100 Sentences With "record sounds" | Random Sentence Generator

And with how that record sounds, it definitely stood out.

The only true feature on the record sounds distinctly solo, too.

Charlie Benante: Because I don't think that record sounds like Anthrax.

If the record sounds chaotic, it's a reflection of her feelings.

Their first record sounds really like Pink Floyd, and the second too.

So I think that's why this record sounds the way it does.

To me, a lot of people talk about how huge this record sounds.

They record sounds 24 hours a day from up to a mile away.

If I listen to it, I'll go, well this record sounds pretty nice sometimes.

And then I just like "Ring" because Kehlani combined with that record sounds so good.

The rover also has a microphone that will allow it to record sounds on Mars.

It can even record sounds, collect passwords and trace the whereabouts of the phone user.

His record sounds almost unbelievable today, especially in the context of our own poisonous world.

It can even record sounds, collect passwords and trace the whereabouts of the phone user.

Though he's an acoustic specialist, Brown wasn't in Igloolik to conduct any readings or record sounds.

It's like they're all kind of part of the same clique, but each record sounds different.

That record sounds like a sticky, humid summer's day just after a thunderstorm; evocative, sensual, and calming.

Pictures are matched with reports from Shotspotter—lots of microphones in public places that record sounds of gunshots.

He plans to record sounds from the outside of the building, and stream them through wires intertwined inside.

It also has cover art that looks like how the record sounds, and it's part of the whole vibe.

That presents a lot of changes just in the way the songs turn out, the way the record sounds.

The record sounds like a slowly corrupting hard drive, where all memories of a dancefloor have already been obliterated.

Actually the record sounds quite clean to me, more like 70s hifi, almost too hifi which we assume totally.

It's from the British cook Anna Jones, and it tastes to me just like a Laura Marling record sounds.

"Another Sad Love Song" opens with you saying you're not good with your emotions, but your record sounds so open.

I love the way the record sounds and I think it's held up consistently in that it still sounds good.

The funny thing with a song like "Honey Magnolia" is the demo sounds pretty much the same way the record sounds.

Essentially, other people tell people what your record sounds like, so I can see why some artists like to describe themselves to avoid that.

I should have taken a break but didn't, and I hear that in some of the choices I made in how this record sounds.

While that title kind of sounds like The Great British Bake Off meets Book Club (which, for the record, sounds amazing), it's only half the story.

I was really into that shit and I was like "Oh this is so cool," but our record sounds nothing like that and I like that.

There was this old factory in Dundas that we used to go to and record sounds, and we did a little video in there, remember that [laughs]?

I capture ideas when I have them, record sounds around me, and record my practice sessions so I can later refine songs and hopefully make them better.

Black boxes, which record sounds in the cockpit and detailed information on such things as altitude and speed, are crucial to helping investigators reconstruct how crashes occur.

You've always had a Caribbean influence in your music, but it felt like it was through a Canadian climate, whereas this record sounds like straight and uncut dancehall.

Apple's patch targets previously unknown spyware that infiltrated iPhones and can read messages, track calls and contacts, record sounds, collect passwords and location information, investigators told the Times.

Read on for our conversation while you rock out: Noisey: This record sounds very electric—like an extension of the sound you were working within on Brill Bruisers .

People listen to old-school music to get an inspiration in melancholy, musicians deconstruct their synthesizers to modulars or record sounds in the outside world to avoid sampling.

Read More: The Canadian Military Is Investigating a Mysterious Noise In the Arctic Though he's an acoustic specialist, Brown wasn't in Igloolik to conduct any readings or record sounds.

"Turner on a record" sounds as if it could be a mechanical piece of equipment, or maybe the label, but it's not; the answer is the singer TINA. 38A.

They also discovered that narwhals went silent for about a day before acting normal, suggesting that tags that only last a few hours may only record sounds of frazzled narwhals.

One device could record sounds from the lungs — similar to how a typical stethoscope works, except the audio is run through an algorithm that interprets the sound and makes a diagnosis.

I feel like this record sounds like my version of the kind of shit that has always made me look up to Stones Throw and see them as a dope label.

The process of making this record sounds like it's been really cathartic and healthy for you, especially since you and Frank were both dealing with terrible losses right before the band got together.

When Mr. Follensbee, the hiker whose quest to find quiet places was featured on public radio, found one of his preferred spots the other day, he pulled out his phone to record sounds.

Fennex works by using the AirPods' microphones to record sounds in the world around you, after which it sends the audio to the iPhone app for processing and then back to the earbuds.

It's airy, light, and more downbeat than its predecessor, and is especially significant as a different sonic landscape from the sort that we're used to from Berninger, who for the record, sounds great here.

Not only are we left to imagine what the alleged record sounds like, but also left wondering what dirt could Drake have on Kanye West that could indeed end his career, even when his own "free-thinking" didn't.

In the span of a single issue you'll be able to read an anarcho-punk primer, get to grips with the current scene in Snowdonia, read an in-depth interview with Gaika, and find out what the latest Sissy Spacek record sounds like.

Digitizing these older records is a complicated process — different types of styluses can affect how a record sounds when played, and playback speeds were not standardized until around the late '20s, meaning there is debate about the "correct speed" at which a record should be played.

Blocboy's stage name notwithstanding, the spare, sweeping, piano-driven sound pioneered by producer Tay Keith and associates is too flowing to qualify as blocky, an adjective that in hip-hop implies a sort of cartoon pixelation; Glideboy or Soarboy JB would be a truer approximation of what the record sounds like.

The sound of an F-111 flyby is on the Voyager Golden Record."Voyager - Spacecraft - Golden Record - Sounds of Earth." NASA, 17 August 2008. Retrieved: 1 August 2010.

This was often combined with direct motor control to produce interactive language learning tapes and similar programs. Some software companies would record sounds or music on this channel to make the loading process more enjoyable.

McFarland & Company, Inc. . P. 326. Producers of the transcribed programs added a touch of authenticity by going to zoos to record sounds of jungle animals and then using those sounds in appropriate places in episodes.

In the process, > [producer Adam Kasper] went and re-miked everything very covertly. So all of > the sudden when we were ready to play it, it was up and he captured it. > Nailed it. That to me was really critical and kind of how the record sounds.

The ability to record sounds into separate channels meant that combining and treating these sounds could be postponed to the mixing stage. In the 1980s, home recording and mixing became more efficient. The 4-track Portastudio was introduced in 1979. Bruce Springsteen released the album Nebraska in 1982 using one.

"The energy on the Presets' small little stage was crazy energy. That song My People – that shit is wild," will.i.am said, "That's the reason why this record sounds the way it does – my three months in Australia." In its first week, the album sold 304,000 copies and debuted at number 1 on the Billboard 200.

The Mobile Media API (MMAPI) is an API specification for the Java ME platform CDC and CLDC devices such as mobile phones. Depending on how it's implemented, the APIs allow applications to play and record sounds and video, and to capture still images. MMAPI was developed under the Java Community Process as JSR 135.

Ford featured prominently on the sleeve of "Doctorin' the Tardis", where he is quoted as saying "Hi! I'm Ford Timelord. I'm a car, and I've made a record", and "...I mixed and matched some tunes we all know and love, got some mates down and made this record. Sounds like a hit to me".

All Saints found inspiration from music Gordon played in the studio or songs they listened to on tour. Lewis made use of a dictaphone to record sounds that inspired her. She recorded the melody for "I Would" on her phone in an empty sauna. "Don't Look Over Your Shoulder" was written in Blatt's house in Ibiza.

Franklin eBookMan EBM-911 The Franklin eBookMan is a discontinued handheld device made to read ebooks. This gadget, made from 1999 until 2002, has standard PDA functions and can play and record sounds. It has a black on green touchscreen, contains 8 or 16 MB of RAM, and uses its own proprietary operating system. Its handwriting recognition system accepts nearly natural handwriting.

The purpose of the siglas was to record history and thus they have been ascribed as comprising Póvoa's "writing system". However, the siglas do not record sounds or specific words, and so are not considered true writing. The reason for their prominence has been ascertained to be due to a common ignorance of the Latin alphabet among the local population.

Saba was influenced by his father, a Chicago R&B; artist named Chandlar, at a young age. Chandlar would bring Saba to the studio with him to record sounds of soul, R&B; and jazz. Saba credits fellow Midwest musicians Lupe Fiasco, Bone Thugs-n-Harmony, and Kanye West as his biggest influence. Bone Thugs-n-Harmony got Saba into rap and made him want to write raps himself.

19 September 2017. Retrieved 19 February 2018. He made the LP based on the concept that "places can be haunted by meaning," reasoning, "human beings are highly sensitive to the atmospheres of places, which can be enhanced or dramatically altered when you learn about the context of their history." The songs are very similar to electronic voice phenomena recordings in their attempt to record sounds of ghostly activity.

British radio host and record label owner Nick Luscombe brought his Musicity Global initiative to Wonderfruit in 2019. Local musicians and members of the Erased Tapes record label from abroad were selected to record sounds on location in Bangkok and compose original songs from the sounds. The songs were then performed on the Theatre Stage. Participating performers included Rival Consoles, Hatis Noit, Midori Hirano, Douglas Dare, and Daniel Brandt & Eternal Something.

" NME damned the album with faint praise, saying that "taken on its own terms, it's that most simultaneously fine and useless of creations, a very good pop record". Sounds observed that "the solid production swells to leave no white space. That, though, is the downfall. So solid is this backing, and so relatively unvaried, every verse filled with Cole tones alone, that each tune becomes part of a suety whole.

Brown's interest in recording technology started at a young age. At age 5, he received a tape recorder as a gift, which he used to record sounds around him. During his teenage years, Brown played the trombone for the Los Angeles High School band. The school band director invited Brown to work at his home studio and continued to mentor him in recording engineering after graduating high school.

Since then, the album has been completed and the release date pushed back to 3 July 2009. It is titled Laser Graffiti and front man Johnny Galvatron has stated "[The record] sounds like it's from the future". The album was received with good reviews, being described as "the ultimate rock party album." After touring extensively in 2009, The Galvatrons picked up a reputation amongst the Australian live music scene for having an energetic live performance.

Lisbon Story is partially a sequel to Wenders' 1982 film, The State of Things. The fictitious movie director in the previous film, Friedrich Munro, reappears, again played by Patrick Bauchau. In Lisbon Story Friedrich has moved to Lisbon, Portugal (the country where The State of Things was set). The principal character, Philip Winter (Rüdiger Vogler), a sound engineer, receives a postcard invitation from Friedrich to come to Lisbon to record sounds of the capital city for his forthcoming film.

Adding the ability to record underwater to their SM2 range, Wildlife Acoustics released the SM2M underwater passive acoustic monitor in May 2011. The unit has a depth rating of 150m and is designed for long-term autonomous recording. Recording life of up to 1500 hours is possible using 32 standard alkaline D cell batteries. The recorder can record sounds from 2 Hz to 48 kHz and stores recordings on up to four SDHC or SDXC cards.

There's stuff on this record that wouldn't necessarily feel out of place on The Artist in the Ambulance, or Vheissu or wouldn't have felt out of place if it was part of The Alchemy Index or Beggars, or Major/Minor. But at the same time it's also pushing that kind of stuff forward." Similarly, Kensrue said, "I don't know that this new record sounds like a huge jump. It's very different from Major/Minor or Beggars, but I feel like it's not this giant move.

This leads to the practice of applying kumkum to the parting in order to propitiate the Goddess Sri Lakshmi such that when a woman delivers a child, she is considered the embodiment of the Goddess Lakshmi herself. From the day of formation in its mother's womb, a child grows in different stages, each with a stipulated time frame. Accordingly, although brain formation takes place much earlier, memory cells are said to start activating upon the completion of seven months of pregnancy. Thereafter, the unborn child can record sounds and vibrations from its surroundings.

The quality of such transliterated renditions have varied widely, as Europeans attempted to record sounds and sound combinations they were not familiar with.Brinton, Daniel, and Albert Anthony, 1888; Zeisberger, David, 1887 A practical orthography for Munsee has been created in the context of various language preservation and documentation projects. A recent bilingual dictionary of Munsee uses a practical orthography derived from a linguistic transcription system for Munsee.O'Meara, John, 1996; see Goddard, Ives, 1979 for the underlying transcription system The same system is also used in a recent word book produced locally at Moraviantown.

The review called the album "An adult rock record in which nuance succeeds over bombast." Hugo Lindgren of The New York Times stated that the "record sounds as if it were made to slip quietly into the marketplace, connect with the faithful and leave everyone else alone", and that "there's no catchy single, and not even the slightest echo of anything else happening in pop music now." He added that the "band's grooves still sound taut, emotive and world-class." Adam Sweeting of The Guardian gave the album two out of five stars.

This system, created by the team at Naughty Dog, is processed at random in the game engine. For the game's audio, the engine throws out 1500–2500 ray casts per frame; though most games avoid this, the game's engine allowed it to work. The team spent a lot of time recording sounds for the game, namely doors, and rusty metal. Sound designer Neil Uchitel traveled to Rio de Janeiro, discovering locations to record sounds; he recorded chickens, which were used in the game as the voices of rats.

Forrest Mozer continues his research work at the University of California, these days as Associate Director of Space Sciences. He was awarded EGU Hannes Alfven Medallist 2004 for his work in electrical field measurement and space plasma and also was involved in building the microphone to record sounds from the Mars Lander. He is a member of the board of directors of Sensory, Inc. Fred Chan held a number of positions at ESS, and was CEO of Vialta, an internet offshoot of ESS, until his stepping down on July 18, 2007, to pursue philanthropic interests.

I was surprised." Paul Cooper of Pitchfork felt the album was "ambitious and innovative." In 1999, French magazine Trax included the album in their unordered list of "The 50 Best Techno Albums 1989-1989," while in 2017, Mixmag ranked the album at number 5 in their list of "The 10 best 90s techno albums". They said Slater delivered an "epic" album where "every track is potent to keep listeners locked in," and felt that the record "sounds like an invasion from an off-world colony of dance freaks.

" Rickey's speech (at right) after breaking Lou Brock's all-time steals record sounds like the standard victory/award speech. Henderson thanked God and his mother, as well as the people that helped him in baseball. All that is remembered, however, is the "I am the greatest of all time" quote, which has been taken by many to support the notion that Henderson is selfish and arrogant. Years later, Henderson revealed that he had gone over his planned remarks ahead of time with Brock, and the Cardinals Hall of Famer "had no problem with it.

The 3132 Signal Service Company Special handled sonic deception. The unit coalesced under the direction of Colonel Hilton Railey, a colorful figure who, before the war, had "discovered" Amelia Earhart and sent her on her road to fame. Aided by engineers from Bell Labs, a team from the 3132 went to Fort Knox to record sounds of armored and infantry units onto a series of sound effects records that they brought to Europe. For each deception, sounds could be "mixed" to match the scenario they wanted the enemy to believe.

Whoa, Nelly combines elements of a large number of genres. Stephen Thomas Erlewine of AllMusic states that "much of the record sounds like folk-pop tinged with bossa nova" and describes the songs as "blends of pop, folk, dance, and Latin". According to Heidi Sherman from Spin "Furtado takes on mainstream urban pop, alternative folk, R&B-soul;, and Brazilian samba on Whoa, Nelly!". Billboard notes that "Nelly Furtado sees no reason for separating rock guitars from pop melodies from R&B;/hip hop beats from effervescent bossa nova".

E-mu Systems came to prominence in the early 1980s with their relatively affordable Emulator sampler, and subsequently pioneered sample-based synthesis technology with the Proteus range. Unlike the true synthesiser, sample-based equipment does not derive its raw sounds from electronic oscillators but from recorded sounds held in read-only memory (ROM) chips. These sounds may then be layered, filtered, modulated by low frequency oscillation and shaped by envelopes. However, unlike a true sampler, such devices do not allow the user to record sounds but instead offer a range of factory sounds suitable for any given use.

" NME gave it a score of seven out of ten and said, "Within this impressive, ambitious, often stupid whole, are moments of melting human beauty."NME review Billboard gave it a positive review and said the album "unfolds upon multiple listens, sometimes threatening to collapse under its own pretensions (meandering musical passages, sound effects), but ultimately, it is an ambitious and rewarding album." The A.V. Club also gave it a positive review and said, "On the whole, the record sounds more like the blueprint for a stunning live show than like a viable document of a top-flight hard rock band.

The units came in at least two and possibly more configurations with a song-compositing subsystem and a sprite- design subsystem as an option. One configuration option adds a port labeled "MIDI" that contains a standard MIDI jack (though it's not known if the port is actually MIDI compliant), and a single RCA-Style connector in red. Investigation of the internal circuitry of the device suggests that this RCA jack is used to record sounds into the device for use in music composition. Another configuration option adds a port called "Analog RGB", and presents a female DB-9 port.

In an introspective review, Marcus Scott of Fact magazine praised the album, described it "as direct as psychedelic music gets". Scott also wrote that the record "sounds like punk compared to what minimal means in 2009: a vision of hedonistic, wasted bohemian youth listening to gentle, anodyne prog-rock length tracks." XLR8Rs AJ Calzada regarded the album's tracks as the "most important tracks in techno music; it’s [sic] title becoming the very blueprint for a new generation of machine-funk makers, warehouse movers, and minimal techno worshippers." Fact magazine also listed the album as number 53 on its list of "The 100 Best Albums of the 1990s".

Writing for the Washington Post, Allison Stewart noted that Scherzinger has "more of a central role" and viewed Doll Domination as "a consolation prize" after the multiple delays on her solo album. Jon Pareles of The New York Times noted that the ballads "are a move toward expanding the franchise" seeking "a little empathy along with the attitude". In a more mixed review, Rolling Stones Christian Hoard singled out several songs but concluded that the record "sounds like the Dolls just threw everything they had against the charts to see if anything would stick." Elan Priya of The Times wrote that the album that "lacks any distinct personality".

Much of Sun Ra's music could be classified as free jazz, especially his work from the 1960s, although Sun Ra said repeatedly that his music was written and boasted that what he wrote sounded more free than what "the freedom boys" played. The Heliocentric Worlds of Sun Ra (1965) was steeped in what could be referred to as a new black mysticism. But Sun Ra's penchant for nonconformity aside, he was along with Coleman and Taylor an integral voice to the formation of new jazz styles during the 1960s. As evidenced by his compositions on the 1956 record Sounds of Joy, Sun Ra's early work employed a typical bop style.

Wishing to orient her second album towards a more wintry or polar setting, she proceeded to record sounds which relate to coldness such as the sounds of smashing ice and footsteps in the snow. Coincidentally, in the midst of her search for sounds for the album, she was contacted by producer Luc Jacquet to compose the original soundtrack for his documentary film La Marche de l'empereur (March of the Penguins in English), concerning the annual migration of emperor penguins. Émilie Simon, Octogone, 2004. The film came out in France at the beginning of 2005, featuring a soundtrack by Emilie Simon that was also released by Universal Music as her second album.

Zooropa received generally favourable reviews from critics. Anthony DeCurtis of Rolling Stone wrote in his four-star review that the album was "a daring, imaginative coda to Achtung Baby" and that "it is varied and vigorously experimental, but its charged mood of giddy anarchy suffused with barely suppressed dread provides a compelling, unifying thread". Spin wrote a positive review, commenting that the record "sounds mostly like a band shedding its skin, trying on different selves for size". The review said the album "has the feel of real collectivity", praising the cohesiveness of the individual band members' playing. The review concluded by saying Zooropa "indicates U2 might be worthy of whatever absurd mutations the '90s throw our way".

This represents the lowest point of the microphone's dynamic range, and is particularly important should you wish to record sounds that are quiet. The measure is often stated in dB(A), which is the equivalent loudness of the noise on a decibel scale frequency-weighted for how the ear hears, for example: "15 dBA SPL" (SPL means sound pressure level relative to 20 micropascals). The lower the number the better. Some microphone manufacturers state the noise level using ITU-R 468 noise weighting, which more accurately represents the way we hear noise, but gives a figure some 11–14 dB higher. A quiet microphone typically measures 20 dBA SPL or 32 dB SPL 468-weighted.

" In 2001's All Music Guide: The Definitive Guide to Popular Music, critic Mark Deming wrote, "Mitch Easter's production guides the record through moody neo-psychedelia and up-tempo hard pop with an equally sure hand; the record sounds just as good as the band plays." According to John Borack, Easter did "his usual Herculean job behind the console, getting great guitar sounds whether they be gritty and electric ... or softer and acoustic." In an October 1986 interview, Miller discussed Mitch Easter's role as producer: > He helps from the technical end, not from the artistic end. He doesn't say, > "You're going to need a lot of backing vocals here" or "Use this guitar on > this.

Following the album's Norwegian release, the songs were leaked onto the Internet, and some appeared on year-end best-of lists in other countries. Annie stated that she had not expected North American publications to show interest in the album because she thought "the record sounds really European." The songs reached an international audience through online blogs, message boards, and file sharing networks before they had been released outside Scandinavia. This was more common for independent bands, and Annie became the first European dance-pop musician to cultivate an underground fanbase this way. 679 released the album in the rest of Europe during early 2005 but was unsure how to categorise and market Anniemal.

The recorded material was slow and melodic; much different musically from the aggressive rock music Cornell had been doing with Soundgarden. The songs bear the street-rock flavor of Mother Love Bone's music. Steve Huey of AllMusic said that the "record sounds like a bridge between Mother Love Bone's theatrical '70s-rock updates and Pearl Jam's hard-rocking seriousness ... Keeping in mind that Soundgarden's previous album was the overblown metallic miasma of Louder Than Love, the accessibly warm, relatively clean sound of Temple of the Dog is somewhat shocking, and its mellower moments are minor revelations in terms of Cornell's songwriting abilities." All of the lyrics on the album were written solely by Cornell.

Due to the difficulties of recording sounds on locations, it is common for nature documentary makers to record sounds in post-production using Foley and to use sound effect libraries. Compositing and computer-generated imagery are also sometimes used to construct shots. Wild animals are often filmed over weeks or months, so the footage must be condensed to form a narrative that appears to take place over a short space of time. Such narratives are also constructed to be as compelling as possible—rather than necessarily as a reflection of reality—and make frequent use of voice-overs, combined with emotional and intense music to maximise the audience's engagement with the content.

The first practical audio tape recorder was unveiled in 1935.. Improvements to the technology were made using the AC biasing technique, which significantly improved recording fidelity. abstract. As early as 1942, test recordings were being made in stereo.. Although these developments were initially confined to Germany, recorders and tapes were brought to the United States following the end of World War II., scu.edu These were the basis for the first commercially produced tape recorder in 1948.. In 1944, prior to the use of magnetic tape for compositional purposes, Egyptian composer Halim El- Dabh, while still a student in Cairo, used a cumbersome wire recorder to record sounds of an ancient zaar ceremony. Using facilities at the Middle East Radio studios El-Dabh processed the recorded material using reverberation, echo, voltage controls, and re-recording.

" Ryan Reed of Paste dubbed the album "a welcome return, even if it's a tad exhausting", adding that "No Doubt has always been more than a platform for a gifted frontwoman, a fact Push and Shove seems to forget at times, downplaying the band's fluid chemistry in favor of soaring hooks and 'cranked to 11' dynamics." In a mixed review, Helen Brown of The Daily Telegraph felt that "too much of the record sounds like generic, Katy Perry-esque power-pop." The Guardians Caroline Sullivan remarked that "this record simply takes up where 2001's Rock Steady left off", but ultimately stated, "As a comeback, this is nice work." The Independents Andy Gill commented that the album finds No Doubt "making only the most tentative divergences from previously tried and tested strategies, which gives Push and Shove a character that could be described as either dated or timeless.

" Kaelen Bell of Exclaim! characterized the music as "the sound of a new kind of warped pop star — an artist capable of weaving the unending unknown of space and the throb of blood and skin, willing to take us and destroy us and create something wholly new from what remains." Alexis Petridis of The Guardian thought that the record "sounds coherent" and "is punchy and concise;" Petridis further remarked that "its stylistic leaps and short-circuits always feel intended – the product of someone operating to their own internal logic rather than randomly throwing ideas at the wall." Paste critic Austin Jones praised the record, stating: "The record, with all its idiosyncrasies, will be remembered as a definitive piece by one of our era’s most important rock icons—a pop star as transgressive and rule-breaking as the legends of the ’70s and ’80s we take for granted now.

He praised each track individually, but especially commended single "Northern Soul" which he calls the "catchiest, deepest, and most intense in years", and "Sahara Love" which "intertwines elevating dance music with elements of rock, new wave, and synth-pop". Thomas Keulemans from We Rave You dubbed the track "Bittersweet & Blue" as the album's best highlight by praising Richard Bedford's ability to create a sense of sadness throughout its duration and noted its meaningful lyrical content. In a negative review, Will Hodgkinson of The Times described that the record "sounds like the kind of music that utilities companies use when they want to calm you down as they put you on hold for an hour: relentlessly slick, unfailingly melodic, impossible to remember the moment it finishes". The critic concluded by writing that Common Ground ultimately lacks "humour and character", even with the use of gentle vocals and the presence of a hypnotic mood throughout its listening experience.

The album has been regarded as Fear's best album and as a classic album of the 1980s Los Angeles hardcore punk scene. It has received mostly positive reviews, with Mark Deming of AllMusic rating the album 4.5 out of 5 stars and stating that it "makes sense that John Belushi was a big fan of Fear, because The Record sounds like the punk equivalent of the movie Animal House -- puerile, offensive, and often reveling in its own ignorance, but pretty entertaining on a non-think level while it lasts". He also stated that Fear had a "fairly unique perspective -- they seemingly embraced punk as an efficient way to piss off everyone around them, and there's no arguing that they achieved their goals with flying colors on their first and best album, The Record". Record Collector's Mark Rigby called it "probably the most exciting and impressive, one-dimensional, ill- mannered, distasteful, odious 'hate' record ever made".

" Soren Baker, writing for the Los Angeles Times, praised the production for being energetic and Chingy's lyrical content showing creativity and technical ability, saying that he "improves on and refines his successful sonic and thematic formula in an album more consistent and satisfying than its predecessor." Billboard contributor Rashaun Hall said that despite more R&B-flavored; tracks like "Leave wit Me" and "Don't Worry" showing more diversity in the track listing, he found too much familiarity with the album's content of excessive parties, women and luxury talk. AllMusic writer Andy Kellman noted how the record sounds like a rushed version of Jackpot, criticizing the lyrical content and its hooks for being mediocre, and the lacklustre delivery of the guest artists, concluding that "In Chingy's case, a subpar 2004 follow-up would surely fare better commercially than a polished 2006 follow-up." Writing for Rolling Stone, Jon Caramanica also found the album doing little to be different from its predecessor, despite Chingy's charisma delivering on half of the track listing, concluding that "Powerballin serves as a wink behind which there's nothing hidden.

" Will Hermes of Rolling Stone highlighted "What is surprising, though, is how unforced and fun the record sounds", and this was because "[s]ometimes, leaving your zone is the best way to find yourself." At Allmusic, Thom Jurek wrote that "For all the piecemeal recording, technological obsession and sheer ambition on the Fuse, Urban manages to fashion it all into a [mostly] working whole and maintain his identity as a contemporary country artist, even as he reaches for the mainstream pop fences." Jerry Shirver of USA Today suggested that "Deleting generic material would have made the gems pop more, but that's minor since there are plenty of keepers". At The Oakland Press, Gary Graff told that "Fuse does lean a bit heavy on same-sounding arrangements (gentle verses swelling into bombastic choruses) but the songs are consistently strong, and Urban's performances on both guitar and vocals – including duets with Miranda Lambert ('We Were Us') and Eric Church ('Raise 'Em Up') – certainly help the new sonic approaches go down easy.

And with how that record sounds, it definitely stood out. from Vice
The only true feature on the record sounds distinctly solo, too. from Vice
Charlie Benante: Because I don't think that record sounds like Anthrax. from Vice
If the record sounds chaotic, it's a reflection of her feelings. from Hyperallergic
Their first record sounds really like Pink Floyd, and the second too. from Vice
So I think that's why this record sounds the way it does. from Vice
To me, a lot of people talk about how huge this record sounds. from Vice
They record sounds 24 hours a day from up to a mile away. from CNN
If I listen to it, I'll go, well this record sounds pretty nice sometimes. from Vice
And then I just like "Ring" because Kehlani combined with that record sounds so good. from The Verge
The rover also has a microphone that will allow it to record sounds on Mars. from Axios
It can even record sounds, collect passwords and trace the whereabouts of the phone user. from Gizmodo
His record sounds almost unbelievable today, especially in the context of our own poisonous world. from CNN
It can even record sounds, collect passwords and trace the whereabouts of the phone user. from The New York Times
Though he's an acoustic specialist, Brown wasn't in Igloolik to conduct any readings or record sounds. from Vice
It's like they're all kind of part of the same clique, but each record sounds different. from Mashable
That record sounds like a sticky, humid summer's day just after a thunderstorm; evocative, sensual, and calming. from Vice
Pictures are matched with reports from Shotspotter—lots of microphones in public places that record sounds of gunshots. from Economist
He plans to record sounds from the outside of the building, and stream them through wires intertwined inside. from Vice
It also has cover art that looks like how the record sounds, and it's part of the whole vibe. from Vice
That presents a lot of changes just in the way the songs turn out, the way the record sounds. from Vice
The record sounds like a slowly corrupting hard drive, where all memories of a dancefloor have already been obliterated. from Vice
Actually the record sounds quite clean to me, more like 70s hifi, almost too hifi which we assume totally. from Vice
It's from the British cook Anna Jones, and it tastes to me just like a Laura Marling record sounds. from The New York Times
"Another Sad Love Song" opens with you saying you're not good with your emotions, but your record sounds so open. from Vice
I love the way the record sounds and I think it's held up consistently in that it still sounds good. from Vice
The funny thing with a song like "Honey Magnolia" is the demo sounds pretty much the same way the record sounds. from Vice
Essentially, other people tell people what your record sounds like, so I can see why some artists like to describe themselves to avoid that. from Vice
I should have taken a break but didn't, and I hear that in some of the choices I made in how this record sounds. from Vice
While that title kind of sounds like The Great British Bake Off meets Book Club (which, for the record, sounds amazing), it's only half the story. from Refinery 29
I was really into that shit and I was like "Oh this is so cool," but our record sounds nothing like that and I like that. from Vice
There was this old factory in Dundas that we used to go to and record sounds, and we did a little video in there, remember that [laughs]? from Vice
I capture ideas when I have them, record sounds around me, and record my practice sessions so I can later refine songs and hopefully make them better. from Vice
Black boxes, which record sounds in the cockpit and detailed information on such things as altitude and speed, are crucial to helping investigators reconstruct how crashes occur. from The New York Times
You've always had a Caribbean influence in your music, but it felt like it was through a Canadian climate, whereas this record sounds like straight and uncut dancehall. from Vice
Apple's patch targets previously unknown spyware that infiltrated iPhones and can read messages, track calls and contacts, record sounds, collect passwords and location information, investigators told the Times. from CNBC
Read on for our conversation while you rock out: Noisey: This record sounds very electric—like an extension of the sound you were working within on Brill Bruisers . from Vice
People listen to old-school music to get an inspiration in melancholy, musicians deconstruct their synthesizers to modulars or record sounds in the outside world to avoid sampling. from Vice
Read More: The Canadian Military Is Investigating a Mysterious Noise In the Arctic Though he's an acoustic specialist, Brown wasn't in Igloolik to conduct any readings or record sounds. from Vice
"Turner on a record" sounds as if it could be a mechanical piece of equipment, or maybe the label, but it's not; the answer is the singer TINA. 38A. from The New York Times
They also discovered that narwhals went silent for about a day before acting normal, suggesting that tags that only last a few hours may only record sounds of frazzled narwhals. from The New York Times
One device could record sounds from the lungs — similar to how a typical stethoscope works, except the audio is run through an algorithm that interprets the sound and makes a diagnosis. from Mashable
I feel like this record sounds like my version of the kind of shit that has always made me look up to Stones Throw and see them as a dope label. from Vice
The process of making this record sounds like it's been really cathartic and healthy for you, especially since you and Frank were both dealing with terrible losses right before the band got together. from Vice
When Mr. Follensbee, the hiker whose quest to find quiet places was featured on public radio, found one of his preferred spots the other day, he pulled out his phone to record sounds. from The New York Times
Fennex works by using the AirPods' microphones to record sounds in the world around you, after which it sends the audio to the iPhone app for processing and then back to the earbuds. from Business Insider
It's airy, light, and more downbeat than its predecessor, and is especially significant as a different sonic landscape from the sort that we're used to from Berninger, who for the record, sounds great here. from Vice
Not only are we left to imagine what the alleged record sounds like, but also left wondering what dirt could Drake have on Kanye West that could indeed end his career, even when his own "free-thinking" didn't. from Vice
In the span of a single issue you'll be able to read an anarcho-punk primer, get to grips with the current scene in Snowdonia, read an in-depth interview with Gaika, and find out what the latest Sissy Spacek record sounds like. from Vice
Digitizing these older records is a complicated process — different types of styluses can affect how a record sounds when played, and playback speeds were not standardized until around the late '20s, meaning there is debate about the "correct speed" at which a record should be played. from The Verge
Blocboy's stage name notwithstanding, the spare, sweeping, piano-driven sound pioneered by producer Tay Keith and associates is too flowing to qualify as blocky, an adjective that in hip-hop implies a sort of cartoon pixelation; Glideboy or Soarboy JB would be a truer approximation of what the record sounds like. from Hyperallergic
The sound of an F-111 flyby is on the Voyager Golden Record."Voyager - Spacecraft - Golden Record - Sounds of Earth." NASA, 17 August 2008. Retrieved: 1 August 2010.
This was often combined with direct motor control to produce interactive language learning tapes and similar programs. Some software companies would record sounds or music on this channel to make the loading process more enjoyable.
McFarland & Company, Inc. . P. 326. Producers of the transcribed programs added a touch of authenticity by going to zoos to record sounds of jungle animals and then using those sounds in appropriate places in episodes.
In the process, > [producer Adam Kasper] went and re-miked everything very covertly. So all of > the sudden when we were ready to play it, it was up and he captured it. > Nailed it. That to me was really critical and kind of how the record sounds.
The ability to record sounds into separate channels meant that combining and treating these sounds could be postponed to the mixing stage. In the 1980s, home recording and mixing became more efficient. The 4-track Portastudio was introduced in 1979. Bruce Springsteen released the album Nebraska in 1982 using one.
"The energy on the Presets' small little stage was crazy energy. That song My People – that shit is wild," will.i.am said, "That's the reason why this record sounds the way it does – my three months in Australia." In its first week, the album sold 304,000 copies and debuted at number 1 on the Billboard 200.
The Mobile Media API (MMAPI) is an API specification for the Java ME platform CDC and CLDC devices such as mobile phones. Depending on how it's implemented, the APIs allow applications to play and record sounds and video, and to capture still images. MMAPI was developed under the Java Community Process as JSR 135.
Ford featured prominently on the sleeve of "Doctorin' the Tardis", where he is quoted as saying "Hi! I'm Ford Timelord. I'm a car, and I've made a record", and "...I mixed and matched some tunes we all know and love, got some mates down and made this record. Sounds like a hit to me".
All Saints found inspiration from music Gordon played in the studio or songs they listened to on tour. Lewis made use of a dictaphone to record sounds that inspired her. She recorded the melody for "I Would" on her phone in an empty sauna. "Don't Look Over Your Shoulder" was written in Blatt's house in Ibiza.
Franklin eBookMan EBM-911 The Franklin eBookMan is a discontinued handheld device made to read ebooks. This gadget, made from 1999 until 2002, has standard PDA functions and can play and record sounds. It has a black on green touchscreen, contains 8 or 16 MB of RAM, and uses its own proprietary operating system. Its handwriting recognition system accepts nearly natural handwriting.
The purpose of the siglas was to record history and thus they have been ascribed as comprising Póvoa's "writing system". However, the siglas do not record sounds or specific words, and so are not considered true writing. The reason for their prominence has been ascertained to be due to a common ignorance of the Latin alphabet among the local population.
Saba was influenced by his father, a Chicago R&B; artist named Chandlar, at a young age. Chandlar would bring Saba to the studio with him to record sounds of soul, R&B; and jazz. Saba credits fellow Midwest musicians Lupe Fiasco, Bone Thugs-n-Harmony, and Kanye West as his biggest influence. Bone Thugs-n-Harmony got Saba into rap and made him want to write raps himself.
19 September 2017. Retrieved 19 February 2018. He made the LP based on the concept that "places can be haunted by meaning," reasoning, "human beings are highly sensitive to the atmospheres of places, which can be enhanced or dramatically altered when you learn about the context of their history." The songs are very similar to electronic voice phenomena recordings in their attempt to record sounds of ghostly activity.
British radio host and record label owner Nick Luscombe brought his Musicity Global initiative to Wonderfruit in 2019. Local musicians and members of the Erased Tapes record label from abroad were selected to record sounds on location in Bangkok and compose original songs from the sounds. The songs were then performed on the Theatre Stage. Participating performers included Rival Consoles, Hatis Noit, Midori Hirano, Douglas Dare, and Daniel Brandt & Eternal Something.
" NME damned the album with faint praise, saying that "taken on its own terms, it's that most simultaneously fine and useless of creations, a very good pop record". Sounds observed that "the solid production swells to leave no white space. That, though, is the downfall. So solid is this backing, and so relatively unvaried, every verse filled with Cole tones alone, that each tune becomes part of a suety whole.
Brown's interest in recording technology started at a young age. At age 5, he received a tape recorder as a gift, which he used to record sounds around him. During his teenage years, Brown played the trombone for the Los Angeles High School band. The school band director invited Brown to work at his home studio and continued to mentor him in recording engineering after graduating high school.
Since then, the album has been completed and the release date pushed back to 3 July 2009. It is titled Laser Graffiti and front man Johnny Galvatron has stated "[The record] sounds like it's from the future". The album was received with good reviews, being described as "the ultimate rock party album." After touring extensively in 2009, The Galvatrons picked up a reputation amongst the Australian live music scene for having an energetic live performance.
Lisbon Story is partially a sequel to Wenders' 1982 film, The State of Things. The fictitious movie director in the previous film, Friedrich Munro, reappears, again played by Patrick Bauchau. In Lisbon Story Friedrich has moved to Lisbon, Portugal (the country where The State of Things was set). The principal character, Philip Winter (Rüdiger Vogler), a sound engineer, receives a postcard invitation from Friedrich to come to Lisbon to record sounds of the capital city for his forthcoming film.
Adding the ability to record underwater to their SM2 range, Wildlife Acoustics released the SM2M underwater passive acoustic monitor in May 2011. The unit has a depth rating of 150m and is designed for long-term autonomous recording. Recording life of up to 1500 hours is possible using 32 standard alkaline D cell batteries. The recorder can record sounds from 2 Hz to 48 kHz and stores recordings on up to four SDHC or SDXC cards.
There's stuff on this record that wouldn't necessarily feel out of place on The Artist in the Ambulance, or Vheissu or wouldn't have felt out of place if it was part of The Alchemy Index or Beggars, or Major/Minor. But at the same time it's also pushing that kind of stuff forward." Similarly, Kensrue said, "I don't know that this new record sounds like a huge jump. It's very different from Major/Minor or Beggars, but I feel like it's not this giant move.
This leads to the practice of applying kumkum to the parting in order to propitiate the Goddess Sri Lakshmi such that when a woman delivers a child, she is considered the embodiment of the Goddess Lakshmi herself. From the day of formation in its mother's womb, a child grows in different stages, each with a stipulated time frame. Accordingly, although brain formation takes place much earlier, memory cells are said to start activating upon the completion of seven months of pregnancy. Thereafter, the unborn child can record sounds and vibrations from its surroundings.
The quality of such transliterated renditions have varied widely, as Europeans attempted to record sounds and sound combinations they were not familiar with.Brinton, Daniel, and Albert Anthony, 1888; Zeisberger, David, 1887 A practical orthography for Munsee has been created in the context of various language preservation and documentation projects. A recent bilingual dictionary of Munsee uses a practical orthography derived from a linguistic transcription system for Munsee.O'Meara, John, 1996; see Goddard, Ives, 1979 for the underlying transcription system The same system is also used in a recent word book produced locally at Moraviantown.
The review called the album "An adult rock record in which nuance succeeds over bombast." Hugo Lindgren of The New York Times stated that the "record sounds as if it were made to slip quietly into the marketplace, connect with the faithful and leave everyone else alone", and that "there's no catchy single, and not even the slightest echo of anything else happening in pop music now." He added that the "band's grooves still sound taut, emotive and world-class." Adam Sweeting of The Guardian gave the album two out of five stars.
This system, created by the team at Naughty Dog, is processed at random in the game engine. For the game's audio, the engine throws out 1500–2500 ray casts per frame; though most games avoid this, the game's engine allowed it to work. The team spent a lot of time recording sounds for the game, namely doors, and rusty metal. Sound designer Neil Uchitel traveled to Rio de Janeiro, discovering locations to record sounds; he recorded chickens, which were used in the game as the voices of rats.
Forrest Mozer continues his research work at the University of California, these days as Associate Director of Space Sciences. He was awarded EGU Hannes Alfven Medallist 2004 for his work in electrical field measurement and space plasma and also was involved in building the microphone to record sounds from the Mars Lander. He is a member of the board of directors of Sensory, Inc. Fred Chan held a number of positions at ESS, and was CEO of Vialta, an internet offshoot of ESS, until his stepping down on July 18, 2007, to pursue philanthropic interests.
I was surprised." Paul Cooper of Pitchfork felt the album was "ambitious and innovative." In 1999, French magazine Trax included the album in their unordered list of "The 50 Best Techno Albums 1989-1989," while in 2017, Mixmag ranked the album at number 5 in their list of "The 10 best 90s techno albums". They said Slater delivered an "epic" album where "every track is potent to keep listeners locked in," and felt that the record "sounds like an invasion from an off-world colony of dance freaks.
" Rickey's speech (at right) after breaking Lou Brock's all-time steals record sounds like the standard victory/award speech. Henderson thanked God and his mother, as well as the people that helped him in baseball. All that is remembered, however, is the "I am the greatest of all time" quote, which has been taken by many to support the notion that Henderson is selfish and arrogant. Years later, Henderson revealed that he had gone over his planned remarks ahead of time with Brock, and the Cardinals Hall of Famer "had no problem with it.
The 3132 Signal Service Company Special handled sonic deception. The unit coalesced under the direction of Colonel Hilton Railey, a colorful figure who, before the war, had "discovered" Amelia Earhart and sent her on her road to fame. Aided by engineers from Bell Labs, a team from the 3132 went to Fort Knox to record sounds of armored and infantry units onto a series of sound effects records that they brought to Europe. For each deception, sounds could be "mixed" to match the scenario they wanted the enemy to believe.
Whoa, Nelly combines elements of a large number of genres. Stephen Thomas Erlewine of AllMusic states that "much of the record sounds like folk-pop tinged with bossa nova" and describes the songs as "blends of pop, folk, dance, and Latin". According to Heidi Sherman from Spin "Furtado takes on mainstream urban pop, alternative folk, R&B-soul;, and Brazilian samba on Whoa, Nelly!". Billboard notes that "Nelly Furtado sees no reason for separating rock guitars from pop melodies from R&B;/hip hop beats from effervescent bossa nova".
E-mu Systems came to prominence in the early 1980s with their relatively affordable Emulator sampler, and subsequently pioneered sample-based synthesis technology with the Proteus range. Unlike the true synthesiser, sample-based equipment does not derive its raw sounds from electronic oscillators but from recorded sounds held in read-only memory (ROM) chips. These sounds may then be layered, filtered, modulated by low frequency oscillation and shaped by envelopes. However, unlike a true sampler, such devices do not allow the user to record sounds but instead offer a range of factory sounds suitable for any given use.
" NME gave it a score of seven out of ten and said, "Within this impressive, ambitious, often stupid whole, are moments of melting human beauty."NME review Billboard gave it a positive review and said the album "unfolds upon multiple listens, sometimes threatening to collapse under its own pretensions (meandering musical passages, sound effects), but ultimately, it is an ambitious and rewarding album." The A.V. Club also gave it a positive review and said, "On the whole, the record sounds more like the blueprint for a stunning live show than like a viable document of a top-flight hard rock band.
The units came in at least two and possibly more configurations with a song-compositing subsystem and a sprite- design subsystem as an option. One configuration option adds a port labeled "MIDI" that contains a standard MIDI jack (though it's not known if the port is actually MIDI compliant), and a single RCA-Style connector in red. Investigation of the internal circuitry of the device suggests that this RCA jack is used to record sounds into the device for use in music composition. Another configuration option adds a port called "Analog RGB", and presents a female DB-9 port.
In an introspective review, Marcus Scott of Fact magazine praised the album, described it "as direct as psychedelic music gets". Scott also wrote that the record "sounds like punk compared to what minimal means in 2009: a vision of hedonistic, wasted bohemian youth listening to gentle, anodyne prog-rock length tracks." XLR8Rs AJ Calzada regarded the album's tracks as the "most important tracks in techno music; it’s [sic] title becoming the very blueprint for a new generation of machine-funk makers, warehouse movers, and minimal techno worshippers." Fact magazine also listed the album as number 53 on its list of "The 100 Best Albums of the 1990s".
Writing for the Washington Post, Allison Stewart noted that Scherzinger has "more of a central role" and viewed Doll Domination as "a consolation prize" after the multiple delays on her solo album. Jon Pareles of The New York Times noted that the ballads "are a move toward expanding the franchise" seeking "a little empathy along with the attitude". In a more mixed review, Rolling Stones Christian Hoard singled out several songs but concluded that the record "sounds like the Dolls just threw everything they had against the charts to see if anything would stick." Elan Priya of The Times wrote that the album that "lacks any distinct personality".
Much of Sun Ra's music could be classified as free jazz, especially his work from the 1960s, although Sun Ra said repeatedly that his music was written and boasted that what he wrote sounded more free than what "the freedom boys" played. The Heliocentric Worlds of Sun Ra (1965) was steeped in what could be referred to as a new black mysticism. But Sun Ra's penchant for nonconformity aside, he was along with Coleman and Taylor an integral voice to the formation of new jazz styles during the 1960s. As evidenced by his compositions on the 1956 record Sounds of Joy, Sun Ra's early work employed a typical bop style.
Wishing to orient her second album towards a more wintry or polar setting, she proceeded to record sounds which relate to coldness such as the sounds of smashing ice and footsteps in the snow. Coincidentally, in the midst of her search for sounds for the album, she was contacted by producer Luc Jacquet to compose the original soundtrack for his documentary film La Marche de l'empereur (March of the Penguins in English), concerning the annual migration of emperor penguins. Émilie Simon, Octogone, 2004. The film came out in France at the beginning of 2005, featuring a soundtrack by Emilie Simon that was also released by Universal Music as her second album.
Zooropa received generally favourable reviews from critics. Anthony DeCurtis of Rolling Stone wrote in his four-star review that the album was "a daring, imaginative coda to Achtung Baby" and that "it is varied and vigorously experimental, but its charged mood of giddy anarchy suffused with barely suppressed dread provides a compelling, unifying thread". Spin wrote a positive review, commenting that the record "sounds mostly like a band shedding its skin, trying on different selves for size". The review said the album "has the feel of real collectivity", praising the cohesiveness of the individual band members' playing. The review concluded by saying Zooropa "indicates U2 might be worthy of whatever absurd mutations the '90s throw our way".
This represents the lowest point of the microphone's dynamic range, and is particularly important should you wish to record sounds that are quiet. The measure is often stated in dB(A), which is the equivalent loudness of the noise on a decibel scale frequency-weighted for how the ear hears, for example: "15 dBA SPL" (SPL means sound pressure level relative to 20 micropascals). The lower the number the better. Some microphone manufacturers state the noise level using ITU-R 468 noise weighting, which more accurately represents the way we hear noise, but gives a figure some 11–14 dB higher. A quiet microphone typically measures 20 dBA SPL or 32 dB SPL 468-weighted.
" In 2001's All Music Guide: The Definitive Guide to Popular Music, critic Mark Deming wrote, "Mitch Easter's production guides the record through moody neo-psychedelia and up-tempo hard pop with an equally sure hand; the record sounds just as good as the band plays." According to John Borack, Easter did "his usual Herculean job behind the console, getting great guitar sounds whether they be gritty and electric ... or softer and acoustic." In an October 1986 interview, Miller discussed Mitch Easter's role as producer: > He helps from the technical end, not from the artistic end. He doesn't say, > "You're going to need a lot of backing vocals here" or "Use this guitar on > this.
Following the album's Norwegian release, the songs were leaked onto the Internet, and some appeared on year-end best-of lists in other countries. Annie stated that she had not expected North American publications to show interest in the album because she thought "the record sounds really European." The songs reached an international audience through online blogs, message boards, and file sharing networks before they had been released outside Scandinavia. This was more common for independent bands, and Annie became the first European dance-pop musician to cultivate an underground fanbase this way. 679 released the album in the rest of Europe during early 2005 but was unsure how to categorise and market Anniemal.
The recorded material was slow and melodic; much different musically from the aggressive rock music Cornell had been doing with Soundgarden. The songs bear the street-rock flavor of Mother Love Bone's music. Steve Huey of AllMusic said that the "record sounds like a bridge between Mother Love Bone's theatrical '70s-rock updates and Pearl Jam's hard-rocking seriousness ... Keeping in mind that Soundgarden's previous album was the overblown metallic miasma of Louder Than Love, the accessibly warm, relatively clean sound of Temple of the Dog is somewhat shocking, and its mellower moments are minor revelations in terms of Cornell's songwriting abilities." All of the lyrics on the album were written solely by Cornell.
Due to the difficulties of recording sounds on locations, it is common for nature documentary makers to record sounds in post-production using Foley and to use sound effect libraries. Compositing and computer-generated imagery are also sometimes used to construct shots. Wild animals are often filmed over weeks or months, so the footage must be condensed to form a narrative that appears to take place over a short space of time. Such narratives are also constructed to be as compelling as possible—rather than necessarily as a reflection of reality—and make frequent use of voice-overs, combined with emotional and intense music to maximise the audience's engagement with the content.
The first practical audio tape recorder was unveiled in 1935.. Improvements to the technology were made using the AC biasing technique, which significantly improved recording fidelity. abstract. As early as 1942, test recordings were being made in stereo.. Although these developments were initially confined to Germany, recorders and tapes were brought to the United States following the end of World War II., scu.edu These were the basis for the first commercially produced tape recorder in 1948.. In 1944, prior to the use of magnetic tape for compositional purposes, Egyptian composer Halim El- Dabh, while still a student in Cairo, used a cumbersome wire recorder to record sounds of an ancient zaar ceremony. Using facilities at the Middle East Radio studios El-Dabh processed the recorded material using reverberation, echo, voltage controls, and re-recording.
" Ryan Reed of Paste dubbed the album "a welcome return, even if it's a tad exhausting", adding that "No Doubt has always been more than a platform for a gifted frontwoman, a fact Push and Shove seems to forget at times, downplaying the band's fluid chemistry in favor of soaring hooks and 'cranked to 11' dynamics." In a mixed review, Helen Brown of The Daily Telegraph felt that "too much of the record sounds like generic, Katy Perry-esque power-pop." The Guardians Caroline Sullivan remarked that "this record simply takes up where 2001's Rock Steady left off", but ultimately stated, "As a comeback, this is nice work." The Independents Andy Gill commented that the album finds No Doubt "making only the most tentative divergences from previously tried and tested strategies, which gives Push and Shove a character that could be described as either dated or timeless.
" Kaelen Bell of Exclaim! characterized the music as "the sound of a new kind of warped pop star — an artist capable of weaving the unending unknown of space and the throb of blood and skin, willing to take us and destroy us and create something wholly new from what remains." Alexis Petridis of The Guardian thought that the record "sounds coherent" and "is punchy and concise;" Petridis further remarked that "its stylistic leaps and short-circuits always feel intended – the product of someone operating to their own internal logic rather than randomly throwing ideas at the wall." Paste critic Austin Jones praised the record, stating: "The record, with all its idiosyncrasies, will be remembered as a definitive piece by one of our era’s most important rock icons—a pop star as transgressive and rule-breaking as the legends of the ’70s and ’80s we take for granted now.
He praised each track individually, but especially commended single "Northern Soul" which he calls the "catchiest, deepest, and most intense in years", and "Sahara Love" which "intertwines elevating dance music with elements of rock, new wave, and synth-pop". Thomas Keulemans from We Rave You dubbed the track "Bittersweet & Blue" as the album's best highlight by praising Richard Bedford's ability to create a sense of sadness throughout its duration and noted its meaningful lyrical content. In a negative review, Will Hodgkinson of The Times described that the record "sounds like the kind of music that utilities companies use when they want to calm you down as they put you on hold for an hour: relentlessly slick, unfailingly melodic, impossible to remember the moment it finishes". The critic concluded by writing that Common Ground ultimately lacks "humour and character", even with the use of gentle vocals and the presence of a hypnotic mood throughout its listening experience.
The album has been regarded as Fear's best album and as a classic album of the 1980s Los Angeles hardcore punk scene. It has received mostly positive reviews, with Mark Deming of AllMusic rating the album 4.5 out of 5 stars and stating that it "makes sense that John Belushi was a big fan of Fear, because The Record sounds like the punk equivalent of the movie Animal House -- puerile, offensive, and often reveling in its own ignorance, but pretty entertaining on a non-think level while it lasts". He also stated that Fear had a "fairly unique perspective -- they seemingly embraced punk as an efficient way to piss off everyone around them, and there's no arguing that they achieved their goals with flying colors on their first and best album, The Record". Record Collector's Mark Rigby called it "probably the most exciting and impressive, one-dimensional, ill- mannered, distasteful, odious 'hate' record ever made".
" Soren Baker, writing for the Los Angeles Times, praised the production for being energetic and Chingy's lyrical content showing creativity and technical ability, saying that he "improves on and refines his successful sonic and thematic formula in an album more consistent and satisfying than its predecessor." Billboard contributor Rashaun Hall said that despite more R&B-flavored; tracks like "Leave wit Me" and "Don't Worry" showing more diversity in the track listing, he found too much familiarity with the album's content of excessive parties, women and luxury talk. AllMusic writer Andy Kellman noted how the record sounds like a rushed version of Jackpot, criticizing the lyrical content and its hooks for being mediocre, and the lacklustre delivery of the guest artists, concluding that "In Chingy's case, a subpar 2004 follow-up would surely fare better commercially than a polished 2006 follow-up." Writing for Rolling Stone, Jon Caramanica also found the album doing little to be different from its predecessor, despite Chingy's charisma delivering on half of the track listing, concluding that "Powerballin serves as a wink behind which there's nothing hidden.
" Will Hermes of Rolling Stone highlighted "What is surprising, though, is how unforced and fun the record sounds", and this was because "[s]ometimes, leaving your zone is the best way to find yourself." At Allmusic, Thom Jurek wrote that "For all the piecemeal recording, technological obsession and sheer ambition on the Fuse, Urban manages to fashion it all into a [mostly] working whole and maintain his identity as a contemporary country artist, even as he reaches for the mainstream pop fences." Jerry Shirver of USA Today suggested that "Deleting generic material would have made the gems pop more, but that's minor since there are plenty of keepers". At The Oakland Press, Gary Graff told that "Fuse does lean a bit heavy on same-sounding arrangements (gentle verses swelling into bombastic choruses) but the songs are consistently strong, and Urban's performances on both guitar and vocals – including duets with Miranda Lambert ('We Were Us') and Eric Church ('Raise 'Em Up') – certainly help the new sonic approaches go down easy.