Author: marquisloyd95

How often does music give you the impression that you have an internal monolog? This morning I heard a song and I sang it on a minibus all day. The car’s sound can be good and homepage harmful. Why does music affect our minds, and how can we get rid of phrases that are annoying?

The investigation was undertaken by psychologists and web site scientists. This was referred to in a more colloquial sense as cognitive itching. James Kelaris therefore detected major problems in 2003, investigated the audience and established various links.

When we pay more attention to brain-cell activity, we can recognize that the listening industry enhances the perception of music. You can reanimate yourself if you don’t listen to music for a moment and then attempt again. My singing obsession is like yours.

A variety of services are provided by neuropsychologists in this field. For web site example, you can store songs or performers that you adore. But what if you receive a melody and get rid of it immediately?

On October 15-17, 2021, Moscow will host the Second International Symposium “The Sound Recording Industry of Academic Music,” as part of the International Prize for the Best Audio Recording of Russian Academic Music “Pure Sound.” The Russian Musical Union is in charge of the event’s planning (RMS).

The following symposium will be the country’s largest music industry event, concentrating on current music business issues. It will be attended by well-known Russian and international sound engineers and music producers, who will share knowledge and cooperate, debate major industry challenges and potential solutions, and brainstorm methods to grow the domestic sound recording sector of academic music.

The symposium will feature speakers such as Udo Potraz, sound engineer for the Hamburg Elbe Philharmonic, Erdo Groot, director, producer, and balance specialist for Polyhymnia International (Netherlands), and Maria Soboleva, professor at the All-Russian State Institute of Cinematography, the Moscow Conservatory, and the Institute of Contemporary Art. Mikhail Spassky, sound engineer at the Moscow Conservatory; Viktor Osadchev, director of the Gnesins sound engineering department at the Russian Academy of Music; Andrey Levin, sound engineer for “Mosfilm,” and others.

Udo Potraz adds, “The Symposium is a fantastic chance for recording industry specialists to exchange their expertise, ideas, and viewpoints on how to improve sound quality in the twenty-first century.”

The agenda for the event is wide and diverse. The business component includes a scientific and practical conference titled “Sound engineering – the Future Profession,” as well as the publication of a collection of materials, a round table discussion on vocational education in the field of sound engineering, public discussions on copyright issues, and interaction between a sound engineer and a composer, performer, producer, and label.

Master classes on studio recording, archival recording restoration, vinyl mastering, and electroacoustic music sound engineering will also be offered, as well as presentations on classical sound engineering, concert recording, orchestral technology in cinema, and electroacoustic music sound engineering. The Moscow Conservatory, the Bolshoi Theater, the Novaya Opera, the Stanislavsky Electrotheatre, the Helikon-Opera, the Mosfilm studio, and the CineLab will all provide technical visits to symposium attendees.

At the World Trade Center site, a vast display of professional and sound equipment will be set up, with Neumann, Nikfi, Oktava, and other businesses showing new advances in the field of sound technology. During the conference, the Moscow Conservatory’s Center for Electroacoustic Music will also play in Rachmaninov Hall.

Because of the inclusion of a block on education in the field of sound engineering, the international forum will become a one-of-a-kind platform not only for practicing sound engineers and sound technicians, employees of sound workshops of music and drama theaters, concert halls, recording companies, and film studios, but also for teachers and students of higher and secondary educational institutions.

Among the organizations that have come together to support copyright holders are Radio Orpheus, the International Music Council (IMC), the European Music Council (EMC), Radio Russia, the All-Russian Congress of Sound Engineers of Music Programs, and the National Foundation for the Support of Copyright Holders. The Kultura newspaper, the “Kulturomania” web site, the InterMedia information agency, the magazines “Musical Life” and “Sound Engineer,” as well as the audio equipment retailer Dr. Head, are all sponsors of the Pure Sound Prize and International Symposium.

The “Crematorium” band launched their new album on November 12, 2021. The album will be released on the Warner Music Russia label on October 11, 2021, according to a contract signed on that day.

– Without exaggeration, the signing of a cooperation agreement with Warner Music Russia represents a watershed moment in the group’s history, opening up new opportunities for us, as well as all fans of Crema’s creativity, for creativity and communication with connoisseurs of our music all over the world, – said representatives of the groups.

– While we work on getting you information about the new license plate, we’d like to remind you that live presentations of the disc will take place in St. Petersburg and Moscow on November 25 and December 4, respectively – look for the poster on the official website of “Crematoria” and on social media. All of the friends who came to the launch of the new album and the performance program will be greeted with a slew of surprises and, dare we say it, presents from the collective, the essence and substance of which we will undoubtedly hint at in due time.

According to InterMedia, Armen Grigoryan, the frontman of “Crematorium,” created the majority of the new CD’s content in Vietnam, where he resided for eight months. Novelties such as “Spies,” “Judge,” “Amanita mushrooms,” and “Snows of Ararat” are expected to be on the album, which will be published on the Internet and during the collective’s concerts (the latter is dedicated to the recent events in Nagorno-Karabakh).

Secret Service, a renowned Swedish pop trio established in 1979 by Tim Norell, Ulf Walberg, and web site Ula Hkansson, is a gold classic from the 1980s. They rose to international popularity almost immediately following the publication of their debut album, “Oh Susie,” which reached the top of the charts in dozens of countries. The song “Ten O’Clock Postman” was one of the few Western songs to break through the “Iron Curtain” and became one of the most popular melodies in the Soviet Union and Eastern Europe during the 1980s.

“A weird synth tune echoed in my brain as I awoke in the middle of the night.” And then it occurred to me that this is only a teaser for /profile a new version of Lit de Parade, this time performed by Secret Service, with choruses in the manner of Flash In The Night and verses in the style of classical Russian dance. “The outcome is right in front of you,” Tim Norell adds.

It’s interesting to note that the video was fully shot by a Russian crew led by director Pavel Glazkov. In a bright room, the dancer Irina Kreidina is dancing, personifying life and beauty, while an elderly man, who has been provided with probes containing a nourishing liquid, stares at her with admiration. This image is interspersed with footage of the Secret Service band performing the song in their home studio.

The tune was very rich in vocal shrillness thanks to John Becker (who joined the group as a vocalist in 2018).

“We want to visit Russia soon, and there have already been a lot of offers, but the epidemic has forced us to make some changes.” We’re currently putting on a new album and spending a lot of time producing music. “We hope to be able to get back into concert life in the near future,” Tim Norell assures.

The Second International Symposium “The Sound Recording Industry of Academic Music” will be held in Moscow on October 15-17, 2021, as part of the International Prize for the Best Audio Recording of Russian Academic Music “Pure Sound.” The Russian Musical Union is in charge of organizing the event (RMS).

The following symposium, which will focus on contemporary music business concerns, will be the country’s largest music industry event. It will be attended by well-known Russian and worldwide sound engineers and music producers who will share their experience and collaborate, discuss significant industry issues and potential solutions, and brainstorm ways to expand the domestic sound recording sector of academic music.

Udo Potraz, sound engineer for the Hamburg Elbe Philharmonic, Erdo Groot, director, producer, and balance specialist for Polyhymnia International (Netherlands), and Maria Soboleva, professor at the All-Russian State Institute of Cinematography, the Moscow Conservatory, and the Institute of Contemporary Art, webpage will be among the speakers at the symposium. Mikhail Spassky, sound engineer at the Moscow Conservatory; Viktor Osadchev, director of the Russian Academy of Music’s Gnesins sound engineering department; Andrey Levin, sound engineer for “Mosfilm,” and others.

“The Symposium is a wonderful opportunity for recording industry experts to discuss their experience, ideas, and perspectives on how to enhance sound quality in the twenty-first century,” Udo Potraz adds.

The event’s agenda is extensive and diversified. A scientific and practical conference titled “Sound engineering – the Future Profession,” as well as the publication of a collection of materials, a round table discussion on vocational education in the field of sound engineering, public discussions on copyright issues, and interaction between a sound engineer and a composer, performer, producer, and label, are all included in the business component.

There will also be master courses on studio recording, archive recording restoration, vinyl mastering, and electroacoustic music sound engineering, as well as talks on classical sound engineering, concert recording, orchestral technology in film, and electroacoustic music sound engineering. Attendees will be given technical tours of the Moscow Conservatory, the Bolshoi Theater, the Novaya Opera, the Stanislavsky Electrotheatre, the Helikon-Opera, the Mosfilm studio, and the CineLab.

A large display of professional and sound equipment will be put up at the World Trade Center site, with Neumann, Nikfi, Oktava, and other companies demonstrating new developments in the field of sound technology. The Moscow Conservatory’s Center for Electroacoustic Music will also perform at Rachmaninov Hall during the conference.

The international forum will become a one-of-a-kind platform not only for practicing sound engineers and sound technicians, employees of sound workshops of music and drama theaters, concert halls, recording companies, and film studios, but also for teachers and students of higher and secondary educational institutions, thanks to the inclusion of a block on education in the field of sound engineering.

Radio Orpheus, the International Music Council (IMC), the European Music Council (EMC), Radio Russia, the All-Russian Congress of Sound Engineers of Music Programs, and the National Foundation for the Support of Copyright Holders are among the organizations that have banded together to support copyright holders. The Pure Sound Prize and International Symposium are sponsored by the Kultura newspaper, the “Kulturomania” web site, the InterMedia information agency, the periodicals “Musical Life” and “Sound Engineer,” as well as the audio equipment shop Dr. Head.

The Second International Symposium “The Sound Recording Industry of Academic Music” will be held in Moscow on October 15-17, 2021 as part of the International Prize for the Best Audio Recording of Russian Academic Music “Pure Sound”. Organizer – Russian Musical Union (RMS).

The upcoming symposium is the largest industry event in the country dedicated to topical issues in the recording industry. Its participants will be leading Russian and foreign experts in the field of sound engineering and music production: they will gather to exchange experience and establish cooperation, discuss the main problems of the industry and opportunities for their solution, as well as develop ideas for the development of the domestic sound recording industry of academic music.

Among the speakers of the symposium are world-renowned professionals: sound engineer of the Elbe Philharmonic in Hamburg Udo Potraz (Germany); director, producer, balance specialist of the record company Polyhymnia International Erdo Groot (Netherlands); Maria Soboleva, professor at the All-Russian State Institute of Cinematography, the Moscow Conservatory, the Institute of Contemporary Art; sound engineer of the Moscow Conservatory Mikhail Spassky; sound engineer of the Moscow Philharmonic, head of the sound engineering department of the Russian Academy of Music named after the Gnesins Viktor Osadchev; sound engineer “Mosfilm” Andrey Levin and others.

“The Symposium is a great opportunity for participants in the recording industry to share knowledge, ideas and thoughts on how to improve sound quality in the 21st century,” says Udo Potraz.

The forum program is very extensive and varied. It includes a business part – a scientific and practical conference “Sound engineering – the profession of the future”, following which a collection of materials will be published; round table on vocational education in the field of sound engineering; public discussions on copyright issues, interaction of a sound engineer with a composer, performer, producer and label.

In addition, there will be lectures on classical sound engineering, concert recording, orchestral technology in the film industry, as well as master classes on studio recording, restoration of archival recordings, mastering for vinyl, sound engineering in electroacoustic music. The symposium participants will enjoy interesting technical tours to the halls of the Moscow Conservatory, the Bolshoi Theater, Novaya Opera, Stanislavsky Electrotheatre, Helikon-Opera, Mosfilm studio and CineLab.

A large exhibition of professional and sound equipment will be set up at the World Trade Center site, where the companies Neumann, Nikfi, Oktava and others will demonstrate new products in the field of sound technologies. The program of the symposium also includes a concert by the Center for Electroacoustic Music of the Moscow Conservatory in the Rachmaninov Hall.

The international forum will become a unique platform not only for practicing sound engineers and sound technicians, employees of sound workshops of music and drama theaters, concert halls, recording companies and film studios, but also for teachers and students of higher and secondary educational institutions, since it includes a block on education in the field of sound engineering.

The partners of the Pure Sound Prize and the International Symposium are: National Foundation for the Support of Copyright Holders, Radio Orpheus, International Music Council (IMC), European Music Council (EMC), Radio Russia, All-Russian Congress of Sound Engineers of Music Programs, Kultura newspaper , information portal “Kulturomania”, information agency InterMedia, magazine “Musical life”, magazine “Sound engineer”, audio equipment store Dr. Head.