Allow me to introduce myself. My name is Caleb Dennis, and I have played and sang Gospel music since I was 10 years old. I guess my love for music started when I went to my first concert. It was at a local church were the premier First Family of Bluegrass Gospel Music, The Sullivan Family, was to perform. I sat through the whole concert, and afterwards I went to meet them and purchased some of their recorded material.
I remember the first tape I bought was titled Live in Philidelphia. I began to play along with the tape, with a fiddle I had purchased about a year before at a local pawn shop. I learned many of the notes and styles from the tape. I guess about two years later, the Sullivan Family returned to my hometown, to a Church in Pensacola Florida. I penciled this date on my calendar, for I was not going to miss it!
Sometime during the concert a lady of the Church that knew me really well, told the group I was present and played fiddle. The next think I knew I was on stage with the Legendary Sullivan Family. That night after the show was over, the First Lady of Bluegrass Gospel Music, "Margie Sullivan" asked me to perform in Branson Missouri at Silver Dollar City theme park. Being a kid of only 11 years of age of course I was overjoyed!
For the next 5 years I toured over the United States with the Sullivan Family. During this time I met another guy my age, by the name of Alan Sibley, that sang and played the mandolin. He was hired in to the group one year later than I. In the next 4 years we traveled to many places with the group. We made tours to Branson MO, and Bill Monroe's homeplace festival in Rosine KY, performing with many bands such as Ralph Stanley and the Clinch Mountain Boys, Larry Sparks, Ricky Skaggs and many many others. We traveled over 200,000 miles per year with the Sullivan Family and toured in over 30 states.
Alan and I left the Sullivan's around 18 years old, and then went to work with Larry Wallace. Wallace is a 10 year veteran of "Jimmy Martin and The Sunny Mountain Boys." Now Alan and I sing on our own, full-time, touring and playing many Churches and Restaurants over the States. My advice to anyone aspiring a career in music is to go for it! It takes hard work and dedication, but it can be done!
A career in music since youth
Paul Gilbert
Dewa gitar yang Sebelumnya dikenal melalui Mr.Big ini pernah 'menggemparkan' dunia pada tahun 1986-1987 sebagai pemain gitar tercepat di dunia masih bergabung dengan group band Racer X, padahal usia dia waktu itu masih 17 tahun.
ketika usia 5 tahun (1971) Paul sudah mulai mempelajari gitarnya, 10 tahun berikutnya (1981) Paul coba mengirim demo rekamannya ke produser Mike Varney dan di luar dugaanya Mike sangat mengagumi permainannya di samping Tony Macalpine.
Pada tahun 1984 Paul pindah ke LA dan melanjutkan sekolah gitarnya ke GIT (Guitar Institute of Technology). Lalu Pada tahun 1986 dia bergabung dengan band pertamanya Racer X dengan album debutnya "Street Lethal ", kemudian "Second Heat" (1987) & "Live! Extreme Volume" (1988).
Pada tahun 1989 Paul meninggalkan Racer X dan bergabung dengan group band MR.BIG dengan Formasi Billy Sheehan (bass), Eric Martin (vocal) dan Pat Torpey (Drum).
Mereka meluncurkan album pertamanya "MR.BIG" dan MR.BIG tampil untuk pertama kalinya di Jepang pada bulan Oktober.
Lagu "To Be With You" (dari Album "Lean Into It") menduduki posisi pertama di majalah Billborad USA selama 3 minggu. Pada tahun 1998 Paul tampil pertama kali di Jepang dengan solo albumnya. Paul meluncurkan album solo "Flying Dog". Tahun 1999 Paul kembali ke Jepang dan meluncurkan album solo kedua "Beehive Live" dan album ketiga Racer X "Technical Difficulties". Tahun 2003 album Burning Organ dirilis, kali ini masuk ke label Indonesia dibawah
naungan Staria Enterprise. Namun album berikutnya, Acoustic Samurai tidak lagi di Satria, melainkan berpindah ke label Variant Music. Kemudian Paul menggelar promo tur album "Spaceship One" hingga ke Indonesia. Hal ini disambut antusias oleh penggemar-penggemarnya, pasalnya banyak artis asal Amerika yang menarik diri karena takut disweeping oleh pihak-pihak tertentu.
Discography "Street Lethal" (1986),
"Second Heat" (1987)"
"Live! Extreme Volume" (1988).
"Live! Raw Like Sushi" (1990),
"Mr Big - Lean into it" (1991),
"Mr.Big - San Francisco Live" (1992),
"Racer X - Live Extreme Volume 2" (1992),
"Mr.Big - Bump Ahead" (1993),
"Mr.Big - Live! Raw Like Sushi 2" (1994),
"HEY MAN" & " The best of MR.BIG" (1996),
"Hard Rock Cafe", " Live At Budokan " & solo " King of Club" (1997)
Suramadu
Jembatan Suramadu pada dasarnya merupakan gabungan dari tiga jenis jembatan dengan panjang keseluruhan sepanjang 5.438 meter dengan lebar kurang lebih 30 meter. Jembatan ini menyediakan empat lajur dua arah selebar 3,5 meter dengan dua lajur darurat selebar 2,75 meter. Jembatan ini juga menyediakan lajur khusus bagi pengendara sepeda motor disetiap sisi luar jembatan.
Sementara itu Jembatan penghubung atau Approach bridge menghubungkan jembatan utama dengan jalan layang. yang terdiri dari dua bagian dengan panjang masing-masing 672 meter.
Jembatan ini menggunakan konstruksi penyangga beton kotak sepanjang 80 meter tiap bentang dengan 7 bentang tiap sisi yang ditopang pondasi penopang berdiameter 180 cm.
Jembatan utama atau Main bridge terdiri dari tiga bagian yaitu dua bentang samping sepanjang 192 meter dan satu bentang utama sepanjang 434 meter.
Jembatan utama menggunakan konstruksi cable stayed yang ditopang oleh menara kembar setinggi 140 meter. Lantai jembatan menggunakan konstruksi komposit setebal 2,4 meter.
Untuk mengakomodasi pelayaran kapal laut yang melintasi selat Madura, jembatan ini memberikan ruang bebas setinggi 35 meter dari permukaan laut
Jembatan yang menghubungkan pulau Jawa dan pulau Madura ini sekarang menjadi salah satu ikon Indonesia dengan panjang 5.438 m, menjadikan jembatan Suramadu menjadi jembatan terpanjang di Indonesia untuk saat ini.
selain itu, Pembangunan jembatan Suramadu juga ditujukan untuk mempercepat pembangunan di pulau Madura yang relatif tertinggal dibandingkan kawasan lain di Jawa Timur, yang meliputi bidang infrastruktur dan ekonomi di Madura,
Pembangunan Jembatan dengan perkiraan biaya Rp. 4,5 trilyun ini diresmikan oleh Presiden Megawati Soekarnoputri pada 20 Agustus 2003 dan terdiri dari 3 bagian yaitu Jalan layang (causeway), Jembatan penghubung (approach bridge) dan Jembatan utama (main bridge).
Pembuatan jembatan ini dilakukan dari tiga sisi, baik sisi Madura (Bangkalan) maupun sisi Jawa (Surabaya). Sementara secara bersamaan juga dilakukan pembangunan bentang tengah yang terdiri dari main bridge dan approach bridge.
Jembatan Suramadu akan diresmikan pada 10 Juni 2009, namun menurut sumber yang saya dapat Jalan akses Suramadu (Surabaya-Madura) sepanjang 11,7 kilometer yang terletak di sisi Kabupaten Bangkalan, diperkirakan rawan tindak kriminalitas. Pasalnya, di sepanjang jalur tersebut minim lampu Penerangan Jalan Umum (PJU) dan jauh dari pemukiman penduduk.
Pantauan di sekitar jalan Suramadu mulai dari tol gate yang terletak di Kecamatan Labang hingga pintu keluar di Kecamatan Burneh, hanya ada tiga kawasan yang terpasang PJU. Itupun kurang memenuhi standar. Bisa diprediksi, minimnya PJU tersebut dapat membuat para pelaku kriminal leluasa dalam melakukan aksinya, terutama para curanmor dan bajing loncat.
Kondisi tersebut dibenarkan Ketua Komisi Pelayanan Publik (KPP) Kabupaten Bangkalan Fathurrahman Said. Dia beranggapan, sepanjang jalan akses Suramadu tergolong rawan kriminal, khususnya saat menjelang petang hingga malam hari karena alasan yang sama.
"Bisa kita bayangkan, selain minim PJU, di sekitar jalan akses juga minim rumah penduduk. Ini membuka peluang lebar bagi pelaku kejahatan," ujarnya
Dia menyayangkan minimnya lampu PJU yang terpasang di sepanjang Suramadu. Dia menilai, bila kondisi tersebut terus dibiarkan dan tidak ada penanganan lebih serius, besar kemungkinan warga atau pengguna jasa jembatan Suramadu akan berpikir ulang untuk melintas.
Recording Sound For Film
For both film and TV sound recording, microphones, mixing boards, and DAT recorders are important equipment that should be understood by producers and sound engineers.
Many sound engineers prefer the use of external dynamic shotgun mics. These are mics at the end of a long boom which can make a big difference in the final sound quality to be edited; for instance, ambient equipment sounds are diminished considerably.
Some people choose wireless microphones for more precise mic placement. Some people say that wireless mics don't have the same signal fidelity as wired ones, but they are in the minority.
Most film sound is sent through a mixing board and not directly to the recording device. This allows for very subtle fine-tuning of sound, the way a large graphic EQ in a component stereo system allows one to get the "perfect" sound playback for different recordings.
Film sound engineers also make heavy use of the DAT recorder. These "digital audio tape" recorders were first developed by Sony in the early 1980s.
Sony discontinued their production in early 2006 to make way for the hard disk recording revolution but DAT recorders are still in heavy use in film.
DAT recorders are especially used for on-location filming as they allow for much greater post-production sound editing control. They're great for capturing "natural" background sound.
Film actors add in their voices later on via over-dubbing. They speak their lines aloud on camera but their voices are not recorded at that time, or if it is, this will be totally replaced later on in a recording studio through Automatic Dialogue Replacement.
Special effects sounds such as the firing of laser cannons in "Star Wars" are also recorded separately and dubbed in later. The mixing-in of sounds later on in film allows for very great levels of control over the final quality, which is why film sound quality often seems more "sonorous" than TV production sound.
For film, a sound editor will take separate tracks of dialogue, special effects, and music scoring and dub them all together into a multitrack recording and edit the mix later on.
Modern film making, especially for independent productions, makes increasing use of computer-based DAWs, or digital audio workstations.
Using a computer, an ADC-DAC (analog to digital/digital to analog converter), and digital audio editor software, the sound editor uses the computer's sound card acts as an audio interface, especially when converting analog audio signals into digital form.
The software controls the two hardware components and provides a user interface to allow easy access to recording and editing.
Some modern DAWs, such as the Euphonix System 5-MC integrated DAW controller, are made to integrate with other computerized DAWs such as Pro Tools, Nuendo, Logic Pro, Digital Performer and Pyramix. These give ever more powers of control and refinement to sound recording editors.
by:Joseph Vautour
