It offers stunningly realistic piano presets for every possible recording genre.
Plays virtual piano , with the ability to save the compositions and record them.
Digital Sound Factory
The Steinway Grand is one of the most classic grand pianos ever produced.
EZkeys is a revolutionary plugin and stand alone instrument.
This is a good program to entertain your kids by using computer keyboard.
This standalone and VSTi plug-in can play, record your midifiles, with a perfect quality.
Control MIDI synthesizer and play notes from your PC.
Native Instruments Software Synthesis GmbH
Brings 3 famous grand pianos for you to have them right in your PC.
Create songs with a digital version of the Steinway & Sons B-211 grand piano.
Provides a virtual keyboard to play several instruments.
A powerful 2D vector editor for Windows, including basic Visio functionality.
Grand Designs 3D
GRAND DESIGNS software has been created to help you to design your dream home.
The Authorized Steinway Virtual Concert Grand Piano is a software piano.
PMI Bösendorfer 290 Grand Piano is a Native Instruments Kompakt.
Pianissimo is a virtual grand piano that supports MIDI input.
A virtual grand piano that is based on samples of Bauer Studios’.
It is an expressive vintage grand piano used with Kontakt 5.
SNC Lavalin GDS
Reduce time spent checking CAD blocks, layers, fonts and attribute data.
Sound Magic Co.Ltd
Imperial Grand gives you absolute control over every aspect of a piano.
AIR Music Tech GmbH
Mini Grand is a simple-to-use yet powerful virtual piano instrument.


The Winnipeg Folk Festival presents William Prince's Reliever Album Release
Returning to Winnipeg to play the West End Cultural Centre, William Prince brings his sophomore album to the stage on Friday, February 14th 2020. Following up on the award winning Earthly Days is no small feat, but Reliever delivers a powerful collection of tunes from one of the best storytellers working in music.
Advance tickets for this special Valentine’s Day show are $35 plus fees and are available now at all Ticketmaster outlets so don’t delay and get yours now to experience the intimate, magical experience that is William Prince live.
Hear All Year
William Prince’s Reliever Album Release at the West End Cultural Centre on Friday, February 14th, presented by the Winnipeg Folk Festival and proudly supported by 101.5 UMFM.


Here is a list of currently-planned concerts to add to your diary. In general tickets are available online a month before the concert or can be bought at the door. For a small annual fee, Friends of Orpheus receive advance notice of our concerts, a regular newsletter, a £1 discount on ticket prices and, at our next concert on 23 November 2019 at Christ Church Totland, a free drink at the concert interval. To receive further details of each concert as they become available, join our mailing list.
St Mary the Virgin Church, Cowes PO31 8HA
Saturday 21st March 2020, 7.30pm
Tippett, Lauridsen, Vaughan Williams, Turner


O CESSATE DI PIAGARMI PDF
Elizabeth Holmes Smith, mezzo-soprano and Brenda Landrum, piano (performer ). “O cessate di piagarmi.” () Shepherd School of Music, Rice University. O cessate di piagarmi, from Il Pompeo. Alessandro Scarlatti. Show performers. COMPOSER: Alessandro Scarlatti. Add “Alessandro Scarlatti – O cessate di. Scarlatti, Alessandro O cessate di Piagarmi | Buying sheet music and downloads from Schott Music.
|Published (Last):||17 November 2016|
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O cessate di piagarmi Composed by: Contains complete lyrics This product is available worldwide Available at a discount in the digital sheet music collection: I was able to transpose it using MuseScore to suit a pupil of mine whose voice is breaking very very slowly and this piece – having a range of less than an octave – is piatarmi for him.
Ariettas for all voices set. Here are the chosen tonalities for this arietta from high to low voice: View All Product Type: Right now, you do NOT have it installed: The Related Products tab shows you other products that you may also like, if you like O cessate di piagarmi.
This set shows two different text versions according to a manuscript of arias in Copenhagen, which gives, in the second part, “occhi attroci [sic, atroci] orgogliosi” according to Knud Jeppesen in La Flora, vol.
Alessandro Scarlatti : O cessate di piagarmi (O no longer see to pain me)
Le violette Alessandro Scarlatti. When you purchase any Musicnotes Edition, you are granted performance and recording rights and you may print an unlimited number of copies of your purchased selection.
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“O cessate di piagarmi” Sheet Music
Ungrateful lights, merciless, merciless, oo than frost and more than marble Cold and mute, my martyrs, cold and mute, my martyrs O stop wounding me, o let me to die, o let me to die. Choose where you want to share: You’ll receive all 2 pages after purchase. Ariettas for all voices set. Full performance and recording rights and unlimited prints.
Scarlatti – O cessate di piagarmi
It’s surely possible to find these ariettas in several tonalities, but they haven’t been edited in so many moods as in this collection, going from very high to very deep voices. Not the arrangement you were looking for?
OK, I agree No, give me more info. Go Pro Upload Log In. Cesaste Arrangement Details Tab gives you detailed information about this particular arrangement of O cessate di piagarmi – not necessarily the song.
D 4-D5 Piano Pages: Uploaded on May 6, We think your country is: This digital sheet music was either arranged by Musicnotes. Try again More of this, please? Alessandro Scarlatti Theodore Baker.
“O cessate di piagarmi” Sheet Music – 1 Arrangement Available Instantly – Musicnotes
Choose where you want to share: Thank you so much for this. The Song Details Tab gives you detailed information about this song, O cessate di piagarmi.
Follow to get notified when Arthur Stammet has uploaded new scores. Translation of the lyrics: It’s surely possible to find these ariettas in several tonalities, but they haven’t been edited in so many moods as in this cessate, going from very high to very deep voices. Here are the chosen tonalities for this arietta from high to low voice: To print parts, please upgrade to a Pro account first.
O cessate di piagarmi, o lasciatemi morir, o lasciatemi morir.


Construction and function of the Harp - Philipp Dangas
Construction and function of the Harp
Construction and function of the harp graphic can be enlarged. It is Link-Sensitive [Clickable].Components of the harp in small representation
The harp has the shape of a triangle and consists of the following main parts:
- 1st foot (pedestal or pedal set)
- the instrument stands on it and at the same time contains the pedals.
- 2. Resonance box (body)
- it is about 1.25 m to 1.50 m long and widens from top to bottom. A strip of hard wood runs down the middle to which the strings are attached.
- 3.Neck (upper leg of the triangle)
- on it are the tuning pegs for attaching and tensioning the strings and the turntables for changing the tuning.
- 4.Barón rod (front rod)
- connects the neck to the pedestal. Absorbs the tension of the strings.
Download size: 60.4 kilobytes
Table summary of the components of a harp
The following table lists the components of the harp shown. Pedal box, resonance box, neck, front rod and strings briefly described.
The structure of a harp in large representation
The components of a harp
- Tuning pins


Download and print Piyu Bole accompaniment sheet PDF with accurate piano notes and chords from Parineeta.
Arranged in the scale of Db major (same as original key).
Suitable for piano and keyboard.
Check out other Hindi piano accompaniment notes.
For more information see the Additional Information section tab.
If you love this sheet don’t forget to write a review in the review tab.


I record a 'live' band and when sound levels are high I find the Focal Spirit Pros are great for isolation.
My interface is MOTU 986 MK3 with the normal H/P outputs.
Any suggestions for an amp to give a little more level . . ? Neutral, no hype.
I'd like a full-featured desk amp (more options). Probably not tubes (valves) for on-the-road.
£200 - £300 is my budget.
Anyone into recording . . ?


|Score Book & Luxembourg Tracks|
This Score Book was published in December 2016, commissioned by the Rainy Days festival of the Philharmonie Luxembourg.
It contains scores for the eyes, ears, the body, paper and a group of walkers, to be performed by the reader, where ever and whenever they want.
As a top up, it contains 2 new audio guide pieces for two shopping malls in Luxembourg (but ready to be performed in any such shopping center), which combine score pieces from the book with audio tracks.
Here under you can find the PDF of the book, the sound tracks and some documentation pictures of the presentation at the festival in 2016.
|PDF of the Score Book for small self-performances|
Program of the presentation at the rainy days festival, Luxembourg 2016:
«This whole world is wild at heart and weird on top»:
Head & Phones Performances
- MAKE IT SO IN BELLE ÉTOILE *
- self-performative head-phone piece & scores for the shopping center Belle Étoile, Luxembourg
- LET IT GO IN AUCHAN *
- self-performative head-phone piece and scoresshopping center Auchan
- NO MUSIC - EARPIECES
- conducted (self-) performances at the Philharmonie Luxembourg
«I wish you’d sing me Love me tender»:
Body & Building Performances
- WALK FOR BODY, BUILDING AND SOUL *
- from Centre Culturel de Rencontre Abbaye de Neumünster (Innenhof) to Casino Art Center
* création, commande Philharmonie Luxembourg
premiered 10 - 11 December 2016 for Rainy Days Festival "into the wild" at the Philharmonie Luxembourg and on locations, http://www.rainydays.lu/2016/


Welcome to our comprehensive guide on how to use a DI box for acoustic guitar. Whether you are a seasoned musician or just starting out, understanding the importance of a DI (Direct Injection) Box can greatly improve the quality of your sound when performing live or recording in a studio. In this article, we will explore what a DI Box is, why it is crucial for acoustic guitar players, and provide step-by-step instructions on how to set up and use a DI Box.
With the rise of live performances and the increasing demand for clarity and precision in sound reproduction, the role of a DI Box has become indispensable for acoustic guitarists. A DI Box converts the high-impedance signal produced by an acoustic guitar’s pickup into a low-impedance signal, making it compatible with professional audio equipment such as mixers, audio interfaces, and PA systems. This allows for a cleaner signal transmission, eliminating noise, distortion, and impedance mismatches that can adversely affect your sound quality.
Using a DI Box not only ensures optimal sound reproduction but also provides convenience and flexibility in various performance scenarios. Whether you are playing in a small venue with limited amplification options or connecting your acoustic guitar directly to a recording interface in a studio setting, a DI Box acts as a reliable intermediary, guaranteeing consistent tone and signal integrity.
In the following sections, we will delve deeper into the technical aspects of setting up a DI Box, including connecting your acoustic guitar, adjusting input gain levels, understanding the ground lift switch, and connecting to a mixer or PA system. We will also address common troubleshooting issues that may arise and provide solutions to overcome them.
By the end of this guide, you will have the knowledge and confidence to utilize a DI Box effectively, enhancing the overall sound quality of your acoustic guitar and elevating your performance capabilities. So, let’s dive in and explore the world of DI Boxes and their invaluable role in amplifying and capturing the essence of your acoustic guitar.
What is a DI Box?
A DI Box, short for Direct Injection Box, is an essential tool for musicians, especially acoustic guitarists, in the world of live performances and studio recordings. It serves as a vital link between your acoustic guitar and professional audio equipment, ensuring optimal signal quality and compatibility.
At its core, a DI Box is essentially a specialized audio transformer that converts the high-impedance signal output from your guitar’s pickup into a low-impedance signal that can be easily interpreted by mixers, audio interfaces, and PA systems. This transformation is crucial because high-impedance signals are prone to interference, noise, and signal degradation over long cable runs or when connected to equipment with low input impedance.
DI Boxes come in various shapes and sizes, ranging from compact portable units to larger, feature-rich models with additional controls and options. Some DI Boxes are passive, meaning they don’t require external power and rely solely on the audio transformer to do the signal conversion. Others are active, incorporating built-in preamps and requiring batteries or phantom power to operate.
One of the primary functions of a DI Box is to balance and match the impedance of your guitar’s pickup with the input impedance of the recording or amplification equipment. This ensures a clean and accurate signal transfer, minimizing noise and maximizing the fidelity of your acoustic guitar’s sound.
Additionally, DI Boxes often provide other useful features to further enhance your signal quality and offer connectivity options. These can include adjustable input gain controls, ground lift switches to eliminate ground loops and reduce electrical interference, and outputs that allow you to connect to a mixer, PA system, or recording interface, among other audio devices.
Overall, a DI Box is an essential tool for any acoustic guitarist seeking professional sound quality. It bridges the gap between your guitar’s pickup and audio equipment, providing a reliable and transparent connection that takes your sound to a new level. With a DI Box in your setup, you can experience improved signal fidelity, reduced noise and interference, and greater control over your acoustic guitar’s tone.
Why Use a DI Box for Acoustic Guitar?
Using a DI Box for your acoustic guitar offers several significant advantages that can greatly enhance your overall sound quality and performance experience. Let’s take a closer look at why utilizing a DI Box is highly recommended for acoustic guitarists:
1. Signal Integrity: A DI Box ensures that the signal from your acoustic guitar’s pickup remains clear and intact throughout the audio chain. By converting the high-impedance signal into a low-impedance signal, a DI Box reduces the risk of signal loss, distortion, and noise that may occur when connected directly to the amplifier or audio interface.
2. Impedance Matching: Impedance matching is crucial for maintaining the integrity of your guitar’s tone. A DI Box matches the high impedance output of your acoustic guitar’s pickup with the low impedance input of professional audio equipment, such as mixers and recording interfaces. This prevents signal degradation and ensures the accurate reproduction of your instrument’s sound.
3. Noise Reduction: An acoustic guitar pickup can be sensitive to external interference, resulting in unwanted noise. By using a DI Box, you can eliminate or effectively reduce electrical hums, ground loops, and electromagnetic interference that can plague your signal. This results in a cleaner sound and a more professional performance.
4. Flexibility in Sound Reinforcement: When performing in various venues, the available amplification systems may not always be ideal for an acoustic guitar. A DI Box allows you to connect your acoustic guitar directly to the PA system or mixer, giving you more control over the sound and ensuring consistency in tone across different performance spaces.
5. Versatile Connection Options: DI Boxes typically offer multiple output options, allowing you to connect to different audio devices simultaneously. This versatility enables you to route your guitar’s signal to various destinations, such as a mixer for front-of-house sound reinforcement and a recording interface for studio recording.
6. Improved Sound Reproduction: By utilizing a DI Box, you can achieve a balanced and professional sound, whether you are performing live or recording in a studio. The precision and consistency provided by a DI Box enhance the nuances and dynamics of your acoustic guitar, resulting in a more accurate and faithful representation of your instrument’s tone.
In summary, using a DI Box for your acoustic guitar is essential for maintaining signal integrity, reducing noise, achieving impedance matching, and gaining greater control over your sound. It opens up a world of possibilities for live performances and studio recordings, allowing you to showcase the true beauty and unique characteristics of your acoustic guitar with clarity and precision.
Setting up your DI Box
Setting up your DI Box correctly is crucial to ensure optimal sound quality and reliable performance. Here are the steps to follow when setting up your DI Box:
1. Choose the Right DI Box: Select a DI Box that suits your specific needs and preferences. Consider factors like input/output options, whether you need a passive or active DI Box, and any additional features that may be beneficial to your setup.
2. Connect the DI Box: Begin by connecting your acoustic guitar to the input of the DI Box. Most DI Boxes have a 1/4″ instrument input designed to accommodate the standard output jack of an acoustic guitar. Ensure a secure connection is made.
3. Adjust Input Gain: Many DI Boxes have an input gain control that allows you to adjust the level of the incoming signal. Start with the gain set to a nominal position and make any necessary adjustments to avoid distortion or signal clipping. Experiment with different gain settings to find the optimal balance between volume and clarity.
4. Ground Lift Switch: Some DI Boxes feature a ground lift switch, which can be useful in eliminating ground loop hum caused by electrical interference. If you experience a humming sound when your DI Box is connected, try toggling the ground lift switch to see if it eliminates or reduces the problem.
5. Connect to Mixer/PA System: Use an XLR cable to connect the output of the DI Box to a mixer or PA system. Locate the XLR output on your DI Box and connect it to an available input on the mixer or PA system. Ensure a secure connection is made, and verify that the input channel on the mixer or PA system is properly configured for the DI Box signal.
6. Set the Output Level: Adjust the output level of the DI Box to match the input requirements of the connected audio device. This helps maintain consistent volume levels and prevents overloading or distorting the inputs on the mixer or PA system. Consult the user manual of your DI Box for specific instructions on adjusting the output level.
7. Test and Fine-Tune: Before your performance or recording session, take the time to test your setup and make any necessary adjustments. Play your acoustic guitar and listen for any issues such as signal distortion, noise, or imbalances. Use the controls on your DI Box and audio equipment to fine-tune the sound to your liking.
Properly setting up your DI Box ensures that your acoustic guitar’s signal is accurately transmitted, reducing the risk of unwanted noise and signal degradation. Take the time to familiarize yourself with the specific controls and features of your DI Box, as each model may have slight variations in operation.
Remember, the goal is to achieve a transparent and balanced signal transfer, allowing the true tone and nuances of your acoustic guitar to shine through in your performances or recordings.
Connecting your Acoustic Guitar to the DI Box
Connecting your acoustic guitar to the DI Box correctly is essential for optimal signal transfer and sound quality. Follow these steps to ensure a proper connection:
1. Locate the Instrument Input: Identify the instrument input on your DI Box. It is typically labeled as “Input” or “Instrument In.” This input is designed to accommodate the standard 1/4″ output jack found on acoustic guitars.
2. Plug in the Guitar: Take your 1/4″ instrument cable and plug one end into the output jack of your acoustic guitar. Ensure that the connection is secure to avoid any signal dropouts or interference.
3. Connect the Cable: Take the other end of the instrument cable and plug it into the instrument input on the DI Box. Again, ensure a secure connection is made to maintain signal integrity.
4. Check for Signal: Once the guitar is connected to the DI Box, check for signal flow. If your DI Box has an LED indicator, it may light up to indicate that there is a signal passing through. You can strum your acoustic guitar to test and confirm that the signal is being detected by the DI Box.
5. Adjust Input Gain: Many DI Boxes have an input gain control that allows you to adjust the level of the incoming signal. Start with the gain set to a neutral position and then experiment with different settings to find the ideal balance. Aim for a clear and balanced signal without any distortion or clipping.
6. Use a High-Quality Cable: It is important to use a high-quality instrument cable to connect your guitar to the DI Box. This helps ensure optimal signal transmission and reduces the risk of signal degradation or interference.
7. Consider DI with Preamp: If you have a passive acoustic guitar with a low-output pickup, consider using a DI Box with a built-in preamp. This can provide additional gain and boost the signal before it enters the DI Box, ensuring a stronger and cleaner signal.
By following these steps, you can ensure a proper and secure connection between your acoustic guitar and the DI Box. This connection is crucial in achieving a clean, balanced, and noise-free signal from your guitar, allowing you to fully utilize the benefits of the DI Box in enhancing your acoustic guitar’s sound.
Adjusting the Input Gain
Adjusting the input gain on your DI Box is a critical step in achieving the optimal sound quality and level for your acoustic guitar signal. Follow these guidelines to adjust the input gain effectively:
1. Find the Input Gain Control: Locate the input gain control on your DI Box. It is often labeled as “Gain,” “Input Level,” or a similar term. This control allows you to adjust the level of the incoming signal from your acoustic guitar.
2. Start with a Neutral Position: Begin by setting the input gain to a neutral or default position. This ensures that you have a balanced starting point to work with. If your DI Box has a numbered scale, set it to the middle position or “0” as a starting point.
3. Strum Your Guitar: Play your acoustic guitar at a typical performance level while monitoring the signal through the DI Box. Listen for any distortion or clipping. If the signal is too low and lacks clarity, gradually increase the input gain. If the signal is too strong and distorts, reduce the input gain accordingly.
4. Aim for Clarity and Headroom: The goal is to achieve a clear and balanced signal without any audible distortion or clipping. Ensure that the acoustic guitar’s natural tone and dynamics are accurately represented. Pay attention to the loudest parts of your playing and ensure that there is enough headroom to prevent any clipping or unwanted distortion.
5. Avoid Extreme Settings: When adjusting the input gain, it’s important to avoid extreme settings. Excessive gain can introduce noise, distortion, and clipping, while too little gain can result in a weak or buried signal. Aim for a balanced setting that allows your acoustic guitar’s sound to shine through without any unwanted artifacts.
6. Consider Room Acoustics: Keep in mind that the acoustic characteristics of the performance space or recording environment may influence the input gain settings. If you’re in a highly reverberant room, you may need to lower the gain to prevent the signal from becoming too muddy or washed out. Conversely, in a dry or dead room, you may need to boost the gain slightly to compensate for the lack of natural ambience.
7. Monitor the Output Level: While adjusting the input gain, keep an eye on the output level of the DI Box. Ensure that the output level is appropriate for connecting to your mixer, recording interface, or PA system. If necessary, adjust the output level of the DI Box to match the input level requirements of your audio equipment.
Remember, the input gain setting on your DI Box plays a crucial role in capturing the true essence of your acoustic guitar’s sound. Take the time to fine-tune this setting to achieve a balanced and pristine signal that accurately represents your playing style and musical expression.
Understanding the Ground Lift Switch
The ground lift switch is a common feature found on many DI Boxes and serves a vital function in eliminating unwanted noise and interference in your audio signal. Let’s delve into the importance of the ground lift switch and how to use it effectively:
1. What is a Ground Lift Switch?
The ground lift switch is a small toggle or button typically located on the outer panel of a DI Box. Its purpose is to interrupt the electrical connection between the ground (earth) of the DI Box and the audio source it is connected to, such as your acoustic guitar. Ground loops, which can cause hums, buzzes, or other electrical noises, can be effectively addressed using the ground lift switch.
2. When to Use the Ground Lift Switch?
If you experience a humming sound or noticeable electrical interference when using your DI Box, it is typically due to a ground loop – a situation where multiple electrical devices share a common ground path, creating a loop of electrical current. In such cases, engaging the ground lift switch can help break the loop and eliminate the unwanted noise.
3. How to Use the Ground Lift Switch?
Engaging the ground lift switch is a simple process that involves flicking the switch to the “lift” position. This essentially creates an electrical break between the ground connection of the DI Box and the source device, interrupting the ground loop. It is important to note that the ground lift switch should only be used if ground loop noise is present and not as a standard practice.
4. Testing and Monitoring:
When using the ground lift switch, it’s crucial to monitor the audio signal for any changes in sound quality. In some cases, engaging the ground lift switch may successfully address ground loop noise. However, it is also possible that using the ground lift switch may result in a loss of shielding or introduce other unwanted side effects. Therefore, take the time to monitor the signal after engaging the ground lift switch and ensure that the sound remains clear and free from any new issues.
5. Understanding Limitations:
While the ground lift switch is an effective tool, it is important to recognize its limitations. If the ground loop issue persists even after using the ground lift switch, other troubleshooting measures may be necessary, such as rearranging power sources, utilizing high-quality cables, or using isolation transformers. If you are unsure how to address persistent ground loop noise, consulting with a sound engineer or technical expert can provide valuable guidance.
6. Ground Lift vs. Grounding:
It is important to distinguish between the ground lift switch and the need for proper grounding. While the ground lift switch can help in certain situations, adequate grounding is essential for safety reasons. Always ensure that your DI Box and audio equipment are properly grounded according to local electrical standards.
Understanding how to use the ground lift switch effectively can help you combat unwanted noise and interference, leading to a cleaner and more professional sound. By using this feature judiciously and in conjunction with other troubleshooting methods, you can ensure a noise-free signal for your acoustic guitar.
Connecting the DI Box to a Mixer or PA System
Connecting your DI Box to a mixer or PA system is a crucial step in ensuring that your acoustic guitar signal reaches the intended destination with clarity and fidelity. Here’s how to properly connect your DI Box:
1. Identify the Output Connections:
Locate the output options on your DI Box. Most DI Boxes have an XLR output, which is the standard connection for connecting to mixers and PA systems. Some DI Boxes may also have additional output options such as 1/4″ TRS or RCA connectors.
2. Prepare the Appropriate Cables:
Choose the appropriate cable to connect the output of your DI Box to the mixer or PA system. If your DI Box has an XLR output, use an XLR cable. If it has a 1/4″ TRS output, use a 1/4″ TRS cable. Ensure that the cables are of good quality to minimize signal loss or interference.
3. Connect the Output of the DI Box:
Take one end of the appropriate cable and plug it into the output of your DI Box. If your DI Box has multiple output options, select the one that is compatible with the input connectors on your mixer or PA system.
4. Connect to the Mixer or PA System:
Identify an available input channel on the mixer or PA system where you want to connect the DI Box. Use the other end of the cable and plug it into the corresponding input on the mixer or PA system. Make sure the connection is secure.
5. Verify Input Configuration:
On the mixer or PA system, ensure the input channel that corresponds to the DI Box connection is properly configured. This may involve adjusting the input gain or selecting the appropriate input type (e.g., line, mic) to match the signal coming from the DI Box. Consult the mixer or PA system’s user manual for specific instructions.
6. Test and Make Adjustments:
Before your performance or recording session, test the connection and listen for any issues such as improper grounding, signal distortion, or noise. Adjust the input gain and other settings on the mixer or PA system to achieve the desired sound quality and volume.
7. Multiple DI Boxes:
If you are using multiple DI Boxes for multiple instruments, ensure that each DI Box is connected to its respective input channel on the mixer or PA system. Assigning each instrument to its own input channel allows for independent control and mixing.
By following these steps, you can establish a proper and reliable connection between your DI Box and the mixer or PA system. This connection is crucial in ensuring that your acoustic guitar’s signal is amplified and reproduced accurately, allowing your performance to shine through in a live or recorded setting.
Setting the Output Level
Setting the output level of your DI Box is an important step in ensuring that your acoustic guitar signal is delivered at the appropriate level to the connected audio equipment. Here’s how to effectively set the output level:
1. Identify the Output Level Control:
Locate the output level control on your DI Box. This control may be labeled as “Output Level,” “Level,” or similar terminology. It allows you to adjust the strength of the signal being sent to the connected mixer, PA system, or recording interface.
2. Start with a Neutral Position:
Begin by setting the output level control to a neutral or default position, typically indicated as “Unity” or “0 dB.” This ensures that you have a balanced starting point to work with.
3. Monitor the Input of the Audio Equipment:
Connect your DI Box to the input of the connected audio equipment, such as a mixer or PA system. In the case of recording, connect to the recording interface. Take note of the input level meters or indicators on the receiving equipment.
4. Play and Observe the Signal:
Play your acoustic guitar and observe the input level meters on the connected equipment. Make adjustments to the output level control on the DI Box until the input level meters read within an optimal range. Aim for a healthy signal level without exceeding the maximum threshold or causing distortion.
5. Avoid Overloading the Inputs:
It is crucial to ensure that the output level from your DI Box does not overload the inputs of the connected audio equipment. Overloading the inputs can lead to distortion, clipping, and a compromised sound quality. Keep an eye on the input level meters and make adjustments to the DI Box’s output level control as needed.
6. Adjust for Different Audio Devices:
Keep in mind that different audio devices may have varying input sensitivity. This means that the optimal output level on your DI Box may differ when connecting to different mixers, PA systems, or recording interfaces. Adjust the output level accordingly to match the input requirements of the specific equipment you are connecting to.
7. Test and Make Fine-Tuning Adjustments:
After initially setting the output level, take the time to test your setup and make any necessary fine-tuning adjustments. Play your acoustic guitar across different dynamic ranges and listen for any distortions, inconsistencies, or imbalances. Make further adjustments to the output level as needed to achieve a balanced and clean sound.
Setting the output level correctly ensures that the signal from your DI Box is delivered at an appropriate level to the destination audio device, allowing for accurate and optimal amplification or recording of your acoustic guitar. Take the time to carefully monitor and adjust the output level to achieve the best possible sound quality for your performance or recording.
Troubleshooting Common Issues
While using a DI Box for your acoustic guitar can greatly enhance your sound quality, you may encounter some common issues along the way. Here are some troubleshooting tips to address these issues:
1. Noise or Hum:
If you experience unwanted noise or hum in your signal, it could be due to several factors. First, check your cables and connections to ensure they are secure. If the issue persists, try engaging the ground lift switch on your DI Box to eliminate any ground loop issues. Additionally, make sure your audio equipment is properly grounded, as inadequate grounding can contribute to noise problems.
2. Distortion or Clipping:
If your signal is distorted or clipped, first check that the input gain and output levels on your DI Box are properly adjusted. Lower the input gain if the signal is too hot, causing distortion. Similarly, reduce the output level if the signal is clipping the input of the connected audio equipment. Making these adjustments can help regain a clean and undistorted signal.
3. Weak or Low Volume:
If your signal is too weak or low in volume, check the input gain on your DI Box and ensure it is set appropriately. Increasing the input gain can boost the level of your signal. Additionally, check the output level of the DI Box and adjust it accordingly to match the input level requirements of the connected audio equipment. Make sure your guitar’s volume is sufficient as well.
4. Phase Issues:
In some cases, when combining the DI Box signal with other microphones or audio sources, you may encounter phase cancellation issues. This can result in a thin or hollow sound. Experiment with reversing the phase (polarity) switch on the DI Box or adjusting the phase of the other audio sources to resolve the issue. Listen carefully and make incremental adjustments until the sound is balanced and full.
5. Signal Dropouts:
If you experience intermittent signal dropouts or loss, check all of your connections to ensure they are secure. A loose or faulty cable connection can cause signal dropouts. Additionally, inspect your batteries (if using an active DI Box) or power supply to ensure they are functioning correctly. Replacing the batteries or using a reliable power source can help resolve signal dropout issues.
6. Excessive Feedback:
If you encounter feedback or a high-pitched squealing sound, it could be due to the interaction between your acoustic guitar’s amplified sound and the PA system. Reduce the volume or gain on the PA system and adjust the position of your guitar in relation to the speakers to minimize feedback. Utilizing a feedback suppressor or an EQ pedal can also help in managing feedback issues.
7. Signal Mismatch:
If the levels of your acoustic guitar signal seem unbalanced with other instruments or audio sources, check the input levels on the connected audio equipment. Adjust the input gain or volume on the mixer or other devices to achieve a balanced mix. Additionally, make sure all your equipment is set to the appropriate signal level (line, mic), as mismatched levels can result in imbalanced sound.
By troubleshooting these common issues, you can overcome technical challenges and ensure a smooth and optimal performance or recording experience with your acoustic guitar and DI Box setup. Keep in mind that each situation may require unique adjustments and experimentation to achieve the best results.
Using a DI Box for your acoustic guitar can significantly enhance your sound quality, whether you are performing live or recording in the studio. By converting your high-impedance guitar signal into a low-impedance signal, a DI Box ensures optimal signal integrity, reduces noise, and facilitates seamless connectivity with audio equipment.
In this comprehensive guide, we explored the various aspects of using a DI Box for acoustic guitar. We learned about the purpose and functionality of a DI Box, its importance in impedance matching, and the benefits it provides to acoustic guitarists.
We discussed the step-by-step process of properly setting up a DI Box, including connecting your acoustic guitar, adjusting the input gain, utilizing the ground lift switch, and connecting to a mixer or PA system. We also covered troubleshooting common issues that may arise during the setup and usage of a DI Box.
Remember, proper setup and understanding of your DI Box are key to achieving the best sound quality. Take the time to experiment with different settings and fine-tune the output level to suit your specific acoustic guitar and audio setup.
Finally, keep in mind that every acoustic guitar and audio system is unique, and the optimal settings may vary. It is essential to trust your ears and make adjustments based on the specific requirements of your instrument and performance space.
By incorporating a DI Box into your acoustic guitar setup, you can elevate your sound, reduce interference and noise, and ensure a professional and polished performance. Embrace the versatility and enhanced sound quality that a DI Box offers, and let your acoustic guitar’s true voice be heard.


It was Louis Prima who paired the songs together in the late 40s, and then converted them to "jump jive" in the 50s. He recorded the song in 1956, and the rest is history.
(This isn't quite as official a version of the song as the other under the Louis Prima account on YouTube, but I REALLY dislike the picture they used on the album cover for that song.)
Amazon Associates Links for Capital Collectors Series (I strongly recommend the MP3 here, because the CD is not available directly from Amazon): CD MP3
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Ratings and Reviews
Great song. Dramatic song was better though
Fantastic, as usual!
One of your best songs yet, Toby! Great job! You're really great with melodies, and the lyrics? To die for! Not to mention your piano is always easy to follow and your singing great (and adorable). Love it all!
I Can Swing My Sword! (feat. Terabrite) - Single
Safety Torch (feat. Terabrite) - Single
Nugget in a Biscuit - Single
Dramatic Song - Single
Literal Assassin's Creed Trailer - Single
Viral Song - Single
The Mini Minotaur Song - Single
The Sideburns Song - Single
Literal Assassin's Creed Revelations Trailer - Single


Isotonik Studios has introduced a sample pack featuring one-shot drum samples that are designed to imitate acoustic drums.
Fake Acoustic Drums by Chaos Culture contains 512 unique drum sounds, including kicks, snares, percussions, claps, hihats, cymbals and toms.
Although synthesizers were purposefully used in the creation of these sounds, the point is that the resulting samples should not sound like a typical drum machine. No kick drums that consists only of a sine wave with a click, instead those sounds make use of a lot of noise and texture layers to mask the fact that they are synthesized.
But at the same time, these sounds are specifically not actual recordings of real drums. It’s a limitation that gives these sounds something uncanny and unique. Despite the fact that a lot of processing has been applied in order to achieve these results, they are not overly compressed or distorted. They are versatile and can easily be modified to fit into various mixes and music genres.
The pack is available for Ableton Live 10.1 or higher, and all samples are available as .Wav audio files as well for use in any other DAW/sampler.
More information: Isotonik Studios


For Cornet in Bb (Trumpet) or Trombone (Treble Clef).
From George Gershwin's Rhapsody in Blue for Instrumental Solo. For Bb, Eb or Bass Clef Instruments with Piano Accompaniment.
A great educational tool that includes French-style thematic material that will intrigue both players and audiences. A solo favorite year after year!
For Three Trombones (2 Tenor and 1 Bass) or Three Tubas.
Three Trombones (2 Tenor and 1 Bass) or Three Tubas.
For Trombone Trio. From "The Childhood of Christ."
Trombone and Piano.
Baritone B. C./Trombone and Piano.
Brass Quintet (2 Bb Trumpets, Horn in F, Trombone and Tuba).
Classic Festival Solos offers the advancing instrumentalist an array of materials graded from easy to more challenging. There are different titles for each instrument, and an assortment of musical styles...
Classic Festival Solos, Volume II continues to afford the advancing student the opportunity to find performance materials graded from easy to more challenging, including exposure to a variety of musical...
Sacrae Symphoniae - Venice, 1597. Choir I: Trumpet I, Trumpet II, Horn (Trumpet), Trombone I (Horn), Trombone II or Baritone. Choir II: Trumpet I, Trumpet II, Horn (Trumpet), Trombone (Horn),...
First written in the key of Eb for solo horn, this adaptation in Bb for capable trombonists preserves the spirited tempo (quarter = 116) and ornamented style (trills and grace...
Probably one of Gordon’s best-known and popular concertos, and one of the few with full orchestra, this concerto is one of the true standards in the original trombone solo literacture....
For the first time, the Fanfare and Theme from Richard Strauss's Also Sprach Zarathustra is available for six part Trombone Ensemble with optional Timpani and Organ. Mr. Jeremy Kempton has...
Contents: Amor S'apprende • Ave Maria • Caro mio ben • Concerto for Trombone • If with All Your Hearts (Elijah) • Jesu, Meine Freude • Litany • Nina •...
In Memory of Richard Nordraak, 1842-1866.
Concert Repertoire of Trombone Solos, Baritone B.C. and Bb Baritone T.C. with Piano Accompaniment.
Trombone/baritone solo with piano accompaniment.
3 Bb Trumpets, 3 Trombones.


This was originally posted on the Deering banjo website, but we decided it'd be good to show here as well in order to help people learn how to buy a banjo.
Of all the questions we receive about banjos, this has to be one of the most common. We will keep this explanation very short but if you have any further questions, send them to us and we’ll answer all of your questions.
So, by popular demand, here is our answer.Read More
So you have narrowed down your search for a banjo by figuring out you want a:
Now you need to figure out what neck wood you want on your banjo. The two most popular are mahogany or maple.
Maple is a very hard and dense wood. This wood when used on the neck of your banjo will give the instrument a very bright tone. This is generally the preferred neck wood/tone for traditional bluegrass banjoists. This is most likely due to the fact that Earl Scruggs, the king of bluegrass banjo, played a maple banjo and had a very bright tone.
Mahogany is a much less dense wood than maple. When used as the neck wood on your banjo it will give the instrument a much warmer tone than maple. Some feel it is a sweeter tone. Bela Fleck plays a mahogany banjo and gets a very warm tone from his banjo. J.D. Crowe also played a mahogany banjo and was able to get a more bluesy tone.
Sad news came in last Friday, October 23rd when we heard that the banjo icon Bill Keith had passed after a battle with cancer. Bill was one of the true innovators of the banjo, perfecting the Melodic Style of playing which allowed him to play fiddle tunes (and much more) note for note.
I was lucky enough to get to know Bill from the time I spent living in Woodstock, New York after Hurricane Katrina in 2005. Bill lived just up the road and I would often go up to his house to learn as much as I could about the banjo and music.
I have decided to remember him by sharing with everyone one of the lessons I took with him back then.
GRAMMY Award-winning banjo player Alison Brown is out with her new album “The Song of the Banjo.” She’s a Harvard alumna, and spent years working in finance before she gave all that up to pursue her love of the banjo.
Listen to the interview now!Read More
As most of us know, standard tuning for a 5-string banjo is an open G tuning (G,D,G,B,D). Open G tuning means that if we strum all the strings without fretting any of them, we will be playing a G chord. Open G is a great tuning, but there are many other ways you can tune your banjo as well. By tuning it differently, you can get a completely different tone out of your banjo. It also can make it easier to play certain songs in different keys.
One of the most common and one of my favorite alternate tunings is called Double C Tuning (G,C,G,C,D). This tuning is used very often in old time music. The sound of this tuning gives your banjo a lower voice since we are lowering the lowest pitched string (the 4th string) from a D to a C. It also gives your banjo a hauntingly drone tone because of the two strings that are tuned to C.Read More
Learning to play the banjo these days is easier than ever. With the popularity of the banjo and acoustic music growing at a record pace, there are more tools to learn with as well as other musicians to play with.
Here are some great ways to learn:Read More


Here is a vintage 100% all original 1961 Gibson Les Paul SG Standard electric guitar. This particular example, serial number 33959, is in perfectly intact all original shape and includes the original large pebble black case with yellow interior. While this specimen is not in excellent cosmetic condition, and though it certainly displays serious playing wear, it is 100% all original and in perfect structural condition with absolutely no issues.
As mentioned, this guitar is 100% all original, including; the original Patent Applied For (P.A.F.) humbucking pickups with corresponding original nickel covers, the original Cherry Red finish, original no-wire ABR-1 tune-o-matic bridge, original single-line double-ring Kluson Deluxe tuning machines, original sideways Maestro Vibrola, original small pickguard, original silver insert reflector control knobs, original pots and wiring, and all other related hardware. The original 5-latch black Lifton large pebble case with bright yellow interior is in very good condition and includes the original case key.
With pleasant patina and non-distracting wear patterns, the wear on this SG is consistent with that which would be applied to some sort of Custom Shop (Relic-style) reissue. The Cherry Red finish has attractively faded to a Strawberry color, instead of the much loathed brownish hue. There are dings on the back of the body, wear through the finish revealing the mahogany beneath, and a considerable collection of weather-checking the guitar over, all of which really enhance to general appeal and personality of this perfect player’s piece. This guitar was used by a real musician, and because it’s one of the good ones, it makes perfect sense that it was played quite a bit.
Serial Number: 33959
Pickup Resistance: 6.77Ω (bridge), 7.735Ω (neck)
Weight: 6 lbs. 10 oz.
This guitar feels and sounds i-n-c-r-e-d-i-b-l-e! The P.A.F.s are so articulate it makes most others sound like lo-fi cassette tape recording in comparison. Amazingly present, particularly rich, super loud, responsive and transparent, the sound of this guitar will impress even those who’ve had the pleasure of playing and/or hearing a good Burst. This, when combined with the utterly perfect neck and neck profile, will immediately inspire the best playing and tone any particular guitarist has to offer.
The neck profile is the typical ’61 slim shape: with a shallow depth, bulky edges, and a consistent form throughout the entire length of the fingerboard. Though the factory large frets are worn, and there remains dirt and oil fingermarks on the Brazilian rosewood fingerboard, the guitar plays like a dream having just been set up with Pyramid .010-.046 strings.
As can be seen in the photos above, this example is 100% all original with all original parts. For photographic purposes only, the guitar was thoroughly inspected and elaborately documented to illustrate the entirety of it’s originality. Every screw was re-installed in the hole from which it was removed, and I went to great lengths to not polish nor clean the hardware or finish, and display it exactly as it was received. Enjoy the photos.


A collection of studies composed for musicians who wish to extend themselves in improvisation, composition, sight reading and general musicianship skills. Each etude has a theoretical explanation, suggestions for performance and tips for practice routines. Two CDs of combo accompaniments performed by members of the Yellowjackets are included. All books are compatible and written so that they can be performed together.
Book & 2 CDsPages:
Bass Clef InstrumentsInstrumentation:
Bass Clef Instruments (Trombone, Electric Bass, String Bass, & Tuba)Genre:
Blues; Funk; Jazz
Can you believe it? No one has said anything about this product. Please feel free to leave a review about a product you have tried.


Loops De La Creme Booga Rocket Drums KONTAKT
Get groovy with BOOGA ROCKET DRUMS, an inspiring and highly original Kontakt drum kit.
To create this unique instrument, we sampled a custom drum set made of two jazzy toms, a big retro kick and an expressive piccolo snare. A selection of cymbals, percussions (bongos, cowbell, claves, shakers, tambourines, claps and sticks) and bonus original sounds and playing technics (sticks on the side of toms, stacked fx cymbals, tambourine on hi-hat...) provide lots of extra colors and rhythmic possibilities!
Each drum, cymbal and percussion was expertly multi-sampled using a great minimalistic combination of two microphones to capture the whole kit: A mono overhead ribbon (Voodoo VR1) provides punch and smoothness, and a vintage AKG C451 in a 'knee' position gives plenty of crisps details. The resulting sound is direct, punchy and crisp, with minimum room ambience.
An intuitive user interface lets you fully customise the sound by using filters, pre-programmed effects (compression, EQ...) and a fantastic selection of 26 custom reverbs.
6 new IRs were added to the reverb menu. These new Impulse Responses are:
Basement: a lively large room
Nitro Boost: a very short, punchy and explosive reverb
Retro Slap Back: a mono vintage delay
80s delay: wide and bright short delays
Crystal FX: short reflections with a cool filtered effect
Infinity: a huge plate with extra long decay
All of these new files are directly taken or adapted from the fantastic catalog of IRs from FLO AUDIO. If you are looking for IRs for your productions, make sure to check FLO AUDIO's products: top quality, very original stuff, and great prices. Highly recommended!!
Analogue Drums DeadBeat KONTAKT DVDR
DeadBeat is a dampened kit in a 60s/70s pop style. Based around a 3-ply '70s Ludwig kit with a selection of vintage Zildjian cymbals, Ludwig and Premier snares. Deadbeat will do the Abbey Road tea-towel thing, and is also great for dry Funk and RnB, contemporary Folk and Indie, Pop, and a whole lot more.
Three snares, two separate pairs of toms (dead, and buried) for two different levels of dampening, and three kick drum options give you a heap of options for finding the tones that work best for your track.
The kit was sampled at The Manor through a selection of fine vintage and modern recording pieces, finished with an outboard singal chain.
.....::::: Features :::::.....
• Multi-sampling: each kit component contains up to 7 velocity layers for expressive detail, dynamics and realism - check the details at the bottom of this page.
• Round-robin: natural performance with 6x round-robin hits for every zone.
• Switchable instruments: 3x kick variations, 2x tom dampening variations, 3x swappable snares.
• Mic layers: 6x individually controllable mic layers: Close mics, Mono Overhead, Two room mics, Kick Sub, and Snare-Bottom
• eKit mode: switch to 'eKit' mode when using a Roland V-Drum kit, or leave set to 'Keyboard mode' for direct MIDI sequencing. The layout is General MIDI (GM) compatible.
• Output routing: stereo and multi-channel output versions provided.
• Dynamic Range control: increase the sensitivity of the kit for more intricate and subtle performances or leave it set to full dynamic range for heavier tracks.
• Presets: for quickly accessing different sounds.
• Also check out the MIDI Files Page to download free MIDI files compatible with this kit.
.....::::: System Requirements :::::.....
• Compatable Software Sampler: Native Instruments Kontakt 4 Full Version or greater.
• Hard drive with 6GB of available space (to download and then unzip)
• 2GB RAM
• 1GHz Processor
• Windows Vista/7/8 & Mac OSX 10.2 or higher
• Reference Manual
.....::::: Compatability Notes :::::.....
• Kontakt Full Version required.
• NOT compatible with the free Kontakt Player. There is a 15 minute time restriction imposed by Kontakt Player.
• The WAV format audio files supplied with this product can be utilized with many other sampler and sound replacement products, however no 'mappings' are provided or support is given for this.
Dieguis Productions Synthetic KONTAKT MULTiFORMAT-MAGNETRiXX
This massive 8.3 GB collection (3.4 GB of 24-bit WAV files) of Electro-Pop and Pop-Rock Styles is a showcase of artists and groups like Tegan and Sara, Metric, Phoenix, One Republic, Imagine Dragons, Passion Pit, M83, Ellie Goulding, Capital Cities, Fun and so many more!
Synthetic contains an enormous collection of Instrument Kits that give you the freedom to simply use one layer of the instrument by itself or increase the depth, complexity and beauty by adding additional complimentary instrument parts. Synthetic includes Male Vocalists (Dry and Wet), Electric Guitars (Clean, Distorted and FX), Acoustic and Electric Drums, Melodic and Non-Melodic Percussion, Synth Bass, Keys, Synths, Pads and so many additional instruments that provide you with today's Electro-Pop and Pop-Rock sound. By giving you the ability to add the amount of depth and texture needed, along with multiple variations and rhythmic figures, Synthetic gives you total creative freedom and allows you to tweak to your hearts content!
Synthetic contains Drum and Percussion Elements which give you the freedom to create amazing drum and percussion grooves quickly and easily. Drum and Percussion Elements contains individual drum kit and percussion pieces (kick, snare, hi-hat, toms, cymbals, shaker, tambourine, sticks and many more) that you can use individually or mix n match to create an unlimited variety of drum and percussion grooves and rhythmic textures. There's also an enormous selection of Drum and Percussion Hits which have all been recorded with multiple velocities insuring dynamic performances every time!
Synthetic also includes Multi-Sampled Instruments including Synth, Bell, Mallet and Pads for you to mix n match, remix and adjust anyway you like it. Let Synthetic spark your creative flames and inject your projects with the attitude of today's hottest Electro-Pop and Pop-Rock music with the flair popular music from the 80's.
- 8.1 GB of material (3.3 GB of 24-bit WAV files)
- 2855 files in WAV, REX and Apple Loops (972WAV Loops)
- 972 WAV Loops
- 972 Apple Loops
- 771 REX Loops
- 50 Drum and Percussion Hits (24-bit WAV files)
- 90 Multi-Sampled Instrument files (24-bit WAV files)
KONTAKT FORMAT VERSION
- 3.4 GB of content
- 885 Total Kontakt Patches
- 814 Sliced Loops
- 46 Single Instruments Patches
- 19 Multi-Sample Instruments - Drums and Percussion
- 6 Multi-Sample Instruments - Melodic
Vocals - Male
Percussion - Non-Melodic (Shaker, Tambourine, Claps, Triangle, Wooden and Misc)
Percussion - Melodic
Electric Guitars (Clean, Distorted and FX)
Multi-Sampled Drums and Percussion
Multi- Sampled Melodic
Drums Only Version
WAV Loops: 1.16 GB (351 Loops)
Apple loops: 1.16 GB (351 Loops)
REX Loops: 515.3 MB (325 Loops)
Kontakt: 1.2 GB with 317 different kontakt patches
Ivy Audio Scott Drums KONTAKT
Scott Drums is Ivy Audio's first foray into the world of percussion sampling. We took a medium sized drum kit, miced every piece individually with high quality microphones, and recorded five round robins and 8 dynamic levels across the board. The library includes everything from snare rolls to stick clicks to cymbal scrapes, with built in effects on every mic position and an advanced "dry mix" mode for a super dry and bleed-free sound.
For help with downloads, please refer to the FAQ.
If you like the library, please donate! Your donations pay for performers, hosting, and the continued development of detailed, high quality libraries.
We recorded many dynamic levels and round robins for every piece of the kit. There are multiple snare articulations, short and fast release samples on the cymbals, open, half, and closed samples on the hihat, plus a few bonus articulations like cymbal scrapes and stick clicks.
Pristine studio recording
Scott Drums was recorded in a world class studio through 11 high quality microphones, resulting in a clean sounding kit that can be tuned to any genre and mix using the built in effects.
The library includes a powerful UI with per-channel routing, EQ, stereo width, compression, and transient processor, as well as a "dry mix" mode for a super punchy, bleed-free sound.
While this library is provided free of charge, public redistribution of the library is prohibited. This is NOT a Kontakt player library, and requires a full version of Kontakt to run.
Big Fish Audio Indie Pop MULTiFORMAT-MAGNETRiXX
Songwriting Styles is a showcase of artists and groups like Gotye, Imagine Dragons, Temper Trap, Fun, Foster the People, Ellie Goulding and so many more! Indie Pop contains Drum and Percussion Elements which give you the freedom to create amazing drum and percussion grooves quickly and easily. Drum and Percussion Elements contains individual drum kit and percussion pieces (kick, snare, hi-hat, toms, cymbals, shaker, tambourine, sticks and many more) that you can use individually or mix n match to create an unlimited variety of drum and percussion grooves and rhythmic textures.
Indie Pop contains an enormous collection of Instrument Kits that give you the freedom to simply use one layer of the instrument by itself or increase the depth, complexity and beauty by adding additional complimentary instrument parts. Indie Pop includes Male Vocalists, Nylon Guitars, Electric Guitars (Clean, Distorted and FX), Acoustic and Electric Drums, Melodic and Non-Melodic Percussion, Synth Bass, Pianos, Keys, Synths, Pads and so many additional instruments that provide you with today's Pop, Indie and Alternative sound. By giving you the ability to add the amount of depth and texture needed, along with multiple variations and rhythmic figures, Indie Pop gives you total creative freedom and allows you to tweak to your hearts content!
Indie Pop also includes almost 700 mb of Multi-Sampled Instruments including Bass, Bell, Mallet and Pads for you to mix n match, remix and adjust anyway you like it. Let Indie Pop spark your creative flames and inject your projects with the emotion of today's hottest Pop, Indie and Alternative music.
- 7.5 GB of material (3.2 GB of 24-bit WAV files)
- 3,361 files in WAV, REX and Apple Loops (1349 WAV Loops)
- 1,349 WAV Loops
- 1,349 Apple Loops
- 663 REX Loops
- 195 Drum and Percussion Hits (24-bit WAV files)
- 450 Multi-Sampled Instrument files (24-bit WAV files)
Echo Sound Works Tropcial House Drums
Tropical House Drums is a comprehensive sample pack for the hugely popular genre Tropical House.
If you don't know what Tropical House is, think slowed down house music with chill chord progressions and inspiring melodies all layered over some tropical elements like bongos, hand percussion or even pan flutes.
The sample packs comes with everything you need to make great sounding drum grooves for genres like Tropical House and even House. We sampled a bunch of bongos, shakers, djembes and other various hand percussion instruments as well as claps and snares to give you truly unique sounding samples.
There are also 5 Drum Kits which have been stemmed out at various tempos (105 BPM and 110BPM) that you can either use in your productions as is or use them as a learning tool.
As added bonus, we made a 2 Kontakt and 2 Battery instruments that make laying down realistic percussion grooves easier and quicker.
Here's everything that's included:
175 Drum Samples
5 Drum Kits
35 Drum Loops
2 Kontakt Kits
2 Battery 4 Ktis
Freaky Loops Dubstep Drums 3 WAV-AUDIOSTRiKE
Dubstep Drums 3' serves up some of the highest quality drum loops. Freaky Loops and Utku S. return with the third installment of this trilogy. From punchy kicks to crunchy snares, ultra-wide layered claps to live hi-hats, raucous rides to FX-dipped cymbals. Inside you will find cleverly designed drums, all optimised with maximum power and depth.
Dark and dubbed-out Hardstep grooves, sleazy and shuffly floor-melters and tweeter-teasing tops, all presented with a range of variants. Every sound has been sculpted with a combination of high-end outboard pre-amps, EQ, compression and a selection of top rated plug-ins to create the most usable results.
These kicks are must-have samples in your library. Mix, match, and chop these drum loops to create your signature sound!
This massive collection features 1.16 GB of raw data and includes 438 loops. In detail, this pack includes 15 fully mixed drum loop kits with two variations, 154 Drum Loops, 128 Top Drum Loops, 30 Kick Loops, 30 Snare Loops, 30 Hi-Hat Loops, 30 FX & Crash Loops, 28 Ride Loops and eight Rim Loops.
All loops are 24-Bit and recorded at 140 BPM to fit perfectly into your productions. Give your rhythm section a professional sound with these top-class drum loops.
The loops fit with each other, that opens a door to the whole new world of possibilities. All you need to do is experiment and mix between different loops. Each loop Kit contains a full sample mix, plus all elements separated and set out for you to mix and match until the groove sits tight.
To satisfy all your needs for a kickin' tune with decent punch, this collection contains a large variety of drums, sampled extra-long to allow for extreme manipulation.
This pack is not only dedicated for use in Dubstep, but also fits perfectly in any other genre like Electro House, Breakbeat, DnB, and many other styles.
If you want to rock the dancefloor, this pack will give your productions the extra kick you're looking for.
• 24-Bit Quality
• 1.16 GB
• 438 Loops
• 154 Drum Loops
• 128 Top Drum Loops
• 30 Kick Loops
• 30 Snare Loops
• 30 Hi-Hat Loops
• 30 FX & Crash Loops
• 28 Ride Loops
• 8 Rim Loops


Jammy - is a sliding guitar that fits in your pocket.
Practically a full-fledged guitar with an interesting design, on which you can play anytime and anywhere.
All portable guitars are more like simulators. Because of their small dimensions, they are deprived of the main element of a musical instrument - a full-length neck. The creators of Jammy found a compromise solution and applied the neck of the sliding structure.
The length of the guitar in the folded state is only 30 centimeters. It has five full frets, which can be expanded to fifteen, changing the position of the neck. Instead of shifting your hand to another position, like a normal guitar, you just need to move the bar to Jammy, without removing your fingers from it.
The guitar has steel strings, which are divided into two parts. The Jammy can be played without any additional accessories: just connect the headphones or the speaker. Special sensors detect finger movements, allowing you to perform bends and other tricks, as well as jamming strings.
And yet, in conjunction with a mobile application from the guitar, you can get much more. It has the ability to choose a tone, there are hints during the performance of a song and a learning mode that allows you to learn new songs.
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The required amount is already collected on Indiegogo, but the guitar can still be ordered for $ 299. Delivery to the first customers is promised to be organized in April next year.


Author: Artm Baguinski
Light detection and ranging (LIDAR) instruments provide a fast and accurate way to track objects in 2 dimensions.
Live performance ensemble using max/msp.
The Software Klee Step Sequencer is a MIDI-enabled recreation of the electro-music.com hardware Klee step sequencer - developed with the input of the sequencer's creators! It reproduces almost all of the features of the hardware version, and adds many new features as well.
freeware six channel audio manipulation program for hardware synths, drum machines, audio.
I needed my own controller for Ableton Live. I built it in a diy mind and I'm using max for live as an interface between Ableton Live and the hardware.


Jacques Loussier Trio - Play Bach 5 album FLAC
Complete your Jacques Loussier Trio collection.
Listen free to Jacques Loussier – Play Bach Vol. 5 (Wachet Auf, Ruft Uns Die Stimme, Passacaglia in C Minor). Discover more music, concerts, videos, and pictures with the largest catalogue online at Last. View full artist profile. Play all. Jacques Loussier Trio.
Joachim Schoenecker Trio - Nocturnes (Infocom. Music GmbH) (2003) SACD-R. Jazz, Classical Music 6-04-2016, 08:36. Bach - Organ Spectacular (2001) DVD-Audio. Classical Music 26-07-2015, 07:56. Johann Sebastian Bach Organ Works - The Uncommon Bach (2001) DTS . Classical Music 10-03-2015, 18:18. VA - Concord Jazz: SACD Sampler. volume 2 (2004) SACD-R.
Loussier's Play Bach Trio was quite popular during 1959-1978. After a few years off, he formed a new trio along similar lines in 1985, the group heard on this CD. Although jazz and classical music have been combined together in many different ways through the years, no combo has worked harder at swinging Bach than Loussier's units. The pianist pays respect to Bach's melodies before swinging them and his improvisations are a natural outgrowth of the themes. This CD gives listeners an excellent example of his concept and is a constant delight.
Loussier’s trio achieved the breakthrough to popular commercial success enjoyed by only a select few jazz musicians. In fifteen years, the group sold over six million albums On the occasion of Loussier’s 70th birthday, the ensemble performed its greatest hits – jazz arrangements of Bach, Debussy, Satie and Ravel –in Bach’s own church in Leipzig for the first time. The DVD also features an enlightening bonus track with an interview with the artist.
Album · 2012 · 20 Songs. More By Jacques Loussier Trio. Vivaldi: The Four Seasons (New Jazz Arrangements By Jacques Loussier).
Продавец: Интернет-магазин Ozon. Адрес: Россия, Москва, Пресненская набережная, 10. ОГРН: 1027739244741
|Toccata N°4 In C Major|
|A1||1st Movement: Allegro||7:34|
|A2.1||2nd Movement: Adagio||6:55|
|A2.2||3rd Movement: Fugue|
|B1||Sicillienne In G Minor||3:30|
|B2||Choral N°1 In B Flat||12:00|
|B3||Passacaille In C Minor - Thème||2:45|
- Artwork By – Serge Fayol
- Bass – Pierre Michelot
- Composed By – Johann Sebastian Bach
- Drums – Christian Garros
- Photography – Serge Maire
- Piano, Arranged By – Jacques Loussier
|SSL 40.205 S||Jacques Loussier Trio||Play Bach 5 (LP)||Decca||SSL 40.205 S||France||1967|
|GPX3085||The Jacques Loussier Trio*||Play Bach Volume 5 (LP, Album)||London Records||GPX3085||Japan||1976|
|SAHA 7773||Jacques Loussier Trio||Play Bach 5 (LP)||London Globe, London Records||SAHA 7773||Australia||Unknown|
|WD 2417||Jacques Loussier Trio||Play Bach No.5 (LP, Club)||World Record Club||WD 2417||New Zealand||1978|
|SLK 16 484-P||Jacques Loussier Trio||Play Bach 5 (LP, "Ro)||Decca||SLK 16 484-P||Germany||1964|


Saturday, March 30, 2013 08:00 pm
Pittsburgh , PA
600 Penn Ave
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Ballet shoes are an essential part of the dancer’s wardrobe, and choosing the right pair is important. There are a few different types of ballet shoes available to choose from, each offering its own unique benefits. The most popular types of ballet shoes are leather split-sole, canvas split-sole, and full-sole.
Leather Split-Sole Ballet Shoes – These shoes offer the most stability and support for the dancer’s feet. They also provide excellent traction on the floor during turns and jumps. Leather split-sole ballet shoes tend to be more expensive than other types of ballet shoes, but they are worth it for their durability and long lifespan.
Canvas Split-Sole Ballet Shoes – Canvas split-sole ballet shoes provide a great balance between comfort and cost. They are light weight, breathable, and provide good traction on the floor during turns and jumps. They do not offer as much stability or support as leather split-sole ballet shoes, but they are a great option for beginners who do not need as much support while they learn the basics of ballet technique.
Full-Sole Ballet Shoes – Full-sole ballet shoes provide a softer feel than leather or canvas split-sole shoes because there is no gap in the sole of the shoe. They also tend to be less expensive than other types of ballet shoes. However, full-sole ballet shoes lack stability and support for advanced technique that requires quick footwork and fast turns.
When it comes to choosing the best type of ballet shoe for your needs, it is important to consider your skill level and budget. If you are a beginner dancer looking for a comfortable option that won’t break your budget then canvas split-sole or full sole may be your best bet. However, if you need more stability and support then leather split soles will give you the best performance possible while still looking stylish in class!


Complete your Christmas celebration with a fantastic assortment of timeless songs and carols that have been cherished through the ages. These beautifully rich arrangements for Clarinet by Denise Gendron, a nationally recognized director, author & educator, can be played as a solo, duet or in a group performance and every edition includes a piano accompaniment CD. Traditional Christmas Duets published by Santorella Publications is the perfect collection for every budding musician during the holiday season. This best selling series from Santorella is written in accommodating keys for trumpet, flute, clarinet, alto sax, trombone or violin and includes lyrics so everyone can sing along. Angels We have Heard on High • Away in a Manger • Deck The Halls • First Noel • God Rest Ye Merry Gentlemen • Good Christian Men Rejoice • Good King Wenceslas • Hark! The Herald Angels Sing • It Came Upon a Midnight Clear • I Saw Three Ships • Jolly Old Saint Nick • Jingle Bells • Joy To The World • Let There Be Peace On Earth • O Christmas Tree • O Come All Ye Faithful • O Come Emmanuel • Little Town of Bethlehem • Silent Night • Star Of East • We Three Kings of Orient • We Wish You a Merry Christmas 1-58560-682-0,649571003807
"synopsis" may belong to another edition of this title.
Book Description SANTORELLA PUBLICATIONS, Ltd, 2007. Paperback. Book Condition: New. book. Bookseller Inventory # 1585606820
Book Description SANTORELLA PUBLICATIONS, Ltd, 2007. Paperback. Book Condition: Brand New. 32 pages. 11.60x8.70x0.20 inches. In Stock. Bookseller Inventory # 1585606820


The DVD of the Glastonbury Festival, to be released June 21st, includes performances by tons of amazing bands, each song chosen during the peak of their career spanning from '94 to '04. Some of the bands include Blur, Franz Ferdinand, Radiohead, Coldplay, Supergrass, my personal favorite Travis and many many more.
Here's a link to the Radiohead performance in '97:
I gave the song a listen and have to admit that it is a nice song. Okay, finally an oldie and classic song. This song will never leave the airwaves so bookmark this single. Never forget..Click on the 'play'-button and enjoy!
I give it.
More From: Radiohead
Latest Radiohead News
The Radiohead album ‘The King of Limbs’ cd and vinyl available now at all good record stores everywhere. The digital release was one month ago and now on on VINYL! On COMPACT DISC! As a DOWNLOAD! That's not all, folks. The band have created an amazing newspaper 'THE UNIVE(...) Radiohead: The King of Limbs


This is a custom trombone made by the S.E. Shires Company in Hopedale, MA, USA. It is one of the very finest trombones you could ever have, and it is customizable to your desires.
This was the third instrument developed by the Shires Company, following the symphonic tenor trombone and the bass trombone. Steve Shires was always a fan of the rare Earl Williams Model 6 trombone, which was made in Los Angeles from the 1930's through the 1970's. A good synopsis of Earl Williams' story is written by Robb Stewart. The Original Williams trombone reminds us much of the King 3B with its large throat 8" bell. The Williams, having a smaller .500" hand slide, felt more efficient, but its all brass construction kept the trombone from feeling brittle. On the contrary, the Williams was broad and warm but had a light touch and a velvety smooth tone.
And that is the trombone that inspired this beautiful instrument by S.E. Shires. Even with the .500" hand slide option, the Shires feels like a larger instrument. It has so little resistance that you can just breathe into it. It has a fast response and it's really nimble. You'll wonder how you did lip slurs on another instrument after you feel how light a touch is needed to play a Shires.
Choose the lightweight brass .500" hand slide (T00LW), the SY tuning slide, and the 8" medium weight bell (7YM).
Substitute the all nickel .500" hand slide (T00NLW) for a bit more center and edge to your sound. This is the most popular setup here. It's the perfect mix of clear and ethereal. This reminds us of a Minick 500 trombone as well.
If you like a classic King 2B+ kind of feel, try the .500" nickel hand slide (T00NLW) with the smaller 7.5" lightweight bell (7YLW)
T00LW - Standard slide in brass with a nickel end crook
T00NLW - Standard slide in all nickel
The standard tuning slide is the SY 1.5, a newer design—improved intonation and response/feel characteristic of classic small-bore instruments—the most popular small-bore tuning slide. Others are also available by special order.
SY 1.5 MD Yellow - Michael Davis tuning slide in brass
7YLW 7.5" - Light weight bell, small diameter
7YM 8" - Medium weight bell, large diameter
Each Shires trombone includes 3 removable threaded mouthpipes in differing tapers, usually numbered, 1, 2, 3. A 3-piece engraved balance weight is included. Cases are available separately.


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Sat, 18 Nov 2017 8:00 PM2017-11-18T20:00:00
Chicago, ILAthenaeum Theatre Chicago, IL


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Present Music season subscribers have got it made. They know to miss one concert is to miss an entire in-explainable experience never to grace Milwaukee again. Don’t wish you could have been there – be there for every exciting, engaging and other-worldly Present Music concert.
This season, bundle more than one concert and enjoy all our subscriber benefits!
For this landmark season, Present Music concerts offer two seating sections – VIP and General Admission. Subscriptions are available in both sections.Bundle 2 or more concerts and become a subscriber! Choose from either subscription level below or call the Box Office at 414-271-0711 x2 (M-F, 10am-2pm).
VIP subscribers receive reserved seats in the “best” or front section of the audience, include some parking options, and additional special surprises for each concert! Packages can include upgrading to the special IN THE NEW CHAMBER concert on February 21, 2019, which includes a pre-concert reception!
Value subscribers receive a reserved seat in the front of the “general admission” section of the audience. Packages can include upgrading to the special IN THE NEW CHAMBER concert on February 21, 2019, which includes a pre-concert reception!
Purchase select subscriptions online by clicking the links above or call the Present Music office at (414) 271-0711 and save on online processing fees. Learn more about the individual concerts and start creating your personal subscription package.


Double bass - Sound characteristics
Heavy, weighty, dark, weightless, wafting, somber, earthy, resonant, rasping, broad, hollow, dull, mighty, menacing, violent, mellow, sustaining, aspirate.
Like the tuba, the double-bass lacks the high partials due to its great size, although the first six partials are especially prominent which makes the timbre dark, broad and dull. This broadness, while not dominant, still possesses great power and represents the essence of the double-bass’s sound. It is this characteristic that is the basis of the instrument’s principal task in the symphony orchestra – playing the fundamental bass.
It must be remembered that the double-bass produces long reverberations which are damped by the hand when necessary. The length of reverberation varies greatly. The following criteria apply:
- Fortissimo notes on open strings can reverberate for more than 10 seconds. On fingered notes the reverberation is a third shorter (F#1 sounds markedly shorter than E1).
- The higher the pitch of the string the longer the reverberation (up to 40% longer). The G string reverberates longest.
- The reverberation is relatively quiet (approximately 20% of the maximum volume).
- Open strings have limited dynamic potential.
Sound characteristics of the individual strings
B and E strings
These have a full and dark sound. Their great volume is capable of “carrying” the entire orchestra. It can be difficult to tell what the exact pitch of the lowest notes actually is. It must be remembered that the double-bass as a whole, and particularly its bottom strings, produces long reverberations which are damped by the hand when necessary.
Sonorous timbre, clearer and more precise than the bottom strings, suitable for the fundamental bass.
D and G strings
These strings share the cello’s range, but on the double-bass the same notes sound fuller, more powerful and much darker. This is because they do not have the same high number of partials as they do on the cello. On the cello, these sounds are more incisive.


I offer Professional Ballroom dance instructions in Latin and Ballroom, American and International styles in Charlotte area in North Carolina. Wedding couples, social and competitive dancers of all levels and ages are welcome.
Lessons are private or semi-private. Competitive rates and multiple lessons discounts. Personally tailored programs just for you.
I specialize in teaching all ages and levels, amateur to professional. You wont be disappointed.
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Our upcoming 2021/22 Delta Classical Series has been worth the wait, and we are thrilled to be together again in Symphony Hall to share it with you.
While last season was Robert Spano’s 20th and final season as Music Director, he will still make frequent appearances, including kicking off our season with pianist Garrick Ohlsson playing Beethoven’s Piano Concerto No. 5. We also look forward to Sir Donald Runnicles joining us to conduct favorite works by Mahler, Mendelssohn, Beethoven, and Duruflé. We eagerly anticipate Yo-Yo Ma’s return to our stage in April, as well as Isata and Sheku Kanneh-Mason performing Beethoven’s Cello Sonata in C in May.
Subscriptions are on sale now for the 2021/22 Season. Select the subscription type below to learn more about benefits of each package. Subscribers and receive the following benefits:
- NEW! Exclusive access to our Behind the Curtain Series | If you can’t make a concert and would like to see and hear what you missed, the ASO Behind the Curtain Series gives you a private front-row seat to select concerts via your digital device.
- Flexible ticket exchanges | Need to change your seat or select a different concert entirely? We’ve got you covered! Our new Account Manager platform allows you to exchange your tickets, anytime of day or night, up to 24 hours prior to a concert for no additional fees.
- Advance notice of select special programming | We have some exciting events coming, exclusive for our subscribers, including outdoor concerts at some of the city’s best venues. You won’t want to miss these VIP events, and a chance to hear our musicians up close and in person.
- Savings on any additional Delta Classical Series concerts | Just can’t get enough of the ASO? Add any additional Delta Classical Series concerts to your subscription and save.


Bought in February 2017.
Recording dates: October 2006.
Recording venue: Studio Gärtnerstraße, Berlin-Lankwitz, Germany.
Recording engineer: Henri Thaon.
Running time: 58:54.
Classical relevance: For those that like the instrument a good acquisition.
Compositions for recorder, cello and Harpsichord.
I knew some of the music, but I never heard anything by this ensemble. But you do not have to have any worries about the artistic part. It is well played and performed. Dedicated musicians play popular music of it's time. It does not demand a huge amount of concentration to enjoy what's on offer. Simply but effective music to leisure away the time in a pleasant way. There are solo pieces for Harpsichord by Daniel Purcell which are very good, and some pieces by Henry Purcell for Recorder and BC. A fine CD to start the listening day with.
The recording is excellent, and apart from a few moments of uneasiness with the high pitch of the recorder all is okay.
Tuesday, February 14, 2017
New acquisition. Purchase date: I do not remember. First listen: 17-2-2018. Label: Naxos. CD 47 & 48 from 52. Recording dates: Febr...
A fine disc. This is my second rerun, and I stick to my first review, which was quite a positive one. First review of this disc. ...
From the 206 titles available in the BIS sale, there were not many of interest for me. A lot of new composers, but their modernity was a tad...
Merula, Tarquinio. (c.1595-1665) Madrigali e Altre Musiche Concertate... (Madrigals & instrumental Works)New acquisition. Date of purchase: January 2018. First listen: 6-2-2018. Label: Pierre Verany. Recording dates: September 2000. Venue: ...
Eberl, Anton. (1765-1807) Concerto for 2 pianos and Orchestra opus 45, and Sonatas for four hands, opus 7, No. 1 & 2.New acquisition. Free gift from JPC de. Date of purchase: 6-2-2018 First listen. Recording dates: March 2008 & November 2011. Venue:...
From my collection. Date of purchase: December 2009. First listen: 19-10-2011. Second listen: 22-1-2018. Label: Glossa. Recording dates...
Castello,. Dario. (before 1600-1644) Sonate Concertate in Stile Moderno 1629. (Sonatas Nr. 3-5, 7,9-17 from the second book.)New acquisition. Date of purchase: February 2018. First listen: 12-2-2018. Label: CPO. Recording dates: October 2013. Venue: Dorfkirche...
New acquisition. Date of purchase: Autumn 2017. First listen: 24-1-2018. Label: Pan Classics. Recording dates: July 2009. Venue: Kloste...
New acquisition. Date of purchase: 2017. First listen: 25-1-2018. Label: Ricercar. CD 1 from 16. Recording dates: 1997. Venue: Jacobi...
New acquisition. Date of purchase: January 2018. First listen: 8-2-2018. Label: Arion. Recording dates: October/ November 2002. Venue: ...
New acquisition. Purchase date: I do not remember. First listen: 9--2-2018. Label: Naxos. CD 39 & 40, and 41 from 50. Recording dat...


Peterborough Dance Theatre, llc Dress Code
Please refer to PDT LLC's Online Dancewear Store for all your Dress Code needs
PDT LLC has an association with...
Under “Students”, in the drop select “Find My Studio” and enter PDT LLC's code 57062. On this site, items listed in Dress Code List are not specific to individual classes, but rather more of a generalized list of items that are considered appropriate.
This site has a great selection at competitive prices!
I do have some dance shoes in my personal inventory, especially jazz and tap shoes.
Please inquire by email to Pati Cloutier at firstname.lastname@example.org and if I have it in stock, I'll bring it to your next class.
Young Dancers Classes Ages 3-7:
Leotard and Capezio style transition dance tights, or leggings, dance dresses or skirts allowed, pink ballet slippers for girls, (black tap shoes for "COMBO" Class/CAPEZIO or BLOCH Taps ONLY! Non-Brand/Generic tap shoes not allowed for they damage the dance floor), hair pulled back.
Boys: Plain White Tee shirt and black leggings or thin loose fit slim fit jersey pant.
Black Ballet Slippers and Black Tap Shoes with black socks. Long sleeve tee acceptable in colder months.
Dancers ages 8 and above (or 7 yrs. old with at least 2 years experience entering PDT's Class Level System):
Ballet and Pointe Classes:
Solid colored leotard, pink tights, pink ballet slippers. Skirts allowed in center only. Hair in a bun.
Jazz and Tap:
Solid colored leotard, black jazz pants (like Yoga pants) or leggings, Black jazz shoes for jazz class and Black tap shoes (CAPEZIO Taps ONLY!) for tap class, hair pulled back.
Solid colored leotard, black leggings, dance shorts, or skin tone tights, bare feet or Foot Undeez, hair pulled back.
Solid colored leotard, jazz pants, Capezio jazz dance sneakers, hair pulled back. (Footwear must be carried in and not worn on the street, since street shoes are NEVER allowed on the dance floor!)
Same as JAZZ and TAP
Boys (all styles):
Black dance pants, black ballet slippers, black tap shoes (CAPEZIO Taps ONLY!) or sneakers, white or black T-shirt.
Should be pulled back and secured neatly away from face for all classes. In a bun for Ballet classes.
Warm-Up Attire acceptable in colder months, for beginning of class, or as needed. At discretion of instructor.


While we lament the shrinking number and size of classical music retail stores (and the annoyingly inapt classification of all music by “song” and “artist” rather than by “composer” and “work”), the online music business has provided some fringe benefits for early dancers. Instead of having to buy a whole CD just for the odd track used in class, now it is possible to be selective, preview individual tracks and be (almost) instantly gratified with a download.
Of course there’s nothing like the pleasure of browsing in a serious music shop, and buying real CDs for quality of recording and supporting information. So don’t forget to support our local music stores such as Fish Fine Music (http://www.fishfinemusic.com.au/) and the ABC Shops in Sydney, which in turn support local artists and the classical recording industry.
See http://www.naxos.com/buyonline.asp for an international list of retail and online suppliers.
For downloads we suggest:
(Amazon sells physical CDs, but its music downloads are not available in Australia)


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A Night At The Opera
“A Night at the Opera” is the title of Mid Sussex Choir’s spring concert on 18th of April, at the Methodist church on Perrymount Road, Haywards Heath. This should be an excellent concert as it will feature many arias and choruses from popular operas, such as Carmen. It will also be great fun for the audience as it will include excerpts from Gilbert and Sullivan’s “Pirates of Penzance”. The concert will be a programme of choruses, arias, duets and trios performed by Janet Gration ‘s students with the choir.
The RNLI at Shoreham is Mid Sussex Choirs’s charity of the year.
The choir raises funds via a collection at the end of the concert. “As we are a community choir, we need some money from ticket prices to cover the cost of our concerts, however we also like to support local charities and do so by holding a joint collection at the end of each concert,” said David Waterhouse, the choir chairman.
Tickets are priced at £12 in advance and £15 on the night.
They are available from Carousel Music at 7 Commercial Square (01444 417654) or from all choir members.
If you would like to join us for our next concert , please contact us by email at email@example.com