#vox continental organ for sale

[kosmicsound150-blog]

Buy microphone online at the world’s largest and biggest store i.e. is the kosmic sound store. Microphones are a type of transducer - a device which converts energy from one form to another. Microphones convert acoustical energy (sound waves) into electrical energy (the audio signal). Different types of microphone have different ways of converting energy but they all share one thing in common.

[rocknrollarticles]

The Artwoods Story

The Artwoods’ 100 Oxford Street is a UK compilation album released in 1983 that features a four-page booklet (pictured above) that tells the band’s story, written by guitarist Derek Griffiths.

Since there's a limit on the number of photos that can be added to one post, I'll be reblogging this a couple times until I have all the info up. To see this post with all the info added in reblogs, click here.

Thanks for reading, and I hope you enjoy Derek’s words as much as I do!

Transcript under the cut (main text + Record Mirror article from page three's rightmost side)

“  It's difficult to pinpoint exactly when the Artwoods came into being because everything just seemed to evolve naturally. The one date however that does stick in my mind is the 1st October 1964 which is the date I turned professional, thus depriving the accountancy profession of a valuable addition to its ranks! But seriously, one must go back to previous events in order to trace the history of the group.

I first met Jon Lord at a party in West Hampstead when he was a drama student at The Central School of Speech & Drama. He was introduced to me by Don Wilson whose claim to fame was his membership of the famous skiffle group Dickie Bishop & His Sidekicks. They had had a hit years previously with "No Other Baby But You", and Don now ran a band on a semi-pro basis called Red Bludd's Bluesicians in which I played guitar. Well, I say we were called this, but only when we were fortunate enough to cop an R&B gig. We used to play The Flamingo Allnighter and lots of U.S. air bases. The rest of the time we played weddings and tennis club dances as The Don Wilson Quartet! Jon Lord was brought in on piano and was a very valuable addition especially as he could get his hands around a little jazz and all the old standards. Jon used to ring me at work and interrupt my vouching of sales ledger invoices in order to discuss the coming weekends gigs. We would bubble with excitement at the approach of an R&B gig as we really hated all the weddings and barmitzvahs.

Around this time Don made a very important policy decision and we suddenly became the proud owners of a Lowrey Holiday organ for Jon to play. Shortly after this Don contrived to drive the band-wagon into the back of a lorry on the North Circular, doing himself considerable mischief in the process. This brought about the unfortunate end of Don's career with us, but not before he had masterminded an important merger of two local bands.

For some time we had been aware, and not a little envious, of The Art Wood Combo led by none other than Art Wood himself. His band underwent a split at that time and Red Bludd's Bluesicians, alias The Don Wilson Quartet, were neatly grafted on. We really felt we were moving into the big league by doing this as Art not only had more work than us but, wait for it, used to sing with Alexis Korner's Blues Incorporated with Charlie Watts on drums and Cyril Davies on harmonica! The next problem was a replacement for Don, and this was solved by stealing the bass player from another local group The Roadrunners, a good looking cove who went by the name of Malcolm Pool. The offer and acceptance of the gig were transacted in a pub car park somewhere in West Drayton staring into the murky waters of the Grand Union Canal clutching pints of local bitter (Fullers?). (Authors note: drugs had not been invented at this stage, as far as most groups were concerned, apart from the odd pill to keep one awake on an all nighter!)

~

The next personnel change took place some time in 1964 and this involved the retirement of drummer Reg Dunnage, who did not want to turn pro. Auditions were held in London and lots of drummers attended. However it was more or less a foregone conclusion that Keef Hartley would get the job. You see we'd already decided that what The Artwoods needed above all else was a Liverpool drummer! Unfortunately none came to the audition, but Keef hailed from Preston which was near enough for us. Keef had previously played with Rory Storm & The Hurricanes, replacing Ringo Starr in the process (heady stuff this), and Freddy Starr & The Midnighters. Both were such influential bands of their time that these credentials combined with Keef's quasi Liverpool accent (at least to our ears) provided him with a faultless pedigree.

~

So that was it, the line-up that would take us through to 1967 when Colin Martin eventually replaced Keef Hartley on drums.

For a while we worked as The Art Wood Combo but then decided it was hipper to drop the Combo and become The Artwoods.

The period when The Artwoods were operating was one of musical change when groups went from recording and performing other writers' material to writing their own. In fact the last year of the group's existence was 1967 which heralded the arrival of "Hendrix", "Flower-Power". "Festivals" and experimental use of mind expanding drugs! 1966/67 were particularly exciting years to be based in London and every night would be spent in one of the many clubs which had recently sprung up. The Ad Lib, The Scotch of St. James, The Cromwellian, Blaises and of course The Speakeasy to mention a few. Many of these we played in and the trick was to be well known enough not to have to pay the entrance fee on nights off. Any night you could be sure to meet your mates "down The Speak" and it became the unofficial market place for rock musicians.

It was also the days before huge amounts of equipment took over. Equipment meant road-crew and trucks and in turn financial hardship. This simple equation has been the downfall of many bands over the years. We used to travel in a 15 cwt van together with all the gear-no roadies, just us. It's amusing to recall but after recording the TV show "Ready, Steady, Go" (in Kingsway in those days?) one would be besieged by autograph hunters on the way to the van with the gear. Even really 'big groups of the day like The Zombies would hump their own equipment and apologetically place an amp on the ground in order to sign an autograph! Because it was financially viable to travel to small clubs in this way, we would often average 6 or 7 nights a week, every week, on the road. A bad month would probably mean less than twenty gigs. This meant we were living, sleeping and eating in close, and I mean close, proximity. You really found out who your friends were.

The subject of equipment is an interesting one as it really distinguishes the bands then from those of today. The average pub band of today would carry more equipment than we did. As I've already mentioned we were quick to realise that we could elevate ourselves musically by investing in a proper electric organ as opposed to a Vox Continental or Farfisa that many groups used. Consequently the group purchased a Lowrey Holiday and we thought this alone would provide us with the Booker T and Jimmy Smith sound.

What we failed to realize was that we also needed a Leslie cabinet with a special built-in rotor to get that "wobbly" sound. Our friend and mentor Graham Bond, the legendary organist/saxophonist, was quick to point out the error of our ways one night when we were gigging at Klooks Kleek in West Hampstead. We groaned inwardly when we discovered the extra cost and humping involved, but it had to be bought. We were fortunate very early on to score a deal with Selmers, who provided us with free amps and P.A., but we had to make the trek to Theobalds Road once a week to get it all serviced as they were not as reliable in those days. I used a Selmer Zodiac 50 watt amp and Malcolm had Goliath bass cabinets with a stereo amp.

The P.A. comprised two 4 x 12 cabinets and a 100 watt amp! When we toured Poland we played in vast auditoria and linked our system with the Vox system being used on tour by Billy J Kramer & The Dakotas. This meant we were pumping out no more than 300 watts which is laughable by today's standards. Although it would never have compared in quality, I can remember standing at the back of extremely large halls and being able to hear clearly all the words Billy J sang. One day in 1963 Alexis Korner sent me off foraging in and around Charing Cross Road for a new guitar, with instructions to mention his name whereupon I would receive a discount of 10%. Previously I played a Burns Trisonic (collectors will appreciate this model did not have "Wild Dog" treble) but fancied owning a Gibson ES335 as favoured by many blues players. Sure enough one was hanging invitingly in the window of Lew Davis's shop.

I ended up paying £135 and still use it regularly today although its value has multiplied five fold. Malcolm came with me that day and bought an Epiphone bass, the same colour and shape as my guitar. For years we looked like matching book-ends on either end of the group! Keef started off using a Rodgers drum kit, but somewhere along the line changed to, I think, Ludwig. There was no out-front mixing as is common today, just the P.A. amp on stage with the vocalist. Primitive I know, but everything revolved around bands being able to travel economically with their gear and perform at small clubs anywhere in Britain. The college circuit was much sought after and provided the icing on the cake while package tours were not necessarily well paid. We did our first with P. J. Proby and got £25 per night (for the lot of us) and we had to pay for our own accommodation!

~

I have already mentioned "Ready, Steady, Go" a show on which we appeared on more than one occasion. The original format called for groups to mime to their records but after a time it was decided that it would become "live" and that the show would be re-titled "Ready Steady Goes Live". We were proud to be picked for the first "live" show and learnt the news via a telephone call to our agent in London from a phone box high in the Pennines. We managed a drunken war-dance of celebration round the phone box believing that this meant we'd really cracked it. As I remember the first show we did featured Tom Jones (complete with lucky rabbits foot) miming to "It's Not Unusual", The Kinks, Donovan and Adam Faith's Roulettes playing live (without Adam). We were promoting our first single "Sweet Mary" and I would put the date at around late 1964.

~

Our first recording deal was with a subsidiary of Southern Music Publishing called Iver Productions and I reckon that would have been mid 1964. Southern had a four track studio in the basement of their offices in Denmark Street ("The Street") and getting the gear downstairs, especially the organ, was "murder". Our first producer was Terry Kennedy and we recorded several tracks with him. Without going too deeply into all the details of recording techniques of the period, one tended to compensate for the lack of tracking facilities available, by attempting to duplicate the live excitement. In many ways it was a frustrating experience particularly for ambitious guitar-players. I was a Steve Cropper freak and I knew as a musician that a lot of his sound on record resulted from him working his amplifier hard in the studio— thus the speaker would emit the sound he was used to on stage. In Britain however, engineers would say "You don't need to play loud man, we can turn you up on the desk". The result was a weedy, thin guitar sound. From way back I'd been experimenting with "feed back" on stage and I really had to dig my heels in about the guitar sound in the studio. Once when I turned my amp up to give it a bit of "wellie" on a solo the engineer bounded out of the control room screaming that the level would bust his microphones!

~

Sometime during the career of The Artwoods it was decided that we should graduate to a better studio. This was arranged by Mike Vernon who also became our producer. Our records had all been released through the Decca Record Co. and Mike was a staff producer with them. Mike w also an authority on "The Blues" and the relationship led to our only single chart record "I Take What I Want" a cover of a Sam & Dave U.S. R&B hit. Mike was also producing John Mayall at the time and it seemed only natural that Mike and The Artwoods should team up. From this point on we recorded at the Decca studio in Broadhurst Gardens, West Hampstead, but I can't honestly say it did any more for us than our previous efforts in the Southern Music basement, although we could now indulge ourselves in the comparative luxury of the eight track studio. Later on, towards the end of the groups life we were signed by Jack Baverstock at Philips Records who was looking for a group to cash in on the thirties-style gangster craze which had been triggered off by the film "Bonnie & Clyde". As a result we changed our name to "St. Valentines Day Massacre" and released a single of the old Bing Crosby hit "Brother Can You Spare A Dime?" It was an ill- fated venture, which I would prefer not to dwell on, virtually signalling the end of the band apart from a few heavy-hearted gigs with a changed line-up.

~

Before that though, there were many great times to remember, and a fair number of gigs that were memorable in one way or another.

One of our favourite gigs was Eel Pie Island which we regularly played once a month; in fact we held the attendance record there for a while until the ageing blues artist Jesse Fuller took it from us. Eel Pie Island is literally an island in the middle of the River Thames at Twickenham and there's never been a gig like it since. It was an Edwardian ballroom originally I believe, that achieved notoriety in the 50's with the Trad Jazz boom. At that time, an overloaded chain ferry was used to convey the crowd across the river, but during the 60's a small bridge was in existence although it was only wide enough to take the promoter Art Chisnall's mini van. He had to make three separate trips across with the gear strapped to the roof and hanging out the back doors.

The audiences were exceptional for those times and I don't know where they all came from... very much like art students and very much more like the 70's than 60's. Long hair predominated and this was before 'hippies' had officially been invented! If you can imagine a ramshackle wooden ballroom, bursting at the seams, condensation pouring from the walls, the audience on each others shoulders leaping up and down, the sprung dance floor bending alarmingly in the middle, in the summer couples strolling outside and lounging on the river bank ... all this and not a disc jockey in sight! One other bonus was that it was a “free” house and therefore sold many different types of beer— we always favoured Newcastle Brown. Back on the 'mainland' afterwards it was always riotous packing the gear into the truck. I don't know how he managed it but one night Malcolm drove our truck over the support band's guitar which happened to be lying about, thus breaking the neck. I'll never forget the shocked look on that poor guitarist's face as Malcolm smoothly slipped the van into gear, apologised and drove off in that order!

~

No trip up north was complete without stopping at the famed Blue Boar on the M1 for a "grease-up" on the way home. I do not refer to truck lubrication but to a particular rock'n'roll delicacy known as “full-house”. This comprised double egg, sausage, chips, beans, tomatoes, fried slice, tea, and (if you were man enough) toast. It was considered a Herculean task to break successfully the 10 bob' (50p) barrier-all served on wobbly cardboard plates that doubled as items to sign autographs on for the self service waitresses.

Waitress: What band are you?

Me: You won't have heard of us.

Waitress: Oh go on, tell us.

Me: OK. The Artwoods.

Waitress: Never 'eard of you!

It was everybody’s dream to walk into the Blue Boar just as their hit of the moment was playing on the Juke Box.

~

One time we were chosen to represent the twentieth century at the centenary celebrations of the State of Monte Carlo— a most lavish affair which the aristocracy and dignatories of Europe attended. Princess Grace and Prince Ranier were the hosts and people like Gina Lollobrigida and the like were there. The ball was held in the famous Casino at Monte Carlo and we stayed in an opulent hotel called The Hermitage, I think. All I can remember is that we all had single rooms (a rare luxury) which were massive, and you could have pitched a tent under one of the bath towels, they were so big. After this we jetted off up to Paris where we played next door to the Moulin Rouge at a club called The Locomotive.

Whilst we were there we were taken out by our friend Mae Mercer, the American lady blues singer who we backed in England. She lived in Paris and took us out to Memphis Slim's club where we all set about drinking like it was going out of style. At the end there was an embarrassing scene concerning the bill with the result that Mae ended up in tears. Whilst we were bumbling about in an alcoholic stupor, an upright looking gentleman put his arm round Mae to comfort her and a wallet appeared magically from his inside pocket. Without further ado the bill was despatched and we later learned that our anonymous benefactor was none other than Peter O'Toole who was busy in the street outside filming 'Night Of The Generals' and was an old buddy of Mae's.

~

One Boxing Day we loaded up with turkey sandwiches and Xmas pudding and headed off for a gig down in Devon or Cornwall somewhere. We arrived to find the club closed and boarded up, and as usual we were broke. Naturally we were livid, checked into an hotel and located the promoter who lived with his mum. Next morning we drove round to where he lived and burst our way past his confused mum. We found him in his bedroom nervously cowering against some fruit machines which he collected. He had no money so we forced him to empty his damned machines with the result that we drove back to London with 50 quids' worth of 'tanners' (approx 22p for the younger reader!)

Whilst on the subject of disasters I suppose I am duty bound to mention Denmark. The first time we went there we caught the ferry to the continent, drove up through Germany, then caught another ferry to Denmark. There was no promoter to meet us when we arrived so all we could do was drive to Copenhagen and check in at the Grand Hotel. It cost us an arm and a leg but at least we got a good nights sleep after being awake for nearly two days travelling. The next day we made a few phone calls and finally tracked down the promoter. He said: "Didn't you get my telegram cancelling the tour?" We politely said no we hadn't and what did he intend doing with us? He checked us into another hotel (cheaper of course) and set about booking us at places that were similar to English coffee bars and youth clubs. We made enough to survive on and paved the way to more successful tours of that country. In fact by now we had Colin Martin on drums and were pursuing a much more adventurous musical policy and writing our own material. It was just right for Denmark who had taken Hendrix to their hearts to name but one, and we subsequently became quite big there in 1967.

The Artwoods achieved modest success-a minor hit single in "I Take What I Want", but we worked constantly, travelled abroad, had fantastic fun and made a living doing so. We had seven single releases, one album, and one EP, and we broadcast both on radio and TV many times. We did stage tours such as the P. J. Proby tour and covered most aspects of "show-biz" apart from actually making a movie. It was the era when bands still had to prove themselves as a live act before being offered a recording contract. now frequently happens of course that an act can become huge record sellers without so much as venturing to do a live gig.

~

So what happened to everyone? Well Art returned to his former occupation as a commercial artist and finds some time to fit in free-lance work between accompanying brother Ron Wood on raving excursions between Rolling Stones gigs. Malcolm moved into the same field as Art and they now work in the same building. Both of them gig occasionally on a semi-pro basis although Malcolm spent some time playing with Jon Hiseman's Colosseum and Don Partridge in the early 70's. Jon Lord became famous with Deep Purple and Whitesnake as did Keef Hartley with John Mayall and various bands of his own. Colin Martin is now a BBC Radio producer of repute. I played in various bands such as Lucas and The Mike Cotton Sound, Colin Blunstone's band, Dog Soldier (with Keef again), before I somehow drifted into studio and theatre work. Recently I formed an R'n'B band called the G.B. Blues Company, and it's great to be back on the road again.   ”

Derek Griffiths.

Clipping from Record Mirror on June 5, 1965, by Norman Jopling.

“We aim to excite!” … say the Art Woods

Just for the record, the Art Woods aren't a part of Epping Forest. In fact they're a group of five interesting young men, named after the group's leader Art Wood. They also happen to be one of the most realistic groups on the scene.

For a start, they are the awkward position of having a large following, a club residency but no hit record. Secondly. they don't mind pandering to commercial tastes, even though they have been hailed as one of the most authentic R & B groups in the land.

NO PULL

“But authentic R&B just isn't pulling the crowds any more,” says Art. “The audiences want to be excited, not to be lectured on what is 'good' and what is 'bad'. Although there was a time when you could spend half an hour on one number with long solos by everybody, it didn't last long. And although there are some clubs like that still, most of them want something fresh and new.

“And we try to cater for them. We like authentic R&B, but we also like playing everything and anything else. So far, our two discs haven't meant a light. Of course we'd love a hit. But we're lucky enough to make a good living without one.”

DISCS

The Art Woods latest disc is "Oh My Love" and the one before that “Sweet Mary”. Of them Little Walter has said that he couldn't believe any white group could sing and play the blues like they do.

Line-up of the group is Art Wood, leader. vocalist and harmonica. Derek Griffiths, lead guitar, Jon Lord, organ and piano. Malcolm Pool— base guitar, and Keef Hartley on drums. The boys use a specially adapted Lowrie organ, and get a sound that's really different.

But even if the boys sometimes become depressed about no hits records, they should remember groups like Cliff Bennett, the Barron-Knights, the Rockin' Berries and the Yardbirds, and how long THEY waited before they had a hit!

N.J.

[thekingofgear]

The gear behind Radiohead’s ‘Kid A’ sound in Dublin

Highlight: Jonny’s original ondes Martenot

Radiohead’s tour dates in 2000 were the first time that Jonny publicly performed with an ondes Martenot, and also one of the few tours he performed with the original 80s Martenot played on Kid A and Amnesiac. Although today Jonny is known for popularizing the ondes Martenot in the english-speaking world, until the late-90s he hadn’t so much as seen a picture of one. He only knew it from the sweet melodies and dramatic electronic glissandi in recordings of Olivier Messiaen’s Turangalîla-Symphony. It wasn’t until 1999, when he learned of one for sale in Paris and purchased it with its Palme diffuseur, that Jonny finally became acquainted with the instrument. This acquisition would be pivotal for the recording of Kid A and Amnesiac, and in no short time Jonny was teaching himself the instrument (hence his unusual playing technique) and using it to define the sound of those albums. The songs Kid A, The National Anthem, How to Disappear Completely, Optimistic, Motion Picture Soundtrack, Pyramid Song, You and Whose Army, and Morning Bell / Amnesiac all feature the ondes Martenot – and that doesn’t include the b-sides from this era!

What differentiates the Martenot from other electronic instruments is its interface, the way that the player controls the sound. The Martenot features a very sensitive button (called the “touche”) to control volume, while pitch can be controlled by either a keyboard or a ring on a ribbon. Both the keyboard and the ring can create vibrato by rocking the hand back and forth, and one can hear Jonny play with keyboard vibrato on the album recording of Optimistic.  the ring has full control of pitch over the range of the instrument, allowing anything from minute microtones to mutli-octave slides. When using a simple waveform, sliding between notes using the ring creates a sound similar to a theremin – but with greater control – which is why Jonny is often mistaken for playing one on songs like The National Anthem and Pyramid Song.

The ondes Martenot’s sound generators changed over the decades, so different versions are capable of different timbres. While the earliest versions used vacuum tubes, and the version most common today uses transistors, Jonny’s original Martenot is from a briefly made digital version. The digital version uses additive synthesis, and Jonny generally plays with setting that has relatively few overtones, which is why it’s often mistaken for a sine wave. Although monophonic, the Martenot is capable not only of melody but also of many special effects – in fact, most people unwittingly know the Martenot from the soundtracks of films like Ghostbusters and Journey to the Far Side of the Sun.

The 2000 tour was also one of the few times that fans could hear songs performed with the same instrument used on the recordings, since Jonny quickly obtained a replica for touring purposes. Jonny was nervous about the rare Martenot being damaged, so he commissioned a replica that could control the same eurorack synth modules that he uses on Idioteque. The result was the Analogue Systems French Connection, a controller with a less sensitive interface emulating the touche and ring of the Martenot. Jonny would use the French Connection all Radiohead tours from 2001 to 2012, as well as for some recordings and tv performances. And although Jonny did tour with his original Martenot again in 2016 (he had less reason to be nervous of it breaking after getting an ondes Musicales Dierstein in 2011), that too was short lived, because Jonny ceased using the Martenot for touring once he acquired the Asaden Ondomo.

A closeup of Jonny’s ondes Martenot from The National Anthem. The Martenot’s distinctive short-depth (but full width) keys can be seen, as well as the pitch-controlling ring on Jonny’s finger.

Other notable bits:

Radiohead’s 2000 tour saw the first public uses of a ton of instruments that the band had only started using during the sessions for Kid A and Amnesiac. Perhaps most notably, it was the first time that Radiohead used looping and live sampling on tour. This was enabled by a host of performance oriented samplers, like the Korg Kaoss Pad, Line 6 DL4, and Akai Headrush, all of which were released only a year earlier in 1999. Colin bowed a double bass for the first time on Pyramid Song and Motion Picture Soundtrack – a rare treat, as Colin soon after switched to a Steinberger electric upright bass, followed in 2006 by Jonny taking over bowing on Pyramid Song with his guitar (most likely inspired by Jónsi of Sigur Ros, who opened for Radiohead on this very tour). Another rarity was the Vox Super Continental organ which Thom plays on Motion Picture Soundtrack, with the sound distorted through an Electro-Harmonix Micro Synthesizer pedal. Jonny brought his recently acquired Analogue Systems RS8000 on tour to perform Idioteque, marking the first time he’d performed with a eurorack modular synthesizer. It was also the first time Ed performed with a guitar modified to include a sustainer system. The heavily modified Eric Clapton Signature Stratocaster used for the Dublin show would be Ed’s favorite for more than a decade before becoming the inspiration for Ed’s current Fender EOB Signature Stratocaster.

A screenshot of Jonny sampling Thom’s vocals with his Korg Kaoss Pad KP1 during Everything In Its Right Place. One can also see his ondes Martenot atop his Fatar MIDI control, and the Martenot’s Akai Headrush E1 (that light grey rectangle) can be seen below them both.

Song by song:

This lists all gear used for the songs included in the official video of Radiohead’s performance at the Punchestown Race Course in Dublin on October 7, 2000. It does not include other gear used for other songs at the same show, or for the rest of the 2000 tour.

The National Anthem

Thom Yorke‘s gear for The National Anthem in Dublin

Shure Beta 87 vocal microphone

Ring modulator vocal effect from FOH mixing desk

Rickenbacker 330 in Fireglo finish

Tech 21 XXL distortion (most likely, might be another distortion pedal)

Marshall Bluesbreaker amplifier

Jonny Greenwood‘s gear for The National Anthem in Dublin

ondes Martenot (80s digital student model)

Akai Headrush E1 delay/looper (used for Martenot looping)

Roberts R737 radio (processed by Jonny’s guitar pedals)

Electro-Harmonix Small Stone V2 phasor

DOD 440 envelope filter

Demeter The Tremulator tremolo

Digitech Whammy WH1 pitch shifter

BOSS SD1 overdrive

BOSS RV3 reverb/delay

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Ed O’Brien‘s gear for The National Anthem in Dublin

Fender Eric Clapton Signature Stratocaster (ST1) “Sustainer Strat”

Crowther Hotcake and/or BOSS SD1 overdrive

BOSS DD5 delay

BOSS RV3 reverb/delay

BOSS FV300 volume pedal

Vox AC30TBX Dave Petersen Special

Colin Greenwood‘s gear for The National Anthem in Dublin

1972 Fender Precision Bass in Olympic White finish

Lovetone Big Cheese fuzz

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

Phil Selway - see end of article.

Jonny adjusting the frequency on his radio while adjusting a pedal (likely his Digitech Whammy) with his right foot.

Thom with his Fireglo Rickenbacker 330 during The National Anthem.

How To Disappear Completely

Thom Yorke‘s gear for How To Disappear Completely in Dublin

Shure Beta 87 vocal microphone

Lakewood M14 acoustic guitar

Jonny Greenwood‘s gear for How To Disappear Completely in Dublin

ondes Martenot (80s digital student model)

Akai Headrush E1 delay/looper (used for Martenot looping)

BOSS FV300 (used to mute Jonny’s playing for silent looping)

Ed O’Brien‘s gear for How To Disappear Completely in Dublin

Rickenbacker 360 12-String in Jetglo finish

Crowther Hotcake and/or BOSS SD1 overdrive

Digitech Whammy WH4 pitch shifter ?

Line 6 DL4 delay/looper (as looper) ?

BOSS DD5 delay

BOSS RV3 reverb/delay

BOSS FV300 volume pedal

Vox AC30TBX Dave Petersen Special amplifier

Colin Greenwood‘s gear for How To Disappear Completely in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

Phil Selway‘s gear for How To Disappear Completely in Dublin

Lemon shaker

In this screenshot from How To Disappear Completely, one can see Ed’s Jetglo Rickenbacker 360/12 guitar and his BOSS PN-2 tremolo/pan pedal.

Morning Bell

Thom Yorke‘s gear for Morning Bell in Dublin

Shure Beta 87 vocal microphone

Rhodes Suitcase Piano Mark I 73 electric piano

Jonny Greenwood‘s gear for Morning Bell in Dublin

Fender Telecaster Plus V1 guitar in Tobacco Burst finish

Coin (an actual coin, scrapped against the guitar’s strings to create the sound effects at the end of the song)

Electro-Harmonix Small Stone V2 phaser

BOSS SD1 overdrive

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Vox AC30TB Dave Petersen Special amplifier

Ed O’Brien‘s gear for Morning Bell in Dublin

Shure Beta 87 vocal microphone

Fender Telecaster Standard guitar in white finish

Crowther Hotcake and/or BOSS SD1 overdrive

Line 6 DL4 delay/looper (as looper, using reverse function)

BOSS FV300 volume pedal

Vox AC30TB Dave Petersen Special amplifier

Colin Greenwood‘s gear for Morning Bell in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

A closeup of Thom’s hands at the Rhodes piano during Morning Bell.

Idioteque

Thom Yorke‘s gear for Idioteque in Dublin

Shure Beta 87 vocal microphone

Jonny Greenwood‘s gear for Idioteque in Dublin

Analogue Systems Sequencer System in RS10 cabinet

Analogue Systems RS8000 Integrator modular synthesizer

Ed O’Brien‘s gear for Idioteque in Dublin

Metal percussion shaker (possibly a guiro shaker)

Fender Telecaste Standard guitar

Crowther Hotcake and/or BOSS SD1 overdrive

Lovetone Ring Stinger ?

Line 6 DL4 delay/looper (as looper)

BOSS DD5

BOSS FV300 volume pedal

Vox AC30TB Dave Petersen Special amplifier

Colin Greenwood‘s gear for Idioteque in Dublin

Yamaha CBX-K1XG keyboard (sends MIDI notes to a sampler)

Ed with his metal shaker during Idioteque.

Colin triggering samples with the Yamaha CBX-K1XG during Idioteque.

Optimistic

Thom Yorke‘s gear for Optimistic in Dublin

Shure Beta 87 vocal microphone

Gibson ES-125 electric guitar

Marshall Bluesbreaker amplifier

Jonny Greenwood‘s gear for Optimistic in Dublin

Fender Starcaster guitar (vintage 1970s)

BOSS SD1 overdrive

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Vox AC30TB Dave Petersen Special amplifier

Ed O’Brien‘s gear for Optimistic in Dublin

Shure Beta 87 vocal microphone

Fender Telecaster Standard guitar in white finish

Crowther Hotcake and/or BOSS SD1 overdrive

Vox AC30TBX Dave Petersen Special amplifier

Colin Greenwood‘s gear for Optimistic in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier hea

Ampeg SVT 8x10 cabinet

In this screenshot from Optimistic, Ed can be seen singing into a Shure Beta 87, while Jonny plays his 70s Fender Starcaster in the background.

In Limbo

Thom Yorke‘s gear for In Limbo in Dublin

Shure Beta 87 vocal microphone

Tambourine

Jonny Greenwood‘s gear for In Limbo in Dublin

Fender Starcaster guitar (vintage 1970s)

BOSS SD1 overdrive

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Vox AC30TB Dave Petersen Special amplifier

Ed O’Brien‘s gear for In Limbo in Dublin

Shure Beta 87 vocal microphone

Rhodes Suitcase Piano Mark I 73 electric piano

Colin Greenwood‘s gear for In Limbo in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

Thom with his tambourine during In Limbo.

Thom at the Rhodes piano and Jonny with his Fender Telecaster and arm brace during In Limbo.

Paranoid Android

Thom Yorke‘s gear for Paranoid Android in Dublin

Shure Beta 87 vocal microphone

Lakewood M14 acoustic guitar

Jonny Greenwood‘s gear for Paranoid Android in Dublin

Shure Beta 87 vocal microphone (“ugly”, “piggy”)

Young Chang upright piano

Fatar CMS-61 MIDI controller (sends MIDI notes to trigger synth string samples)

Fender Telecaster Plus V1 guitar in Tobacco Burst finish

Electro-Harmonix Small Stone V2 phaser

DOD 440 envelope filter

BOSS LS2 line selector

Vox AC30TB Dave Petersen Special amplifier

Marshall Shredmaster distortion

BOSS FV300 volume pedal

Fender Eighty-Five amplifier

Ed O’Brien‘s gear for Paranoid Android in Dublin

Shure Beta 87 vocal microphone

Fender Telecaster Standard guitar in white finish

Crowther Hotcake and/or BOSS SD1 overdrive

Digitech Whammy WH4 pitch shifter

BOSS LS2 Line Selector

BOSS DD5 delay

Vox AC30TBX Dave Petersen Special amplifier

Mesa Boogie Trem-O-Verb amplifier

Colin Greenwood‘s gear for Paranoid Android in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

Jonny at the Young Chang upright piano during Paranoid Android – a rare instance of Jonny not using the Rhodes piano for this section.

Motion Picture Soundtrack

Thom Yorke‘s gear for Motion Picture Soundtrack in Dublin

Shure Beta 87 vocal microphone

Vox Super Continental organ

Electro-Harmonix Micro Synthesizer (vintage "big box" version used to distort the organ’s sound)

BSS Audio AR-133 Active D.I. Box (used to connect the pedal to the PA mixer)

Jonny Greenwood‘s gear for Motion Picture Soundtrack in Dublin

Fatar CMS-61 MIDI controller (sends MIDI notes to trigger harp and choir samples)

Colin Greenwood‘s gear for Motion Picture Soundtrack in Dublin

Double bass

Thom playing the Vox Super Continental organ. The EHX Micro Synth and BSS Audio DI box can be seen on top of the organ, along with a power strip with power supplies.

Colin with his double bass and bow, presumably checking to ensure he has enough rosin and tension on the bow.

Everything In Its Right Place

Thom Yorke’s gear for Everything In Its Right Place in Dublin

Shure Beta 87 vocal microphone

Rhodes Suitcase Piano Mark I 73 electric piano

Jonny Greenwood’s gear for Everything In Its Right Place in Dublin

Korg Kaoss Pad KP1 sampler (fed from Thom’s vocals)

Electro-Harmonix Small Stone V2 phasor

DOD 440 envelope filter

Demeter The Tremulator tremolo

Digitech Whammy WH1 pitch shifter

BOSS SD1 overdrive

BOSS RV3 reverb/delay

Roland RE201 Space Echo

Vox Egg footswitch (echo cancel for Space Echo)

Ed O’Brien’s gear for Everything In Its Right Place

Pedals are fed from Thom’s Rhodes Piano.

Line 6 DL4 delay/looper (as looper)

Akai Headrush E1 delay/looper (as looper)

BOSS DD5 delay

BOSS FV300 volume pedal

misc others

Colin Greenwood‘s gear for Everything In Its Right Place in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ampeg SVT 8x10 cabinet

A screenshot of Thom at the Rhodes piano during . One can also see the distinctive red control panel of Jonny’s Vox AC30TB Dave Petersen Special.

Ed adjusting his Line 6 DL4 and Akai Headrush E1 – both configured as loopers – during Everything In Its Right Place.

In this screenshot from Everything In Its Right Place, one can see Jonny’s 80s ondes Martenot and Fatar CMS-61 (left), as well as his BOSS SD1 and BOSS RV3 pedals (right).

Just

Thom Yorke‘s gear for Just in Dublin

Shure Beta 87 vocal microphone

Fender Telecaster Deluxe guitar (vintage 1970s)

Thom uses the guitar’s pickup selector as cutoff switch during outro section.

Proco Turbo Rat distortion (most likely, might be another dirt pedal)

Marshall Bluesbreaker amplifier

Jonny Greenwood‘s gear for Just in Dublin

Fender Telecaster Plus V1 guitar in Tobacco Burst finish

Electro-Harmonix Small Stone V2 phaser

DOD 440 envelope filter

Digitech Whammy WH1 pitch shifter

BOSS LS2 line selector

Vox AC30TB Dave Petersen Special amplifier

Marshall Shredmaster distortion

BOSS FV300 volume pedal

Fender Eighty-Five amplifier

Ed O’Brien‘s gear for Just in Dublin

Fender Stratocaster (70’s) in white finish with black pickguard

Crowther Hotcake and/or BOSS SD1

BOSS FV300 volume pedal

Mesa Boogie Trem-O-Verb amplifier

Colin Greenwood‘s gear for Just in Dublin

1972 Fender Precision Bass in Olympic White finish

Alembic F-1X Tube Preamp

dbx 160A Compressor/Limiter

Gallien-Krueger 800rb amplifier head

Ed can be seen with his white 70s Strat in this screenshot from Just.

Phil Selway’s Drum Setup

Phil’s drum kit is not especially visible in footage from the show. However, he described his setup at the time in the July, 2001 issue of Rhythm magazine:

“I don’t have my whole kit set up here today. I generally have 12”, 14” and 16” toms and a Noble & Cooley snare that I put on my left-hand side. I’d normally have drum triggers and a pad on the kit too, to the right of my 12” tom. The kick drum and both snares have triggers on – just for individual samples, because we don’t tend to use loops live.

“My acoustic drums are all premier Signia Marquis. They look after me really well and have done for six years – they sent me a Club kit recently, which I love. Cymbals are a mix of Zildjian Ks and As usually. I like quite dry cymbals – things that sound quite contained. It’s quite a simple set-up, really, and I don’t want for anything. Apart from snares. You can never have too many snares.”

The Zildjian K Cymbals are as follows:

13” Hi-Hats

12” Splash

15” Thin Crash

16” Crash

18” Ride

The triggers are by ddrum, and are used to control Phil’s Clavia Nord Drum 1.

Phil’s Nord Drum can be seen in this screenshot from Idioteque.

[radiantinsightssf-blog]

Automotive Drive Recorder Market to Set Phenomenal Growth in Key Regions by 2025

This report studies the global Automotive Drive Recorder market status and forecast, categorizes the global Automotive Drive Recorder market size (value & volume) by manufacturers, type, application, and region. This report focuses on the top manufacturers in North America, Europe, China, Japan, South Korea, India and other regions (Southeast Asia, Central & South America, and Middle East & Africa)

The global Automotive Drive Recorder market is valued at million US$ in 2017 and will reach million US$ by the end of 2025, growing at a CAGR of during 2018-2025.

The major manufacturers covered in this report

HP

Supepst

Samsung-anywhere

Philips

DOD

Garmin

Limtech

E-Prance

Incredisonic

Auto-vox

DEC

Eroda

Papago

Careland

DAZA

Blackview

Jado

Kehan

Roga

Wolfcar

Continental

To Request A Sample Copy Of This Report at:  https://www.radiantinsights.com/research/global-automotive-drive-recorder-industry-2018/request-sample

Geographically, this report studies the top producers and consumers, focuses on product capacity, production, value, consumption, market share and growth opportunity in these key regions, covering

United States

EU

China

Japan

South Korea

India

We can also provide the customized separate regional or country-level reports, for the following regions:

North America

United States

Canada

Mexico

Asia-Pacific

China

India

Japan

South Korea

Australia

Indonesia

Singapore

Rest of Asia-Pacific

Europe

Germany

France

UK

Italy

Spain

Russia

Rest of Europe

Central & South America

Brazil

Argentina

Rest of South America

Middle East & Africa

Saudi Arabia

Turkey

Rest of Middle East & Africa

On the basis of product, this report displays the production, revenue, price, market share and growth rate of each type, primarily split into

Portable Driving Recorder

Integrated DVD Driving Recorder

On the basis of the end users/applications, this report focuses on the status and outlook for major applications/end users, consumption (sales), market share and growth rate for each application, including

Parking Monitoring

Travel Monitoring

Photography Entertainment

Other

To Browse Full Research Report @: https://www.radiantinsights.com/research/global-automotive-drive-recorder-industry-2018

About Radiant Insights: Radiant Insights is a platform for companies looking to meet their market research and business intelligence requirements. It assist and facilitate organizations and individuals procure market research reports, helping them in the decision making process. The Organization has a comprehensive collection of reports, covering over 40 key industries and a host of micro markets. In addition to over extensive database of reports, experienced research coordinators also offer a host of ancillary services such as, research partnerships/ tie-ups and customized research solutions.

Media Contact: Company Name: Radiant Insights, Inc Contact Person: Michelle Thoras Email: sales@radiantinsights.com Phone: (415) 349-0054 Address: 201 Spear St #1100, Suite #3036 City: San Francisco State: California Country: United States For more information, Visit: http://www.radiantinsights.com

[kosmicsound150-blog]

Buy behringer dj mixer price at the very least price at the kosmic sound store. The Behringer Pro Mixer DJX900USB 4-channel DJ Mixer with USB audio interface has a powerful feature set that DJs of all levels will love. The Behringer Pro Mixer DJX900USB 4-channel DJ Mixer with USB audio interface has a powerful feature set that DJs of all levels will love

[kosmicsound150-blog]

Buy vox continental 61 at the kosmic sound store.  The Vox Continental uses a simple and intuitive interface that allows quick accessibility of every function. The high-quality sound engine section is centred on organ, electric piano, and acoustic piano, and provides a wealth of stage-ready sounds. In addition, the Continental features a powerful effects section to enhance these sounds, and even analogue valve drive powered by Nutube. It’s an instrument that perfectly fits your live performance requirements for a variety of styles including rock, pop, jazz, and more. 61 Keys, stand included. The VOX Continental uses a simple and intuitive interface that allows quick accessibility of every function.

[kosmicsound150-blog]

Get the best behringer euro mixer at the kosmic sound music store. The mixer provides you the balance and clarity i.e. providing balance and clarity to your sound. This is music and this a business. You need to present yourself in a professional manner and prove that your music is worth the listen.

[kosmicsound150-blog]

Get the best behringer euro mixer at the kosmic sound music store. The mixer provides you the balance and clarity i.e. providing balance and clarity to your sound. This is music and this a business.

[kosmicsound150-blog]

Buy digital piano online at the kosmic sound store. A digital piano is cheaper and more convenient and definitely better than no piano at all. You may also spend more time practicing if you can turn off the sound to not bother others. But if you learn on a digital piano, when you get the chance to play your songs on an acoustic piano you may find they sound not so good. First and foremost, a digital piano is designed to accurately simulate an acoustic piano.

[kosmicsound150-blog]

best home studio monitors

Get the best home studio monitors at the kosmic sound store. They are definitely worth it if you creating and recording music. It's not entirely true that they will sound horrible with little or no room treatment. The advantage of studio monitors is that you get a flat sound, which means highly detailed sound in the lows, mids, and highs. They are designed to listen to raw material, so they handle well huge volume peaks. People keep on telling "studio monitors are designed to be as flat as possible so they are much more real than home speakers" - ... well, they MAY be, but everything comes at a price. A good studio monitor will provide minimal distortion, exceptional stereo imaging, a wide frequency response, neutral sound coloration, and a high volume level even with a small cabinet. Studio monitors are loudspeakers in speaker enclosures specifically designed for professional audio production applications, such as recording studios, filmmaking, television studios, radio studios and project or home studios, where accurate audio reproduction is crucial.

[kosmicsound150-blog]

buy condenser microphone

Buy condenser microphone from the best and the largest Australian musical store i.e. The kosmic sound store. A condenser microphone uses a capacitor to convert the compression and rarefaction of sound waves into electrical energy. Condenser microphones require power (voltage) in order to operate. ... This is usually provided either by a battery or is sent down the microphone cable itself. Condenser microphones are most commonly found in studios. They capture a larger frequency range and have a good transient response, which is the ability to reproduce the "speed" of an instrument or voice. They also generally have a louder output but are much more sensitive to loud sounds. Honestly, condenser microphones are great because they pick up everything in crisp, clear detail.

[kosmicsound150-blog]

buy microphone online

Buy microphone online at the world’s largest and biggest store i.e. is the kosmic sound store. Microphones are a type of transducer - a device which converts energy from one form to another. Microphones convert acoustical energy (sound waves) into electrical energy (the audio signal). Different types of microphone have different ways of converting energy but they all share one thing in common. A microphone is a device that translates sound vibrations in the air into electronic signals or scribes them to a recording medium. Microphones enable many types of audio recording devices for purposes including communications of many kinds, as well as music and speech recording. It is more efficient at moving and is capable of capturing a range of high frequencies. Easy to obtain a flat frequency response and extended frequency ranges. The microphone picks up sound. It has a diaphragm that is moved by sound vibrations, and it transmits this signal either by wireless, or a mic cable to a sound board, or USB destination. A microphone is a device that captures audio by converting sound waves into an electrical signal. This signal can be amplified as an analog signal or may be converted to a digital signal, which can be processed by a computer or other digital audio device.

[kosmicsound150-blog]

vox continental 61

Buy vox continental 61 at the kosmic sound store.  The Vox Continental uses a simple and intuitive interface that allows quick accessibility of every function. The high-quality sound engine section is centred on organ, electric piano, and acoustic piano, and provides a wealth of stage-ready sounds. In addition, the Continental features a powerful effects section to enhance these sounds, and even analogue valve drive powered by Nutube. It’s an instrument that perfectly fits your live performance requirements for a variety of styles including rock, pop, jazz, and more. 61 Keys, stand included. The VOX Continental uses a simple and intuitive interface that allows quick accessibility of every function. The high-quality sound engine section is centered on organ, electric piano, and acoustic piano, and provides a wealth of stage-ready sounds.