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Behind The Gear
Furman HDS-6 & HR-6
Hey gang, thanks for stopping by The Record Shop Nashville Recording Studio for another installment of our world (in)famous, heart-exploding series BEHIND THE GEAR!!! Today we would like to give some time and recognition to one of the most crucial pieces of equipment in a studio that often gets unnoticed; the studio cue system. Here in the our Nashville Recording Studio we utilize the Furman HR-6. Having a good cue system is vitally important for artists and musicians because without them there would be no music for them to play along to when they track. More importantly, these boxes allow the musician to hear only what they want to hear when they track without having to waste time yelling at the engineer which instruments they want more or less of. So let's take a dive into the Furman HR-6!
Furman Sound
Furman Sound has been aiding musicians and engineers alike by producing premium Audio/Visual signal processors since 1974. That's not all the company deals with though. They also manufacture "energy management solutions" that use their incredible BlueBOLT® platform, which you can learn more about on their website HERE! Furman also produces "AC conditioning and distribution" products (a fancy way to say surge protectors y'all), which is what they are actually best known for making! Follow this link HERE to learn about why it is important to utilize AC conditioning in your power system. Furman is now apart of Core Brands LLC, a subsidiary of Nortek's Technology Solutions Group, which combines the product and marketing power of ten separate audio and power brands. These kings of power supplies are also well-aware of the responsibility they have for power conservation and the environment . A few of their "Internal Initiatives" from their website are as follows:
RoHS compliance. Our entire 220V-240V Export product line is 100% RoHS compliant, greatly reducing the use of lead, cadmium, mercury, hexavalent chromium, polybrominated biphenyl (PBB) and polybrominated diphenyl ether (PBDE) in our components. Further, we have been one of the leading voices in pushing overseas manufacturers to develop RoHS-compliant manufacturing and assembly facilities. Because of this, development of RoHS-compliant 120V domestic products is no longer cost-prohibitive, and we are specifying RoHS-compliant components into all new products beginning in 2009.
Packaging, product literature: All Panamax/Furman products are packaged using 100% recyclable materials (including recyclable foam inserts and plastic bags). Marketing materials are printed with FSC (Forestry Stewardship Council) and RFA (Rain Forest Allliance) Certified Vendors on recycled paper with biodegradable inks.
Scrap materials at our QA and repair facility are recycled. All employees within the office are provided recycling bins and large recycling bins are placed throughout our facility.
Motion sensor lighting is used throughout our facillity and lighting/HVAC usage is cut back during peak power demands.
An aggressive paper reduction initiative has resulted in the development of a paperless fax system and a company wide intranet to facilitate paperless communications.
Sales trainings and offsite meetings utilize teleconferencing technologies to reduce travel and further reduce paper consumption.
HDS-6 & HR-6 Cue System
The Cue System in our Nashville recording studio, like many other professional studios, utilizes the Furman HDS-6 Headphone Distribution System & the HR-6 remote mixing stations. The HDS-6 is a rackmount system that is very easy to connect to your studio console or patch bay. Our HDS-6 is plugged into our system's patch bay, as is recommended by Furman. These systems is designed to be a low-distortion line driver and power supply that provides signal, power, and ground to HR-6 remotes. You can connect up to eight HR-6s to the HDS-6, and you easily daisy chain multiple HR-6s! The HDS has several, simple features like Level Set control, Overload indicators for setting the best signal-to-noise ratio & headroom, MON/EFF pot controls the gain for the L/R stereo inputs, Ground Lift switch to switch the audio ground off the chassis ground to prevent that awful hum, and they even built in a LED light that warns you if you linked your HR-6 cables (one blue and one gray) into the wrong ports! The HR-6 mixing station features include volume pots for each of the four mono channels arriving from the HDS-6, the MON/EFF pot controls the level of the stereo main mix, a Submixes Included/Excluded button that allows the listener to hear only the main stereo mix by muting the four mono channels, and of course it has two 1/4″ stereo headphone jacks. For more information on Furman Sounds follow this link HERE, and for a PDF file of the HDS-6/HR-6 follow this link HERE!
Thanks for coming back for The Record Shop Nashville's Behind The Gear! We hope we've been helpful in one shape or another. For a complete list of our Nashville Recording Studio's gear click HERE. And don't be a stranger; follow and chat with us on Twitter @therecordshop! See y'all next time!
June 20, 2014 /0 Comments/by The Record Shop
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Behind The Gear at The Record Shop Part 3: Tube Tech CL1B
In part 3 of Behind the Gear at The Record Shop, we take a look at the Tube-Tech CL1B Opto Compressor; a device that has become a studio standard since its release in 1987. The CL1B was developed by Tube-Tech founder, John Peterson. John began his career as a maintenance engineer at the Danish Broadcasting Company. Educated as an electrical engineer, he could usually be found refurbishing gear in his spare time. In the early 80's his interests turned to tube driven devices such as the Pultec EQ and the Teletronix LA2A. As was the case with many of today's audio manufactures, John witnessed the growing market for vintage equipment as the quality of modern products was, believed by many, to be declining. He began designing his own renditions of classic equipment, and the rest is history. Tube Tech is now a mainstay in the world of audio, and they continue to produce superior quality tube equipment that has been utilized by everyone from The Rolling Stones to T-Pain.
The design of the CL1B was modeled after the Teletronix LA2A, a classic tube limiter that has been a standard in recording studios since its release in 1965. John set out to build a device that offered the warm, musical compression of the LA2a Limiter, but with the added features of a compressor. The LA2a has only two controls, Gain and Peak Reduction. The attack and release times are fixed. The CL1B features a fixed attack and release mode, but also provides additional ratio, threshold, attack, and release knobs. This allows us greater flexibility to achieve the perfect settings for a variety of applications. The Cl1B has another unique setting called Fixed/Manual Mode. This setting has a fixed, fast attack and variable release. You would think that this compressor would come with a two week class to learn how to utilize all of these options. However, the operation is fairly simple and always produces great results.
We lean on this compressor mainly for Vocals and Bass. On vocals we often use the CL1B, in conjunction with an 1176 or Distressor, to add a smooth, warm compression that helps the voice find its space in the track. In the bass world, the CL1B is great at taming the tone, but if you're going for punch, we lean on some of our other options such as the 1176. From time to time, we will throw a snare or kick through the blue monster to give it some extra warmth as well.
One trick that we have found to be pretty exciting on vocals, is an extreme compression setting that can result in some pretty wicked tube saturation. We start by setting the attack all the way to the left, with a medium release and 10:1 ratio. Next we increase the threshold to hit -10 or so DB of gain reduction; tweaking the ratio and release to taste until the vocal starts to drive. The result is an analog tape like compression that can be perfect for a rocking vocal.
Thanks for dropping by! Check back next week for our next installment of "Behind The Gear at The Record Shop", where we take a look at a throw back to Abbey Road, the Chandler TG1 Limiter. In the meantime, feel free to drop by our Gear Page for more information on our vast array of equipment.
As always, we love to hear feedback on our articles. If this was helpful, or a complete waste of your time, let us know! We love making new friends as well. Feel free to drop by our page on Facebook and sign up for our monthly newsletter to receive valuable resources and updates on the studio. Thanks for dropping by For The Record. Catch you next week!
-Giovanni
Therecordshopnashville.com
October 14, 2011 /0 Comments/by The Record Shop
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Behind The Gear At The Record Shop Part 2: Purple Audio MC 77
Welcome back to behind the gear at The Record Shop. Are you ready to roocccck!?!?!? (cue stadium of screaming fans) This week we take a look at the Purple Audio MC77. The MC77 is a superior recreation of the legendary URIE 1176 Peak Limiter. This piece of gear bleeds rock and roll. If it was magically transformed into a person it would make Slash look like Yanni. From Drums to guitars to vocals, this thing will give you clarity, punch, and attitude for days. Let's start by giving you a quick back story on the MC77's estranged father, the URIE 1176.
The 1176 was designed by audio legend, Bill Putnum in 1967. Bill was a revolutionary in the audio world. He is noted to have been the first cat to use artificial reverb, double a vocal recording, and develop a multi-band equalizer. So it is no surprise that he was also the dude that created what is arguably the most commonly used limiter in modern recording. The 1176 became the first true peak limiter with solid state circuitry. It was popular for its super fast attack time, resulting in a signature tone that can be heard on countless records.
In 1997, a new audio company called Purple Audio released their first product, the MC76 (If you paid attention in roman numeral class you'll get it). Designed by Andrew Roberts, the MC76 looked like an 1176 that Barney got a hold of in the restroom, and it sounded like one that hung out with Jose Canseco (if your not hip to baseball or the news, he did a lot of steroids). It had all the vibe of a vintage 1176 without the price tag, and it quickly became a highly sought after piece of gear. The MC77 is an update of the original with a few extra features.
Aside from the paint job, the MC77 really stands out in the crowd. It has the sonic characteristics of the classic, vintage 1176 with an improved high frequency response and added grit. We've used it on just about everything when we are looking for something to give a track some attitude. If we want to add some punch to drums, smooth out guitars, round out a bass, or put some rock in a vocal, the MC77 delivers every time.
We have one trick in particular that produces some really unique results. But in order to explain clearly, let's start with a story. At some point back in the day, there was an audio engineer who spent way to much time playing with the gear in the studio. One day he said, "Hey, I wonder what would happen if I pressed down all of the ratio buttons on this limiter at the same time?" Once he had all four of the ratio buttons locked in place, he cranked the input and the rest is history. There are a few different names for this trick; all buttons in, nuke, British mode; but the result is a super compression that has been used to create some really unique sounds. I'm a big fan of smashing the drum room mics with this setting. The setting creates a lag in the attack time, resulting in extra punch, and a drastic compression slope, resulting in a quick drop in level. As this push and pull repeats with each transient hit we can achieve a rhythmic pumping of compression that breathes with the track and amplifies the "room sound". Listen to any modern rock record and your bound to find this effect in play.
And that concludes this evenings presentation. Check back next week for our next installment of "Behind The Gear at The Record Shop", where we take a look at another colorful device, the CL1B tube compressor. In the meantime, feel free to drop by our Gear Page for more information on our vast array of equipment.
October 5, 2011 /0 Comments/by The Record Shop
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News!!!!
The Record Shop teams up with The Funky Umbrella
A little over a year ago I was out catching a set with one of our artists. I noticed a guy with a camera darting back and forth across the front of the stage in what looked like gymnastics maneuvers, but what was most likely his valiant efforts to catch the best shot he could in the crowded venue.
We were looking for a new addition to our video production team so I asked the club owner if he knew the guy. He said, "Oh ya, that's Kaz, he's here all time. He films all of the bands and offers them a great deal on the footage after their set." I thought, "What a great concept. This is the type of dedicated, big picture work ethic that we're looking for." Of course before I was able to grab his attention, I got sidetracked with some friends, and we were headed to the next venue.
I was disappointed that I didn't have a chance to chat with him. From what I could tell, this Kaz character was the hardest working videographer in Nashville. However, the disappointment was short lived. Sure enough, the next night I ran into him at a different venue. Or maybe it was his clone. I swear the dude is everywhere.
As our video department expanded we brought Kevin on for a few gigs and he nailed the project every time. He was always ready to work, but if he was ever tied up with another gig, Kevin would make some calls and have a crew ready for us right away.
So you can imagine that I was floored when he told me about his involvement in a new multimedia company called The Funky Umbrella. It is essentially a team of Kazanaters that have an unwavering dedication to their work and a genuine support of their clients. Could it be true? Did I finally find our match made in heaven? The Funky Record Umbrella Shop? While the name is a work in progress, I'm blessed to have the pleasure of working with these guys.
The Funky Umbrella is a unique media company that offers a wide variety of services under…….. (wait for it) one umbrella. They provide video, photography, web design, branding, and much more. But this ain't the "one man, one stop shop" you're used to. The Funky Umbrella has an amazing team of professionals, each with a specific skill set, working collectively to offer a comprehensive package of services for everyone from musicians to executives. (After reading that I realize I sound like I could be narrating their latest commercial, but what the hell, these guys are great!) But I'll get off the soapbox and let you see for yourself.
Check out Thefunkyumbrella.com
The Funky Umbrella has teamed up with The Record Shop to handle the production of Balcony TV as well as our live video shoots and artist press kits.
We are stoked to be providing audio recording and mixing for The Funky Umbrella's productions as well.
I am very excited about this new partnership (can you tell?) and look forward to continue offering our friends valuable resources in the development of their projects. Among our recent work, The Funky Umbrella and The Record Shop have teamed up with Lightning 100 to produce a video compilation of the Live On The Green Concert Series featuring Will Hoge, Los Lonely Boys, Edwin McCain, Ten out of Tenn, Here Come The Mummies, Brett Dennen, and many more. You can catch the videos here…. Don't forget to check out The Funky Umbrella on Facebook to see their latest work and viral resources!
Catch you next time
therecordshop1 (@) gmail . com
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Behind The Gear at The Record Shop: Part 1 – Empircal Labs Distressor
If I was stuck in a studio on a desert island, and could only choose one compressor to bring with me, I'd grab a Distressor. The Distressor is without question the most verstile compressor on the market. If you walk into any professional recording studio in Nashville, or around the world, you're bound to find at least one of these pieces in the room. If you drop by The Record Shop, you'll find four of them. Why, you might ask? One, because its a bad mama jama. Two, because it adds a classic sound to digital recordings. Three, because we work on such a wide range of projects, we are often going after a different "sonic vibe" from song to song. The Distressor gives us the ability to shape the sound to fit the song. In this segment of "Behind The Gear" we'll discuss how we utilize the Distressor here at The Record Shop, and offer some tips for using it on your own. So where did this magical piece of studio gold come from? Read on…..
Empirican History EL8X
The Distressor was developed in 1995 by Dave Derr. Dave started Empirical Labs as a recording studio and electronics consulting firm. He was also part of the design team at Eventide that created the H3000, a legendary effects processor. It's clear that this experience played a big role in the innovation of functions on the Distressor. Simply put, Dave took the best features from a number of classic studio compressors, added modern functionality, and ease of use, while maintaing a "vintage" tone. As The Empirical Labs motto says, "We want to make products that work a little easier, a little better, and a lot longer – and make sure they are fun to use." I think they've hit their mark.
-If you are interested in learning about the history of the Distressor and Empirical labs, check out this article at Mercenary Audio. The guys have a great story about how they helped Dave name the Distressor-
Vintage Features
Back in 1997, Mix columnist Paul White said this about the Distressor, "If you're one of those people who believe only tube technology can deliver the true classic sound, a few minutes spent using the Distressor might cause you to re-think your position." While digital recording technology continues to improve, we still turn to analog gear for its "musical response" and "warmth." Usually, the word "warmth" refers result of tube saturation that creates a round, full sound. However, in the case of The Distressor, warmth is more like an adjective. Here are some of the features that make the Distressor so unique.
–Distortion Modes
The Distressor has two distortion modes that emit a warm, harmonic distortion to the audio signal. The Dist 2 mode enhances the second harmonics, similiar to the saturation of a Class A Tube. The Dist 3 mode features a third harmonic that has the qualities of a Class B tube, or analog tape machine. We often use the Distressor for these modes alone. By setting the ratio to 1:1, you can process the sound using these settings without compressing the signal.
-Detector Modes
The Distressor also features two audio modes that vary the response of the device. The first detector mode is the High Pass Filter mode (HP). In the HP mode the Distressor does not react to low frequency energy in the sound source. This keeps the Distressor from reacting irrationally to a sudden rise in low end, such as a "b" or "p" sound from a vocalist. The second detector mode, called the "band emphasis" mode, makes the compressor react more drastically to harsh sounds in the high-mid frequency range. This mode can be useful on a vocalist that has a piercing tone to their voice on high notes, or to offer an smooth "analog" texture to an instrument.
Another unique design feature of the Distressor is the Ratios and Curves. Compressors generally have seperate threashold and ratio controls. The threashold sets the volume level at which the compressor starts to work, while the ratio determines how drastically it reacts. In the case of the Distressor, the threshold has been strategically determined within the ratio that is selected. The Distressor has eight ratio options to choose from. Each setting provides a unique response to the signal, exhibiting a musically pleasing effect on everything from subtle compression to dynamic destruction.
-For more detailed information on the Ratio settings of the Distressor, check out the Empirical Labs website here….-
How We Use It
At The Record Shop, we use our Distressors mainly on Vocals, Drums, Guitars, and anything that calls for a "classic" or "gritty" vibe. We love the "Nuke" mode, a setting that makes the distressor act as a "brick wall" limiter, with a unique release slope. This setting is great for big room sounds. We also make use of an option called "Brit Mode" that simulates the effect of the classic 1176 Limiter set to "all buttons in." (a setting that became popular in 70's for aggressive drum compression.) The Distortion modes are an invaluable assest to the Distressor and can be heard on nearly every recording that comes out of The Record Shop. The most useful feature of the Distressor is its overall tonal cahrecteristics. It is a great option for anything that needs to be smoothed out, warmed up, or given some edge. If you would like to hear more examples of how we utilize the Distressor, leave us a comment and we'll send you our favorite settings.
Check back next week for our next installment of "Behind The Gear at The Record Shop", highlighting the legendary 1176 Limiter. In the meantime, feel free to drop by our Gear Page for more information on our vast array of equipment.
September 19, 2011 /0 Comments/by The Record Shop
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Behind The Gear at The Record Shop Nashville Recording Studio
"Wow! Look at all those knobs." As an audio engineer that is probably the most common phrase I hear uttered by an artist the first time they step foot in a studio. In an effort to figure out what all these fancy buttons do ;) , we thought it would be fun to introduce a new series on For The Record called "Behind The Gear." The Record Shop is home to a unique collection of modern and vintage equipment. Our audio arsenal was carefully selected to offer a wide range of sonic colors and textures. Each week we will offer an inside look at a different piece of equipment we use here at The Record Shop. We will take a look at the history of the piece, outline the various ways it is utilized during a session and share some unique tricks that we use to shape the tone of a recording.
This week, we'll start the series off by offering some basic information on each category we will be covering: Microphones, Pre-Amps, Compressors, Equalizers, and Plug-Ins. For those of you familiar with the basic function of these devices, we invite you to join us next week when we take a look at the Empirical Labs Distressor, a studio legend that reigns as one of the most versitle compressor/limiters on the market. For the rest of you fine folks, read on my friends…….
If your reading this, I'm sure you don't need a proper definition of what these things do, but for the sake of covering our bases, we'll turn to Wikipedia. "A microphone is an acoustic-to-electric transducer that converts sound into an electrical signal." Sounds simple enough, but what makes our job so fun is that each microphone does this differently and, in turn produces drastically different results. There are three different categories of microphones that are most commonly used in the recording studio: Dynamic, Condenser, and Ribbon. A dynamic microphone is work horse device, capable of reproducing loud sound sources as well as those with a powerful attack (such as guitars, kick drum, and snare drum). A condenser microphone is a more delicate device, designed to react sensitively to its sound source, offering a more defined sound on things such as drum overheads, acoustic instruments, and vocals) A ribbon microphone offers a unique tone due to the natural lack of high end frequency response that the ribbon reproduces. Ribbons have become very popular as a method to achieve a "vintage" vibe on modern, digital recordings. For more detailed information visit Wikipedia's "Microphone" page….
A Pre-Amplifier (pre-amp) is a device that takes a low level signal from a microphone, or instrument, and boosts it to a line level signal that can be recorded. As with microphones, every pre-amp offers its own, unique tonal characteristics. There are two types of pre-amps commonly used in the recording environment: Tube and Solid State. As the name suggests, tube pre-amps utilize tube components to amplify the sound, offering a "warm" tone and a subtle distortion that is preferred in many applications. A solid state pre-amp does not make use of tube components and generally offers a cleaner, more transparent tone. Within these two types of pre-amps are countless brands and models that all have their own sonic flavor. For more detailed information, visit Wikioedia's "Pre-Amplifier" page….
A compressor is an audio device that effects the range between the loudest and quietest parts of a sound source (known as dynamic range) A compressor accomplishes this by lowering the volume of the sound source when it passes above the volume threshold that is set by the user. The amount of compression, and the reaction time of the device, is set by the ratio, attack, and release knobs. Just like pre-amps, compressors are also built with either solid state or tube components. Compressors can be used for a variety of applications, from subtly taming dynamics, to extreme "pumping" that can create intriguing rhythmic effects. For more detailed information, visit Wikipedia's "Audio Compressor" page…
An equalizer adjusts the balance between frequencies in an audio signal. It allows us the ability to "shape" the frequency range of a sound in order to enhance its qualities, fit it into a mix, etc. There are two main types of EQ's used in the studio environment: Parametric and Graphic. A Parametric EQ offers a variable frequency selection on multiple frequency "bands" (ranges) and a variable "Q" (range of effected frequency). This allows us the flexibility to hone on the desired frequency and effect it accordingly. Graphic EQ's have fixed frequency and q selection, often based on frequency "octaves" to offer a natural, musical response. For more detailed information, visit Wikipedia's "Equalization" page…
Plug In's are used in digital recording to emulate the function of analog equipment. While, it can be argued that software can never take the place audio moving through actual components (and I agree!) software plug-ins have continued to grow in their sonic offering and can be very useful in the modern recording environment in many situations. There are endless options when it comes to plug-ins. The market is flooded with new, innovative tools for manipulating audio. A recent development in plug in technology is what is referred to as "emulation plug-ins" These software devices are built off of algorithms developed through the testing of actual analog gear. Through this process, developers have been able to create plug-ins that embrace the tonal qualities of a specific type of gear. This is a very exciting technology that we have found very useful in Universal Audio's, UAD Plugs. You can learn more about Plug-ins by visiting this interesting article at Delicious Audio…
Well, now you are ready to venture "Behind The Gear" at The Record Shop. Check back next week for our first installment, highlighting the Emperical Labs' Distressor. In the meantime, feel free to drop by our Gear Page for more information on our vast array of equipment.
September 7, 2011 /0 Comments/by The Record Shop
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Guest Blog, Recording Equipment
Barry Rudolph reviews Ohm Force's "Ohmicide"
Barry Rudolph has teamed up with For The Record to share his reviews with the latest in recording products. Barry is a recording engineer/producer and contributing editor for MIX Magazine, 'New Toys' columnist for L.A.'s Music Connection Magazine, and writer for www.prosoundweb.com. He also is editor/writer of Gear Lust, his online special review section at www.barryrudolph.com.
Ohmicide is from the French company Ohm Force's Melohman family of plug-ins. Ohmicide is a distortion plug-in that is completely malleable in nearly every way possible. It starts by splitting audio into four frequency bands each with six different processing modules. The modules are: M/S matrix, noise gate, dynamics, distortion, make-up gain, pan, and it finishes with an acoustic feedback path. I liked the dynamics processor with its Shape control (a low-level compressor) and Body (basically it acts like an expander or limiter of sorts).
The Distortion processor module has three variants, Standard, Xxx, and Odd of 37 distortion algorithms making a total of 111 Types of distortion. A distortion Type is further adjustable using a Gain control, a DC offset control called Bias that simulates the erratic behavior of broken audio gear, and the Alt knob changes the underlying algorithm of the Type. The main graphic at the top of the plug's GUI is an audio oscilloscope that shows: input, output, or both together superimposed and a second bar chart below shows where the filters of each frequency band begin and end. Somewhat useful and cool looking, you get an idea of what is going on but, as always, my ears tell me what's really going on–complete audio mayhem!
My main use for Ohmicide is in mixing where I want to "rough" up certain tracks so they cut better or they take on a particular character and prominence. With a plug-in this deep and rich, I start with a preset to get close to what I'm looking for. For sound designers Ohmicide represents a major new tool for endless experimentation–you'll never leave your studio!
The factory presets come in folders of twelve called MegaPatches and are selected via a MIDI keyboard or by clicking on the GUI. They are designed, tested and named for specific applications. Cool! They are: BassXxxxx for electric bass; DrumBassXxxxx is for Bass+Drum mixes; DrumXxxxx (my favorite!) is super for drum kits or loops; GuitAmpXxxxx sounds like the worst guitar amps ever made on fire; MiscXxxx are for general purpose grunge; and PercXxxx presets are for singular drum kit pieces like snares and kicks.
Available in RTAS, AU and VST formats for PC and Macs, Ohm Force Ohmicide:Melohman sells for about $125US and is now my "go to" filth box. I have many guitar amp simulators and other garbage makers but none as totally variable at Ohmicide or comes with as many great starting presets. Order up some dirt at: www.ohmforce.com
August 7, 2010 /0 Comments/by The Record Shop
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Barry Rudolph Reviews SoundToys Pan Man
Barry has teamed up with For The Record to share his reviews with the latest in recording products. Barry is a recording engineer/producer and contributing editor for MIX Magazine, 'New Toys' columnist for L.A.'s Music Connection Magazine, and writer for www.prosoundweb.com. He also is editor/writer of Gear Lust, his online special review section at www.barryrudolph.com.
PanMan is a rhythmic auto-panner plug-in with a groove control feature. In stereo mixing, changes in the basic nature of a vocal or instrument track are limited to the level or loudness of a track, its equalization/tone, whatever added effects (reverb, chorus, flanging delays etc), and it's panoramic position–it's placement across the stereo field as created by left and right placed loudspeakers.
PanMan addresses and allows full access to this important aspect of mixing with tools that offer new panning treatments that go way beyond the abilities of classic hardware analog panners such as PanScan or Spanner. PanMan will control the pan type, reaction time, pan position, and pan width–even beyond the physical position of your stereo speakers.
PanMan has six modes including two rhythm modes complete with a user-programmable rhythm editor and numerous parameters for precisely determining the way any mono or stereo track in your mix can "dance" across the speakers. Some of the panning actions possible are: ping-pong triggered panning and random triggered panning with user-definable trigger divider as found in the PanScan hardware unit; and LFO-style continuous panning with selectable pan shapes and precise dynamics control. After installing PanMan into my Pro Tools HD rig I was panning everything as if I was discovering stereo sound for the first time! I would suggest going through the big collection of presets and modifying one of them that is close to what you're looking for.
I seemed to gravitate towards the Rhythm Step panning modes where you can designate multiple "hard" pan positions (up to five positions) that change in locked session tempo fashion. Leave it to SoundToys to also provide controls called Feel and Rhythm to further sync the panning action to the feel of the music. Borrowed from SoundToys' Tremolator and FilterFreak is the Custom Rhythm Editor–actually two editors for two different panning approaches–break point editors for designing complex modulation waveforms. These are brilliant features!
I also liked using the LFO-based panners for more dreamy-sounding treatments. You have complete control over the LFO's speed or rate and the direction of the pan movement: Left-to-Right, Back-and-Forth, and Right-to-Left. I used one of the wider panners for a reverb return I mixed with another instantiation of the same reverb patch. This animated the reverb "cake" I was cooking up for a big vocal harmony stack. The Tweak button opens a whole LFO dynamics GUI for setting up modulation of the rate, changing the pan offset (shifts the left and right panorama itself anywhere–leaning to the left or right), defining the panning width (Width Mod) and panning rate (Rate Mod) depending on the level. The Threshold, Attack, and Release knobs control the envelope detector that determines dynamics modulation.
I did find the triggered panning very accurate and foolproof for causing a track to reposition itself predicated on it exceeding a certain level as set with the Threshold control. I also like the Width control for setting how far or wide to the left and right a track pans–all the way beyond 180 degrees (hard left and right) to 210 degrees or outside of the speakers.
Auto panning has the potential to be a distraction for the listener and the Smoothing control will set the transition from position to position anywhere from an instant and super hard "snap" to much slower, lazier or liquid movement.
An unexpected feature in PanMan are the different Analog modes where you can change from the clean digital operating mode to any of seven different analog distortion characteristics whose amount is controlled by the Input and Output I/O knobs. Dirty up any panned track using: Clean, Fat, Squash, Dirt, Crunch, Shred, or the ridiculously sounding Pump characteristic models. These sound like they may have been borrowed from SoundToys' FilterFreak and other SoundToys plug-ins.
As with most of the SoundToys plug-ins, the programming detail and feature sets go on and on and PanMan is no different in that regard. But I'm a beginner and I have had no problems getting beautifully ornate panning treatments very quickly. This is a sound designer's dream tool that pays off more and more as I learn more about the internal tweak controls. Like Decapitator, PanMan is a big winner for me here at my Tones 4 $ Studios!!
There are demo versions posted at www.soundtoys.com. It sells as a single plug-in for $349 in TDM and $179 Native. The SoundToys TDM Effects Version 4 bundle sells for $1,195 and includes eleven plug-ins. Both Decapitator and PanMan are exclusive to V4 along with a new preset management system, and many new presets. The Version 4 upgrades cost $99 for Native and $199 for TDM. Check: www.soundtoys.com for more information.
July 8, 2010 /0 Comments/by The Record Shop
https://therecordshopnashville.com/wp-content/uploads/2018/10/nashville-recording-studio.png 0 0 The Record Shop https://therecordshopnashville.com/wp-content/uploads/2018/10/nashville-recording-studio.png The Record Shop2010-07-08 00:02:162010-07-08 00:02:16Barry Rudolph Reviews SoundToys Pan Man
Barry Rudolph Reviews Stuffit Deluxe for Mac
I installed the 2009 version of Smith Micro's Stuffit Utility into my G5 MAC and discovered Drop Stuff, the whole compression side of the seemingly lowly free utility we all used called Stuffit Expander. Drop Stuff is better than ever with a new interface and built-in AES 256-bit encryption.
First of all with Drop Stuff, with its patented 24-bit image compression, has TIFF, PNG, GIF, and BMP compressors and you can compress files by to 98% of their original size (depending what they are). Squash and optimize MP3s, PDFs and images to save hard drive space and time when sending them over the Internet. Even JPEG photo files (an already compressed format) can be reduced up to a further 30%. Drop Stuff creates Stuffit, Zip and TAR archives–you just drop your files and folders on the appropriate icon on the super simple GUI. I liked the Stuff & Burn mode where it stuffs and sends the file to the MAC's CD/DVD burner in one operation. Sweet!
Expander now expands 7-Zip archives and segmented Zip archives along with files using any of 30 different compression formats–even encrypted Zip archives. I like browsing my archive of files without waiting for expansion using the Stuffit Archive Manager. You can preview thumbnails, add, delete and change files and save searches with Stuffit Collections.
Other cool features you get are: upload directly to FTP, MobileMe, iDisk or multiple CDs or DVD-ROMS, and restore files to original locations Stuffit is Finder-aware so you can preview compressed archives inside MAC's TimeMachine.
Using Stuffit Deluxe 2009 for MACs is like doubling the size of your hard drive for storing pictures and music. You can put off buying another drive and the work transferring files by buying it for $79.99 as a download from: my.smithmicro.com/mac/stuffit/index.html
https://therecordshopnashville.com/wp-content/uploads/2018/10/nashville-recording-studio.png 0 0 The Record Shop https://therecordshopnashville.com/wp-content/uploads/2018/10/nashville-recording-studio.png The Record Shop2010-06-28 03:55:342010-06-28 03:55:34Barry Rudolph Reviews Stuffit Deluxe for Mac


What is phak tiu som, or instead of cherry blossom III?
Yesterday Ketsanee ate a green dish and I curiously asked what the chief vegetable was. "Phak tiu som" she answered. She showed me a small bush near the gardener's house I had not noticed before. "It does not grow in Chiang Mai, my mom had to bring it from Esan" she claimed.
I checked a Thai book on Thai vegetables, but 'tiu som' was not included. I checked Tem Smitinand's book 'Thai Plant Names', and he referred to Cratoxylum formosum (Hypericaceae). Luckily this plant already grows at Dokmai Garden, and I could quickly see Ketsanee's leaves did not belong to this species. Smitinand was probably not wrong, but apparently the name is applied to other species too. I checked another book, where 'phak tiu' referred to Cratoxylum in general. I thought it looked like Cratoxylum maingayi, another species we grow at Dokmai Garden. I walked away to pick a young shoot from our garden specimen and then I asked Den, our Karen worker, if he knew this vegetable. He did not. Then I asked Khun Nived, Dokmai Garden's herb master. She confirmed "phak tiu!".
Now, the Thai name of this species is not included in the famous 'Field Guide to Forest Trees in Northern Thailand', and there is not even a picture. It states the flowers are smaller than the bright red C. cochinchinense, but if my identification is correct they are in fact larger. The distribution is from southern Burma to Borneo. According to Mabberley's Plant Book there are only six Cratoxylum species in the world, all from the Indomalayan region. We need an English name, so I consulted the botanary with translations of 21000 botanical names, but Cratoxylum was not included. I consulted Zander's Handwörterbuch der Pflanzennamen with 20 000 species, but the genus was not included there either. Obviously we need to tell the world about this beautiful tree and its edible sour leaves. We hereby propose the English name 'Sourleaf tree' for the genus Cratoxylum.
1. Pick a handful young acid shoots of sourleaf.
2. Boil the leaves in water for ten minutes.
3. Remove the water like when you cook pasta, and then rinse with cold water to cool down the leaves.
4. Press out remaining water with your hands.
5. Cut into small pieces with a knife.
6. Transfer the leaves to a mortar and add 1 teaspoon of fish sauce, a pinch of salt, 2 spring onions, chili powder, 2-5 garlic cloves (depending on size) and 1 teaspoon of anchovy sauce.
7. Pound, mix and serve with sticky rice and any fresh vegetable you like.
A fresh shoot of C. maingayi from a specimen grown in the shade, placed on top of the cooked leaves. Young shoots in the sun are red.
The cherry-like blossom which emerge in early March are quite attractive, which is why it is sad when somebody buys a piece of land and dismiss the original vegetation as weeds, and replace them with another Plumeria heaven. A characteristic of many Cratoxylum spp. is the hairy petal edges. The dents of the petals are not characteristic, they are due to Dokmai Garden being organic.


Your essential source for industry news, information, and resources.
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Everything show attendees need to know before, during, and after your conference.
Print publications are a time-honored source for industry information and a vital piece of your association's comprehensive communication strategy.
Naylor produces high-quality, engaging association print communications to keep your members educated, advance your organization's mission, and deliver value.
Wait…print isn't dead? Not at all – recent surveys demonstrate that younger generations prefer print and read more than older generations.
Like many associations, TSAE relies heavily on its print publication as a tool to engage members and earn non-dues revenue. Naylor helped TSAE redesign their flagship magazine, revamp its content, and build a complementary microsite that engages members between issues, bolsters TSAE's event and social media initiatives, and opens up new opportunities to earn non-dues revenue through custom ad and sponsorship packages.
"We love that Naylor is always bringing new ideas to the table. We love being a guinea pig with them and appreciate that together, we're not afraid to fail. You never know until you try!" says Josh Spradling, CAE, TSAE's marketing & communications director.
How did the print magazine refresh affect member engagement?
As the saying goes, if you fail to plan, then you plan to fail. This holds particularly true for your association's print and digital communication. It's essential for your association to have a clearly defined editorial content strategy if you want to reach your communication goals. Check out our newest infographic about 5 best practices for building a strong editorial content plan.


FILE - Al-Shabab fighters march with their weapons during military exercises on the outskirts of Mogadishu, Somalia, Feb. 17, 2011. Missiles fired Feb. 21, 2018, targeted a rickshaw carrying al-Shabab militants near Jamaame, in the southern Lower Juba region, causing several deaths, officials said.
A U.S. drone strike has killed several al-Shabab militants in southern Somalia, officials tell VOA.
Local sources said missiles fired Wednesday targeted a rickshaw carrying five al-Shabab militants near Jamaame, in the southern Lower Juba region.
"I can tell you that the airstrike hit a rickshaw and that five militants were killed. It was carried out by U.S. drone, helping our intelligence forces on the ground," a Somali government official told VOA Somali on the condition of anonymity.
The attack was confirmed by witnesses and local residents, who also asked for anonymity because they feared militant reprisals.
Somali officials said they were investigating the identity of those targeted. Some sources said two of those in the rickshaw were civilians traveling with three militants.
A statement Thursday from the U.S. Africa Command said the strike was carried out by the U.S. military "in coordination with the Federal Government of Somalia." The statement said the strike killed four terrorists and no civilians.
On Tuesday, local residents in the region reported another airstrike that destroyed an al-Shabab training camp in the nearby town of Jilib. That airstrike, also confirmed by U.S. Africa Command, killed three militants.
The U.S. military has carried out dozens of airstrikes against al-Shabab and Islamic State militants in support of Somalia's federal government.


It may not be any consolation, but I remember the way home.
kiss the princess and become King Frog.
plotting manifest destiny like a particularly cliché proposal.
to homestead on someone else's land.
I am not a bleeding heart, though.
on the ruins of the promised future. Surely, this too shall pass.
I must have some mystical grace.
remains. It will be the campsite of my road dreams.
I eat oranges because that is what you do on a Chelsea Morning.
No matter how small your highway.
among the peace doves of yesterday.
no road ahead to chase.
But this is the Westward way.


text:
Västra hamnen (, "western harbor") is a neighbourhood of Malmö, situated in the borough of Centrum, Malmö Municipality, Skåne County, Sweden. Västra hamnen was an industrial area until the 21st century, when also the last factory closed down. In 1966, Kockums constructed the world's largest dock in Västra hamnen. It is today the most exclusive and expensive neighborhood in Malmö.

Västra Hamnen is also known as "the City of Tomorrow", and is the first district in Europe that claims to be carbon neutral. The district uses aquifer thermal energy storage system to heat buildings in the winter and cool them in the summer. The city of Malmö received a Special Mention award at the Lee Kuan Yew World City Prize 2012 in recognition of its good work at Västra hamnen.

References

Neighbourhoods of Malmö
Redeveloped ports and waterfronts in Sweden

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Temperament: Super friendly and affectionate.
Other information: Romeo is deaf. He is good with other cats.
When Romeo showed up stray at the home of a dedicated RCR volunteer, he was skinny, full of mites and a little wobbly on his feet. This sweet boy may be only a year old but he has already lived a lifetime of hardships; he is deaf and also had several health issues upon rescue. But Romeo is also one of the sweetest cats ever to come into the care of RCR.
Romeo is a happy-go-lucky fellow who loves attention and is a textbook example of a lap cat! He is a bit wobbly on his feet due to being deaf but is otherwise healthy now . Romeo would make a great addition to a home looking for a cat to befriend their existing cat.
If you are interested in Romeo, click here to view our adoption contract and click here to complete an adoption application or email the RCR Adoption Coordinator at rcradoptions@gmail.com for more info.


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Michael Jay Jedel Award in Human Resource Management
This scholarship is named in honor of Michael Jay Jedel, a former associate dean of the Robinson College of Business and director of the W.T.Beebe Institute of Personnel and Employment Relations. It is presented annually to an M.S. or M.B.A. student who exhibits high standards of academic achievement, strong commitment to the human resources field, and outstanding leadership potential.
The William P. Key Scholarship
The William P. Key Scholarship was established in honor of the late William P. "Bill" Key in recognition of his outstanding contribution and support to the Beebe Institute. The scholarship is awarded annually to the student who has demonstrated superior academic performance in the Personnel and Employment Relations Master's program. No application is required.
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The William T.Rutherford scholarship is an annual scholarship. Applications may be made through the W.T. Beebe Institute of Personnel and Employment Relations by January 31.
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Awarded to a master's level student in human resource management, this scholarship is presented to the student with a high GPA, significant work experience in human resources and a commitment to the human resources field. It is presented by the Atlanta Engineering Personnel Association.
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Master's students may qualify for two types of financial aid: scholarships and graduate research assistantships (GRAs). Both are based on academic and other qualifications.
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The Institute provides financial aid to doctoral students in two forms: graduate research assistantships (GRAs) and graduate teaching assistantships (GTAs). The amount of the award is based on academic qualifications, particularly GMAT scores and undergraduate and/or graduate level GPA.
Persons who wish to apply for scholarships and graduate research assistantships should contact the Institute Director by telephone or letter after they have been formally admitted to the program. Awards are made on a case-by-case basis. Scholarship and GRA opportunities are limited and highly competitive.
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text:
SportsSporting EventsGamesActivitiesSoftballHistory Of SoftballHow Long Is A Softball Game?How Much Do Softball Tickets Cost?Top 5 Softball BooksTop 5 Softball MoviesTop 5 Softball Video GamesWhat Are The Best Seats At A Softball Game?What is Softball?Coaching SoftballPlay SoftballSoftball EquipmentSoftball Equipment ListTop 10 Softball BrandsWhat Is A Softball Made Of?Why Is The Ball In Softball Called A Softball?Softball PlayersSoftball Rules
Home>Sports>Softball>Softball Equipment
Top 10 Softball Brands
Many athletes have brands they are faithful to when choosing equipment used during gameplay. This list compiles the ten brands most popular with softball players, whether it be on a professional or recreational level.
What are the most popular softball brands?
1. Rawlings
2. Mizuno
3. Easton
4. Demarini
6. Wilson
7. Franklin
8. Worth
9. Schutt
10. Ripit
Ripit
Rawlings is one of the most successful companies for sports equipment, outlasting other companies and distributing their gear across the country and the world. Rawlings is known as "The Gold Glove Company", originating from its sponsorship with Major League Baseball in providing its annual Gold Glove Award. The company has been around as a sportswear brand since 1887. The company started manufacturing gloves in 1919, originally focusing on baseball gloves but gradually transitioning into softball as well. Though Rawlings is known for gloves, they also produce softballs and helmets and other gear needed for softball other than clothing. Rawlings equipment is a heavily trusted brand. Rawlings provides all of the helmets for the National Professional Fastpitch Softball League and is the official softball for the NCAA. In that sense, Rawlings has a hand in all of softball, both at the professional and collegiate level.
Mizuno was founded in 1906 in Osaka Japan as a shop that sold primarily baseball equipment. In the years following, the demand for Mizuno sports equipment grew. In 1913, Mizuno began to manufacture baseball gloves. One year later, mass production began as the company grew and produced more internationally. Today, Mizuno is a top brand internationally for sports, even becoming an official sponsor for the Osaka Marathon. Their speciality remains baseball and softball, while also producing gloves, balls, cleats, and other equipment. Mizuno has the honor of sponsoring arguably the biggest face in softball history. Jennie Finch is a Mizuno sponsored athlete. She wears the brand and has done so for a few years, touting Mizuno gloves as the best. Vanessa Shippy, a professional softball player, is also sponsored by the company, referencing her bat as the best she has used.
Easton is the leading brand for bats, both baseball and softball, and has been known for their bats and now protective equipment. Easton is the sponsor of many major collegiate baseball and softball teams. Easton was founded in 1922, their original product being bows and arrows. They got into the aluminum business with arrow shafts before transferring to other sports. Easton became popular in the late 1990s due to their composite business making hockey blades, hockey sticks, and in 1999 the first ever two piece metal baseball bat. In this Easton has expanded into the baseball and softball markets. Today Easton is one of the biggest brands in baseball and softball. Easton is the official sponsor of USA softball as well as National Champions UCLA.
Demarini is the most famous bat brand in the world. Most people in the United States know Demarini as a maker of metal bats, especially for youth and Little League. Demarini has now expanded to be a bigger brand, doing not only bats for baseball and softball but apparel, protective equipment like helmets and useful items like batting gloves. Unlike other companies on the list, Demarini was founded with softball specifically in mind. Ray Demarini, the company's founder, was an avid softball player and he decided to make a bat for that specific purpose. An innovator in bat technology the company has cemented itself at the top of the softball world. Softball players sponsored by Demarini include Sierra Romero, Mo Mercado, and more. They sponsor Auburn University, Baylor University, the University of Michigan, and more at the collegiate level.
Nike is the most famous sportswear brand of all time. Founded as a shoe brand, Nike is well known worldwide for its footwear, equipment, clothing, athletes, advertisements, and much more. When it comes to softball, Nike has been making equipment and clothing for years. Their softball cleats and shoes are famous and worn by many athletes. Nike also makes pants for softball as well as undershirts, uniforms, and other aparrel. Nike's dri-fit technology is revolutionary for softball clothing. Nike is a company that has always supported women's sports, softball among them. The brand runs camps for softball players to gain exposure. Additionally, Nike is a sponsor for many universities, most notably the Oregon Ducks and all of their sports, including softball.
Wilson, born in 1913 as a split off from a meat packing company, used animal by-product to string up tennis rackets, and eventually to make baseball and softball gloves using leather. In the nineteen forties, Wilson bought a knitting company and has made everything stitched in sports, from balls, to gloves, to uniforms. It has made products for a wide array of other sports, including golf, soccer, basketball, football, and many more. Wilson is one of the most iconic glove companies in terms of softball, probably second to only Rawlings. Their A2000 series is both legendary for the quality of glove as well as the customization process that allows players to create their own colors and styles of glove. The A2000 is worn by players at all levels and is one of the world's most trusted gloves. Part of the reason that softball players trust Wilson so much is their advisory staff and deals with top softball players, including many members of Team USA such as Monica Abbott, Courtney Gano, and Cat Osterman. Wilson provides gloves for many college softball players as well.
Franklin is a brand that does not differentiate between their baseball and softball equipment, unlike other brands on the list. Interestingly, this does not hinder their popularity within the softball community, as they still are a top selling brand for softball equipment, protective gear, apparel, and most famously, batting gloves. The brand came together in 1983 with Mike Schmidt, Philadelphia Phillie's star third baseman, needed a custom batting glove created for him, one that would become popular with MLB stars at the time. As players wore more Franklin batting gloves, the brand rose to prominence in that field. Today, the brand's batting gloves are popular amongst baseball and softball players alike. Part of the appeal of the gloves is the ability to customize. Adding colors to any part of the gloves allows player creativity and players to show their style on the field. Franklin does not specifically endorse schools or athletes when it comes to softball but many athletes can be seen wearing their equipment.
Worth has established itself as a provider of everything softball. Worth is most famous for their bats, though they have expanded in recent years and now sell gloves specifically for fastpitch softball as well. Worth makes their bread and butter in softballs and softball bats, both for slow pitch softball, where durability and power are key components, and in fastpitch softball where speed and strength are key for equipment. Worth's brand is built on slowpitch softball as much as fastpitch, and it shows in their advisory staff of players, most of whom are big time slowpitch male players like Keith Martin and Jason Matusik. That being said, there are fastpitch female players on the advisory staff as well, namely, Sara Poteat and Justine Real.
Schutt is a brand that has been in the business of protective gear, and with softball is no different. In 1935 Schutt was the leader of football facemasks and in 1962, when masks became mandatory for professional football players, the company was at the forefront of protective gear. Today in softball, as more pitchers and corner infielders are opting for facemask and hockey style helmets to protect their faces and heads, Schutt once again is ahead of the game, so to speak, providing these protective helmets for all players. Schutt makes everything for softball, from home plates to pitching rubbers, to helmets and umpire equipment, even bags. Schutt protective gear can be found on many softball athletes though none are sponsored.
Ripit is a softball specific brand that has flourished, realizing that the market for brands that focus on softball is small. Their website features opportunities for players to order uniforms for entire teams. Ripit has sponsorship deals with softball teams and programs across the country. With 13.2 thousand followers on Instagram, Ripit, though lesser known, is a big brand in the softball industry. Additionally, Ripit has become popular for allowing players to test their gear. For thirty days, a player can decide if the gear is right for them before choosing to return it if they so desire. With a four hundred day warranty, Ripit allows players to return broken equipment, ensuring a reliable product for all softball players.
Pages Related to Top 10 Softball Brands
What Is The Best Age To Start Softball?
Why Is The Ball In Softball Called A Softball?
Softball Leagues
Softball Players
Top 3 Ranked Men's Softball Players Of All Time


My husband, daughter, and I will be in WDW from Dec. 4th-11th. What is the typical weather during this time? Warm or cold, etc. Also how much does it usually rain during this time? Our last trip was late April to early May and it rained almost all day everyday we were there. Thanks!
In beginning of December I wear pants and long sleeves during the day..and add a sweatshirt at night.
My kid wears shorts and tee shirts.
I've only been once at that time, it was for four days. All four days were different going from warm (70s) to chilly and rainy (50s). Watch the weather closely and prepare for anything!


text:
Q: How to optimize matching daterange table for dates with no records? Consider the following tables:
tweets                        daterange
---------------------------   ----------------
tweet_id  nyse_date   class   _date
---------------------------   ----------------
 1        2011-03-12  2       2011-03-11
 2        2011-03-12  1       2011-03-12
 3        2011-03-12  1       2011-03-13
 4        2011-03-12  1       2011-03-14
 5        2011-03-12  0       2011-03-15
 7        2011-03-13  1
 8        2011-03-13  2
 9        2011-03-13  3
10        2011-03-14  3

Each tweet has assigned a 'class', which is either 1, 2 or 3. I need an overview of the number of tweets of each class for each day within datarange. So even though there are no tweets on 2011-03-11 and 2011-03-15, I still need that date to be included in the resultset, as follows:
nyse_date   total  class1  class2  class3
-----------------------------------------
2011-03-11  0      0       0       0
2011-03-12  5      3       1       0
2011-03-13  3      1       1       1
2011-03-14  1      0       0       1
2011-03-15  0      0       0       0

I tried the following query, but it just times out (which it shouldn't because the database isn't that big):
SELECT
  t.nyse_date,
  COUNT(CASE WHEN t.nyse_date = d._date THEN 1 END) total,
  SUM(t.class=1) as neu,
  SUM(t.class=2) as pos,
  SUM(t.class=3) as neg
FROM tweets t
CROSS JOIN
  daterange d
GROUP BY t.nyse_date
ORDER BY t.nyse_date ASC

Here's the EXPLAIN
id select_type table type possible_keys key  key_len ref    rows    Extra
---------------------------------------------------------------------------------------------------
1  SIMPLE      d     ALL  NULL          NULL NULL    NULL   148     Using temporary; Using filesort
1  SIMPLE      t     ALL  NULL          NULL NULL    NULL   560783  Using join buffer

What am I doing wrong? Is there a more efficient way to make sure all dates from the daterange table are included?
edit: I also tried this query, but the result stays the same - it runs untill it times out.
SELECT
  t.nyse_date,
  COUNT(t.tweet_id) AS total,
  SUM(t.class=1) AS neu,
  SUM(t.class=2) AS pos,
  SUM(t.class=3) AS neg
FROM tweets t
LEFT JOIN
  daterange d
  ON t.nyse_date = d._date
GROUP BY t.nyse_date
ORDER BY t.nyse_date ASC

Here's the EXPLAIN
id select_type table type possible_keys key  key_len ref  rows    Extra
-------------------------------------------------------------------------------------------------
1  SIMPLE      t     ALL  NULL          NULL NULL    NULL 560783  Using temporary; Using filesort
1  SIMPLE      d     ALL  NULL          NULL NULL    NULL 148

A: The reason why your query is running slow is because it's not utilizing any indexes on your tweets table.
What you're going to want to do is create a composite index on the (sp100_id, nyse_date) columns in your tweets table, then run this query:
SELECT
    a.sp100_id,
    b._date,
    COALESCE(c.total,0) AS total,
    COALESCE(c.neu,0) AS neu,
    COALESCE(c.pos,0) AS pos,
    COALESCE(c.neg,0) AS neg,
    COALESCE(c.spamneu,0) AS spamneu
FROM
    sp100 a
CROSS JOIN
    daterange b
LEFT JOIN
(
    SELECT
        sp100_id,
        nyse_date,
        COUNT(1) AS total,
        COUNT(CASE class WHEN 1 THEN 1 END) AS neu,
        COUNT(CASE class WHEN 2 THEN 1 END) AS pos,
        COUNT(CASE class WHEN 3 THEN 1 END) AS neg,
        COUNT(CASE WHEN class = 1 AND type = 1 THEN 1 END) AS spamneu
    FROM tweets
    GROUP BY sp100_id, nyse_date
) c ON
    a.sp100_id = c.sp100_id AND b._date = c.nyse_date
ORDER BY
    a.sp100_id, b._date

SQLFiddle Demo

A: I think you were close. But you probably want the dates on the left side.
SELECT
    d.nyse_date,
    COUNT(t.tweet_id) AS total,
    SUM(t.class=1) AS neu,
    SUM(t.class=2) AS pos,
    SUM(t.class=3) AS neg
FROM daterange d LEFT OUTER JOIN tweets t t.nyse_date = d._date
GROUP BY d.nyse_date
ORDER BY d.nyse_date ASC

There's no need to jump to conclusions about indexes. Just try the query the right way before assuming too much.
EDIT
When I first wrote this I did not realize your tables used different names for the dat ecolumns. I wrote the query with an invalid column -- there is no d.nyse_date. If you had changed that to t.nyse_date or just dropped the qualifying alias instead of changing it to the correct column reference, d._date, then I think that explains the issue we saw with the data not coming back with the 15th included because it would be grouping on values from the inner table.
This is the version that ought to work:
SELECT
    d._date,
    COUNT(t.tweet_id) AS total,
    SUM(t.class=1) AS neu,
    SUM(t.class=2) AS pos,
    SUM(t.class=3) AS neg
FROM daterange d LEFT OUTER JOIN tweets t t.nyse_date = d._date
GROUP BY d._date
ORDER BY d._date ASC

redpajama_set_name: RedPajamaStackExchange


If you are planning to set up your own business, you will want to consider your options carefully. You can operate your business either as a sole trader, as a limited company, or as a partnership. There are advantages and disadvantages to all three methods, some of which are set out below. Given the different legal implications of this decision, it is worth consulting your solicitor for advice about which option would be best in your particular situation.
Being a "sole trader" means running your business as an individual. The business is not a separate legal entity, which means that the business cannot earn profits or be responsible for anything itself. You keep all of the profits of the business, and pay income tax just as you would if you were employed. However, you are also personally responsible for paying for the costs of running the business, as well as any business losses.
The benefits of trading as a sole trader are that it is simple to register as self-employed with HM Revenue and Customs, and that it imposes only minimal business obligations, such as to keep records of your sales and spending. However, it offers you no legal protection, since your business is not a separate legal entity.
Setting up a "limited company" means setting up a separate organisation to run your business. The business is a therefore a separate legal entity, which is responsible for its own actions and finances. Any profits are earned by the company, not by anyone personally, and the company pays corporation tax, rather than income tax. The company may then share its profits with other companies or individuals who own shares in that company.
The advantages of trading as a limited company are, firstly, that corporation tax is currently significantly less than income tax, but also that your legal responsibilities are limited to, for example, the value of your unpaid shares in the company. However, if you are a director of the company, you will be liable to fulfil various legal obligations, including keeping copious financial accounts.
Trading as a "partnership" means running your business with one or more partners. Unlike a limited company, your business is not a separate legal entity, which means that you share the profits of the business with your partners, paying income tax on your share. However, it also means that you are personally responsible for your share of any business losses. You can limit this liability by setting up a "limited liability partnership", where you are only responsible to pay debts up to the amount you invest in the business.
Therefore, although trading as a partnership is inherently less risky than trading as a sole trader since you are only liable for your share of the business, it does not put you in as secure a legal position as setting up a limited company. Nevertheless, it avoids the onerous obligations that are imposed on directors of limited companies.


text:
Promotional Discounts Can Increase Traffic, Boost Profit: Study
CHEF'STORE to open 3rd store in Montana on Saturday
UNFI to host its 1st selling show of 2023 next month
Wakefern opens self-serve, AI-based c-store for its workers
UNFI releases its 12th annual Better for All Report
By Rebekah Marcarelli on Sep. 28, 2017
Promotional discounts increase store traffic and lead to higher overall profits, especially if the advertised products are staples such as meat and produce that are purchased frequently, according to a new study published in the Journal of Retailing.
An analysis of about 677,000 transactions with an average value of $15.44 per transaction at a popular Northeastern grocery chain showed that deep discounting, accompanied by a blitz of advertising promotions, achieved retailers' goal of attracting more customers into stores and increasing overall profits.
"Our results validate the widespread use of price promotions supported by feature advertising, such as those found in newspaper circulars," says Dinesh Gauri, professor of marketing for the Sam M. Walton College of Business at University of Arkansas. "These featured promotions provided a beneficial impact on several key performance metrics, including store traffic, sales and profits."
The researchers' main finding came with several caveats, Gauri added.
Promotional discounts on both high-penetration, high-frequency items (staples such as meat and produce) and low-penetration, low-frequency items (beer and condiments) led to increased traffic but lower sales per transaction.
"This suggests that these promotional discounts tend to attract small-basket customers," Gauri affirms.
However, discounts in these same categories were associated with higher overall profit margins, especially in the low-penetration, low-frequency category. Gauri says this suggests that the smaller transactions generated by the discounts contained an above average number of high-margin items, in addition to the discounted items.
"We think this result was driven mainly by beer, which was featured almost every week," Gauri notes.
These other findings can also give retailers an edge, according to the researchers:
Broad discounting in one category may lead to diminishing returns.
On average, discounts on national brand items had a stronger impact on per-transaction sales than discounts on nonbrands.
Consumers who took advantage of deep discount promotions on impulse products tended to buy products in more profitable categories.


I know everyone is born with a brain but too many don't appear to know how it works.
This entry was posted in Life, society and tagged attitude, conversational comebacks, humour, perception, Shady Quip on July 27, 2018 by quiall.
They don't even know where it is, let alone how it works!! So sad.
And you know Pam, your quip describes most everyone in Washington!! That's not only sad, it's damn scary!!
Very true! Im quite impressed that you are still doing daily quips!! Its been a very long time. Hope you are doing great.
My mind thinks in one line! As long as I keep enjoying them and you guys keep reading them, I'll keep writing them. Good to see you back!
That is great to hear. Hope I will stay longer this time to read those one liners, more!
It's tough to choose one!
Lol! Funny but true and literal too. Many people don't actually know their brain work.
And they prove it every day!
Hahaha. That explains so much!