It's seven drowsy, hypnotic minutes of Olsen drawling on top of overdriven guitars.
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The music is denser and more intricate, conjuring symphonic grandeur alongside overdriven noise.
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It's dense, sweaty, overdriven, bristling and unkempt, full of live-wire loose ends.
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Guitars are the future; overdriven guitars are a humanistic screech for freedom from manufactured nostalgia.
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That, coupled with now-confirmed new bassist Paz Lenchantin's overdriven vocals keep the whole thing alive.
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Snarling verses give way to simple, ethereal choruses, Lee's voice pushed back against the overdriven bass.
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In 290, Carter and his band laid down "Rock Awhile," the first known recording of an overdriven guitar.
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Sprinter, released in 2015, was a darker, more frayed record, built around overdriven guitars and, occasionally, distant, electronic pulses.
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Then in my 20s I got sexually overdriven to the point where I'm like, only going to gay clubs.
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They obviously looked really cool and photogenic, but every song was basically "American Girl" by Tom Petty with an overdriven vocal.
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It's another sweeping, reverberating mass of gently-struck, overdriven guitars, though this time a man's voice can be heard in the background.
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Baird, on an electric guitar, plucks muddy, overdriven chords, and Lattimore follows along at first before adding more layers of syncopated harp.
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Over an overdriven bass drum and barely melodious high-octave notes, the MC viciously spits verse that would intimidate even veteran rappers.
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The song starts as choppy, programmed, trap-flavored R&B, but segues into fusion rock with overdriven keyboards and distorted lead guitar.
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For the album, Xiu Xiu radically reinterpreted the dreamy, low-impact original recordings, incorporating overdriven guitars, piano, synthesizer, vibraphone, and auxiliary percussion.
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We weren't relying on just overdriven sounds, we were finding more spacey textures and didn't want to just make a rock record.
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On "Cruel Heartless Bastards," written by the bassist Michael Formanek, Mary Halvorson's guitar goes from charging muscle to snarled melody to overdriven fuzz.
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Between the lightly overdriven guitars and the whistles at the back of the mix, it sounds more like the soundtrack to a road trip.
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But we had this punk rock, cathartic thing; we were a loud and overwhelming, overdriven band with finer nuances that we really labored hard for.
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Highlight "Cross the Line" has guitar solos, overdriven Linkin Park drum loops, and pop-rock choruses all coexisting under the guise of a rap track.
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The guitars have the low-fi distortion and unhurried attack of indie-rock; drums and bass are choppy and overdriven, like old-school hip-hop.
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Backed by the Roots, Clark blasted its blues-reggae riff, snarled the lyrics and played the kind of overdriven solo that drew screams from the audience.
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It's one of the most straightforwardly rousing tracks that The Nashville Sound offers—overdriven guitars, Springsteenian melodies, anxious lyrics—so it hit late night just right.
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As the former frontman of Slipknot side project Murderdolls, 13 has become a genre staple, playing overdriven horror rock to weirdos in greasepaint for almost 20 years.
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His fourth album Sound & Fury is his most daring departure yet, one that can easily turn from overdriven and fuzzed-out rock to surprisingly danceable synth-funk.
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The syncopated synth pattern gets louder and more overdriven with the gradual punishment of a torture rack, the perfect counterpart to the song's giant, foreboding, echoing bass drums.
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The few seconds even sound like a slowed down version of the thumping, overdriven bass found in gabber, until you realize it's only going to get more grim and dissonant.
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The form of the song is simple and its sound overdriven: a fuzzed-out electric piano bangs out quarter-note chords through the whole thing, in sync with the guitars.
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John is in his element, hammering an old piano and slurring about drowning out the devil with rye; White sits at his left ear, harmonizing and picking out blues flourishes on an overdriven guitar.
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Ditching the overdriven hyperactivity of the original, they opt for a mood more spartan and fine-tuned, giving the militant air of the track a slightly different flavor with short-circuited arpeggios from fizzling analog synths.
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One of the best songs on the album is "Hidden Tin," an ode to childhood memories and hidden spaces that balances Zack's muscular drumming and Shelby's gnarly overdriven bass with intimate lyrics and shoegaze-y vocal melodies.
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The song was marked by Robert Fripp's overdriven guitar and a popular video alternating between nightclub, street and suburban surrealism; the lyrics mocked fashion — "it's big and it's bland/full of tension and fear" — even as Bowie himself became a reliable generator of its trends.
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Small-town basement gigs turned to blog buzz and a well-received five-song EP, "Over Easy," on which Diet Cig established its hallmark: peppy, overdriven anthems that transcend simple trappings on the strength of Ms. Luciano's expert phrasing and super-specific, pithy, slice-of-life lyrics.
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In one captivating scene, Monet Mazur engages in a head-to-head motorcycle battle with her apparent rival, their very normal bike fight occurring conspicuously close to an oversized Mountain Dew logo and set to the overdriven industrial metal grind of Static-X's "Push It." Later, as the movie mercifully wraps, marginal good having triumphed over outright bad, the familiar strums and drums of Nickelback's "Someday" fade in on a celebratory smooch between Henderson and Mazur, cutting ahead to the totally epic chorus in time for a good old fashioned group bike ride off into the desert or heartland or whatever.
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Lemmy of Motörhead often played overdriven power chords in his bass lines.Wall, Mick.
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Overdriven diode bridge mixers. Drive signal looks like odd harmonic waveform (essentially a square wave).
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A 6-speed Getrag 420G manual transmission was introduced in 1994, which added an overdriven top gear.
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The verse bar for "I Don't Know Anything" features a droning, overdriven guitar melody centered on the use of harmonics.
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The DPC system speeds up the slower moving wheel (the one with the most traction) in order to maintain stability when needed. For example; while turning, the outer wheel is overdriven to provide greater acceleration using the traction advantage through the dynamic loading of the outboard wheel in cornering. In an oversteer situation, the inner wheel is overdriven to regain traction balance.
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The three pairs of millstones are overdriven. The tower is diameter at the base and at the curb, with a height of to the curb.
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Since the late 1980s, manufacturers have produced overdrive pedals specifically designed for the electric bass, which often maintain the fundamental "dry" signal mixed with the overdriven tone.
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"You Are Killing Me" was described by The A.V. Club as featuring a "sparse arrangement consisting of straightforward, chugging, overdriven guitar, multi-tracked vocals, and slightly off kilter harmonies".
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In the 1980s and 1990s, overdriven bass tended to be associated with hardcore punk (e.g., Stormtroopers of Death), death metal (e.g., Mortician), grindcore (e.g., Napalm Death) and Industrial bands (e.g.
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Misadjustment was thus common. The iron sometimes stuck to the magnet if overdriven or misadjusted. The result was a loud 'whack' followed by near silence. Loud bass notes caused end-stopping.
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The gearbox was designed so that, for efficiency, the fastest ratio would be a "direct-drive" or "straight-through" 1:1 ratio, avoiding frictional losses in the gears. Achieving an overdriven ratio for cruising thus required a gearbox ratio even higher than this, i.e. the gearbox output shaft rotating faster than the engine. The propeller shaft linking gearbox and rear axle is thus overdriven, and a transmission capable of doing this became termed an "overdrive" transmission.
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Many bass players believe that tube amplifiers produce a "warmer" or more "natural" sound than solid state amplifiers when lightly or moderately overdriven, and more pleasing distortion characteristics when heavily overdriven. Some metal bassists play with a fuzz bass tone, which is obtained by overdriving the bass signal. Cliff Burton of Metallica used fuzz bass. Lemmy Kilmister, the bassist for Motörhead, obtains a natural fuzz bass tone by overdriving his twin 100 watt Marshall Bass stacks.
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Such a situation can occur when an amplifier is overdriven—causing clipping or slew rate distortion when, for a moment, the amplifier characteristics alone and not the input signal determine the output.
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Built By Snow is catchy rock/pop songs built around a wave of Moog synthesizers, circuit bending Casio Keyboards, and overdriven guitars. Reviewers have compared their sound to the Cars, early Weezer and DEVO.
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A bore with a stroke are customary dimensions. Larger bores have been shown to weaken the cylinder block. Compression ratio is about 6.5:1, as is common on engines with overdriven Roots-type superchargers.
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DeLonge's early guitar tone was described as "clean to crisply overdriven."Prown, Pete & Sharken, Lisa (2003). Gear Secrets of the Guitar Legends: How to Sound Like Your Favorite Players. Milwaukee: Backbeat Books, p. 104-05.
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Felix-Jager, Steven. With God on Our Side: Towards a Transformational Theology of Rock and Roll. Wipf and Stock Publishers, 2017. p. 135 Whereas metal guitarists' overdriven sound generally comes from a combination of overdriven amplifiers and distortion pedals, grunge guitarists typically got all of their "dirty" sound from overdrive and fuzz pedals, with the amp just used to make the sound louder. Grunge guitarists tended to use the Fender Twin Reverb and the Fender Champion 100 combo amps (Cobain used both of these amps).
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Instead of a resistor, a potentiometer placed in parallel with the timing capacitor permits the frequency to be adjusted freely, but at low resistances the transistor can be overdriven, and possibly damaged. The output signal will jump in amplitude and be greatly distorted.
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Since the core was loaded with 135Xe from the previous day's power generation, it was necessary to withdraw more control rods to achieve this. As a result, the overdriven reaction grew rapidly and uncontrollably, leading to steam explosion in the core, and violent destruction of the facility.
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At blues jams, the house band typically plays twelve bar blues and other blues song forms that are well-known for the session participants to solo over. At blues jams, the guitar solo, typically played on electric guitar through an overdriven guitar amp, is an important type of solo.
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Also, the drive pedals typically are dynamic in nature- showing different EQ or distortion depth as the input guitar level changes. For example, the Honeybee overdrive may sound nearly clean with guitar volume at the lower range, but gritty and overdriven with the guitar volume at its maximum setting.
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The Windmill was built in 1850 and consists of five storeys built from red brick. When it was in operation the sails, which are now fixed in an easterly direction, powered three pairs of overdriven millstones. The millstones were located on the second floor. The mill had four double shuttered sails.
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Left: 1958 Fender Super Amp model 5F4; Right: 1960 Fender Super Amp model 5G4 The Fender Super was a guitar amplifier made by Fender between 1947 and 1963 and, as the Super Reverb, until 1981. Though it was designed for a clean sound, its overdriven sound is praised by players and critics.
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"United States of Whatever" was solely written by Liam Lynch. Lynch has stated that the song was improvised and recorded in a single take. The song is performed in a punk rock and surf rock style. Its basic structure consists of two power-chord riffs played by an overdriven distorted bass guitar.
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The compositions, all by Sambeat, are Latin jazz in style. Vocalist Enrique Morente appears on three tracks. The title track has "hard-hitting, quasi-fusion groove and keyboard, electric bass, and overdriven guitar textures, all of which give way to an acoustic ambience as the tune progresses." Sambeat was also producer for the album.
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Routledge, 2002 Wolstenholme's basslines are a central motif of many Muse songs; the band combines bass guitar with effects and synthesisers to create overdriven fuzz bass tones. Both Bellamy and Wolstenholme use touch-screen controllers, often built into their instruments, to control synthesisers and effects including a Korg Kaoss pad or Digitech Whammy pedal.
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Crow Sit on Blood Tree is the third solo album by Blur guitarist Graham Coxon, released in 2001. Notably, it is perhaps the darkest and quietest of Coxon's albums, containing mournful ballads ("All Has Gone", "A Place for Grief"), folky tracks ("Too Uptight", "Thank God for the Rain") and Coxon's signature overdriven rock songs ("Burn it Down", "Empty Word").
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The Ultimatum products are based on two distinct clipping stages in series. The first part of the Ultimatum circuit has a compressor, clipping stage and cabinet simulation. A second clipping stage simulates the saturation of a power section in an overdriven tube amplifier. Both the A12-50 combo and Ultimatum distortion generator are based on this circuit.
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The Preston–Tonks–Wallace (PTW) model is also physically based and has a form similar to the MTS model. However, the PTW model has components that can model plastic deformation in the overdriven shock regime (strain-rates greater that 107/s). Hence this model is valid for the largest range of strain-rates among the five flow stress models.
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This is often apparent when using overdriven amplifiers and distortion pedals. Potting also protects the delicate winding from damage.Getting a Bigger Sound: Pickups and Microphones for Your Musical Instrument: Cain, Lollar p.28 Generally, the potting medium is a wax mixture that is meltedStewart-MacDonald/Lindy Fralin: Wax potting pickups(see photo) and then permeates the wire coils.
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The song opens with an overdriven bass intro played by Lemmy. For the lyrics, he said he "used gambling metaphors, mostly cards and dice—when it comes to that sort of thing, I'm more into the one-arm bandits actually, but you can't really sing about spinning fruit, and the wheels coming down".Kilmister, Lemmy & Garza, Janiss. White Line Fever.
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Only once the drive unit is spun at a speed higher than that attained by the starter motor itself (i.e., it is backdriven by the running engine) will the flyweights pull radially outward, releasing the latch and permitting the overdriven drive unit to be spun out of engagement. In this manner, unwanted starter disengagement is avoided before a successful engine start.
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The most distinguishing feature of the new design is the innovative Harmonic Generator overdrive circuit. The circuit comprises a dual cascode differential amplifier and utilizes a pair of conventional dual triode tubes. The circuit produces harmonic distortion similar to that of an overdriven power output stage. Like the earlier Line Amps, output signal level is controlled by the Main Gain master volume.
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The first product released by SR&D; was not called a Rockman. It was simply called "Tom Scholz's Power Soak". The Power Soak is an attenuator, put inline between an amplifier and its speakers. The Power Soak can be used to limit the output level while still maintaining the desired overdriven, saturated sound of an amplifier running at full volume.
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The Moog's 24db low-pass filter is particularly distinctive, with a "rich", "juicy", "fat" sound. The filter, based on pairs of transistors connected by capacitors arranged in a ladder- like layout, attenuates frequencies above a level set by the user. and boosts the frequencies around the cut-off frequency. When overdriven, the filter produces a rich distortion described as "the Moog sound".
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The Marshall MB450 head and combo bass amplifiers have a tube pre-amp on the "Classic" channel which can be overdriven. The Ashdown ABM 500 EVO III 575W Bass amp head has a built-in overdrive effect. Overdrive is also available on many Crate bass amplifiers. The Yamaha BBT500H has three types of built-in drive effects: overdrive, distortion and fuzz.
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However, unlike the polyphony of New Orleans jazz, the instrumentation parallels Waters' aggressive vocal approach and reinforces the lyrics. The players' use of amplification, pushed to the point of distortion, is a key feature of Chicago blues and another rock precedent. In particular, Little Walters' overdriven saxophone-like harmonica playing weaves in and out of the vocal lines, which heightens the drama.
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The Marshall MB450 head and combo bass amplifiers have a tube pre-amp on the "Classic" channel that can be overdriven. The Ashdown ABM 500 EVO III 575W Bass amp head has a built-in overdrive effect. Overdrive is also available on many Crate bass amplifiers. The Yamaha BBT500H has three types of built-in drive effects: overdrive, distortion and fuzz.
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Clearside self-released his first EP in July 2012. It was recorded at his home studio consisting of ProTools, Alesis Andromeda, and Moog Little Phatty. The EP often features groove metal style guitar riffs and overdriven Moog bass. Although the debut EP flew mainly under the mainstream radar despite having been featured multiple times on various MTV shows including Jersey Shore.
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In the 1980s, Rothery used various guitars, including a Yamaha SG-2000 and Fender or Squire Strats. For amps he employed Marshall amps, for overdriven sounds, and Roland Jazz Chorus amps for more effects laden sounds. When interviewed in 2010 he mentioned using a Blade Stratocaster-style guitar with Lindy Fralin pickups, and a signature model by luthier Jack Dent. His guitars are equipped with MIDI.
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The album is harder edged than previous recordings, leaning more towards surf and garage sounds with a greater use of overdriven guitars, feedback and tougher bass and drums from Wharton and Howe. The album's opening track 'Surf Hell' became popular through its use on the game Rocksmith and several synchs on television. The song 'Money In Paper' featured a backing vocal from Edwyn Collins.
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Musically, Streetcleaner was one of the earliest albums to merge industrial and heavy metal music. It accomplishes such a fusion through combining programmed, repetitive drum machine loops with Green's overdriven bass and Broadrick's distorted guitar. The vocals are sparse, guttural and bleak, and, according to Peter Buckley's Rough Guide to Rock, "misanthropic". Inspired by the harshness of early Swans material, Streetcleaner has been noted for its extreme weight and crushing aggression.
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The DPC differential features clutch packs on both output sides that are actuated by an electric motor. The clutch pack activates a planetary gearset which causes one wheel to be overdriven. A conventional control system will use the brakes to reduce the speed of the faster moving wheel (which is the one with less traction) and reduce engine power. This leads to increased brake wear and slower than optimal progress.
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Bo Diddley uses his characteristic sound processing effects, including echoey vocal and tremolo-laden rhythm electric guitar. Jody Williams answers the vocal lines with prominent, distinctive overdriven guitar fills and a solo. Biographer George R. White calls his playing "revolutionary". In naming Williams to its list of "35 Blues Guitarists Who Definitely Started It All", Spin magazine adds, "His solo on Diddley's 'Who Do You Love?' is a lesson in evil".
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IMD is only distinct from harmonic distortion in that the stimulus signal is different. The same nonlinear system will produce both total harmonic distortion (with a solitary sine wave input) and IMD (with more complex tones). In music, for instance, IMD is intentionally applied to electric guitars using overdriven amplifiers or effects pedals to produce new tones at subharmonics of the tones being played on the instrument. See Power chord#Analysis.
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Traynor YBA-200 bass guitar amplifier. Vacuum tubes were the dominant active electronic components in bass amplifiers manufactured from the 1950s until the early 1970s. Tube amplifiers for bass almost always use class AB1 topology for efficiency reasons. Many bass players believe that tube amplifiers produce a "warmer" or more "natural" sound than solid state amplifiers when lightly or moderately driven, and more pleasing distortion characteristics when overdriven.
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Many guitarists prefer using valve amplifiers to solid-state models, often due to the way they tend to distort when overdriven. Any amplifier can only accurately amplify a signal to a certain volume; past this limit, the amplifier will begin to distort the signal. Different circuits will distort the signal in different ways; some guitarists prefer the distortion characteristics of vacuum tubes. Most popular vintage models use vacuum tubes.
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Two identical clutch/planetary gearsets power each rear wheel. The rear wheels are always overdriven with respect to the speed of the front wheels. The Acceleration Device can variably overdrive the rear wheel speed up to 5.7%. The 2005 and 2006 system normally sends 70% of power to the front wheels and 30% to the rear under normal conditions but these ratios can reverse according to dynamic driving conditions.
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"Half Full Glass of Wine" was written by Kevin Parker in the key of C Minor in a 4/4 time signature. It begins with hi-hats setting the tempo and rhythm, before an overdriven electric guitar riff comes in. The tempo is then gradually slowed down, rallentando. The main guitar riff then comes in, which is a C minor pentatonic blues riff, and the bass guitar doubles it.
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Overdriving a fluorescent lamp is a method of getting more light from each tube than is obtained under rated conditions. ODNO (Overdriven Normal Output) fluorescent tubes are generally used when there isn't enough room to put in more bulbs to increase the light. The method is effective, but generates some additional issues. This technique has become popular among aquatic gardeners as a cost-effective way to add more light to their aquariums.
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The world's highest-paid performer, he headlined the Woodstock Festival in 1969 and the Isle of Wight Festival in 1970 before his accidental death in London from barbiturate-related asphyxia on September 18, 1970, at the age of 27. Hendrix was inspired by American rock and roll and electric blues. He favored overdriven amplifiers with high volume and gain, and was instrumental in popularizing the previously undesirable sounds caused by guitar amplifier feedback.
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Both are satin black, while one has silver stripes and one has yellow stripes similar to his father's "Bumblebee" Frankenstrat. All three feature Fender N3 Noiseless pickups. For amplification, he uses EVH 5150s and Fender Super Bassmans. He uses one Super Bassman on the clean channel to provide a clean low end, while another Super Bassman and the 5150, both on channel 2, provide an overdriven sound on top of the clean Bassman.
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Fuzzy is the debut studio album by American rock band Grant Lee Buffalo, released in 1993 by Slash Records. According to the band's website, "Fuzzy would galvanize the sound of Grant Lee Buffalo, i.e., the acoustic feedback howl of overdriven 12-string guitars, melodic distorto-bass, tribal drum bombast, the old world churn of pump organs and parlor pianos." R.E.M.'s Michael Stipe praised Fuzzy as "the best album of the year hands down".
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Poster Children usually write their music collectively, leaving Rick to create lyrics after the fact. During the band's formative years, they wrote and recorded with a different drummer for each album. This resulted in a fluctuating style that touched on pop punk, post hardcore, what the band refers to as "post wave", and new wave revival. Their music is made up of angular, overdriven guitar parts, strong basslines, and powerful yet intricate drums.
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Vaughan was a catalyst in the revival of vintage amplifiers and effects during the 1980s. His loud volume and use of heavy strings required powerful and robust amplifiers. Vaughan used two black-face Fender Super Reverbs, which were crucial in shaping his clear overdriven sound. He would often blend other amps with the Super Reverbs, including black-face Fender Vibroverbs, and brands such as Dumble, and Marshall, which he used for his clean sound.
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Keyboard instruments, such as the piano and Hammond organ, are also occasionally used. As with the electric guitar, the sound of the Hammond organ is typically amplified with a tube amplifier, which gives a growling, "overdriven" sound quality to the instrument. Vocals also typically play a key role, although the vocals may be equal in importance or even subordinate to the lead guitar playing. As well, a number of blues rock pieces are instrumental-only.
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In the infrared range from 1 to 2.3 µm REMIR can use a (z′, J, H, K′) filter set. ROSS is equipped with a standard filter set (V, R, I) and an slitless Amici prism. The observing procedure is completely robotic and the nightly schedule is optimized for the observation of scheduled targets but it is immediately overdriven by GRB (or other) alerts. Typically REM can observe the new target after 30 seconds from notification.
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The seventh track "If We're in Love" was released as the album's lead single. It is a downtempo song featuring a boogie swing rhythm and sharp brass parts, opening with phased vocals and closing with a call and response between brass and keyboard parts. "Ramalama (Bang Bang)", the eighth track, contains a chorus of onomatopoeic lyrics delivered over a tribal rhythm. The title track uses overdriven guitar parts and layers of overdubbed vocals.
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"Holland, 1945" is a song by the American indie rock group Neutral Milk Hotel. It was released as the only single from the band's second and final studio album In the Aeroplane Over the Sea in October 1998. "Holland, 1945" is one of the album's louder, more upbeat songs, featuring overdriven and distorted guitars. The song also showcases fuzz noise on all of the instruments, a quality created by producer Robert Schneider.
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He added: "It's a case of keeping everybody happy." The album was recorded from November 1982 to April 1983 at Tilehouse Studios in Denham, Buckinghamshire, using an Ampex ATR 124 tape recorder, a Neve 8108 with Necam console and Westlake Monitors. Oldfield used a Gibson SG Junior for overdriven guitar sounds and a Fender Stratocaster for clean sounds. Tama drums were Simon Phillips' brand of choice for drums on the album; Phillips also did some production work.
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February 1, 2010. Stoermer is widely recognized for his signature tone: an overdriven signal using two modified BOSS Blues Driver pedals fed into separate amplifiers using high top-end frequencies to produce a trebly but thick, cutting sound while retaining excellent bass response, similar to that of Chris Squire (bassist of the band Yes). Stoermer is also noted for heavily accenting his notes to produce string popping, as well as his use of jumping between octaves.
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Overdriving a bass signal significantly changes the timbre, adds overtones (harmonics), and increases the sustain. In the 1980s and 1990s, overdriven bass was associated with hardcore punk, death metal, grindcore and Industrial bands. Bass distortion is generally achieved by hard clipping of the bass signal, which leaves in "harsher high harmonics that can result in sounds that are heard as jagged and spikey." Demonstration of the overdrive effect on a 6 string bass with a Darkglass pedal.
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Seotaiji 6th Album Re-Recording and ETPFEST Live is the name of the full- length album by the Korean musician Seo Taiji released in 2003. All songs are written, arranged, and performed by Seo Taiji and Seotaiji Band. The first eight tracks are re-arranged with emphasis on heavy percussion and distortion and overdriven guitars. The remaining live tracks were recorded and performed by Seotaiji Band at ETPFEST 2002 (Eerie Taiji's People) in Seoul, South Korea.
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Staehely's overdriven guitar was a complete change from Matt Andes's Ry Cooder style slide guitar. After the band broke up, Ferguson recorded several solo albums, including the hit singles "Thunder Island" and "Shakedown Cruise", and scored TV shows and mostly non-notable movies. Mark Andes next joined Firefall and, later, Heart. Smith went on to have a career as a session drummer, and also played with Spirit in the 1980s and Boston from 1994 to 2000.
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Overdrive button on the gear stick of an automatic vehicle manufactured in 2000. An overdrive consists of an electrically or hydraulically operated epicyclic gear train bolted behind the transmission unit. It can either couple the input driveshaft directly to the output shaft (or propeller shaft) (1:1), or increase the output speed so that it turns faster than the input shaft (1:1 + n). Thus the output shaft may be "overdriven" relative to the input shaft.
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The 1978 debut release, simply titled Fotomaker, was a classic example of 1970s power pop: hook-laden choruses, tight overdriven guitars, lush strings, 12-string acoustic guitars, a few melodic ballads, 3-minute radio-friendly tunes and strong vocal harmonies throughout. The LP was released on Atlantic Records. The second album, Vis-a-Vis, was hurriedly released later in October, 1978. It was recorded at The Record Plant studios (used by the Raspberries) that summer on Wally Bryson's suggestion.
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Guitarist Sonny Sharrock made them a central part of his improvisations; in Palmer's description, he executed "glass-shattering tone clusters that sounded like someone was ripping the pickups out of the guitar without having bothered to unplug it from its overdriven amplifier."Palmer (1991). Pianist Marilyn Crispell has been another major free jazz proponent of the tone cluster, frequently in collaboration with Anthony Braxton, who played with Abrams early in his career.Enstice and Stockhouse (2004), p. 81.
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In confinement, the range of composition of mixes of fuel and oxidant and self-decomposing substances with inerts are slightly below the flammability limits and for spherically expanding fronts well below them. The influence of increasing the concentration of diluent on expanding individual detonation cells has been elegantly demonstrated. Similarly their size grows as the initial pressure falls. Since cell widths must be matched with minimum dimension of containment, any wave overdriven by the initiator will be quenched.
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JBL E-120 speakers were offered as an option. Jim Kelley Amplifiers were also the first guitar amplifiers to be offered with an optional power attenuator. Jim developed these high-power continuously variable L-pad attenuators as a means of controlling the overall volume of his amplifiers so that the output section could be overdriven at more modest sound pressure levels. One unique feature of these power attenuators is the remote footswitch which would allow the attenuator to be bypassed.
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Phillips writes that their first album "would galvanize the sound of Grant Lee Buffalo, i.e., the acoustic feedback howl of overdriven 12-string guitars, melodic distorto-bass, tribal drum bombast, the old world churn of pump organs and parlor pianos." Lyrically, they reference American history as well as contemporary events. For instance, “Lone Star Song” from Mighty Joe Moon references the Waco siege and “Crackdown” from Copperopolis references the murder of Yoshihiro Hattori as well as the Oklahoma City bombing.
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"You Sexy Thing" has a simple structure, with most of the song alternating between two major chords (F and Bb). It has a chorus-verse form. One of the song's most memorable aspects is its distinctive six note riff which is repeated intermittently throughout, played on a mildly overdriven electric guitar on a high treble setting and with noticeable vibrato. In addition to a traditional rock drum kit, the song uses hand drums, played in a style reminiscent of tabla.
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However, this time out, there was even more melody and the song structures were more conventional. Mascis was exhibiting an even tighter control over the band's sound, singing lead vocals on all but one song and composing the parts for Murph and Lou to play. Barlow's only lead vocal was on the album's final track, featuring an overdriven, noise-rock backing track and Barlow screaming "Why don't you like me?" Mascis has described Bug as his least favorite of the band's albums.
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Traction control can mitigate and possibly even correct understeer or oversteer from happening by limiting power to the overdriven wheel or wheels. However, it cannot increase the limits of frictional grip available and is used only to decrease the effect of driver error or compensate for a driver's inability to react quickly enough to wheel slip. Automobile manufacturers state in vehicle manuals that traction control systems should not encourage dangerous driving or encourage driving in conditions beyond the driver's control.
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Oscillator amplifiers provide room to be overdriven, and thus produce moderate analog distortion as an additional effect on, for example, synth leads or organ sounds. ESQ-1 has three independent LFOs, and three independent envelope generators which can be programmed to modulate any number of parameters. The fourth envelope generator is hardwired to the main output amplifier though it can still be used as a modulation source for other parameters as well. The output amplifier (DCA4) also provides programmable panning for each voice.
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Arrangements for the song are stripped back for an emphasis on vocals, leading to an enormous choral climax accompanied by overdriven electric guitar. On the song's final chorus section, critic Steve McPherson wrote "after it hits a peak, it keeps rising, the chorus of voices fizzing into overdrive and the whole track gradually succumbing to a wash of reverb". The song is cut off in the middle of its culmination, ending with the line "How does it fee-".Jeffers, Brendan.
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Kai "Hiili" Hiilesmaa (born 1966) is the vocalist of the rock band The Skreppers, former drummer of doom metal band KYPCK, former keyboardist of rock band Daniel Lioneye, as well as a respected producer from Finland. He has worked with several internationally recognized rock groups, including his near 20-year association with Finnish band HIM.Discogs - Hiili HiilesmaaMusicMight - HIMMusicMight - Sentenced Hiilesmaa began producing music professionally in 1995, recording with such bands as HIM, Amorphis, and Apocalyptica. His trademarks include heavy, overdriven guitar sounds and experimental synthesiser programming.
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This was often accomplished by using a Hartley Oscillator circuit and taking the cathode to the tap on the coil. The UK version would have had significant secondary emission and would also have had a tetrode kink. This was exploited in providing the non linearity necessary to produce good sum and difference signals. The American devices although having no secondary emission due to the suppressor grid, nevertheless were able to get the required non linearity by biasing the oscillator such that the valve was overdriven.
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Mainstream hardcore, mainstyle, Nu style gabber or newstyle hardcore is a subgenre of hardcore techno. The essence of mainstream hardcore sound is a distorted bass drum sound, overdriven to the point where it becomes clipped into a distorted square wave and makes a recognizably melodic tone. Often the Roland Alpha Juno or the kick from a Roland TR-909 was used to create this sound. Mainstream hardcore tracks typically include samples and synthesized melodies with the typical tempo ranging from 165 to 180 bpm.
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McCready described the songs on the album as "some jazzy stuff, some blues, some arena rock." Stephen Thomas Erlewine of Allmusic said that the album "sounds like a cross between Alice in Chains and Pearl Jam, taking the ponderous seriousness of Alice and PJ's '90s update of winding '70s guitar rock." "I Don't Know Anything"'s verse bar features a droning, overdriven guitar melody centered on the use of harmonics. "Long Gone Day" takes influence from genres as diverse as jazz, progressive rock, classic rock, and blues.
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For an electric instrument, the opposite of a "clean" tone is an overdriven, "clipped" (see "clipping"), or "dirty" sound. clean channel : Many electric guitar amplifiers have two "channels": a clean channel, which is undistorted, and an "overdrive" (or "dirty" channel), in which the signal is heavily preamplified or run through a distortion effect, thus producing a distorted signal. Amps with two channels come with a footswitch which allows the performer to switch between the two channels. click track : A digital metronome used in the studio recording process.
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His guitar playing is also influenced by Latin and Spanish guitar music; Bellamy said: "I just think that music is really passionate...It has so much feel and flair to it. I’ve spent important times of my life in Spain and Greece, and various deep things happened there – falling in love, stuff like that. So maybe that rubbed off somewhere." Wolstenholme's basslines are a central motif of many Muse songs; the band combines bass guitar with effects and synthesisers to create overdriven fuzz bass tones.
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By mid-1981, after playing a few shows in Southeastern Massachusetts, doing mostly Sex Pistols covers, the Proletariat evolved a new sound that melded the straight-ahead sound of early records by the Clash with more angular rhythms, and agitprop political rhetoric under the influence of the Gang of Four. They grew into a sound unlike other Boston punk or hardcore bands, characterized by drums holding an almost militaristic steadiness while guitars alternated between jarring upstrokes and overdriven chords."The Proletariat". Kill from the Heart.
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According to Bielen and Urish, Starr's drumming variations ensure that the tension keeps mounting. John Lennon claimed that the song was "one of the fuckin' best rock 'n' roll records ever made." Allmusic critic Ned Raggett describes Ono's vocal as a "screwy blues yowl," claiming that it suggests "something off Led Zeppelin III gone utterly berserk." New York Times critic Allan Kozinn compares Ono's vocal to "a wailing, overdriven electric guitar," claiming its virtuosity compares with the actual electric guitar playing of Lennon and Clapton.
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Hardstyle is a Dutch electronic dance genre mixing influences from techno, new beat and hardcore. Early hardstyle was typically written at 140 BPM and consisted of overdriven and hard-sounding kick drums, often accompanied by an offbeat bass, known as a "reverse bass". As the genre grew, the production techniques and songwriting changed to be suited to a more commercial audience. Modern hardstyle can be recognized by its use of synthesizer melodies and distorted sounds, coupled with hardstyle's signature combination of percussion and bass.
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" As an example, a studio monitor rated at 300 watts IEC, can be safely driven by a 600 watts (RMS) amplifiers, provided that "peak signals are normally of such short duration that they hardly stress the system's components". # For "routine application where high continuous, but non- distorted, output is likely to be encountered, a system should be powered with an amplifier capable of delivering the IEC rating of the system". This includes most consumer systems. "Such systems can often be inadvertently overdriven, or can go into feedback.
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Musically, "Ringer" is a slow, distorted, heavy song built around Broadrick's eight-string guitar, Green's overdriven bass and the characteristic programmed percussion that helped Godflesh define industrial metal. The song begins with a wash of distortion before descending into the extreme weight of the guitar, bass and repeatedly thumping drum machine double-kicks. Gregory Adams of Exclaim! described "Ringer's" main riff as a "punishing detuned groove" that the song locks into and that "batter[s] the brain"; Self-Titled magazine called the riff a "familiar blissful chug".
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It was recorded on the 5th studio of SHRR in winter 1974. Arranged by the guitarist Alexei Puzyryov, it kicks out with a short, train movement- resembling overdriven guitar riff on B5 chord. After the second verse, the band plunges into heavy rock with a complex arrangement, featuring short keyboard solos by Buynov, forced vocals verses by Lerman and an exotic guitar solo played by Igor Degtiaryk. Albeit a definite heavy approach of Скорый поезд, it got a large airplay within radio broadcast and didn't challenge difficulties within controller councils of Melodiya.
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The gain is higher than at the end states (see below) and the circuit switches quickly. At low input voltage (logical "0") or at high input voltage (logical "1") the differential amplifier is overdriven. The transistor (T1 or T3) is cutoff and the other (T3 or T1) is in active linear region acting as a common- emitter stage with emitter degeneration that takes all the current, starving the other cutoff transistor. The active transistor is loaded with the relatively high emitter resistance RE that introduces a significant negative feedback (emitter degeneration).
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The Dallas Rangemaster Treble Booster was an effects unit made for guitarists in the 1960s. Its function was two-fold: to increase the signal strength of the guitar going into the amplifier, and to increase tones at the high end of the spectrum (a treble booster). The need for a treble booster arose in the mid-1960s as British tube amplifiers such as the Vox AC30 or Marshall JTM45, tended to produce a slightly dark, muddy sound when overdriven, particularly when used with humbucking pickups. A pre-amplifier that also boosted treble proved a solution.
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Also concerning the band's line-up, Love confirmed that Brian Wolfram did not leave the band, but that they chose Alex Vega of Klimt 1918 to replace him. Regarding Vega, Love also replied that "we've finally found our final line up and he contributed a lot for Neuromance even if he joined so late." The band's first single, "I'm Overdriven", was filmed at Cinecittà studios with the assistance of N.U.C.T. University. A preview of the music video was available online in January 2004, with the full video being released in February.
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At their initial meeting, Hendrix bought four speaker cabinets and three 100-watt Super Lead amplifiers; he grew accustomed to using all three in unison. The equipment arrived on October 11, 1966, and the Experience used it during their first tour. Marshall amps were important to the development of Hendrix's overdriven sound and his use of feedback, creating what author Paul Trynka described as a "definitive vocabulary for rock guitar". Hendrix usually turned all the control knobs to the maximum level, which became known as the Hendrix setting.
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The demo of the song is a typical Oasis approach to the song, featuring overdriven guitar and a stronger beat, as well as a guitar solo. Courtney Love has said that she and Liam played a version with her whistling and Gallagher playing guitar and singing, this was noted in the book Kurt and Courtney: Talking. Gallagher played the song for UK Radio Aid in January 2005. In December 2017, Irish music school The Music Yard used the song's melody for their Christmas song "Talking to a Snowman".
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It was voted number 391 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000). In 2003 the album was ranked number 195 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time, maintaining the rating in a 2012 revised list. Robert Dimery included the album in his book 1001 Albums You Must Hear Before You Die. Apart from being one of the most influential blues albums, it also started the now-iconic combination of a Gibson Les Paul guitar through an overdriven Marshall Bluesbreaker amplifier.
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"Eternal Life" is a song composed by Jeff Buckley, released as the fourth and final single from his album Grace. It is believed to have been influenced by a long-time love for Led Zeppelin's music and a wish to emulate them in this song. The track is something of an exception on the album, featuring aggressive, overdriven guitar and bass riffs that contrast with the more intimate, melodic format that otherwise characterizes the album. "Eternal Life" can also be found on his 1993 EP Live at Sin-é.
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He adjusted the console so that his sound was slightly overdriven and had a mild tube compression. In 2017 it was reported that Jamerson gave a 1961 Fender Precision bass to bassist Billy Hayes in 1967 or 1968; the instrument was auctioned in 2017. In 1977 Jamerson was photographed with a 1965–1968 Precision bass (a line of instruments which had a transition logo). There is speculation that in mid to late-1960s Jamerson's then-primary instrument was parted with, and that he acquired and replaced it with a 1966 model.
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Utilizing the room walls and floor boundaries as extensions of the bass horn helps extend the speaker's frequency response down into the 35 Hz range, considerably lower than would be possible otherwise. Because of the folded horn, the woofer cone moves no more than a few millimeters. As the only speaker in the world to be in continuous production for 60 years, the Klipschorn has remained relatively unchanged since its inception. Circa 1970, diode overload protection was added across voice coils to prevent burnout from clipping produced by an overdriven amplifier.
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Derek is currently using the KORG Kronos X 61 in the studio and live. Derek also uses the Hammond B3 organ; he thinks that "every rock keyboardist should have a B3 and overdriven Leslie as part of their sound." Derek is also known for being one of the first keyboardists to use vertical keyboard stands, influencing a new generation of keyboardists. Sherinian is also an avid vintage gear collector. His collection consists of: 1977 Yamaha C.F. Conservatory Series Grand Piano, 1962 Hammond B3, 1959 Hammond C3, aka "Big Red" Moog Taurus Pedals.
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When the same interval is found in traditional and classical music, it would not usually be called a "chord", and may be considered a dyad (separated by an interval). However, the term is accepted as a pop and rock music term, most strongly associated with the overdriven electric guitar styles of hard rock, heavy metal, punk rock, and similar genres. The use of the term "power chord" has, to some extent, spilled over into the vocabulary of other instrumentalists, such as keyboard and synthesizer players. Power chords are most commonly notated 5 or (no 3).
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Michael also uses the SWR Interstellar Overdrive Bass Preamp as a direct box signal. His slightly overdriven sound was inspired primarily by Deep Purple's Roger Glover, but also by the melodic styles of Jack Bruce, John Paul Jones and Mel Schacher of Grand Funk Railroad. In addition to his Gibson Basses, Michael has a series of custom 5, 6 and 8-string basses made for him by Washburn Guitars. His most prized, and rarely seen bass is a one-of-a-kind fretless bass made for Michael by Joseph Santavicca, a luthier from Detroit.
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In the late 1980s and early 1990s, as new acid styles emerged, the TB-303 was often overdriven, producing a harsher sound, such as on Hardfloor's 1992 EP "Acperience" and Interlect 3000's 1993 EP "Volcano". In other instances the TB-303 was distorted and processed, such as on Josh Wink's 1995 hit "Higher State of Consciousness". As only 10,000 303 units were manufactured, the popularity of acid caused a dramatic increase in the price of used units. According to the Guardian, as of 2014, units sold for over £1,000.
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The band's style has been described as noise rock, industrial metal, industrial rock and industrial punk. The band incorporates elements from industrial music, thrash metal and power electronics. Their second record,Wake in Fright, has brought together elements from EBM, hardcore and noise, while "leaning more heavily towards their hardcore and metal heritage" than their debut album, Perfect. AllMusic's Paul Simpson compared the record to "an overdriven version of Ministry's most thrash-influenced material, while likening Berdan's vocals to those of David Yow and "a severely electroshocked David Thomas.
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The band's early success was due mostly to their self-financed recordings and word of mouth. The trio released a self-titled cassette and developed a distinctive live sound, driven by Hensworth's overdriven (and high volume) bass guitar, complemented by Johnstone's infectious pop hooks. By 1994 the band had completed successful tours of Melbourne and Sydney, establishing a solid fan base, and had an album worth of material recorded. Influential DJ Richard Kingsmill aired "Incinerator" from these recordings to a national audience on the alternative radio station Triple J, sparking further interest in the band.
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In 'underhung' voice coil designs (see below), the coil is shorter than the magnetic gap, a topology that provides consistent electromotive force over a limited range of motion, known as Xmax. If the coil is overdriven it may leave the gap, generating significant distortion and losing the heat-sinking benefit of the steel, heating rapidly. Many hi-fi, and almost all professional low frequency loudspeakers (woofers) include vents in the magnet system to provide forced- air cooling of the voice coil. The pumping action of the cone and the dustcap draws in cool air and expels hot air.
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Komet Amplification Group is an American manufacturer of boutique guitar amplifiers, based in Baton Rouge, Louisiana. According to Guitar Player magazine, many consider them to be "torchbearer for the late Ken Fischer of Trainwreck Circuits", since the company got its start producing the Fischer- designed Komet K60. Since then the company has begun producing models they developed themselves. The Komet Constellation (out of production) was a unique, 4xEL84 based amp with two independent preamp channels (clean and overdriven) that could be blended seamlessly. The Komet K19 is a 2xEL84 based amplifier with just Volume, Saturation and Tone controls.
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A bare fifth, open fifth or empty fifth is a chord containing only a perfect fifth with no third. The closing chords of Pérotin's Viderunt Omnes and Sederunt Principes, Guillaume de Machaut's Messe de Nostre Dame, the Kyrie in Mozart's Requiem, and the first movement of Bruckner's Ninth Symphony are all examples of pieces ending on an open fifth. These chords are common in Medieval music, sacred harp singing, and throughout rock music. In hard rock, metal, and punk music, overdriven or distorted electric guitar can make thirds sound muddy while the bare fifths remain crisp.
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Buckley mainly played a 1983 Fender Telecaster and a Rickenbacker 360/12, but also used several other guitars, including a black Gibson Les Paul Custom and a 1967 Guild F-50 acoustic. When on tour with his band, he used Fender Amplifiers for a clean sound and Mesa Boogie amps for his overdriven tones. He was primarily a singer and guitarist; however, he also played other instruments on various studio recordings and sessions, including bass, dobro, mandolin, harmonium (heard on the intro to "Lover, You Should've Come Over"), organ, dulcimer ("Dream Brother" intro), tabla, esraj, and harmonica.
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The 6G(n) ("brownface") circuit was used in several Fender amplifiers, including the Bandmaster.6G4/4-A (Super), 6G5/5-A (Pro), 6G7/7-A (Bandmaster), 6G12/12-A (Concert) and 5G13/6G13-A (Vibrasonic), together with an 85-watt four output- tube variant 6G8/8-A (Twin) and 6G14/14-A (Showman) It produces 40 watts into 4 ohms. The circuit was used from 1960First introduced in 1959 with the Vibrasonic until July 1963 when the "AB763" circuit was introduced. "Blonde" aficionados feel this circuit has superior tonal characteristics when overdriven, to the AB763 circuit.
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This distinctive sound is the product of a gradual evolution that began with the Hammond organ-driven jazz improvisation of their Knitting Factory days. Their music is powerful and danceable;overdriven keyboard riffs (often looped on an electronic sampler), outlandish noise effects and forceful, technical drumming are all characteristic of the Duo's musical style. They have been a staple in the jam band scene since 2003 and have appeared multiple times at popular music festivals such as Bonnaroo, Lollapalooza, and Wakarusa. Improvisation plays an important role in the Duo's live performances, but their focus is on tight rock arrangements.
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Because of the higher neodymium harmonic used, and the lower efficiency of frequency- doubling conversion, the fraction of IR power converted to 473 nm blue laser light in optimally configured DPSS modules is typically 10–13%, about half that typical for green lasers (20–30%). Blue lasers can also be fabricated directly with InGaN semiconductors, which produce blue light without frequency doubling. 450 nm (447 nm ± 5 nm) blue laser diodes are currently available on the open market. Some blue diodes are capable of very high power; such as Nichia's NDB7K75 diode, which can continuously output over 5 watts if overdriven.
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In 2000, the band released their third studio album, Thirteen Tales from Urban Bohemia. It was a critical and commercial success, due mainly to the single "Bohemian Like You" being featured in a popular Vodafone advertisement as well as on the TV show Buffy the Vampire Slayer. The song has also been featured in the animated movie Flushed Away in a chase scene, and on the Original Motion Picture Soundtrack for the film Igby Goes Down. Thirteen Tales from Urban Bohemia featured a less overdriven sound, with less overt psychedelia and more stylings in common with the power pop genre.
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I'm not doing tons and tons of overdriven rhythm guitar tracks, and not a whole hell of lot of soloing that doesn't add to the melodic nature of a track. I've really been enjoying exploring different guitar textures in the studio." During recording, Navarro also stated: "My favorite guitar players from the '80s are probably the simplest players around, and I’m pretty inspired by them right now." In an interview with Rolling Stone Farrell noted that the band has "enough material for three albums" and that he wants the tracks to "have a groove impact and hit you like an atom bomb.
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The common quiescent current vigorously steers between the two transistors and the output collector voltages vigorously change. The two transistors mutually ground their emitters; so, although they are common-collector stages, they actually act as common-emitter stages with maximum gain. Bias stability and independence from variations in device parameters can be improved by negative feedback introduced via cathode/emitter resistors with relatively small resistances. Overdriven. If the input differential voltage changes significantly (more than about a hundred millivolts), the transistor driven by the lower input voltage turns off and its collector voltage reaches the positive supply rail.
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The most notable Gibson guitar Oldfield favoured in this time period was a 1962 Les Paul/SG Junior model, which was his primary guitar for the recording of Ommadawn, among other works. Oldfield is also known to have owned and used an L6-S during that model's production run in the mid-1970s. On occasion, Oldfield was also seen playing a black Les Paul Custom, an early reissue model built around 1968. Oldfield used a modified Roland GP8 effects processor in conjunction with his PRS Artist to get many of his heavily overdriven guitar sounds from the Earth Moving album onwards.
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Fuzzboxes may contain frequency multiplier circuitry to achieve a harsh timbre by adding complex harmonics. The Rolling Stones' song "(I Can't Get No) Satisfaction", with the main riff played by Keith Richards with fuzz guitar, greatly popularized the use of fuzz effects. Fuzz bass (also called "bass overdrive") is a style of playing the electric bass that produces a buzzy, overdriven sound via a tube or transistor amp or by using a fuzz or overdrive pedal. Fuzz effects: Arbiter Fuzz Face, Electro- Harmonix Big Muff, Shin-ei Companion FY-2, Univox Super-Fuzz, Vox Tone Bender, Z.Vex Fuzz Factory.
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As well, since the 1990s, most clubs have PA systems with subwoofers that can handle the low range of the bass guitar. The more common use of tweeters in traditional bass guitar amplifiers in the 1990s helped bassists to use effects and perform more soloistic playing styles, which emphasize the higher range of the instrument. Horns and speakers in the same cabinet are sometimes wired separately, so that they can be driven by separate amplifiers. Biamplified systems and separately- wired cabinets allowed bassists to send an overdriven low-pitched sound to the speaker, and a crisp, undistorted high-pitched sound to the horn.
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Hybrid bass amplifier heads typically pair a tube preamplifier with a solid-state power amplifier. This provides the player with the best elements of both amplifier technology. The tube preamp gives the player the ability to obtain tube amplifier tone, which tube enthusiasts state is "warmer" than a solid state (transistor) preamp. As well, tube users state that tube preamps have a more pleasing-sounding, natural tone when the preamp's volume is pushed up so high that the bass signal becomes overdriven; in contrast, a solid state preamp that is pushed to the point of signal "clipping" can be harsh-sounding.
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The axle configurations are usually based on axle load legislation, and maximum gross vehicle weight ratings (BDM). Heavier versions of tractor units, such as those used in heavy haulage and road trains, tend to have four or more axles, with more than two axles driven. In certain countries (such as Switzerland), a certain amount of weight must be spread overdriven axles, which led to heavier varieties having six-wheel drive, otherwise, another tractor unit would have to be used. Heavy haulage variants of tractor-units are often turned into a ballast tractor by fitting temporary ballast, which may require special permitting.
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AllMusic reviewer Stewart Mason described the single as minimalist "spiky synth-pop" with a style reminiscent of early Orchestral Manoeuvres in the Dark material, and featuring a "dirty, overdriven synth sound and a stomping Gary Glitter-like backbeat". Although he described it as "largely forgotten" today due to Spandau Ballet's later successful change in style towards "smooth, soulful pop", he suggested it was "a minor lost classic of the early-'80s U.K. synth pop scene". Ian Gittins wrote in The Guardian that the song "remains a sharp exercise in art-pop weirdness, all twitchy synths and bubbling urgency".
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Variations of the middle section's bassline are played under Fripp's layered and overdriven guitar parts. The saxophone returns to play a reprise of the vocal melody, then the final section is repeated with more overdubs from Fripp. Finally, the song ends with a reprise of the opening melody, played on the saxophone instead of the guitar. Though the phrase "Starless and Bible Black" serves both as the chorus for the song's vocal segment and as the title of an instrumental track on the album Starless and Bible Black, there is little apparent similarity between the two pieces.
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Weinstein (2000), p. 25 Deep Purple's Jon Lord played an overdriven Hammond organ. In 1970, John Paul Jones used a Moog synthesizer on Led Zeppelin III; by the 1990s, in "almost every subgenre of heavy metal" synthesizers were used. Judas Priest performing in 2005 The electric guitar and the sonic power that it projects through amplification has historically been the key element in heavy metal.Weinstein (2000), p. 23 The heavy metal guitar sound comes from a combined use of high volumes and heavy distortion.Walser, Robert (1993). Running with the Devil: Power, Gender, and Madness in Heavy Metal Music.
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ECL uses an overdriven BJT differential amplifier with single-ended input and limited emitter current to avoid the saturated (fully on) region of operation and its slow turn-off behavior. As the current is steered between two legs of an emitter-coupled pair, ECL is sometimes called current-steering logic (CSL), current-mode logic (CML) or current-switch emitter-follower (CSEF) logic. In ECL, the transistors are never in saturation, the input/output voltages have a small swing (0.8 V), the input impedance is high and the output impedance is low. As a result, the transistors change states quickly, gate delays are low, and the fanout capability is high.
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DecembeRadio was recorded at Southern Tracks Recording in Atlanta, Georgia from January 26 to February 1, 2006. Whereas the band's previous album of original material, Dangerous, contained many mid-tempo songs and ballads with prominent acoustic guitar, most of the songs on DecembeRadio are propelled by overdriven chords played in unison by the two guitarists. Verses often give way to sections of jangly ("Table" and "Can’t Hide") or ringing ("Greed") guitars punctuated by crunchy power chords. First single "Love Found Me (Love’s Got a Hold)" is the only obvious example of the band's Southern rock influences, sounding particularly like The Black Crowes with its underlying piano, horns and female backing vocals.
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A number of musical artists have been heavily influenced by the analogue, overdriven sound of British PIFs, including Boards of Canada and most artists on the Ghost Box Records label, especially The Advisory Circle, whose album Other Channels directly references or samples many PIFs, including Keep Warm, Keep Well. Additionally, their debut album features a few reprises with the suffix "PIF". Another example of PIF influence in music was that of the song Charly by The Prodigy, from 1991, which heavily sampled the meows of Charley Cat. The song Two Tribes by Frankie Goes to Hollywood made use of the sirens from the Protect and Survive films.
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Grindcore is an extreme fusion genre of heavy metal and hardcore punk that originated in the mid-1980s, drawing inspiration from abrasive-sounding musical styles, such as: thrashcore, crust punk, hardcore punk, extreme metal, and industrial. Grindcore is considered a more noise-filled style of hardcore punk while using hardcore's trademark characteristics such as heavily distorted, down-tuned guitars, grinding overdriven bass, high speed tempo, blast beats, and vocals which consist of growls and high-pitched shrieks. Early groups like Napalm Death are credited with laying the groundwork for the style. It is most prevalent today in North America and Europe, with popular contributors such as Brutal Truth and Nasum.
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These included the OPA-101 Overdriven Preamp, OTC-201 Opticompressor, a brief run of hand-wired dual-mode treble boosters plus a small run of reissues in black of the original silver Tube Bender (all of which are now discontinued, though the Thorpy FX "Fat General" compressor is heavily-based on the OTC-201). Dan Coggins resumed the servicing and repair of the old Lovetone pedals in 2013 and continues to do so. Though Dinosaural still exists as a brand and registered trademark, Dan is now operating as Coggins Audio Ltd. and has been doing design collaborations with Adrian and Georgia Thorpe of Thorpy FX Ltd.
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" The Chancellors from Potsdam, New York sing sarcastically about traveling around the country in "On Tour." The Bojax, from Greenville, South Carolina released a single in 1967 on Panther records, "Go Ahead and Go," which is included here and was produced by Rudy Wyatt of fellow Greenville band, the Wyld, who perform the next cut, "Goin' Places." The Painted Ship, from Vancouver, Canada, appear on two tracks, "She Said Yes" and then, later in the set, "Little White Lies." The Merlin Tree from Austin, Texas also provide two songs: first the guitar- overdriven protopunk of "Look in Your Mirror," the later "How to Win Friends.
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The song opens with Beck using volume swells on an overdriven guitar to simulate a train whistle and the band launches into the song with rhythm guitarist Chris Dreja, bassist Paul Samwell-Smith, and Beck following the riff from the Rock and Roll Trio's song. Two combined takes of Keith Relf's vocal, with some differences in the lyrics, come in after twelve bars. Following the vocal section, the rhythm changes to a shuffle and a 12-bar harmonica and guitar bridge sets the stage for Beck's first solo. After returning to the original rhythm for another double-tracked vocal section, a brief "rave up"-style section precedes Beck's second solo.
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Heavily influenced by early Kiss, punk and rock bands such as MC5, Ramones, Sex Pistols, The Damned, The Stooges and The Heartbreakers as well as bands such as Venom, Blue Cheer and Motörhead the band's debut album - Supershitty to the Max! - contained fast-paced songs and overdriven guitars. While the band's second album - Payin' the Dues - was in similar style as their debut album it also displayed a tighter musicianship and songwriting technique as well as keyboards by Anders Lindström. Grande Rock was the first studio album to be recorded without original guitarist Dregen and was a departure from the band's Detroit rock influenced sound to a more 1970s rock sound.
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This was an attempt to control the volume level of the amplifiers whilst maintaining the overdriven distortion tones that had become synonymous with the Marshall brand. To do this, Marshall designers connected the two input stages in series rather than parallel on the 2203, but not initially on the 2204, and modified the gain stage circuitry to preserve the tonal characteristics of the 'cranked Plexi' sound and converted the now obsolete second channel volume control to a Master Volume by wiring it between the preamp and EQ circuit. The 2204 followed suit in early 1977 and changed its preamp circuit to match the (then) more popular 2203.
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Originally known as the Bad Boys, the band formed in Haney, British Columbia, a suburb of Vancouver, now known as Maple Ridge. Their original lineup consisted of Rick McCartey (lead vocals), Ray O'Toole (lead guitar and vocals), Vidor Skofteby (rhythm guitar), Gowan Jurgensen (bass), and Jerry Ringrose (drums). In the early years, the band wore matching suits and their stage antics included synchronized dance steps, and sometimes the group's large-framed and muscular lead singer Rick McCartey would hoist their diminutive lead guitarist Ray O'Toole onto his shoulders in the middle of a song. The Band's became known for a loud and raucous sound, featuring highly overdriven guitars and power chords.
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Sometimes it may be difficult to differentiate between analog and digital circuits as they have elements of both linear and non-linear operation. An example is the comparator which takes in a continuous range of voltage but only outputs one of two levels as in a digital circuit. Similarly, an overdriven transistor amplifier can take on the characteristics of a controlled switch having essentially two levels of output. In fact, many digital circuits are actually implemented as variations of analog circuits similar to this example – after all, all aspects of the real physical world are essentially analog, so digital effects are only realized by constraining analog behavior.
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The early Seattle grunge album Skin Yard recorded in 1987 by the band of the same name included fuzz bass (overdriven bass guitar) played by Jack Endino and Daniel House. Some grunge bassists, such as Ben Shepherd, layered power chords with distorted low-end density by adding a fifth and an octave-higher note to a bass note. An example of the powerful, loud bass amplifier systems used in grunge is Alice in Chains bassist Mike Inez's setup. He uses four powerful Ampeg SVT-2 PRO tube amplifier heads, two of them plugged into four 1x18" subwoofer cabinets for the low register, and the other two plugged into two 8x10" cabinets.
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While the FIA rules failed to precisely define the catalogue or its level of distribution, the 16-valve head and overdriven gearbox were not listed in the generally available TR7 parts catalogue. Also, there is no obvious article in the homologation rules that covered the recognition of the heavy duty rear axle for Group 3 in 1975. This component was, however, recognized for Group 3 a second time, presumably after the production of sufficient 5-speed TR7s, in January 1977. A number of other modifications were listed in the amendment (1/1V) to the TR7's homologation for the Group 4 TR7, such as larger front callipers and rear disk brakes.
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Louis made his recording debut on Columbia Records in 1949, and his music was released on a variety of labels through the 1950s, such as Modern, Checker, Meteor, and Big Town. Louis most notably recording for Sam Phillips' Sun Records, for whom he recorded extensively as a backing musician for a wide variety of other singers as well as under his own name.Turner, 1985, p. 24. His most notable electric blues single, "Boogie in the Park" (recorded in July 1950 and released the following month), featured Louis performing "one of the loudest, most overdriven, and distorted guitar stomps ever recorded" while also playing a rudimentary drum kit.
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"La Biblia" is considered by Argentinian rock fans to be Vox Dei's indisputable masterpiece; it has been called "magnificent for both its music and lyrics".Vox Dei - La Biblia The Magic Land Review Guitarist and vocalist Ricardo Soulé did a terrific job summarizing in just a few lines the most important stories of the Christian Holy Book. Musically the band adopted a hard psychedelic direction, with chiming 12-string guitar and overdriven solos alternating with folky acoustic passages and harmony vocals sometimes reminiscent of The Moody Blues. The Argentinian Archbishop, while at first requesting to review the lyrics, ended up recommending that young people purchase and listen to the album.
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Direct-coupler transistor logic (DCTL) circuit of the Leprechaun computer Direct-coupled transistor logic (DCTL) is similar to resistor–transistor logic (RTL) but the input transistor bases are connected directly to the collector outputs without any base resistors. Consequently, DCTL gates have fewer components, are more economical, and are simpler to fabricate onto integrated circuits than RTL gates. Unfortunately, DCTL has much smaller signal levels, has more susceptibility to ground noise, and requires matched transistor characteristics. The transistors are also heavily overdriven; that is a good feature in that it reduces the saturation voltage of the output transistors, but it also slows the circuit down due to a high stored charge in the base.
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Besides the backing musicians, the most notable addition to the song is James' overdriven slide guitar, which plays the repeating triplet figure and adds a twelve-bar solo after the fifth verse. Compared to Johnson guitar work, Gioia describes them as "more insistent, firing out a machine-gun triplet beat that would become a defining sound of the early rockers". His use of vibrato with the slide has been called as "his distinctive jangling guitar style" by musicologist Charlie Gillett. Music critic Cub Koda notes that, in James' hands, "this may be the most famous blues riff of all time, [n]ext to the four-note intro of Bo Diddley's 'I'm a Man'".
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The Doctor contains no extraordinary material or ground-breaking work from Cheap Trick, but instead works on their usual formula - basic hard rock."Fort Lauderdale News - Album Reviews - 2 November 1986 - page 121 In a retrospective review, Stephen Thomas Erlewine of AllMusic said: "If any one record sums up all the ludicrous indulgence of '80s record-making it's The Doctor. Cluttered with cacophonic electronic drums and clanking with cheap overdriven synths, the record is cavernous and hollow, every instrument echoing endlessly in a fathomless digital stage. As sonic archaeology, this holds some interest, as it contains every bad record production idea of the mid-'80s - it's as garish as its record cover.
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It was followed in 1976 by the Les Paul Special double-cutaway (DC) model and in 1978 by the Les Paul Pro (which had an ebony fingerboard with trapezoid inlays). Since the 1970s, the P-90 pickup has seen some success in various models in the Gibson line, mostly through reissues and custom versions of existing models. Currently it is featured most prominently on the Les Paul Faded Doublecut, and certain models in the Historic range. In the early 1970s, punk rock guitarists such as Johnny Thunders of The New York Dolls began using Les Paul Juniors and Les Paul Specials equipped with P-90s because of the cutting overdriven sound and the inexpensive nature of the guitars.
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The album was released to a positive critical reception. Robert Palmer of Rolling Stone rated the album four stars out of five, saying that the band "deliver the songs as well as the sound. Tunes like "Mood Swing", "Not in This Life", "Trouble Spot" and the sublime "Blind" unfurl sharp, both melodies over stick-in-your-head ensemble riffs," and said that "mayhem and transcendence, sweetness and bite: The thought of what these people might accomplish with a more substantial recording budget is almost frightening. He concluded, "all hail the overdriven amp, the feedback- saturated guitar pickup, the hum of harmonic sustain, the clamorous collision of power chords in the heart of the sonic maelstrom.
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In 1985 the reformed Genocide recorded the Violent Death demo tape, with Carlson assuming bass duties, and resumed playing live locally. In late 1985 Aaron Freeman was invited into the band as a second guitarist. With their line-up fleshed out, Genocide recorded in a studio for the first time to lay down the tracks for what was supposed to be their first album The Stench of Burning Death – it ended up being their third demo. By 1986 Repulsion's trademark style had matured; characterised by raspy shouted vocals, extremely distorted down-tuned guitars, overdriven punkish riffs, absurd rambling solos interjected as if only as an afterthought, rumbling bass lines, and machine- gun drumming.
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Continuum Encyclopedia of Popular Music of the World Volume 8: Genres: North America. A&C; Black, 2012. p. 23 In the song "Mudride", the band's guitars were said to have "growled malevolently" through its "Cro-magnon slog". Boss DS-2 distortion pedal was one of the key effects (including the related DS-1) that created the growling, overdriven guitar sound in grunge. Other key pedals used by grunge bands included four brands of distortion pedals (the Big Muff, DOD and Boss DS-2 and Boss DS-1 distortion pedals) and the Small Clone chorus effect, used by Kurt Cobain on "Come As You Are" and by the Screaming Trees on "Nearly Lost You".
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Like most live albums of the time, Happy Trails made extensive use of studio overdubs, and the last two songs were recorded entirely in the studio, but it has nonetheless been called the most accurate reproduction of the band's acclaimed live performances. Happy Trails was awarded a gold album in the United States. These albums, which have been hailed as "...two of the best examples of the San Francisco sound at its purest," emphasize extended arrangements and fluid twin-guitar improvisation. Cipollina's highly melodic, individualistic lead guitar style, combined with Gary Duncan's driving minor scale, jazzy guitar playing, resulted in a clear, notable contrast to the heavily amplified and overdriven sound of contemporaries like Cream and Jimi Hendrix.
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Blast beats, which are common in heavy metal subgenres such as black metal and death metal, are extremely rare in nu metal. Nu metal's similarities with many heavy metal subgenres include its use of common time, distorted guitars, power chords and note structures primarily revolving around Dorian, Aeolian or Phrygian modes. While loud and heavily distorted electric guitars are a core feature of all metal genres, nu metal guitarists took the sounds of "violence and destruction" to new levels with their overdriven guitar tone, which music journalists Kitts and Tolinski compared to the "...sound [of] a Mack truck being crushed by a collapsing skyscraper."Whitehead, Neil L. Virtual War and Magical Death: Technologies and Imaginaries for Terror and Killing.
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Nitsuh Abebe from AllMusic said "Australia's Magic Dirt managed to secure some impressive touring partners in the mid 1990s, sharing stages with bands like Sonic Youth, Pavement and Dinosaur Jr.. While the sloppy, distorted rock of their self-titled album doesn't have a whole lot in common with these first two bands, there is some appeal of J. Mascis and company lurking in the overdriven riffs and loosely pop melodies packed into Magic Dirt. The album doesn't seem quite as vital or impressive as those of Dinosaur Jr., or those of a lot of American indie bands for that matter, but the same underlying aesthetic makes Magic Dirt a reasonably appealing listen.".
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The kind of stuff that would be proud to call itself crap with a capital C." The A.V. Club called the album a "guilty pleasure" in their mixed review, adding " When you get down to it, the samples and interludes on Zombie's solo debut, Hellbilly Deluxe, are merely window dressing for compact, overdriven, anthemic money shots like 'Superbeast', 'Demonoid Phenomenon', and 'Living Dead Girl'." In their 2010 review of the album, Bloody Disgusting wrote "Putting aside the futuristic sounds and crisp production, everything about the album screamed out vintage horror. I imagined creepy black and white laboratories where glass vials and tubes bubbled with menacing liquids. I pictured a dark night where clouds slowly moved past a full moon.
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For the recording of Audioslave and Out of Exile, Commerford continued to use Ampeg but switched to a 3 amp and cab system: Each amp an SVT2Pro with a clean signal into an 8x10 cab and increasing levels of gain each into the additional 4x10 cabs. For the Out of Exile tour and recording of Revelations, Tim also used other equipment from Ashdown and Mesa/Boogie. The Mesa replacing his clean channel and the Ashdown ABM Evo replacing his most overdriven channel with an SVT2 taking care of the medium gain. Currently, he uses two Ampeg SVT-VR heads (as of May 2008) and his original two Ampeg Cabinets with graffiti from the 2000-era setup.
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"See the Way" was the A-side, and it was characterised by Alan Oloman's "spacey" sounding guitar parts, which were put through an ape delay to get the effect. Even more striking was the B-Side, for which the group had originally intended to record a cover of a Rolling Stones song. But, when producer Pat Aulton heard the band members practising a riff, he recommended that they build a song around it, which resulted in "I Want, Need, Love You", an intense and groundbreaking slab of hard rock and proto- punk, that featured an overdriven instrumental interlude replete with pounding jungle rhythms and a lightning-fast guitar solo by Alan Oloman. The single was released in November 1966.
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The first known musical recording to use the fuzz bass was Marty Robbins's 1961 song "Don't Worry". Paul McCartney, in one of the earliest uses of the fuzz bass, played the guitar on the 1965 Beatles song "Think for Yourself" from their album Rubber Soul. Bill Wyman in one of the earliest uses of this type of guitar played with a growling fuzz bass tone on the 1966 Rolling Stones song "Under My Thumb" from their album Aftermath. Fuzz bass, also called "bass overdrive" or "bass distortion", is a style of playing the electric bass or modifying its signal that produces a buzzy, distorted, overdriven sound, which the name implies in an onomatopoetic fashion.
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"Farther Up the Road" has been called a "seminal Texas shuffle" featuring "a style which Bland evolved as his own, with his light, melodic vocals riding over an ebullient shuffle". According to music critic Dave Marsh, "Bland's deep vocal and Scott's arrangement, which swings as hard as it rocks, links Ray Charles' big band R&B; to more modern currents in Southern soul". Bland's smooth vocals are contrasted with Pat Hare's raucous, overdriven guitar fills and soloing, a style which prefigured the blues-rock sound of the late 1960s. Music critic Dave Marsh adds that the song is "a virtually perfect Texas blues ... [Pat Hare's] signature lick provides the missing link between T-Bone Walker and Eric Clapton".
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There are two versions of the video: the full-length original, and a shorter one which omits a verse. The reason for the shorter version was for the requirements of some TV broadcasters, and the way both versions are edited suggests that Oldfield's touring guitarist "Ant" (Anthony Glynne) performs the second, overdriven half of the guitar solo, which is not the case. Also in the video is Oldfield's touring drummer, Pierre Moerlen, miming the part played by Simon Phillips on the recording. The music video was directed by Keith McMillan and shot on location at Hatfield House and Brocket Hall in Hertfordshire, England (the band are seen performing in Brocket Hall's ballroom and the girl runs in through the door and up the staircase in Brocket's hallway).
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By the release of the construKction of light, longtime members Bill Bruford, who debuted with the band for 1973's Larks' Tongues in Aspic, and bassist Tony Levin, who joined in 1981, had left King Crimson. The departure of both members brought an end to the "double trio" era of the band and marked their return to a quartet: Robert Fripp, Adrian Belew, Trey Gunn and Pat Mastelotto. Fripp was now both the last remaining member from any lineup prior to 1981, and the only Englishman left in the band. Musically, the album bears a sound similar the 1980s lineup, with Mastelotto primarily playing e-drums and Belew, Gunn and Fripp often playing sophisticated, interlocking parts, with Belew and Fripp often utilizing overdriven guitar tones.
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A street artist painting a Young portrait one day after the musician died Influenced by 1950s rock and roll and blues-based rock guitarists of the 1960s and 1970s, Young was regarded as a leading rock exponent of rhythm guitar. Guitar Player magazine has stated that the secret to Young's guitar technique was playing open chords through a series of Marshall amplifiers, set to low volume without high gain. This is contrary to a common belief of many rock guitarists that rhythm guitar should involve loud and overdriven power chords. Dave Mustaine of Megadeth stated in a 2004 interview that he considered himself, Young, Rudolf Schenker, and James Hetfield of Metallica to be the best rhythm guitarists in the world.
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Discussing individual songs, he said the first track, "Maginifishit", was "a testament to Mark Walk's impressive abilities to use Ogre's voice as an instrument unto itself". Yücel stated that "Jaher" is "full of dark atmosphere that is at once soothing and nightmarish" and called it "arguably the best track" on the album. He called "Politikil" "a somewhat more rock & roll type of track" with "chugs and churns of overdriven synths and guitar-like tones, and a rocking rhythm" that is "sure to be a highlight when played live". Yücel also said, "Many will still chide the band for not returning to the sound of past successes like Last Rights or Too Dark Park, but it's this type of purist viewpoint that ultimately stagnates a band's progress".
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Despite its commercial success around the world, the album received overwhelmingly negative reviews from music critics. Giving the album three out of five stars, Alex Henderson of AllMusic said that the groups "versions of ABBA gems like "Take a Chance on Me", "Mamma Mia", "Dancing Queen", and "Voulez-Vous" aren't brilliant, but they're enjoyable—and they show just how well the songs have held up over time." He concluded his review by saying, “All things considered, The ABBA Generation is a pleasing, if unremarkable, testament to the durability of ABBA's songs." In an average review for The A.V. Club, Steven Thompson wrote, "Pop music doesn't get more marginal than a collection of overdriven dance-pop covers, but The ABBA Generation succeeds on its own modest terms.
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He was also noted for his unique way of singing, which was once described as "looking up towards a towering microphone tilted down into his weather-beaten face". He was also known for his bass playing style and using his Rickenbacker bass to create an "overpowered, distorted rhythmic rumble", while another notable aspect of his bass sound was that he often played power chords using heavily overdriven tube stacks by Marshall. Lemmy was born in Stoke-on-Trent and grew up between there, the nearby towns of Newcastle-under-Lyme and Madeley, and later the Welsh village of Benllech. He was influenced by rock and roll and the early works of the Beatles, which led to him playing in several rock groups in the 1960s such as the Rockin' Vickers.
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The first Boogies are referred to as Mark I's, though they were not given this name until the Mark II was released. They were 60 or 100 watt combo amps with a 12-inch speaker, primarily Altec-Lansing 417-8H Series II. The Mark I had two channels: The "Input 2" channel, voiced like the Fender Bassman, and the high gain "Input 1" channel, which produced the overdriven "Boogie lead" sound used most notably by Carlos Santana on side 2 of Caravanserai, and by The Rolling Stones' Keith Richards and Ron Wood, who used the amps live and in the studio from 1977 until 1993. Examples of this amp in its original form and in good condition are sought after by collectors and guitar aficionados. Reverb was optional, and not present on many early Boogies.
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Grindcore is an extreme fusion genre of heavy metal and hardcore punk that originated in the mid-1980s, characterised by an abrasive sound that uses heavily distorted, down-tuned guitars, grinding overdriven bass, high speed tempo, blast beats, and vocals which consist of growls and high-pitched shrieks. Grindcore lyrics are typically provocative, whilst a number of grindcore musicians are committed to political and ethical causes, generally addressing themes of anti-racism, feminism, anti-militarism, animal rights and anti-capitalism. Grindcore, as such, was developed during the mid-1980s in the United Kingdom by Napalm Death, a group who emerged from the anarcho-punk scene in Birmingham, England. Napalm Death's seismic impact inspired other British grindcore groups in the 1980s, among them Extreme Noise Terror, Carcass and Sore Throat, and spurred a global expansion of the genre.
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"Love Bug" was written by Wayne Kemp and Curtis Wayne. Lyrically, the song celebrates the giddiness of new love that's "got the whole world shook up." Musically, the song is an unmistakable nod to the Bakersfield sound, from the treble on the guitars to George's elongated delivery at the start, "Oh...that...little bitty teeny weeny thing they call the love bug," which is reminiscent of Owens hits like "Love's Gonna Live Here" and "I've Got a Tiger By the Tail". Several alternate takes of the song can be heard on the Jones box set Walk Through This World with Me: The Complete Musicor Recordings 1965-1971, including a version with an overdriven electric guitar solo and harmonica that makes it sound more like a Rolling Stones record of the time than either Nashville or Bakersfield.
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He noticed that it sounds "exactly how you would expect a new album from The Prodigy in 2018 to sound", but was thankful that "it (mostly) avoids" the recycling of beats used on previous songs. To him, the album does not take off until half way with "Fight Fire with Fire", a song that houses "one of the few moments where attitude and atmosphere really gel into something memorable", but felt disappointed that such a highlight moment is not repeated elsewhere. A two out of five star review was given by Rupert Howe for Q magazine, who thought the trio "seem in need of a new adventure". While he thought "Need Some1" would satisfy the band's hardcore fans, "much of what follows sounds like he's set his overdriven synths to autopilot", with contributions from Flint and Maxim "reduced to the odd irate interjection".
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Invited to a rehearsal session at drummer Bob Bennett's garage in 1964, Ormsby initially was unimpressed with the group's selection of cover songs. A prototype to the guitar riff that highlights "The Witch" was played, convincing Ormsby to sign the Sonics to his co-owned record label Etiquette Records. Lyrically, "The Witch" was originally intended to be a composition about a local dance craze; however, it was re-written to describe a tale of a treacherous female. The song also is marked by its pounding, stop-start melody, and a relentlessly aggressive tempo. One music critic writing for Penn's Picks advises listeners to take notice to "how Gerry Roslie’s raw, gravly vocals, Larry Parypa’s 'dark, overdriven' guitar (that rivals Dave Davies in tone) and Rob Linds raw saxophone work in perfect unison with one another in creating one hell on an intense song".
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" He also commented that, "however, a full CD of full throttle ceilidh would be tough on the neck muscles of even the most ardent rocker so they do slow it down occasionally." Rick Anderson of Allmusic commented that, "as rock & reel bands go, this Scots band is considerably more rock than reel," saying the band's approach "is sort of an inversion of that taken by groups like the Oyster Band and the Pogues, whose music is based on traditional material infused with a rockish intensity. In Wolfstone's music there's plenty of Highland pipes and fiddle, but the predominant voices in the mix are overdriven electric guitars and drums; the overall impression is one of rock & roll infused with Celtic influences rather than the other way around. And if the singing sometimes comes off as a bit fey, it's fey in a heavy metal sort of way, high-pitched and modestly operatic.
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Tonally, Post Self is centered more on atmosphere and noise rather than the discrete riffs of its predecessor, A World Lit Only by Fire; Joe DiVita, a writer for Loudwire, said that the music "hinges less on burly, cement-cracking grooves from the overdriven distortion of Green's bass and more on lurching low-end that provides the foundation for abrasive layers of swirling, droning notes." Multiple critics compared the album to previous Godflesh releases, most notably 1999's Us and Them for its experimentation and hip hop influence, and 1992's Pure for its sparse, desolate atmosphere. As Broadrick wrote in the album's original press release, Post Self was an exercise in mood, compiling previous experiments under the Godflesh title into a new, more coherent package. With the album's focus on generating a bleak tone, comparisons were drawn between it and one of Broadrick's other projects, Jesu.
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As a live act, Delicate AWOL were becoming more and more influenced by the lighter and more fluid rhythms of jazz, with the rhythm section now embracing spacious groove and Latin-inspired rhythms, Wright improvising complex trumpet lines and Ben Page playing analogue-style synthesizers as well as percussion. Although Version's overdriven guitar maintained a link to the band's art rock past, Ross was now a committed multi- instrumentalist with a vocal style that had begun to incorporate folk, Latin and swing stylings. In 2002, the band signed a deal with the revived indie label Fire Records and wound up Day Release Records in order to concentrate on band work (David Hurn also made the crossing from Day Release to Fire). The band's second album, Heart Drops From The Great Space was released on Fire Records the same year and was accompanied by the 12-inch vinyl EP Time And Motion Studies Deep Underground.
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Y. Liu, "Overdriven Detonation of Explosives due to High-Speed Plate Impact " a device that uses a compressible liquid or solid fuel in the steel compression chamber instead of a traditional gas mixture.Zhang, Fan (Medicine Hat, Alberta) Murray, Stephen Burke (Medicine Hat, Alberta), Higgins, Andrew (Montreal, Quebec) (2005) "Super compressed detonation method and device to effect such detonation"Jerry Pentel and Gary G. Fairbanks(1992)"Multiple Stage Munition" A further extension of this technology is the explosive diamond anvil cell,John M. Heberlin(2006)"Enhancement of Solid Explosive Munitions Using Reflective Casings"Frederick J. Mayer(1988)"Materials Processing Using Chemically Driven Spherically Symmetric Implosions"Donald R. Garrett(1972)"Diamond Implosion Apparatus"L.V. Al'tshuler, K.K. Krupnikov, V.N. Panov and R.F. Trunin(1996)"Explosive laboratory devices for shock wave compression studies" utilizing multiple opposed shaped charge jets projected at a single steel encapsulated fuel,A. A. Giardini and J. E. Tydings(1962)"Diamond Synthesis: Observations On The Mechanism of Formation" such as hydrogen.
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