I had bought AniMate, AniMate Plus, and AniMate 2 when AniMate first came out, and I think it working in DAZ Studio 4.5. Well the Animate worked well, and I Exported it into Poser because Poser for me was a better Animation Program. I have now been using DAZ Studio 4.9. I downloaded it and have all my content loaded into DAZ. The Problem I am having is I had bought the Ocean Program, it uses aniMate 2. Wnen I got going again with DAZ Studion 4.9. It loads Animate Light, instead of Animate 2 which the Ocean Program uses. At this time, DAZ Install Manager does not support downloading and installing DAZ Studio 4.8+ or other applications. On the 'Product Library' page, type 'DAZ. Activated with the free DAZ Studio 4 Pro. To obtain a serial number to activate these plugins, they must be purchased separately from our store. Jun 27, 2012. DAZ3D is offering Hexagon 2.5 (retail price $149.95), Bryce Pro 7 (retail price $249.95), DAZ Studio Pro 4 (retail price $429.95), and their Photoshop Bridge software free. (03:16:55) &Vash: Go to My Account > My Serial Numbers. Side note: Anyone not getting a pop-up about Decimator and aniMate2? I have Animate 2 in the Tool Menue. But I can't get it to attach to the Timeline. Nothing happens when I double Clich on it, or try and Pull it down onto the Timeline. Any Suguestions as to what to do? Mar 31, 2015. Bake aniMate blocks into DAZ Studio timeline; export OBJ file of your first animation frame; export the whole animation as MDD cache; import OBJ into Marvelous Designer; import MDD cache in Marvelous Designer; drape and animate cloth. I've explained the whole process step by step in this video:. DAZ Studio 4.6 Wants a Serial Number for Animate 2 - Daz 3D Forums. Sep 22, 2013. What is Animate 2, do I need it (I'm pretty sure I probably want it!), and how do I go about locating my license key (if indeed it came with DS4.6)?.
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Description: D-Link DGE-530T Gigabit Ethernet Adapter Driver Installer; File Version: 8.5; File Size: 2.33M; Supported OS: Windows 10, Windows 8.1, Windows 7, Windows Vista, Windows XP. D-Link Systems, Inc Network Adapter Driver,, • Windows Vista/Windows Server 2008 • Windows Vista. Tried using win8 drivers but says when installing says won't work with server 2012. Seems like since it's a recent motherboard, windows 8 finds all devices and supports them that server 2012 essentials R2 would also. Any suggestions? Did install d-link dge-530t lan adapter but apparently doesn't support. Have custom rig setup - motherboard is Asus p8z68-v pro motherboard. Windows 8 pro installs without any problems and recognizes all on board devices. Windows 2012 server Essentials R2 won't recognize the lan and I can't find drivers on the web for 2012 server. Tried using win8 drivers but says when installing says won't work with server 2012. Seems like since it's a recent motherboard, windows 8 finds all devices and supports them that server 2012 essentials R2 would also. Any suggestions? Did install d-link dge-530t lan adapter but apparently doesn't support server 2012 essentials either. Thanks for the help in advance. Hi, Based on your description, I can find that it recognizes LAN when Windows 8 pro is installed. So, would you please let me know if just the Windows Server 2012 R2 Essentials is installed in the computer (Asus p8z68-v pro motherboard), then this issue will occur? In other words, if you install Windows Server 2012 R2 Essentials in another computer (Not Asus p8z68-v pro motherboard), will the same issue? Please check the result, it will help us to know if this issue is related to motherboard or Windows Server 2012 R2 Essentials OS. Hope this helps. Best regards, Justin Gu. 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Luciano Berio: Sequenza XIII. Our composers;|; Luciano Berio;|; Works;|; Sequenza XIII Previous work: Sequenza XII Next work: Sequenza XIV. Luciano Berio Sequenza XIII. Sequenza XIII. Buy Sequenza No. 1-Flute Solo (Flute Solo with P at jwpepper.com. Flute Sheet Music. Berio, Luciano. Published by Universal Edition, Vienna. Sequenza (1958) Composer: Luciano Berio (1925 - 2003) Publisher: Universal Editions The Sequenza series is regarded as one of the most important cycles of the 20th century. In this series Berio displays the capabilities of an instrument and its player by making high technical demands thus creating an individual musical. The Sequenza series is regarded as one of the most important cycles of the 20th century. In this series Berio discovers the capabilities of an instrument and its player by making high technical demands thus creating an individual musical language for each instrument. The past as future: Luciano Berio In the aftermath of the Second World War, many composers of Luciano Berio’s generation felt obliged to wipe the slate clean. To a composer with roots as deep in the achievements of the past four centuries as Berio, this was never an option. His work constantly re-invented continuities where others saw only the possibilities of rupture. Not that he was ever tempted by the assorted nostalgias that haunted some part of the music of the last century. On the contrary, he maintained an insatiable curiosity about the explorations of his contemporaries – musical or otherwise. But his dialogues with literature, with linguistics, with structural anthropology, with ethnomusicology always proved to be the most inventive of piratical raids – seizing the materials that he needed as a musician, and drawing from them creative consequences often far removed from their original context. They are a fraternal “homage”, not an imitation. Beyond his apprentice years of the late forties and early fifties, much the same might be said of his response to his musical contemporaries. His oblique relationship to the post-Webernian mainstream was the first instance of a trait that has remained central to his work ever since. Seizing with relish upon its demonstrations of inexhaustible metamorphic potential, he expanded this into a basic principle: you may always re-write what is already written. The exuberant melodic confidence of his work from the late fifties and sixties – whether the nervous brilliance of the flute or the by now classic lyrical intensity of works written for Cathy Berberian, such as or – bears witness to the confident authority with which he grasped these means. Equally, the series of Chemins that revisit solo Sequenzas demonstrate not just a Joycean “work in progress”, but our obligation to treat each completed work as a “listening in progress”. But the sixties also saw the first indices of an unwillingness to side-line issues central to his rigorous sense of musical tradition. Where some contemporaries seemed content to treat harmony as simply a sub-category of “texture”, Berio insistently returned to the harmonic dimension as central to his larger musical aspirations. Training his own and his listeners’ ears to find their way through the harmonic jungle was at first a matter of brilliantly alert intuition – in, for instance, for piano – but was soon absorbed into a focussed framework, first in but then in many subsequent works of the early seventies, by exploring the consequences of harmonic projections from a line. The fruits of this patient process of exploration came in the major works of the eighties and nineties, where harmony resumed its rights as the organising force behind such major theatre works as and Outis, but could equally determine the masterly concision of for accordion. Although Berio drew admiration in the late fifties as an exuberant explorer of electronic resources, his vivid empathy for the risks and rewards of live performance tended to gain the upper hand over any disembodied search for “new sounds”. However fragile and temporary the community created in the concert-hall by a brilliant performance, it is one that Berio served with singular fixity of purpose. Since the sixties a vigorous inhabitant of McLuhan’s “global village” (of which any concert-hall or radio station may propose itself as a temporary microcosm) he asserted music’s obligation not only to its own singular history, but also to the re-statement of human concerns that, without such patient and committed reiteration, could so easily evaporate. His is a music that “refuses to forget”. David Osmond-Smith. Clarinet Music - Solo (Unaccompanied) Clarinet Music - Solo (Unaccompanied) (Updated 11 October 2017) This page has music for solo clarinet (without accompaniment) although we have listed a piece to be played with tape (actually a CD). Items are in alphabetical order by composer on this page ( use the Find Command if necessary). All music specifically for is now on its own page. We have marked music for E-flat clarinet with this symbol: We have drawn on the works of Dr. Norman Heim on clarinet literature (which we now publish) for comments on some of these pieces. Our server has detected that you do not have Javascript turned on. Here are instructions for enabling Javascript:. If you have an old browser, you might consider a new one. The Mozilla Firefox browser is highly recommended: If necessary you can navigate using our. The small CD covers are linked to CDs with a performance of the listed piece. (The performance could be from a different edition, especially if it is an older, public domain piece.). 10.95 C932: Canto XIV (A Klezmer Fantasy for Clarinet Solo) by Samuel Adler. Ludwig Music, 1998, 4 pages. Samuel Adler (1928-) was born in Germany and came to the United States in 1939. He has more than 400 published works. This piece is dedicated to Franklin Cohen. The composer notes that it may be performed as written or with the addition of Klezmer effects. This is an advanced work that ranges high into the altissimo and is in rather small print. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 10.25 C2140: Prayer for Solo Bass Clarinet or Clarinet by Lera Auerbach. Sikorski, 2008, SS, 4 pages. Lera Auerbach (1973-) is a Russian-born American composer and pianist. This is a college level work with a duration of about 7 minutes. It has a variety of tempos and is written without a key signature but has many accidentals. The lowest note is an F below the staff and there is no altissimo. Click on the cover image to view the first page. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 13.95 C811: My Ends Are My Beginnings Clarinet in B-flat (Bass Clarinet) Solo by Milton Babbitt. Peters, 1990, SS, 14 pages. Milton Babbitt (1916-) is an American composer noted for pioneering serial and electronic music.This is a long (about 17 minutes), difficult solo work for clarinet switching to bass clarinet for the middle section. If you search the internet you can find a recording that can be downloaded (iTunes). Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 16.95 C1196: Soliloquies for solo B-flat clarinet by Leslie Bassett. Merion Music, 1978, SS, 5 pages. Lesslie Bassett (1923-2016) was an American composer and music educator. This is a relatively recent four movement piece for solo clarinet, includes some contemporary notation and a multiphonic chosen by the performer. The music is at times extremely brilliant and technically demanding, at other times serenely beautiful. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 11.95 C1930: Theme and Absurdities for Solo Clarinet in B-flat by Derek Bermel. PeerMusic, 2004, SS, 3 pages. Derek Bermel (1967-) is an American composer, clarinetist and conductor. This is a humorously virtuosic piece for solo clarinet, a spoof of all those lovable yet undeniably annoying theme and various pieces based on some aria. This is a particularly nightmarish tribute in which the variations, in eight-bar chunks, grow steadily in ridiculousness. This piece includes flutter tonguing, glissandos, large interval leaps and altissimo to high C. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 9.95 C1750: Thracian Sketches for Solo Clarinet in B-flat by Derek Bermel. PeerMusic, 2007, 8 pages. This piece grew out of the composer's studies of the Thracian folk music of Bulgaria in 2001. In begins in the lower register of the clarinet at a tempo of mm=92 and accelerates in stages and slowly ascends to the high altissimo (A-flat). The last marked tempo is mm=240 before a final section to be played as fast as possible. While the first two thirds of the piece is in 5/8, the last three pages have variety of other meters including 6/8, 7/8, 9/7, 10/8, and 11/8. Advanced with a duration of about 8 minutes. Is a video of the composer performing the last part of this piece. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 9.95 C1182: Arias for Clarinet (solo) by David Blake. Novello, 1981, SS, 8 pages. This piece was written for Alan Hacker and was first performed by him in 1979. The composer wrote: 'The soloist is cast in the role of an opera singer, a versatile artist who performs in four languages. He wakes in the morning and begins to run through his repertoire. There are four arias, linked and interrupted by recitatives. A climax of expressionist hysteria is reached in the third aria, resolved by the cantilena of the fourth and the return to the somnolence of the beginning.' This piece uses flutter tonguing, a very few quarter tones in the altissimo, one multiphonic note, and some contemporary notation. The duration is about 14 minutes. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 13.95 C1454: Chalumeau for Solo Clarinet in B-flat by William Bolcom. Marks Music, 2005, SS, 6 pages. This piece was written for Caroline Hartig. She has written that it 'exploits the extreme registers and dynamics of the clarinet and makes use of of glissandi, portamenti, flutter tonguing, timbrel trills, and harmonic double stops.' An advanced work with a duration of about 10:45. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 13.50 C1254: Concerto for Clarinet Solo by Valentino Bucchi. Ricordi, 1997, SS, 6 pages. Valentino Bucchi (1916-1976) was an Italian composer, teacher, and music critic. He composed opera; chamber, vocal, and orchestral music; and some music for films. This is a contemporary piece (composed in 1969) in four movements that includes tremolos, flutter tonguing, a very short phrase with quarter tones, and at the end of the third movement: multiphonics (with fingerings given). Duration about 7 minutes. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 10.95 C1809: Sonata for Clarinet by John Cage. Peters, 1963, SS, 6 pages. Three short movements: Vivace, Lento, and Vivace. The fast movements were written in 1933 and are among Cage's earliest works. The composer made some revisions and added the slow movement before it was published. Some mixed meter and tricky rhythms. Cage had trouble getting this performed after it was written, but college students studying contemporary music should be able to master it. (Note that 2012 is the Cage centennial.) Click on the cover to view the first page. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 10.95 C1197: Excursions for Clarinet in A by Ronald L. Seesaw Music, 1974, SS, 6 pages. 'Excursion: a going forth, a journey chiefly for recreation or pleasure, a deviation from a definite path, a digression, a movement outward from a mean position or axis.' This piece includes many extended techniques (including multiphonics and quarter tones) and uses contemporary notation. Everything is explained in some detail. Excellent for college students studying this type of music. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 9.95 C1054: Gra for B-flat clarinet alone by Elliott Carter. Hendon Music, 1994, SS, 5 pages. 'Gra' which means game in Polish was written as a tribute to Witold Lutoslawski to commemorate his 80th birthday. The composer wrote: 'This clarinet piece, frequently-changing and playful in character (yet based on the same material throughout), recalls to me my many delightful visits with the composer in America and Poland. This advanced piece has one multiphonic note and gives a fingering suggestion for both the Boehm and German system clarinets. Is a video of a performance. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 10.95 C1647: Monologue (Impressions on The True Story of Ah Q) for unaccompanied B-flat clarinet by Chen Yi. Theodore Presser Co., 2000, 2 pages. Inspired by Lu Xun's (Zhou Shren, 1881-1936) The Bio of Ah Q. Lu Xun is China's best-known 20th Century author of essays and short stories. He called on the Chinese people to rise and give battle to feudalism. Marked Adagio ad lib., this is an advanced work with a duration of 4-5 minutes. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 5.95 C2143: Rapture for Clarinet in B-flat and Tape by Anna Clyne. Boosey & Hawkes, 2005 (fourth printing 2014), SS, 5 pages + CD. 'Rapture was composed for Australian clarinetist, Eileen Mack and was premiered at Symphony Space in New York City with live visuals created by Joshue Ott. In performance, the live clarinetist is processed in real time with a combination of effects often associated with electric guitars; namely distortion and reverb [easily obtainable guitar pedals may be used]. The transformed sound of the clarinet is supported with an intense tape part that comprises vocal recordings and recordings of Mack playing sounds, which range from sustained tones to multiphonics. In a similar process to painting, these recordings were then spliced, manipulated and layered to create the music of the tape part.' The music includes instructions on setting up the microphones and equipment for performance. This is an advanced work with a duration of about 7:30. Is an audio recording. Click on the cover image to view the first page of the clarinet part. 34.95 C1255: Studio Primo for Clarinet by Gaetano Donizetti edited by Giuseppe Garbarino. Ricordi, 1977, 5 pages. This piece by Italian composer Gaetano Donizetti (1797-1848) was written in 1821 as he was completing his studies. It is believed that the composer was influenced by Paganini's Etude for Solo Violin which had been published the year before as well as other virtuoso Paganini works. Advanced high school/early college level. Duration about 4:45. We also have a version of this piece with piano accompaniment by Bela Kovacs (). Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 16.20 C1607: Daydream in A-flat for Solo Clarinet by Don Freund. Woodwindiana, 2005, SS, 7 pages. Quoting the composer, 'This 12-minute unaccompanied solo is fashioned in a way that should allow the listener to notice the cyclical returns of tunes and gestures, and to be consciously aware of implicit relationships of tonality. Daydream in A-flat evokes a state of sweet semi-consciousness.' College level. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 14.95 C1171: Fantasie for Clarinet Solo by Harald Genzmer. Henry Litolff's Verlag/C.F. 1973, SS, 7 pages. Harald Genzmer (1909-2007) was a German composer and music educator who studied with Hindemith. During the early part of the second world war he served as a military band clarinetist. This piece is in four movements: I. Vivace molto, III. Lento e rubato (quasi parlando), and IV. Presto, Sempre con fantasia. Heim rates this piece as a grade 6 and says it requires facile technique. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 6.95 C2019: Paraphrase on the Dramatic Madrigal 'Il Clorinda' by Claudio Monteverdi Op. 28 for Clarinet Solo by Alexander Goehr. Schott, 1973, SS, 7 pages. Born in Germany, Alexander Goehr (1932-) has spent most of his life in England where he is a composer and music educator (he has also taught in the United States). This piece is dedicated to Alan Hacker. It is an advanced work which includes some contemporary notation, flutter tonguing, and a small amount of high altissimo. Duration is about 12 minutes. Click on the cover image to view the first page. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 29.95 C2380: Sonata da Camera for unaccompanied clarinet by Paul Harris. Queen's Temple Publications, 1998, SS, 4 pages. Paul Harris is a British clarinetist, composer, and music educator. This piece is in four movements: I. Allegro agitato, II. Andante espressivo e rubato, III. Allegro molto e scherzando, and IV. Presto con fuoco. The duration is about 5:40. College level. Click to listen to an audio recording. Click on the cover image to view the first movement. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 12.95 C1509: Improvisation on a Martial Inversion for Solo Clarinet by Paul Harvey. Shall-u-mo Publications, 1975, 4 pages. This piece was written for a student of the composer to use at 1974 of the Royal Military School of Music, England. Since the student was a member of the Band of the Grenadier Guards he based it on an inversion of the march 'The British Grenadiers.' Here is an of the first part of the piece. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 16.95 C325: O, star! Mosaic for Clarinet Solo by David Philip Hefti. Edition Kunzelmann, 2003, SS. Is dedicated to Wolfgang Meyer. In 'O, star!' , entire passages from the composer's 'SATOR' cycle have been juxtaposed with newly composed motifs, resulting in a colorful mosaic. Tremendous contrasts are an essential characteristic of this expressive music. The solo piece is three parts with opening and coda: a lyrical introduction opens the first part, which is a wild, piercing and loud vivace and presto. This section is followed by a quarter-tone trill that leads into the composition's main part, where freely timed passages contrast with strictly organized measures. A virtuoso climax cuts off this part abruptly to give way to the third and very calm part of this composition, which is dominated by changing timbres, timbre trills and multiphonics. A freely developing line carries through to the composition's end. Includes extended techniques and has multiphonic fingerings for both Boehm and German system instruments. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 20.25 C1925: Woodshedding (practice makes.) Solo Clarinet (E-flat, B-flat, and A) by William Holab. Peters Corp., 1988, SS, 6 pages. This is a performance piece with which was written for Alan R. Kay and is based on the composer's fantasies about what might happen during a 'typical' practice session. It includes extensive directions and requires a portable metronome, a tube to extend the low range, and a cheap plastic clarinet. Includes multiphonics, flutter tonguing and many other effects and contemporary notation. It will take a skilled performer to play this as the composer intended. The middle portion simulates practicing a variety of types of music, with the clarinetist becoming very frustrated by the end. Click on the cover image to view the beginning of this piece. 14.95 C546: Sonate for Clarinet Solo Op. 110 by Sigfrid Karg-Elert. Zimmermann, 1965, SS, 7 pages. Norman Heim calls this piece one of the great works for unaccompanied clarinet. It is a continuous composition in four movements with many markings in German relative to tempo and style. The work is difficult and demands great technical facility. It is a first-class recital work for the professional performer. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 13.95 C1118: Monologue for Clarinet Solo by Ernst Krenek. Rongwen Music, 1958, SS, 3 pages. Ernst Krenek (1900-1991) was an Austrian born composer of Czech ancestry who lived in the United States from 1945. This 1956 work is relatively brief (4 minutes) and in five movements: I. Moderato, II. L'istesso tempo, III. Larghetto, IV. Allegretto, and V. Allegro appassionato. While not difficult technically, it is useful for early college students to study interpretation of unaccompanied atonal music. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 5.95 C1870: Moonflowers, Baby! A jazz essay for solo clarinet by Meyer Kupferman. Soundspells Productions, 1986, SS, 12 pages. Meyer Kupferman (1926-2003) was an American composer and clarinetist. An advanced piece in jazz style that can optionally be accompanied by an improvised drum part. It is sectional with the following tempo markings: Medium bounce-easy going, Slow blues tempo/Tempo I (from the first section), Fast and smooth, Cadenza (slower), Very fast, Slower, and Slow blues tempo. There are a number of performance of this work on YouTube (I prefer this as I think some of the others are too fast). There is also with the optional improvised drum accompaniment. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 5.95 C2236: Chiral Symmetries for solo clarinet by Eric P. Cirrus Music, 2013, 11 pages. Chirality is a property of asymmetry in which an object seemingly identical to its mirror image cannot be superposed on to it (examples hands). This piece was premiered by the composer at ClarinetFest 2014 in Assisi, Italy. This is an advanced piece with fractional tones and many multiphonics (fingerings given). It has six movements: Stars Twinkle, Planets Shine; Strings of Waves of Strings; Dancing on the Light's Edge; Origins; Infinity's Embrace; and The Universe Stops Expanding Briefly to Offer Advice. 19.95 C2037: Double Life for solo clarinet by Eric P. Cirrus Music, 2007, 9 pages. This piece was written in honor of clarinetist and composer William O. The first movement is for B-flat and A clarinets played simultaneously. Instructions are provided for inserting corks in the upper joint of the A clarinet. The second movement used a PVC pipe extension (provided) which is inserted between the lower joint and the bell of the B-flat clarinet. The first and second movements use multiphonics (very limited in the first movement) while the third movement has fractional tones. The movements are: I., II., and III. Click on each of the movement names to watch Robert Spring discuss and perform them. Because of the PCV pipe we won't be able to use Media Mail for this item. Please select Priority which is about the same cost as the parcel rate we would have to use otherwise. 24.95 C1492: Etude for Barney for solo B-flat clarinet by Eric P. Cirrus Music, 1990, 2 pages. This piece was written to honor (1926-2000). The primary feature of this piece is the fractional tones (fingerings given). With a tempo of mm=120 and mostly sixteenth note phrases, this will be a challenging piece. This piece is being used for the 2014 International Clarinet Association Young Artist Competition. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 6.95 C1277: Folk Songs for solo B-flat clarinet by Eric P. Cirrus Music, 1986, 17 pages. A piece by contemporary clarinetist and composer Eric Mandat which uses fractional tones, multiphonics (fingerings provided), and other extended techniques. Five movements, not actual folk songs but each has a distinct folk-like character from Appalachian fiddling to Japanese shakuhachi music to 'star songs.' In February 2013, the composer made some additional corrections to this piece. This is the most current version. 34.95 C1297: The Jungle for solo B-flat clarinet by Eric P. Cirrus Music, 1989, 13 pages (plus two pages of instructions and a key to the symbols). An advanced three movement piece using fractional tones, multiphonics, and other extended techniques. The composer writes, ' Call to Arms - Juxtaposition of static machine-like rhythms and quirky micro-tonal outbursts. Lament - Perfect interval multiphonics gradually pulled out of tune. Apotheosis - Reconciliation between the static rhythms and microtones, or is it surrender?' 24.95 C2235: The Moon in My Window for solo B-flat clarinet by Eric P. Cirrus Music, 2007/2010, 9 pages. One reviewer thought the multiphonics in this piece sounded challenging but there have been a number of performances both by the composer and by other clarinetists. Six pieces: 1. Butterfly Morning, 2. You're It, 3. P'nut But'r, 4. Music Box, 5. All Aboard, and 6. The Moon in My Window. The fingerings for multiphonics are give and the composer has provided some notes. Are audio recordings of this piece (we believe this is the 2007 version). Click on the cover image to view a sample page. 19.95 C1921: Rrowzer! For solo B-flat clarinet by Eric P. Cirrus Music, 2005, 4 pages (plus a page of notes). Composed in 2005, Rrowzer! Is a prelude designed to get audience revved up for the rest of a recital. Using quarter tones and multiphonics, the piece portrays an old grouchy dog snarling at passers-by. Some of the quartertone fingerings even end up produce multiphonics between first and third partials, creating a growling noise. It includes quarter tones and multi-phonics (with fingerings), as well as mixed meter, complex subdivisions, and repeated ostinati. 9.95 C1296: Tricolor Capers (Revised Edition) for solo B-flat clarinet by Eric P. Cirrus Music, 1980/2011, 8 pages (plus two pages of fingerings and a key to the symbols). The composer wrote about this three movement work, ' Portent - Multiphonic trills and melodic fragments signaling movements 2 and 3. Sway - A drunken quarter tone wobble. Bop - A jazz-inspired frenzy of notes.' An advanced work. The composer has updated this work (2011). He has adjusted articulations, added fingerings and courtesy accidentals, changed a few markings to reflect performance practices and fixed a few errors. 8.95 C1969: Little Symphony (in four movements) on the name BArnEy CHilDS for solo clarinet in B-flat by David Maslanka. Maslanka Press, 1989/2014, SS, 1 page (of music). The Little Symphony was written for the birthday of composer Barney Childs in 1989. It is one rather densely packed manuscript page with a number of repeats which extend the performance duration. It uses pitches derived from his name: B A E C B-flat D and E-flat. For advanced performers. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 8.95 C2404: Three Roman Miniatures for solo clarinet by David Matthews. Faber Music, 2001, SS, 5 pages. David Matthews (1943-) is an English composer of mainly orchestral, chamber, vocal and piano works. The three pieces are 1. Animula (Con fantasia), 2. Lacrimae rerum (Lento e mesto), and 3. Actaeon (Vivace). College level (although the middle piece at a slower tempo is easier) with a duration of 5 minutes. Complete program notes are on the publisher's website. Click on the cover image to view the first page. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 14.25 C1646: Raga Music for Solo Clarinet (preferably in A) by John Mayer. Lengnick, 1958, SS, 5 pages. John Mayer (1930-2004) was an Indian musician (violin), composer and music educator who won a scholarship to the Royal College of Music in 1952 and spent the rest of his life in Britain. He was known for fusing Indian and Western music and this was reportedly his first composition in that genre. There are nine short ragas which we understand should be played freely in an improvisatory style: 1. Vilashakhani, 2. Megha (Rainy Season), 3. Vibhasa (Sunrise), 4. Gunakali (Morning), 5. Shri (Afternoon), 6. Pilu (Evening), 7. Puravi (End of Day), 8. Kanada (In the deep of Night), and 9. Vasanta (Spring Raga). College level with a duration of about 9 minutes. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 15.95 C370: A Set for Clarinet by Donald Martino. McGinnis & Marx, 1957, SS, 7 pages. Professor Norman Heim wrote that this work may be the best, most played, and most difficult unaccompanied work in the clarinet repertoire. It demonstrates an extension of all technical capabilities (with extensive use of altissimo register) and yet is very musical. This piece is reserved for the most advanced player as a challenge and is a wonderful show piece. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). 14.20 C1498: Registro de Pajarillo for E-flat Clarinet Alone by Jorge Montilla. Woodwindiana, 2010, SS, 4 pages. Jorge Montilla (1970-), a Venezuelan clarinetist and composer, was the founder of the Caracas Clarinet Quartet. This piece was premiered by the composer at the 2006 ClarinetFest in Atlanta. It was inspired by the Pajarillo dance which is the most refined of all fast Venezuelan dances derived from the Joropo. This is a solo showpiece for the E-flat clarinet. After a Moderato opening section, the balance of the piece is Allegro. College level with a duration of 3:30. 6.95 C1256: Sonate for Clarinet in B-flat by Tiberiu Olah. Salabert, 1970, SS, 5 pages. Tiberiu Olah (1928-) is a Rumanian composer of Hungarian descent. After studying in Cluj and Moscow he taught at the Conservatory in Bucharest. His compositional output is primarily chamber, orchestral, and film music. This is a contemporary work for solo clarinet. The only extended techniques required are for articulation (slap and flutter tonguing etc.) Duration about 6:12. Free Media Mail shipping on this music to US, IF ordered with another item. (Except other items with free shipping.). • Under Windows 10/8/7/Vista Select the font files (.ttf,.otf or.fon) then Right-click > Install • Under any version of Windows Place the font files (.ttf,.otf or.fon) into the Fonts folder, usually C: Windows Fonts or C: WINNT Fonts (can be reached as well by the Start Menu > Control Panel > Appearance and Themes > Fonts). Note that with the internal unzip tool of Windows (unlike Winzip), you cannot install a font by a simple drag and drop of the.ttf from the zip window to the Fonts window. You must first drag and drop it anywhere (for example on the desktop) then into the Fonts folder. You can also go through: File > Install a new font. In the Fonts folder menu then browse the fonts, instead of drag and drop the fonts into the window. Although this method is laborious, it would seem that it functions better in some cases. There are some videos on if that helps. Tip (for Windows XP/Vista, not Windows 7/8): if you occasionally need a font, you don't need to install it. Just double-click on the.ttf file, and while the preview window is opened you can use it in most of the programs you'll launch (apart from a few exceptions like OpenOffice). • Under Mac OS X 10.3 or above (including the FontBook) Double-click the font file > 'Install font' button at the bottom of the preview. • Under any version of Mac OS X: Put the files into /Library/Fonts (for all users), or into /Users/Your_username/Library/Fonts (for you only). • Under Mac OS 9 or earlier: The old Mac fonts are not supported anymore at dafont. First, you have to the font files (.ttf or.otf) you have downloaded. Then drag the fonts suitcases into the System folder. The system will propose you to add them to the Fonts folder. How to use a font for a web site? If you specify a particular font in your web pages which is not installed on the visitor's machine, it will be replaced by the default font in his browser, usually Times New Roman. Adobe Font installation guide for windows 7, XP, Vista & mac. (you can specify several fonts in the CSS by priority order, but nothing is guaranteed) The main solutions: - To realize a title, the easiest method is to make an image. Use a drawing program and save the image as PNG or GIF. - For a long text, you can embed the font so that visitors download it at the same time as the page, using the CSS3 property. - Generate an image with. About Us • • • • • > > Mac OS-X Font Installation Procedures The installation procedures documented here apply to IDAutomation, and. IDAutomation recommends using on the Mac if possible. Solution(s): Expand the ZIP file: After the distribution file (which is in ZIP format) is downloaded and saved on the Mac, it must be expanded or decompressed to see all the font files in the distribution package. There are several Mac programs that can open ZIP files such as the Archive Utility (formally BOM Archive Helper) the default utility or Stuffit Expander available from. Installing TTF TrueType or OTF OpenType fonts on the Mac: • To open the ZIP distribution file, drag the ZIP file onto the Expander icon or right click (ctrl + click) on the zip file, go to open with on the menu and choose the corresponding application. • The contents of the zip file will be extracted and appear in a separate folder. Inside this folder will be an install.exe file, which is for Windows customers and another folder with the same contents as the install application. Open this folder to view the Windows True Type font files (.ttf files). At this point, view the documentation supplied with the font files by opening the Readme.htm file. • Drag or copy and paste the TTF or OTF font files to the Library/Fonts folder. • To activate the fonts, restart the application - some applications may require a computer restart. • The fonts should now be active in the font menu of the application. • To create the correct output for the font, choose the font in the application. Mac installation with MPKG Download • After the distribution file (which is in ZIP format) is downloaded and saved on the Mac, it must be expanded or decompressed to see all the font files in the distribution package. There are several Mac programs that can open ZIP files such as the Archive Utility (formally BOM Archive Helper) the default utility or Stuffit Expander available from. • To open the ZIP distribution file, drag the ZIP file onto the Expander icon or right click (ctrl + click) on the zip file, go to Open with on the menu and choose the corresponding application. This will reveal the mpkg file or installer package for Mac. • Run the installer package; the fonts will be automatically placed in the Library/Fonts folder and the additional fonts and examples will be located in an IDAutomation [Product Name] folder under the Applications directory. © Copyright 2015 IDAutomation.com, Inc., All Rights Reserved..||||. Latest Jai Hanuman Title Song With Lyrics Bajrangbali Tv Serial Sankat Mochan Mahabali Hanumaan Chalisa Mp3 Download on Mp3kk tubidy, New Jai. 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The show focuses on the story of his life since childhood, bringing out his qualities and deriving morals from his life which are relevant in day-to-day life. Enjoy and stay connected with us!! Subscribe to setindia channel for daily entertainment dose You can also visit us at Like us on Facebook Follow us on Twitter Also get Sony LIV app on your mobile Google Play - ITunes - '. Apr 18, 2017. Basic Microphones Paul White Pdf. Microphone - Wikipedia. A microphone, colloquially nicknamed mic or mike (). The most common are the dynamic microphone, which uses a coil of wire suspended in a magnetic field; the condenser microphone, which uses the vibrating diaphragm as a capacitor plate,. At the O2 in 2007 At 19 years old, Jack had landed his first professional gig as the drummer for the Detroit band, and was still in that position when the band broke up in 1996. It was in this band that he learned about touring and performing onstage. After the band's split, he settled into working as an upholsterer by day while moonlighting in local bands, as well as performing solo shows. Though a bartender by trade, Meg began to learn to play the drums in 1997 and, according to Jack, 'When she started to play drums with me, just on a lark, it felt liberating and refreshing.' The couple became a band, calling themselves The White Stripes, and two months later performed their first show at the Gold Dollar in Detroit. Despite being married, Jack and Meg publicly presented themselves as siblings, and keeping to a chromatic theme, dressed only in red, white, and black. They began their career as part of Michigan's music scene. They played along with and opened for more established local bands such as,,, Rocket 455, and the Hentchmen, among others. In 1998, the White Stripes were signed to —a small and Detroit-based garage label—by Dave Buick. The band released its in 1999, and a year later the album was followed up by the cult classic,. The album eventually peaked at number 38 in 's chart. In 2001, the band released. The album's stripped-down garage rock sound drew critical acclaim in the US and beyond, making The White Stripes one of the more acclaimed bands of 2002, and forefront figures in the garage band revival of the time., an influential DJ and the band's early advocate in the UK, said they were the most exciting thing he'd heard since Jimi Hendrix. The New York Times said of White, 'beneath the arty facade lies one of the most cagey, darkly original rockers to come along since.' The album was followed up in 2003 by the commercially and critically successful. The critic at wrote that the album 'sounds even more pissed-off, paranoid and stunning than its predecessor. Darker and more difficult than White Blood Cells.' The album's first single, ', became the band's signature song, reaching number one on the chart for three weeks, winning the 2004, and becoming an international sporting and protest anthem. The band's fifth album,, was recorded in White's own home and marked a change in the band's musical direction, with piano-driven melodies and experimentation with and a more rhythm-based guitar playing by White. The band's sixth album,, was released in 2007, and unlike their previous albums, it was recorded in Nashville at Blackbird Studio. The album was regarded as a return to the band's earlier blues and garage-rock sound. It debuted at number two on the US chart, and entered the at number one, selling over 300,000 vinyl copies in England alone. Of his excitement for vinyl, White explained, 'We can't afford to lose the feeling of cracking open a new record and looking at large artwork and having something you can hold in your hands.' In support of the album, they launched a Canadian tour, in which they played a gig in every one of the country's provinces and territories. However, later that year, the band announced the cancellation of 18 tour dates due to Meg's struggle with acute. A few days later, the duo cancelled the remainder of their 2007 UK tour dates as well. White worked with other artists in the meantime, but revealed the band's plan to release a seventh album by the summer of 2009. On February 20, 2009—and on the final episode of —the band made their first live appearance after the cancellation of the tour, and a documentary about their Canadian tour—titled —debuted later that year at the. However, almost two years passed with no new releases, and on February 2, 2011, the band reported on their official website that they were disbanding. White emphasized that it was not due to health issues or artistic differences, 'but mostly to preserve what is beautiful and special about the band.' The Raconteurs [ ]. Brendan Benson and Jack White In 2005, while collaborating with —a fellow Michigan native whom White had worked with before —they composed a song called '.' This inspired them to create a full band, and they invited and of the to join them in what would become The Raconteurs. The musicians met in Benson's home studio in Detroit and, for the remainder of the year, they recorded when time allowed. The result was the band's debut album,. Reaching the Top Ten charts in both the US and the UK, it was nominated for at the 2006 Grammy Awards. The lead single, ' was nominated for. The Raconteurs set out on tour to support the album, including eight dates as the opening act for. The group's second album,, and its first single, ', were released simultaneously in 2008. The album reached number seven on the Billboard 200 chart, and received a Grammy nomination for. The Dead Weather [ ]. Main article: White founded Third Man Records in 2001. However, it was not until after he moved to Nashville that White purchased a space in 2009 to house his label. He explained, 'For the longest time I did not want to have my own studio gear, mostly because with the White Stripes I wanted to have the constriction of going into a studio and having a set time of 10 days or two weeks to finish an album, and using whatever gear they happen to have there. After 10 to 15 years of recording like that I felt that it was finally time for me to have my own place to produce music, and have exactly what I want in there: the exact tape machines, the exact microphones, the exact amplifiers that I like, and so on.' Using the slogan 'Your Turntable’s Not Dead,' Third Man also presses vinyl records, for the artists on its label, for White's own musical ventures, as well as for third parties for hire. In March 2015, Third Man joined in the launch of, a music streaming service that purchased and co-owns with other major music artists. Later that year, White partnered with the watch manufacturer to open a retail location in Detroit. Musical equipment and sound [ ] Instruments and equipment [ ] White owns many instruments and, historically, has tended to use certain ones for specific projects or in certain settings. He has a preference for vintage guitars, many of which are associated with influential blues artists. Much of his equipment is custom-made, for both technical and aesthetic reasons. During his career with The White Stripes, White principally used three guitars, though he used others as well. The red, ',' was a vintage 1964 model originally distributed by department store. Though used by several artists, White's attachment to the instrument raised its popularity to the extent that began producing a modified replica around 2000. The 1950s-era Hollowbody was a gift from his brother in return for a favor. It was the same brand of electric guitar made popular by, and White most famously used it on 'Seven Nation Army.' He began using a (often called the model) on the Icky Thump album; in an interview for Gibson, he called the instrument his favorite. He also used a three-pickup Airline Town & Country (later featured in the 'Steady As She Goes' music video), a Rocket, a 1970s-era Astral II, and what would become the first of three custom Gretsch Rancher Falcon acoustic guitars. While with the Stripes, any equipment that did not match their red/black/white color scheme were painted red. While the were still in development, White commissioned to create what White called the —a custom guitar styled after the double-cutaway guitar. Parsons's first product was painted copper color, however he decided to create a second version with a completely copper body, which White began to use instead. For the Raconteurs first tour, White also played a with a and three Filtertron pickups. He later added a custom Gretsch Anniversary Jr. With two cutaways, a lever-activated mute system, a built-in and retractable bullet microphone, and a light-activated next to the Bigsby. White has dubbed this one the 'Green Machine', and it is featured in It Might Get Loud. He sometimes played a, a in Cadillac Green, and a second acoustic guitar. For the Raconteurs' 2008 tour, he had plate all of his pedals in copper. He has since acquired another Gretsch, a custom white / signature with a gold double pickguard (as seen in the music video for 'Another Way to Die'). White found a in 2007 while on tour in Texas —the same one he used in the music video for ' —which ultimately fit in with the Dead Weather's color scheme. He also uses a black left-handed one since the Dead Weather album came out. [ ] He has also been known to play, featuring one in the music video for Loretta Lynn's 'Portland, Oregon.' White owns three Gretsch Rancher Falcons because he says that its bass tones make it his favorite acoustic to play live. They are collectively referred to as his 'girlfriends,' as each one has an image of a classic movie star on the back. Is the brunette he used while with the Stripes, is the redhead he acquired with the Raconteurs, and is the blonde he added in 2010 while with the Dead Weather. Demonstrates the 'fake' bass tone White achieves by using an octave pedal. Problems playing this file? White uses numerous effects to create his live sound, most notably a to create the rapid modulations in pitch he uses in his solos. White also produces a 'fake' bass tone by playing the Kay Hollowbody and JB Hutto Montgomery Airline guitars through a Whammy IV set to one octave down for a very thick, low, rumbling sound, which he uses most notably on the song '. He also uses an MXR Micro Amp and custom Electro-Harmonix Distortion/Sustainer. In 2005, for the single 'Blue Orchid,' White employed a Polyphonic Octave Generator (POG), which let him mix in several octave effects into one along with the dry signal. He plugs this setup into a 1970s 'Silverface' and two 100-Watt Sears 1485 6×10 amplifiers. He also used a 1960s Fender Twin Reverb 'Blackface'. On occasion, White also plays other instruments, such as a Black Gibson F-4 ('Little Ghost'), piano (on most tracks from, and various others), and an on such tracks as 'The Air Near My Fingers' and 'I'm Finding it Harder to be a Gentleman'. White also plays percussion instruments such as the (as on 'The Nurse'), drums and. For The White Stripes' 2007 tour, he played a custom-finish Hammond A-100 organ with a Leslie 3300 speaker, which was subsequently loaned to, and currently resides at Third Man Studios. On the album Broken Boy Soldiers, both he and Benson are credited with playing the album's and organ. With the Dead Weather, White plays a custom Ludwig Classic Maple kit in Black Oyster Pearl. Notably, it includes two-snare drums, which White calls 'the jazz canon.' For the 2009 Full Flash Blank tour, White used a drum head with the Three Brides of Dracula on the front, but in 2010, White employed a new drum head, upon the release of Sea of Cowards, which has an image of The Third Man himself: Harry Lime attempting to escape certain capture in the sewers of Vienna. During the American leg of the 2010 tour, White switched his drum head again featuring a picture of himself in the guise he wore on the cover of Sea of Cowards. This drum head is called Sam Kay by some fans, referring to the insert inside of the 12' LP. [ ] Minimalist style [ ]. Drummer, Jack's former bandmate and ex-wife. Jack and Meg married on September 21, 1996 and divorced on March 24, 2000. In 2003, he had a brief relationship with actress, whom he met during the filming of. That summer, the couple were in a car accident in which White broke his left index finger and was forced to reschedule much of the summer tour. He posted the footage of his finger surgery on the web for fans. White and Zellweger's breakup became public in December 2004. White met British model when she appeared in The White Stripes music video for '. The video's director,, noted 'you sensed an energy between them'. They married on June 1, 2005, in. The wedding took place in a canoe on the and was officiated by a. A Roman Catholic priest later their marriage. Manager Ian Montone was the best man and Meg White was the. Official wedding announcements stated that 'it was the first marriage' for both. In 2006, the couple had a daughter. Their second child was born in 2007. The family resided in, a suburb south of Nashville, where Elson managed a vintage clothing store called Venus & Mars. Elson provided vocals on White's first solo record. The couple announced their intention to divorce in June 2011, throwing 'a positive swing bang humdinger' party to commemorate the split. On July 22, 2013, a Nashville judge barred White from having 'any contact with Karen Elson whatsoever except as it relates to parenting time with the parties' minor children.' A counter-motion was filed on August 2, 2013, stating that 'The reason for filing this response is that Mr. White does not want to be portrayed as something he is not, violent toward his wife and children.' The divorce was finalized on November 26, 2013. Elson later recanted the charges, attributing the 'aggressive' proceedings to her divorce attorneys, and saying 'those who gain of a marriage ending helped to create a downward spiral at my most vulnerable.' White agreed, saying, 'When shitty lawyers are in a situation like divorce, their goal is to villainize.' The former couple reportedly remain on good terms. 'Eccentricity' [ ] White has been called '.' He is known for creating mythology around his endeavors; examples include his claim that the Stripes began on, that he and Meg are the two youngest of ten siblings, and that Third Man Records used to be a candy factory. These assertions came into question or were disproven, such as when, in 2002, the produced copies of both a marriage license and divorce certificate for him and Meg, confirming their history as a married couple. Neither addresses the truth officially, and Jack continues to refer to Meg as his sister in interviews, including in the documentary, filmed in 2007. In a 2005 interview with Rolling Stone magazine, Jack alluded to this, implying that it was intended to keep the focus on the music rather than the couple's relationship: 'When you see a band that is two pieces, husband and wife, boyfriend and girlfriend, you think, 'Oh, I see.' When they're brother and sister, you go, 'Oh, that's interesting.' You care more about the music, not the relationship—whether they're trying to save their relationship by being in a band.' It became hypnotic. This was the minimum amount of staples I could put to hold this fabric down. The number three exemplifies the almost iconic, mysterious perfection that cannot be obtained.To this day, I still think about it all the time. White, on how seeing three staples on a upholstery piece triggered his affinity for the number three. He has an attachment to the number three, stemming from seeing three staples in the back of a couch he helped to upholster as an apprentice. His business ventures frequently feature 'three' in the title and he typically appends 'III' to the end of his name. During the White Stripes 2005 tour in the UK, White began referring to himself as 'Three Quid'—' being British slang for pound sterling. He maintains an aesthetic that he says challenges whether people will believe he is 'real.' He frequently color-codes his endeavors, such as the aforementioned Third Man Upholstery and The White Stripes, as well as Third Man Records, which is completely outfitted in yellow, black, red, and blue (including staff uniforms). As a enthusiast—that correlates to his work as an upholsterer—he decorates his studio in preserved animals, including a peacock, giraffe, and Himalayan goat. Controversy [ ] On December 13, 2003, White was involved in an altercation with, lead singer of, at the Magic Stick, a Detroit club. White was charged with. He pleaded guilty to the lesser charge of assault and, was fined $750 (including court costs), and was sentenced to take classes. 'I so love your heart that burns That in your people's body yearns To perpetuate, and permeate, the lonely dream that does encapsulate, Your spirit, that God insulates, With courageous dream's concern' —Excerpt from 'Courageous Dream's Concern', as published in the White has repeatedly referenced conflicts that erupted between him and fellow artists in Detroit's underground music scene after The White Stripes gained international success. In a 2006 interview with the, he said that he eventually left Detroit because, 'he could not take the negativity anymore.' However, in an effort to clarify his feelings towards the city of Detroit itself, he wrote and released a poem called 'Courageous Dream's Concern.' In it, he expresses his affection for his hometown. During their 2013 divorce proceedings, Elson entered into evidence an e-mail White had sent her that included disparaging remarks about. When asked about the email in a 2014 Rolling Stone magazine interview, White stood by the remarks saying, 'I'll hear TV commercials where the music's ripping off sounds of mine, to the point I think it's me. Half the time, it's the Black Keys.' He later apologized for the comments. However, in September 2015, Patrick Carney of the band posted a series of tweets alleging that White tried to fight him in a bar. White denied the claim in a statement to the online magazine, saying that Carney should talk to him directly, and not on the internet. The following day, Carney posted a tweet saying, 'Talked to jack for an hour he's cool. White tweeted on the Third Man Twitter account, 'From one musician to another, you have my respect Patrick Carney.' On February 1, 2015, the newspaper OU Daily ran a story regarding White's February 2 show at McCasland Field House that included the publication of White's tour. The rider, especially the guacamole recipe it included and White's ban of bananas backstage, received significant media coverage. It was later reported that in response to the rider's publication White's booking agency, William Morris Endeavor Entertainment, had banned its acts from playing shows at the University of Oklahoma. On February 15 White released an open letter addressed to 'journalists and other people looking for drama or a diva' in which he referred to the guacamole recipe as his tour manager's 'inside joke with local promoters' and 'just something to break up the boredom' while criticizing journalists who wrote about the rider as 'out of their element.' In the same letter he forgave OU Daily for publishing the story and reaffirmed his desire to perform in Oklahoma. In October 2016—upon learning that had used the ' song ' in video campaign materials—White denounced the presidential candidate, and began selling shirts reading ' through the website. Philanthropy [ ] White has provided financial support to institutions in his hometown of Detroit. In 2009, White donated almost $170,000 towards the renovation of the baseball diamond in southwest Detroit's Clark Park. The was nearly foreclosed on in 2013 after it was revealed that owners owed $142,000 in back taxes. In June 2013, it was revealed that White had footed the entire bill. To thank him for the donation, the temple has decided to rename its second largest theater the Jack White Theater. The received an inaugural gift of $200,000 from White to use toward restoring and preserving deteriorating sound recordings on media such as reel-to-reel tape and old cylinders. The foundation's director, Eric J. Schwartz said the donation demonstrated a 'commitment by a really busy songwriter and performer donating both his time on the board, and money to preserve our national song recording heritage.' White also serves on. In July 2016, White joined Nashville's 45-member Gender Equality Council. Awards and nominations [ ]. Main article: For his various collaborations and solo work, White has won regional, national and international awards, including twelve and has been nominated for 33. Nashville mayor awarded White the title of 'Nashville Music City Ambassador' in 2011. Listed below are notable awards he's won as a solo performing artist: Award Year Recipient Nomination Result Satellite Awards 2008 ' (Jack White and ) Best Original Song Won O Music Awards 2013 Jack White Analog Genius Award Won Grammy 2015 'Lazaretto' Best Rock Performance Won Best Boxed or Special Limited Edition Package Won Band [ ] Although a solo artist, White performs with a live band to provide additional instrumentation and vocals. The Buzzards [ ] • Dominic Davis – bass • Daru Jones – drums • Fats Kaplin – pedal steel guitar, fiddle, mandolin, theremin • Isaiah 'Ikey' Owens – B3 organ, piano, keyboards • Cory Younts – mandolin, harmonica, piano, keyboards, percussion, background vocals The Peacocks [ ] • – vocals • – drums • Maggie Bjorklund – pedal steel guitar, acoustic guitar • – bass • – bass • Lillie Mae Rische – fiddle, mandolin, background vocals • Brooke Waggoner – piano, B3 organ, keyboards Discography [ ] Solo studio albums. • Entertainment Weekly staff (July 13, 2012), 'Monitor'.. (1215):20 • ^ Leahey, Andrew. Retrieved October 10, 2014. • ^ Fricke, David (September 8, 2005),, Rolling Stone (982): 66–72. • ^ WEINER, JONAH (June 5, 2014), 'Jack White.' 1210:52–78 •, p. 166. • ^ Medina, Laura (June 14, 2012),. Retrieved April 5, 2015. • (May 31, 2014), October 6, 2014, at the., Detroit Free Press. Retrieved June 6, 2014 • Male, Andrew (July 2007), 'The Mojo Interview'. (164):48 • ^ Rayner, Ben (February 21, 2010), 'Red, white and new—Seeing sights, wooing strangers', Toronto Star. • (May 2, 2007),. Canadian Broadcasting Corporation. Retrieved October 27, 2014. Retrieved June 26, 2010. • • • ^ McCollum, Brian (September 2003), 'Red, White, and Cool',. 19(9):68–74 • ^ EELLS, JOSH (April 5, 2012)., The New York Times. Retrieved October 15, 2014. • Scaggs, Austin (May 1, 2003), (archived). Rolling Stone. (921):16 • ^, p. 16. • ^ McCollum, Brian (July 6, 2008), 'Exclusive: Read Jack White's poem for Detroit'. Retrieved July 30, 2014. • Simpson, Dave (March 7, 2013)., The Guardian. Retrieved March 7, 2013. • NotableBiographies.com. Retrieved June 8, 2006 • ^ Kaufman, Peter 'Pistol' (September 2009), 'The DEAD WEATHER'S Jack White'. Modern Drummer.:63-66 • Wallace, Mike (2005).. Retrieved January 24, 2006 •, p. 14. • Nunez, Jessica (July 26, 2010), mlive.com. Retrieved July 26, 2010 • ^ (Director) (August 14, 2009).. Steel Curtain Pictures (film). United States. • Renshaw, David (February 23, 2016),. Retrieved February 23, 2016. • Brown, Jake (May 23, 2002),. Retrieved December 11, 2007. • ^ Lewis, Tim (May 31, 2014)... Retrieved August 7, 2014. Archived from on October 25, 2008. Retrieved September 10, 2008. • ^ de la Manzana, Tobias (May 2003). The Believer. Retrieved April 12, 2006. • ^ Klosterman, Chuck (Oct 2002), 'The Garage', Spin. 18 (10):64–68 • ^ Handyside, Chris.. Retrieved July 30, 2014. • Scaggs, Austin.. Rolling Stone. Retrieved 27 September 2016 – via Proquest. • ^ Heaney, Mick (April 28, 2002), 'The White Stripes'.. • ^ POWERS, ANN (February 27, 2001), '. Retrieved August 29, 2014. • ^ Killingsworth, Jason (July 27, 2007). Paste Magazine. Retrieved August 5, 2014. • Stamberg, Susan (June 12, 2002), 'Profile: Band The White Stripes'. Archived from on November 22, 2006. Retrieved August 26, 2008. Archived from on November 20, 2007. Retrieved August 26, 2008. • Hoard, Christian (2004).. Rolling Stone. Archived from on October 28, 2008. Retrieved October 23, 2008. • ^ Cameron, Keith (March 28, 2003),, theguardian.com. Retrieved December 12, 2014. • ^ HAGAN, JOE (August 12, 2001), '. The New York Times. Retrieved August 30, 2014. British Phonographic Industry. Archived from on December 30, 2007. Retrieved January 17, 2008. • Fricke, David (March 25, 2003).. Rolling Stone. Retrieved July 30, 2014. Retrieved August 30, 2008. • Phares, Heather.. Retrieved August 30, 2008. • ^ Wilkinson, Alec (March 13, 2017),.. Retrieved March 6, 2017. • Salem-Mackall, Theo (July 1, 2014). November 5, 2014, at the., Spin. Retrieved November 5, 2014. • Goodman, Amy (February 1, 2011),.. Retrieved October 11, 2014 • ^ Petridis, Alexis (April 13, 2012),, The Guardian. Retrieved October 22, 2014. • ^ Pastorek, Whitney (May 25, 2007), 'Changing Their Stripes.' Entertainment Weekly. (935):40-44 • ^ (November 15, 2007).. Retrieved June 30, 2007. • BBC staff (September 12, 2007),. Retrieved November 24, 2014. • (September 13, 2007),. Retrieved November 24, 2014. • Billboard staff,. Billboard Retrieved June 9, 2008. Delaware Online. February 11, 2009. Archived from on June 7, 2011. Retrieved October 4, 2011. White Stripes official website. Retrieved October 4, 2011. • November 20, 2014, at the., abc.net.au. Retrieved December 5, 2014. • Hill, Amelia (February 2, 2011).. The Guardian. Retrieved August 9, 2014. • ^ (October 04, 2012),, National Academy of Recording Arts and Sciences. Retrieved March 31, 2015. • (July 20, 2009), 'The Dead Weather'. 72 (3):42 • Ayers, Michael (March 12, 2009), 'Jack White Forms The Dead Weather'. Retrieved March 16, 2015. Retrieved March 16, 2015. • (June 5, 2009), 'JACK WHITE'S GOT THE DIRTY BLUES.' Evening Standard.:39 • Cochrane, Greg (October 16, 2009).. Retrieved November 20, 2014. • Dombal, Ryan (March 25, 2010). Pitchfork Media. Retrieved March 16, 2015. • Thompson, Stephen (May 2, 2010), NPR.org. Retrieved March 16, 2015. • Ayers, Mike (July 6, 2015),. The Wall Street Journal. Retrieved August 4, 2015. • ^ Laurence, Alexander (August 2003), March 19, 2007, at the. Free Williamsburg. Retrieved May 17, 2006. • Collective editor (2002). February 18, 2007, at the. Retrieved May 17, 2006. • ^ Greenblatt, Leah (April 15, 2011), 'CATCHING UP WITH Jack White.' 1150:88 • Cieply, Michael (September 8, 2008),. The New York Times. 157:54,427(1) • Lyda, Mark (August 13, 2009),. Retrieved November 7, 2014. November 8, 2010. Archived from on November 12, 2010. Retrieved November 9, 2010. February 10, 2011. Retrieved May 3, 2011. • ^ Inskeep, Steve (January 25, 2011), 'Wanda Jackson: Her Party Ain't Over'. Morning Edition. Retrieved 2016-02-08. August 30, 2002. Retrieved October 31, 2011. The Silver Tongue. Archived from the original on February 1, 2012. Retrieved May 13, 2013. CS1 maint: Unfit url () • Flotat, Raymond (June 1, 2012).. Retrieved November 4, 2014. Third Man Records. Archived from on December 27, 2013. Retrieved December 27, 2013. • The Culture. Feeney, Nolan; Lansky, Sam. 6/16/2014, Vol. 183 Issue 23, p47 • ^ Caulfield, Keith (June 28, 2014), 'Jack White's Vinyl Victory', Billboard 126 (21):55 •. July 31, 2014. Retrieved August 31, 2014. • USA Today staff (April 6, 2015), 'Get your summer music fest on', USAToday: Life, page 2D. • (April 14, 2015),. Retrieved April 20, 2015. • Roberts, Randall (April 19, 2015),, latimes.com. Retrieved April 20, 2015. • (October 13, 2016), 'A Prairie Home Companion Season Premiere This Weekend'. Business Wire. American Public Media. • • Blistein, Jon (March 1, 2016),. Retrieved March 29, 2017. • MTV Hive staff (May 24, 2012).. Retrieved October 20, 2014. • ^ Tingen, Paul (2012),, Tingen.org. Retrieved October 22, 2014. • Marc Maron (June 8, 2012). WTF With Marc Maron. 31:24 minutes in. • Sisario, Ben (March 31, 2015),. The New York Times.:B1 • Breihan, Tom (March 30, 2015),. Retrieved March 31, 2015. • Doerr, Elizabeth (June 2, 2015),. Retrieved July 14, 2015. • ^ Robinson, Mike (April 14, 2014),. Retrieved October 7, 2014 • ^ Leslie, Jimmy (September 9, 2010),. Guitar Player. Retrieved March 13, 2015. • ^ Ground Guitar staff (September 19, 2014),. Retrieved October 23, 2014. • ^, Equipboard.com. Retrieved October 20, 2014. • ^ McKenzie, Thomas Scott (August 1, 2010),. Premier Guitar. Retrieved November 13, 2014 • Dolphin Music staff (November 11, 2009).. Retrieved October 20, 2014. • ^ Ratliff, Ben (April 21, 2003),.. Retrieved May 2, 2006. Retrieved October 4, 2011. • Rolling Stone staff (December 17, 2012)., Rolling Stone. Retrieved October 17, 2014. Rolling Stone. Retrieved December 7, 2013. Rolling Stone. Retrieved March 3, 2012. • • Boilen, Bob (May 20, 2014).. Retrieved November 12, 2014. • Van Nguyen, Dean (May 14, 2015),. Retrieved May 14, 2015. • (Press release). October 20, 2016. Retrieved March 6, 2017. • ^ Payne, Chris (March 5, 2015).,. Retrieved March 6, 2015. • ^ Brown, Jake (June 9, 2002),. Retrieved December 11, 2007. • Devenish, Colin; Swanson, David; Tsang, Teri. (August 7, 2003), 'IN THE NEWS'. Rolling Stone (928):22 • Miller, Kirk (September 4, 2003), 'White Under the Knife', Rolling Stone (930): 48 •. Archived from on December 28, 2013. Retrieved December 27, 2013. Archived from on September 29, 2011. Retrieved October 4, 2011. • ^ Smytek, John (May 4, 2006). October 11, 2007, at the. Retrieved May 4, 2006. • ^ September 27, 2011, at the. Retrieved June 1, 2006. • Spin staff (May 4, 2006), July 1, 2015, at the. Retrieved December 12, 2014. • AP (August 8, 2007). Archived from November 10, 2007, at the. On November 10, 2007. Retrieved September 11, 2007. • Flippo, Chet (April 6, 2006),. Retrieved November 7, 2008. • Lo, Danica (June 24, 2010),. Retrieved March 13, 2015. • ^ O'Neal, Sean (2011).. Retrieved October 4, 2011. • ORLOFF, BRIAN (June 10, 2011).. Retrieved October 22, 2014. • Gold, Adam (August 1, 2013).. Rolling Stone. Retrieved October 19, 2013. • Gold, Adam (August 2, 2013),.. Retrieved August 6, 2013. • AP staff (2013).. Retrieved December 13, 2013. • Richards, Chris (July 15, 2010), 'Jack White, storming ahead of the Dead Weather' • Brown, David (June 5, 2005). Entertainment Weekly. Retrieved November 2, 2007. (June 21, 2007), 'THUMP IT UP; THE WHITE STRIPES RETURN TO HARD-ROCKING BLUES ON ICKY THUMP – POSSIBLY THE BEST ROCK ALBUM OF THE YEAR'. • Graff, Gary (July 29, 2014).. The Oakland Press. Retrieved July 31, 2014. • Sinclair, David (August 7, 2001), 'Genuine trendy success without trying'. • Winnipeg Free Press staff (March 20, 2010) 'New Music', Winnipeg Free Press.:C4 • Frampton, Scott (July 2007),. 148 (1):118-119 • NME staff (November 6, 2005), November 24, 2005, at the. Retrieved November 7, 2005. • The Smoking Gun staff (December 15, 2003).. The Smoking Gun. Retrieved November 15, 2014. • ^ No byline (March 11, 2004), August 21, 2014, at the. Retrieved November 28, 2007. • The Smoking Gun staff (December 23, 2003).. The Smoking Gun. Retrieved November 15, 2014. • ^ (July 7, 2008), 'Pricey platters donated to school'.. • HALL, KRISTIN M. (August 2, 2013), 'Jack White denies threatening estranged wife in contentious divorce filings'. The Canadian Press. • TALBOTT, CHRIS (May 31, 2014), 'Jack White issues apology to Black Keys and others, explains comments that drew criticism'.. • Brodsky, Rachel (September 14, 2015),. Retrieved November 9, 2015. • ^ Monroe, Jazz (September 14, 2015),. Retrieved November 9, 2015. • Pollard, Alexandra (September 15, 2015), Gigwise. Retrieved November 9, 2015. Retrieved 2016-01-25. Retrieved 2016-01-25. Retrieved 2016-01-25. Retrieved 2016-01-25. Retrieved 2016-12-01. Retrieved 2016-12-01. • Nunez, Jessica (September 10, 2009).. Retrieved July 29, 2014 • ^ Gallagher, John (June 4, 2013)... Archived from on June 5, 2013. Retrieved June 4, 2013. Associated Press. June 4, 2013. Retrieved June 4, 2013. • ^ O'Neal Parker, Lonnae (July 28, 2013), The Washington Post. Retrieved October 9, 2014. Retrieved 2016-10-17. • • Paulson, Dave (April 16, 2011),. The Tennessean. Retrieved May 8, 2011. National Academy of Recording Arts and Sciences. Retrieved February 13, 2015. Works cited [ ] • Dunn, Brad (2009). When They Were 22: 100 Famous People at the Turning Point in Their Lives. Andrews McMeel Publishing.. • Handyside, Chris (2004). Fell in Love with a Band: The Story of The White Stripes. Martin's Griffin.. • Sullivan, Denise (2004). White Stripes – Sweethearts of the Blues. Hal Leonard Corporation.. External links [ ] Wikiquote has quotations related to: Wikimedia Commons has media related to. • •, White's label •, official site of The White Stripes •, official site of The Raconteurs •, official site of The Dead Weather • on • on •.. Knowing the right microphone for the job, from the huge variety of types and models available, is an essential skill for anyone who records regularly, and can make the difference between sub-standard and spectacular results. Follow our essential guidelines to ensure you always make the optimum choice. Here at Sound On Sound, we're constantly being asked which mic is the best in any given price range, but in reality it's very difficult to choose just one, especially when it comes to vocal recording, as different mics suit different singers. In addition, there are factors other than the mic being used, such as mic placement and room acoustics, that have a significant effect on the end result achieved — so we thought it was time for a good look at the whole subject of choosing and using the appropriate studio mics in the right way. But first, a little background. If microphone technology is so advanced, surely the perfect mic would pick up sounds in exactly the same way as the human ear and all properly designed microphones should sound pretty much the same? It's a fair question. However, in reality, the human hearing mechanism involves a lot of psychoacoustic filtering and processing: so, for example, when we hear a change in the frequency spectrum of a sound because of a change in its position relative to our ears, we only pick up on the change in position, not the change in tonality. Another consideration is that if you take a direct and a delayed version of a sound and mix it to mono, you'll hear comb filtering caused by the delay giving the sound a phasey or flangey quality. By contrast, the human hearing system uses the small delay between signals arriving at the two ears to determine direction. It also takes advantage of the aforementioned spectral changes due to angle and the masking effect of the head itself, which has a profound effect on how the left ear hears sound approaching from the right, and vice versa. If you're lucky enough to have a great-sounding room at your disposal (this is the live room in New York's Power Station's Studio C), you can make the most of its character by capturing it, along with the source signal, via a mic that has an accurate off-axis response.What this amounts to is that the human hearing system is able to ignore or block out (to a certain extent) factors like room acoustics or frequency-spectrum skewing and inter-ear delays due to direction, whereas a microphone simply turns everything it hears into an electrical signal. In this respect, the microphone behaves very differently to the human ear: the outer ear imposes some fairly radical angle-related spectral filtering to enable us to judge direction, whereas a microphone has a much more simplistic 'polar pattern' that comes about as a function of the physics of capsule design. Omnidirectional mics hear pretty evenly in all directions, but with so-called cardioid (unidirectional) models the acceptable angle of accurate reproduction tends to be narrower for high frequencies than it is for low frequencies. This might seem irrelevant if what you're recording is always directly in front of the microphone (such as studio vocals), but in fact that's only true if you are recording in an environment with no reflective surfaces, otherwise sound bounces back into the microphone at every possible angle, and this reflected sound is coloured by the off-axis characteristics of the microphone. In practice, even well-damped studios reflect some sound. In any case, it would be undesirable to record in a totally 'anechoic' room (one without any reflected sound at all), as everything would sound unnaturally dead. The trick is to record in a room that's adequately damped. From the above, it can be deduced that there are two possible basic approaches to miking a voice or instrument: • Choose an acoustic space that complements the sound, then select a microphone with a fairly accurate off-axis response, to accurately capture the room's character. • Or try to arrange things so that your microphone picks up as little reflected sound as possible. These days, just because a mic doesn't cost much doesn't mean that it can't be used to produce decent recordings. Studio capacitors like this Red 5 model are even available at around the £100 mark.Allowing the room to become part of the sound is generally more relevant to choral or orchestral recordings than to pop music production, although recording drums in a live room, in order to use its character, is still popular. Altering the mic-to-source distance allows you to balance the amount of direct and reflected sound you pick up. The second approach is the most common in small studios and usually translates to using a cardioid (unidirectional) microphone fairly close to the subject, with acoustic screens or blankets around the recording area to minimise reflections. The combination of using a cardioid mic and working fairly close improves the ratio of direct-to-reflected sound anyway, but in most project studios that have minimal acoustic treatment, hanging absorbing material behind and to either side of the player or singer often reduces room coloration significantly. Regular readers will have noticed that we often recommend duvets for this, as most homes have them. Where you need a bit of liveness, but not room coloration (such as when recording acoustic guitar), it can help to work on an uncarpeted floor or to place a reflective board over the carpet between the player and the microphone. I know of a number of cases where musicians have spent a lot of money on a big-name capacitor mic and a high-end preamp, but still end up with boxy-sounding results. Often they call us to ask which even more expensive mic would fix their problem, but invariably the room acoustics are the real issue. Hang up enough duvets and you can make a decent vocal recording almost anywhere, with virtually any cardioid capacitor studio microphone. A boxy sound is pretty much always down to a boxy-sounding room. Home-made vocal booths are the worst culprit in this respect, as they usually have inadequate absorption at mid and low frequencies. Studio walls covered in carpet are particularly bad news, as only the high end is absorbed, making the sound boxier than before treatment. As a rule, studio recording is undertaken using capacitor mics, because their moving parts are much lighter (and so lower in inertia) than those of dynamic mics, enabling them to handle high frequencies with greater accuracy. Even so, the strong mid-range of dynamic mics (normally used mainly for close drum miking and guitar amp miking) sometimes suits a particular singer better than a more accurate capacitor mic. In this case, what works is what's right, emphasising that choosing the right mic is once again more an art than a science. In my experience, there are very few bad studio mics on the market and even the sub-£100 'me too' Chinese capacitor mics can produce perfectly good recordings if used carefully. The problem is that most vocal mics sound different to each other due to a number of factors, not least being the way in which the high-end response is modified to give the mic more or less 'presence'. If the boosted frequencies are in the upper-mid range, this can help some singers sound clearer, but those with harsh or aggressive voices may find the same presence peak makes them sound too strident. A higher-frequency presence peak will help add 'airiness' to a voice without making it sound harsh but may not offer enough help to the singer who needs more clarity of diction, and it can enhance sibilance. Then there are the so-called 'warm-sounding' mics, which tend to pump up the low end slightly, often combining this boost with a smoothed-off high end. These mics can sound superb if the singer has a harsh voice, or a thin voice that needs a fatter, less brittle sound, but stick one in front of somebody who already has a soft voice and it might sound as though they're singing through one of the duvets I keep going on about! Mics pick up sound in different ways, dictated by what we call their 'polar' pickup pattern, as mentioned above, and it's important to know the pattern of the mics you have at your disposal or are considering buying. The recording of sound dates back well over 100 years now, and in that time a number of microphones have survived the test of time to become true classics, as well as becoming instantly recognisable, in many cases. The body styling and general design of some of these microphones has also been plagiarised in many modern 'clones,' although looking similar isn't the same as sounding similar! AKG's classic C12 valve mic.One of the earliest 'classics' — seen in many pictures taken during Hitler's wartime speeches — is the Neumann CMV3 'Bottle' mic, which dates back to 1928. Other instantly recognisable microphone shapes produced by the same company are those of the switchable-pattern U47 (introduced in 1949 and marketed in America under the Telefunken moniker) and the M50 omnidirectional mic. However, the very best known Neumann 'classic' microphone is undoubtedly the U87 — the one mic that everyone associates with professional recording studios, and which appeared in 1967 (seven years after its predecessor, the U67). It's not just large mics that are instantly recognisable, though. The highly regarded KM84, introduced in 1966, was one of the first microphones to employ a solid-state impedance converter. This, along with its bespoke small-diaphragm capsule, made it a very compact microphone which was probably the most versatile of its day. The Austrian microphone manufacturer AKG has a fair few classics of its own. The C12, launched in 1953, was a hugely capable and popular microphone in professional circles. The same basic model was also produced under the guise of the Telefunken ELA M251, and its simpler 250 version, which was intended to compete directly with the Neumann U47. Everyone knows the unique profile of the C414, which was designed as a solid-state replacement for the C12. The first version of this mic was launched in 1971, with the improved C414 EB version appearing in 1977, followed by the B-ULS version in 1986 and the TL-II in 1993. A total ground-up redesign of the C414 occurred in 2004 with the introduction of the very sophisticated B-XLS and XLII versions. Another classic AKG capacitor microphone, which competed against the Neumann KM84, was the modular CMS range, best known for the C451 model launched in 1968. This was an enormously flexible miking system, with facilities to separate a range of different capsules from the associated mic body via knuckle-joints and tubes of various kinds. The system was not without its problems, however, and it was eventually superseded by the C460 series in 1983. This Electrovoice RE20 has done quite a few miles but is still going strong.Amongst the classic dynamic microphones, AKG's D202 (introduced in 1966) has to be one of the most distinctive, along with its later and smaller sibling the D222 (1968). Another instantly recognisable mic is the D12 (dating back to 1952), which was the first large-diaphragm dynamic microphone to provide a true cardioid polar pattern and introduced innovations such as the mass-loaded tube and a deep-drawn diaphragm. This became widely used as a kick drum microphone until the D112 — another uniquely shaped microphone — took over that role. While we're on the subject of dynamic microphones, the German manufacturer Sennheiser has had its own share of classics. The MD421 was introduced in 1960 and is still going strong, while the equally distinctive MD441 was launched in 1971. Sennheiser took a completely different approach to other manufacturers when it came to solid-state impedance converters for capacitor microphones. Eschewing the high-impedance FET as a valve replacement, Sennheiser instead developed the 'radio frequency condenser mic' system which allowed them to use bipolar transistors, with several significant operational and technical advantages. The MKH range of mics is unique in its use of the RF system, and the flattened sides of the slim microphone bodies are instantly recognisable. Moving across the Atlantic, there are just as many instantly recognisable classic American microphones. Everyone will surely be able to identify the Shure SM58 dynamic and its sibling, the slightly smaller SM57. Similarly, the Electrovoice RE20 (left) is about as distinctive as dynamic mics come, with its huge body and wide side-slots. Pretty much every mic manufacturer with more than a decade or two's history behind it can probably lay claim to producing a 'classic' mic in one form or another — for example, Audio Technica's 4033a, the Beyerdynamic M201 and MC740, DPA's 4006 and 4011, Microtech Gefell's UM900, Sony's C800, all of the Soundfield mics, and the Schoeps CCM series, just to pick a few more at random. Hugh Robjohns Capacitor microphones require power, both to operate their preamplifier and (in the case of conventional capacitor mics, as opposed to electrets) to polarise the capsule. While this could be provided from a separate power supply, the standard system of powering is known as phantom powering, where the power is supplied by the mixing console or preamplifier to which the mic is connected. Phantom power involves sending 48 Volts along a standard mic cable from the console/preamp mic-input socket, and it can only be used with balanced microphones connected via balanced cables. As a rule, if the mic body is fitted with a three-pin XLR socket, it is balanced, but always check the data sheet that came with the mic to be sure. Of course, all capacitor mics that need phantom power to operate will be balanced. Some portable equipment provides a lower phantom-powering voltage but many mics require the full 48 Volts to work properly, so check your mic spec sheets in such cases, to see what range of voltage is acceptable. Use of unbalanced cables with phantom power may cause damage to dynamic mics, as could plugging or unplugging them with the phantom power turned on. A mic with switchable patterns, such as this Rode NT2000, adds a lot to your miking options and need not break the bank.It's good practice to switch off the phantom power when plugging or unplugging mics, to avoid pops and bangs over your monitors and also to avoid stressing the electrical components in the mixer preamp and the microphone. It's very rare for any damage to be caused by 'hot plugging', but better safe than sorry. Some people perceive electret microphones as the poor relations of true capacitor mics, but with well-designed back-electret models this really isn't the case. After all, some of the best measurement test mics around are back-electrets. The highly respected B&K DPA4006 and 4011 mics are back-electret designs, as are the AKG C3000 and C4000 and the Audio-Technica 4033. The key point about back-electret mics is that the diaphragm (the all-important moving part) can be made in the same way as for a conventional capacitor mic, so the performance is similar. The special electret material that holds a permanent electrostatic charge is fixed to the non-moving back-plate (hence back-electret), the advantage being that there's no need for a high polarising voltage as there is with conventional capacitor mics. Some power is still needed for the on-board preamp and impedance converter, though. The back-electret mics to avoid are the ones that use only batteries (the ones that can work on either batteries of phantom power are usually OK), as most of these are less sensitive and have a lower maximum sound pressure level (SPL) handling capability than models that use 48V phantom power. These battery models are great for location work where 48V powering is unavailable, but there's no real point in buying one for studio use. Also avoid consumer electret mics, as these are generally not back-electrets and their performance tends to be poor, in terms of sensitivity and maximum SPL handling. A shockmount is another essential accessory if you're using a studio capacitor.We've written on the subject of pop shields so often that little more needs to be said, other than that using one when recording vocals is mandatory for most singers. The metal-mesh models are arguably more transparent to high frequencies than the nylon-mesh models, but both do the job. Less tends to be written about shockmounts, and it's easy to assume that you don't need one unless you're setting up on a wooden stage, but the reality is that singers have been known to tap their feet or even kick the mic stand, and the amount of thump this produces is considerably more without a shockmount than with one. Now that shockmounts come with so many studio mics as standard (or are available separately for as little as £15), it just makes sense to use one as a matter of course. It's also important to route the cable in such a way that it can't transmit vibration to the mic, or it could cancel out some of the benefits of using a shockmount. Wrapping the cable around the stand a couple of times helps, as does leaving a small loop of loose cable behind or beneath the mic. Fastening the cable to the stand with a plastic clip (often supplied with stands) will help prevent your cable slipping. The most common general-purpose mic stand has three legs and a boom arm. Always position one of the legs under the boom arm for maximum stability, and where you need height — such as for drum overheads — use a stand with a metal rather than a plastic base, as the extra weight adds to stability. To screw or unscrew a shockmount, it is easiest to loosen the boom-arm adjustment screw, then rotate the boom arm rather than the shockmount itself. While budget stands are usually fine with smaller microphones, it's worth spending a little more on a heavy-duty stand destined to hold a heavy vocal mic, as the boom-arm friction mechanism often slips on cheaper stands, causing the mic to droop. These diagrams show how cardioid (top), omnidirectional (middle) and figure-of-eight patterns pick up sound: the cardioid picks up best from directly in front, rejecting sound directly from the rear; the omni picks up sound equally all around; and the figure-of-eight picks up from in front and behind but is insensitive to sound arriving at either side.Have you ever wondered what the difference between small-diaphragm and large-diaphragm mics is? Well, large-diaphragm models are a little quieter and are often engineered to flatter the sound being recorded, while small-diaphragm capsules have a better off-axis response and tend to be more faithful to the original sound. Large-diaphragm models are also mainly side-address, which means that you sing into the side, not the end, and that works well in a vocal-recording situation. Not surprisingly, then, large-diaphragm models are the most popular choice for studio vocals, whereas small diaphragm, end-fire mics are firm favourites for instrument recording, especially where an accurate sound is what's needed. Nevertheless, both types can be used in both situations with a high degree of success, and if you only have one mic that happens to be a large-diaphragm model, the chances are that it will also sound fine for recording your acoustic guitar, for example. Similarly, a small-diaphragm model can sound great on vocals, although it probably won't sound as 'hyped' or flattering as a large-diaphragm model. You may also find that the large-diaphragm model has a built-in low-frequency roll-off to counter the proximity effect when close-miking vocals, whereas small-diaphragm instrument mics often feature a more extended bass response. If you're going to close-mic vocals with one of these, you may need the low-cut switch on your desk or preamp, as well as a pop shield. A common setup for miking a drum kit comprises a pair of small-diaphragm stereo capacitor mics for the overheads (usually cardioid pattern, unless the room is large and flattering), with dynamic microphones for close-miking the individual drums. A further capacitor mic may also be used on the hi-hat. The use of capacitor mics for the overheads and hi-hat is to ensure adequate HF response for capturing the fine detail of the cymbals, while dynamic microphones are traditionally used for the close mics because they are technically adequate, robust, produce a punchy sound and are affordable. For toms and snares, a general-purpose instrument mic such as the SM57 is a popular choice, but now that capacitor and back-electret mics are becoming more affordable, these are starting to turn up as alternatives to dynamic models for close miking. Back-electrets that can run from batteries as an alternative to phantom power are useful on location as well as in the studio.While the audio characteristics of a typical drum mic don't need to be out of the ordinary (other than the kick-drum mic, which I'll come to in a moment), it helps from a practical point of view if they are small and light, as this makes them easier to position out of the drummer's way, and may make it possible to mount them using rim clips rather than boom stands. A number of drum-mic kits have been designed with small-body microphones to meet these needs. If miniature back-electret capsules are used, the mics can be made very small indeed. The kick-drum mic has to be able to tolerate very high SPLs and it must also have a good low-end frequency response, as most of the energy produced by a kick drum is below 150Hz, with a significant amount at around 60-90Hz. Furthermore, as miking a kick drum closely doesn't produce a very natural sound, mic designers tend to tailor the frequency response of kick mics so that they accentuate the low-frequency thump of the drum and also the beater impact in the 3-6kHz region. As the low-mid range can sound boxy if you use a 'flat' mic inside a kick drum, frequencies in the 150Hz-500Hz region tend to be pulled back in the case of dedicated kick models, and the result is a mic with two distinct peaks in its frequency response. Used on any instruments other than possibly bass guitar, this would sound odd, but on a kick drum it helps produce a sound with both depth and definition. Drums are loud! Because of that fact, drum mics don't need to be particularly sensitive or have spectacular noise figures, as they're never going to be short of level and you won't need to turn up the gain much on your preamps. This fact has enabled manufacturers to build complete kits of drum mics at very attractive prices, and though the mics they contain may seem a bit 'coloured-sounding' or noisy when used on other instruments or voices, they tend to work pretty well around a well-tuned drum kit. • Vocals: Large-diaphragm capacitor mics are the most common choice if a cardioid pattern is used to exclude unwanted room coloration. However, there's no reason not to try a small-diaphragm model if you have one, as a small diaphragm doesn't equate to a small sound. Similarly, try an omni model if you have a very dead or acoustically flattering recording environment. In all cases use a pop shield. As an alternative, dynamic microphones are often used by male rock singers because their 'voicing' emphasises presence and helps the vocal cut through a loud backing track. Where cardioid mics are used close-up, a low-cut filter in the mic or the preamp is an advantage. • Acoustic Guitars: Small-diaphragm capacitor mics are the usual first choice in this application, and cardioid models are useful in reducing unwanted room coloration. However, where the room permits, an omni-pattern microphone will usually give a more natural sound and will be less critical of positioning. Large-diaphragm capacitor mics can also give excellent results, and for some musical styles, where a natural high end isn't necessary, dynamic or ribbon microphones may be used as an alternative, providing they are used with a quiet preamplifer that will give the necessary gain without adding significant noise. • Drum Overheads: Small-diaphragm capacitor mics are popular as drum overheads, although some engineers prefer ribbon mics because of their smoother high end, which makes the cymbals sound less abrasive. Because of the loud volumes around a drum kit, high sensitivity is not required. • Close-miked Drums: Dynamic, cardioid-pattern models are the usual choice for close-miking individual drums, although back-electret and capacitor models are also used. Most mics can handle the required SPL. The physical shape and size of the mics is important for positioning them so as not to obstruct the player. • Kick-drum Mics: Kick-drum mics are often dynamic models or dynamics used in conjunction with a second capacitor mic. The SPL inside a kick drum is considerable, so a microphone with high SPL handling capability is essential, and the mic must also have a good low-end response, which rules out most vocal mics, as these tend to have a built-in roll-off at the low end. The best bet is a dedicated kick mic, which will have a specially designed frequency response to emphasise the desirable aspects of the sound. • Electric Guitar & Bass: Both electric guitar and bass can be recorded with just about any type of mic that sounds good, the main proviso for bass being that the mic has good low-frequency extension. All but the most sensitive mics can tolerate the high SPL in front of a guitar cabinet, and dynamic models are a popular choice for European rock music. Other styles, including US rock, tend to make more use of capacitor models for their brighter high end. Ribbon mics used on their own or in conjunction with other mics can also sound particularly good. Often, positioning the mic is more important than the actual choice of microphone. • Brass: If you like the sound of a brass instrument miked very close to the bell, you'll need a mic with a healthy SPL-handling capacity (135dB or better), as these instruments generate enormous sound pressures close up. If you mic a little further away, for a more natural sound, most mics will tolerate the level. Both large-diaphragm capacitor mics and good-quality dynamic mics are popular in this application. While cardioid-pattern mics are most commonly used, you can also try an omni, as there's so much level that you're unlikely to suffer much from spill! • Percussion: I'd always try small-diaphragm capacitor mics first in this application, athough large-diaphragm vocal models can also give very good results. Dynamic mics may be suited to hand drums, but where there's any significant high-end content, capacitor mics will generally give the best results. The closer a microphone is to the subject, the better the ratio of direct sound to reflected sound, so in the studio, where spill and reflections are the enemy, the best option is usually to get the mic as close to the performer as possible without compromising the sound. With vocals this can be very close indeed, although it's not a good idea to get much closer than three inches from a cardioid mic, as the proximity boost will kick in and make the sound bass-heavy. You also need to leave a couple of inches for the pop shield. Aside from the fact that large-diaphragm mics have a diaphragm that's, er, larger, there are differences between them and their small-diaphragm cousins.You may also have seen pictures of vocal mics used upside down. Most side-entry mics work just as well upside down as they do the 'right' way up, and it can be more convenient to mount them upside down to keep the stand further away from the singer's arms or feet, and also to allow sight of a music stand. There is an argument that using tube mics the right way up is beneficial, because the heat from the tube rises to warm the capsule, which helps avoid condensation problems. Virtually all capacitor microphones suffer a temporary deterioration in performance in the presence of condensation (more noise, less sensitivity) and in such cases they need to be put somewhere warm until they are thoroughly dried out. In the case of instruments, the task is a little more complicated because most instruments produce sound from most of their surface, not from a single point. That means that if you get too close the mic favours the part of the sound that's closest to it. In addition, if the instrument moves at all the level change will be more noticeable the closer the mic is. My own rule of thumb is to make the initial mic distance about the same as the length of the part of the instrument that emits the majority of the sound. The exception is the pop/rock drum kit, where the close-miked quality has become part of the accepted sound, although the rule still applies for positioning drum overheads. In the case of the acoustic guitar, the mic distance should be around the same as the length of the guitar body, while with a flute you'd use the entire length of the instrument as a guide distance. By applying this very rough-and-ready rule, you can see that to mic a concert grand piano accurately you need to have the mic (more often two mics for stereo) several feet away, although for pop music you can work closer, to the point where the mics are often set up above the strings, inside the piano lid. The sound is less accurate but it's musically appealing, which may be more important. In all cases, you can fine-tune the mic position while monitoring the result over headphones, as every combination of instrument, room and mic will sound different. If you can afford more room sound and spill isn't a problem, you can increase the mic distance, which usually gives a more homogenous sound. Drum miking is made easier by the existence of kits of mics specifically intended for the job: this dynamic mic, part of a CAD set, is meant for snare and tom miking and has special heavy-duty mounting hardware and a small body.What I've tried to do here is provide a practical crash-course in the essentials of choosing and using microphones, without burdening you with more technical information than you need. I hope I've also conveyed that with anything from a good budget microphone upwards you can make exceptionally good-sounding recordings, providing you choose a suitable microphone position and pay due attention to the room acoustics. Yes, a better mic will sound better, as will a high-performance preamp, but unless you get the room acoustics and mic position sorted out first, the difference between a cheap mic and an expensive one will be much less than you'd imagine. Too often we think better kit will produce better results when what we already own is actually making a pretty accurate recording of a dismal-sounding room. In this respect, microphones are not unlike photography: what's in front of the camera and how well it is lit has a far greater effect on how the picture looks than the quality of the camera, and it's only once you know the basics that having top-quality hardware makes sense. Having put that argument, it doesn't always pay to buy the cheapest mic either, because when you do learn how to use it you'll probably want to upgrade to a better model if you've spent your money on something really basic. Unlike software or other bits of studio gear, mics don't go out of fashion or become obsolete — they'll give good service for decades if you look after them. This being the case, the cost of ownership is fairly low when worked out on a monthly basis, so if you can afford something a little above the entry-level, it will stand you in good stead in the future. Thanks to FX Rentals (+44 (0)20 8746 2121) for the loan of selected microphones. FX hire rates range from around £10 per day for basic models to £50 per day for valve classics such as the AKG C12. If you are familiar with Word & Text Boxes this is my process. It takes about 15 minutes and easy to do with 1099 or 1096 ore-printed forms. Scan a blank1099 or 1096 Form, insert in the image a blank word document as full size 2. Draw a text box (formatted to bring text in front of image *& alignment) for Payer's Address & complete 3. Copy & past that formatted text box to each box, resizing & revising info 4. Hold Shift + click each text box to select all text boxes, right click to 'Group boxes' 5. Select background 1099 image and delete 6. Print a test and see if lines up correctly, ungroup and move text box individually if needed [email protected] 06.02.17 11:16. Thanks for posting!! Hopefully I can accomplish this!!! If you are familiar with Word & Text Boxes this is my process. It takes about 15 minutes and easy to do with 1099 or 1096 ore-printed forms. Scan a blank1099 or 1096 Form, insert in the image a blank word document as full size > 2. Draw a text box (formatted to bring text in front of image *& alignment) for Payer's Address & complete > 3. Copy & past that formatted text box to each box, resizing & revising info > 4. Hold Shift + click each text box to select all text boxes, right click to 'Group boxes' > 5. Select background 1099 image and delete > 6. Print a test and see if lines up correctly, ungroup and move text box individually if needed [email protected] 15.02.17 21:27. On Monday, January 27, 2014 at 2:40:12 PM UTC-7, wrote: > On Wednesday, January 28, 2009 9:37:40 AM UTC-7, TWalker1957 wrote: > > I am trying to find a template that will allow me to enter data for forms > > 1099 and 1096. I have the preprinted forms but no typewriter to type the > > information in with. Small Business Software Free Download: Payroll Software, Accounting Software, Tax Software and More The best way to find out how our software solution fits into your. Form 1099 is one of several IRS tax forms (see the variants section) used in the United States to prepare and file an information return to report various types of. Don't want to purchase a typewriter just to do a couple > > of tax forms and don't want to hand write them. Try This > > gOT IT!!!! Saved me time and money. Thanks [email protected] 28.09.17 19:02. On Sunday, February 3, 2013 at 8:24:47 PM UTC-6, wrote: > On Wednesday, January 28, 2009 9:37:40 AM UTC-7, TWalker1957 wrote: > > I am trying to find a template that will allow me to enter data for forms > > 1099 and 1096. I have the preprinted forms but no typewriter to type the > > information in with. Don't want to purchase a typewriter just to do a couple > > of tax forms and don't want to hand write them. > > Working on my dreaded 1099's. Decided to do them myself. Looked for a template but could not find one. Created one in Word. It includes the transmittal form. If you would like the template like me on Facebook and I'll send it to you. [email protected] 06.12.17 09:48. Tax season: Your benefit from PBGC may be taxable depending on your individual circumstances. We will provide a 1099-R form with instructions to assist you with your taxes. You may also view the. Your form will be mailed before February 1, 2017, and will be available on MyPBA on Friday, February 3, 2017. You can view or change your as well as download your 1099-R form in MyPBA. If you haven't used MyPBA in awhile, we encourage you to log in before you plan to do your taxes to ensure your account is active. If you have not received your 1099-R by February 10, please call our Customer Contact Center for assistance. If you don't receive your form soon after the mailing date, we offer the following options: How to Obtain Your 1099-R From PBGC: • Use our online service,, to view and print a copy of your 1099-R tax form for the most recent tax year. Forms for 2016 will become available on February 3, 2017. OR • Call PBGC's Customer Contact Center to request a form by mail. • The number is 1-800-400-7242. • For TTY/ASCII (American Standard Code for Information Interchange) users, call the federal relay service toll-free at 1-800-877-8339 and ask to be connected to the number above. • Please have your Social Security number, plan name and case number ready for the customer service representative. More information about Form 1099-R is available on the IRS website: • • • State Income Taxes While PBGC is required to withhold federal income tax, we do not withhold for state taxes. If your state has an income tax, you may owe tax on your PBGC benefit. To find out more,. Twilight Sad| Nobody Wants to Be Here and Nobody Wants to Leave. EA Sports Active (Wii) 2009 El Chavo (Wii) 2012 Enclave: Shadows of Twilight (Wii) 2012 Endless Ocean 2 (Wii) 2010 Epic Mickey (Wii) 2010 Epic Mickey 2. 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