my writing#fic
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Apple Logic Pro X For Mac Free Download
Apple Logic Pro X 10.3.2 For Mac Free Download
Apple Logic Pro X Download
Logic Pro Free Download Mac
Logic Free Download Mac
Ridiculously powerful. Seriously creative.
New
Live LoopsFor spontaneous composition.
Live Loops is a dynamic way to create and arrange music in real time. Kick off your composition by adding loops, samples, or your recorded performances into a grid of cells. Trigger different cells to play with your ideas without worrying about a timeline or arrangement. Once you find combinations that work well together you can create song sections, then move everything into the Tracks area to continue production and finish your song.
Remix FX
Bring DJ-style effects and transitions to an individual track or an entire mix with a collection of stutters, echoes, filters, and gating effects.
Oct 28, 2012 Logic Pro 9 is the latest version of Apple's music recording, editing, and mixing suite. This is not a cheap package, but you get a lot of power built in. Logic Pro 9 installs easily and the interfaces are all Apple-quality, meaning easy to use and understand. Logic Pro 9 starts with the writing and recording component. Read reviews, compare customer ratings, see screenshots and learn more about Logic Pro X. Download Logic Pro X for macOS 10.14.6 or later and enjoy it on your Mac. Logic Pro X is the most advanced version of Logic ever.
The latest version of Apple Logic Pro X is 10.1 on Mac Informer. It is a perfect match for Music Production in the Audio & Video category. The app is developed by Apple and its user rating is 4 out of 5. Apple Logic Pro X 10.3.2 for Mac Free Download. If you looking on the internet an Apple Logic Pro X 10.3.2 for Mac latest version free So, you come to the right place now a day shares with you an amazing application for every professional Music editor use a Logic Pro X Free is a wide range of editing tool features to edit and mixing a music with a modern interface that’s designed to get.
Logic Remote
Control features like Live Loops, Remix FX, and more from your iPad or iPhone using Multi-Touch gestures.
New
Step SequencerPure beat poetry.
Step Sequencer is inspired by classic drum machines and synthesizers. Using the Step Sequence editor, quickly build drum beats, bass lines, and melodic parts — and even automate your favorite plug-ins. Add sophisticated variations to your pattern with a wide range of creative playback behaviors. Use Note Repeat to create rolling steps, Chance to randomize step playback, and Tie Steps Together to create longer notes.
Logic RemoteTouch and flow.
Logic Remote lets you use your iPhone or iPad to control Logic Pro X on your Mac. Use Multi-Touch gestures to play software instruments, mix tracks, and control features like Live Loops and Remix FX from anywhere in the room. Swipe and tap to trigger cells in Live Loops. And tilt your iPhone or iPad up and down and use its gyroscope to manipulate filters and repeaters in Remix FX.
Multi-Touch mixing
Control your mix from wherever you are in the room — whether that’s next to your computer or on the couch — with Multi-Touch faders.
Pair and play
Use a variety of onscreen instruments, such as keyboards, guitars, and drum pads, to play any software instrument in Logic Pro X from your iPad or iPhone.
New
Sampler
We redesigned and improved our most popular plug-in — the EXS24 Sampler — and renamed it Sampler. The new single-window design makes it easier to create and edit sampler instruments while remaining backward compatible with all EXS24 files. An expanded synthesis section with sound-shaping controls brings more depth and dynamics to your instruments. The reimagined mapping editor adds powerful, time-saving features that speed the creation of complex instruments. Use the zone waveform editor to make precise edits to sample start/end, loop ranges, and crossfades. And save hours of tedious editing with new drag-and-drop hot zones.
New
Quick Sampler
Quick Sampler is a fast and easy way to work with a single sample. Drag and drop an audio file from the Finder, Voice Memos, or anywhere within Logic Pro X. Or record audio directly into Quick Sampler using a turntable, microphone, musical instrument, or even channel strips playing in Logic Pro X. In a few steps, you can transform an individual sample into a fully playable instrument. And with Slice Mode, you can split a single sample into multiple slices — perfect for chopping up vocals or breaking up and resequencing drum loops.
New
Drum Synth
This powerful but easy-to-use plug-in creates synthesized drum sounds. Choose from a diverse collection of drum models and shape their sound with up to eight simple controls. Drum Synth is also directly integrated into the bottom of the Drum Machine Designer interface — giving you a focused set of sound-shaping controls.
New
Drum Machine Designer
Redesigned to be more intuitive and integrated, Drum Machine Designer lets you effortlessly build electronic drum kits. Apply individual effects and plug-ins on each discrete drum pad to experiment with sound design and beat-making in new ways. You can also create a unique layered sound by assigning the same trigger note to two different pads. To help you quickly edit sounds, Quick Sampler and Drum Synth are directly integrated into the Drum Machine Designer interface.
DrummerCompose to the beat of a different percussionist.
Using Drummer is like hiring a session drummer or collaborating with a highly skilled beat programmer. Create organic-sounding acoustic drum tracks or electronic beats with the intelligent technology of Drummer. Choose from dozens of drummers who each play in a different musical genre, and direct their performances using simple controls.
Compositions and PerformancesYour studio is always in session.
Logic Pro X turns your Mac into a professional recording studio able to handle even the most demanding projects. Capture your compositions and performances — from tracking a live band to a solo software-instrument session — and flow them into your songs.
The ultimate way to record.
Seamless punch recording. Automatic take management. Support for pristine 24-bit/192kHz audio. Logic Pro X makes it all easy to do — and undo. You can create projects with up to 1000 stereo or surround audio tracks and up to 1000 software instrument tracks, and run hundreds of plug-ins. It’s all you need to complete any project.
Get the most out of MIDI.
Logic Pro X goes beyond the average sequencer with an advanced set of options that let you record, edit, and manipulate MIDI performances. Transform a loose performance into one that locks tight into the groove using region-based parameters for note velocity, timing, and dynamics. Or tighten up your MIDI performances while preserving musical details like flams or chord rolls with Smart Quantize.
Industry-leading tools
As your song develops, Logic Pro X helps organize all your ideas and select the best ones. Group related tracks, audition alternate versions, and consolidate multiple tracks. Lightning-fast click-and-drag comping helps you build your best performance from multiple takes.
Smart Tempo
Go off-script and stay on beat with Smart Tempo, a way to effortlessly mix and match music and beats without worrying about the original tempo. Record freely without a click track. And easily combine and edit MIDI and audio tracks — from vinyl samples to live instruments to multitrack audio stems — with constant or variable tempo.
Flex Time
Quickly manipulate the timing and tempo of your recording with Flex Time. Easily move the individual beats within a waveform to correct drum, vocal, guitar, or any other kind of track without slicing and moving regions.
Apple Logic Pro X 10.3.2 For Mac Free Download
Flex Pitch
Edit the level and pitch of individual notes quickly and easily with Flex Pitch. Roll over any note and all parameters are available for tweaking.
Track Alternatives
Create alternate versions of a track or multiple grouped tracks, and switch between them at any time to audition different options. Create, store, and select from different edits and arrangements of track regions to make it easier to experiment with various creative ideas.
Takes and Quick Swipe Comping
Click and drag to choose the best sections of each take to create a seamless comp, complete with transition-smoothing crossfades. Save multiple comps and switch among them to pick the one you like best.
Track Stacks
Consolidate multiple related tracks into a single track. Use a Summing Stack as a quick way to create submixes. Or create layered and split instruments.
Project Alternatives
Create as many alternate versions of a project as you’d like, each with its own name and settings but sharing the same assets — efficiently saving storage space. Load any version to make changes without compromising your original.
Track Groups and VCA Faders
Manage large mixes with Track Groups and VCA faders. Assign any selection of channels to a track group, then control the levels or other parameters of all tracks in the group from any single channel in the group.
Automation
Easily capture changes to any channel strip or plug-in parameter. Just enable automation, press Play, and make your changes.
Even more pro features in the mix.
Logic Pro X is packed with incredible tools and resources to enhance your creativity and workflow as you sharpen your craft — even if you’re a seasoned pro.
Graduate from GarageBand.
Apple Logic Pro X Download
Logic Remote. Touch and flow.
Logic Pro Free Download Mac
MainStage 3
Sound as great onstage as you do in the studio.
Education Bundle
Logic Free Download Mac
Five amazing apps. One powerful collection.
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