Sound Recording in Low Budget Productions ab 9.99 € als sonstiges: The Importance of Sound Akademische Schriftenreihe. 3. Auflage. Aus dem Bereich: Bücher, English, International, Gebundene Ausgaben,
ARROW RECORDS present STELVIO CIPRIANI’S original soundtrack to WHIRLPOOL, the titillating terror-film debut of Spanish-born horror auteur José Ramón Larraz (SYMPTOMS, VAMPYRES). A pleasingly grim and low budget film, WHIRLPOOL tells the sleazy tale of a young model who becomes ensnared at a secluded country home by a pervy photographer and his aunt. The sordid goings-on are given an unexpected lift by a typically grandiose and classy score from STELVIO CIPRIANI, a prodigious Italian composer whose tasteful musical scoring enhances numerous gialli, horror films and westerns, and who worked with directors such as MARIO BAVA, UMBERTO LENZI, JOE D’AMATO and RUGGERO DEODATO. Here he delivers a series of sumptuous arrangements by turns sultry, romantic, moody and threatening. This clear vinyl edition is limited to 500 copies. The recording has been newly mastered from the original analogue tapes by JAMES PLOTKIN and is presented on 180 gram wax housed inside a 350gsm sleeve. Featuring newly commissioned artwork by GILLES VRANCKX and accompanying liner notes by STEPHEN THROWER.
One of Brian De Palma’s most acclaimed films, this brilliant fusion of the obsessive sleuthing of Blow-up and The Conversation with themes drawn from real-life political scandals (the JFK assassination, Chappaquiddick, Watergate) starts with sound technician Jack Terry (John Travolta) accidentally recording what might be explosive evidence of a deadly conspiracy. Brilliantly shot by the then recent Oscar-winner Vilmos Zsigmond, this terrifically stylish thriller co-stars Nancy Allen as the eyewitness who becomes the unwitting target of John Lithgow’s serial killer as he ruthlessly attempts to bury all the evidence. It’s also a film about the filmmaking process: Terry is originally hired to work on the low-budget slasher film Coed Frenzy, and later turns his technical skills to much more serious use as he tries to reconstruct a political assassination on film in a way that will stand up in court. Special Features: Limited Edition SteelBook New, restored digital transfer, supervised and approved by director Brian De Palma Original Dolby 2.0 DTS-HD Master Audio Optional English SDH subtitles for the deaf and hard of hearing Black and White in Colour: An Interview with cinematographer Vilmos Zsigmond Rag Doll Memories: Nancy Allen on Blow Out Return to Philadelphia: An interview with Producer George Litto A gallery of on-set photos by photographer Louis Goldman Original Theatrical Trailer Collector’s booklet featuring new writing on the film by Michael Atkinson, a conversation between Quentin Tarantino and De Palma, and more to be confirmed! “His [De Palma’s] best and most original work - Chicago Sun-Times A great movie – Pauline Kael, New Yorker
How can you search for oldies you want to hear when you've forgotten them?Radio doesn't play a lot of those oldies anymore, even though you would enjoy hearing them again. This audiobook offers you access to over 150 links to YouTube videos for lost or forgotten oldies as well as history about the artists and their songs.Here are some examples of the music history and trivia you'll find in Lost or Forgotten Oldies, Volume 2:Doo-wop, Country, R&B, instrumentals, and novelty records that made the top forty but are now ignored by radio stationsAn oldie they wanted to use on the X-Files that got nixed by the singerA singer who also starred in a low-budget horror filmAn artist who had two one-hit wonders under two different namesA group named after a horseThe sad tale of a singer who had to re-record his first single three timesA singer from a group with multiple hits who can only use their name in 14 Western Pennsylvania countiesA group that got their hits in the late sixties by re-recording their songs from the fiftiesA singer whose biggest hit came while on Rowan and Martin’s laugh-inSeveral hit records that had sequels that completed a storyA rock group that got nowhere until they recorded in JapanA group that was overshadowed when they shared a bill with the CockroachesBuy the audiobook now and start reliving a past you almost completely forgot about! 1. Language: English. Narrator: Dennis J. Baxter. Audio sample: http://samples.audible.de/bk/acx0/178884/bk_acx0_178884_sample.mp3. Digital audiobook in aax.
High Quality Content by WIKIPEDIA articles! Low fidelity or lo-fi describes a sound recording which contains technical flaws such as distortion, hum, or background noise, or limited frequency response. The term "low-fidelity" is used in contrast to the audiophile term high fidelity or "hi-fi", which refers to stereo equipment that very accurately reproduces music without harmonic distortion or unwanted frequency emphasis or resonance. The ideas of lo-fi are taken to extremes by the genre or "scene" of no fidelity, or no-fi. Some lower-budget recordings from the 1970s and 1980s have a "lo-fi" sound due to the limitations of the analog recording and processing techniques, which introduced unwanted artifacts such as distortion and phase problems. In some recordings, however, high fidelity recording is purposely avoided, or the artifacts such as simulated vinyl record crackles are deliberately retained or added in for aesthetic reasons.
Everybody is song by American singer-songwriter Madonna from her self-titled debut album. It was released on October 6, 1982 by Sire Records as her debut single. Madonna had recorded a demo of the song with Steve Bray. She urged DJ Mark Kamins, who played at her dance club, to play it. He was impressed by the song and took her to Sire Records, who signed her for a two song deal. However, after the recording of the two singles were over, Sire executive Michael Rosenblatt was not impressed with the production of the other song and decided to release only "Everybody". Musically incorporating R&B infused beats, the song portrayed the image of Madonna as a black artist, since her picture did not appear on the single cover. However this misconception was cleared later when Madonna convinced Sire executives to allow her to shoot a music video for the song. The low-budget music video directed by Ed Steinberg portrayed Madonna and her friends singing and dancing in a club to the song.