Having the ruling party, rather than the state, exert such control is trebly worrying.
|
|
On "Temple Sleeper," he strings together measures of a scratchy, high-BPM drum sample augmented by trebly synth progression.
|
|
A dumb example is the gritty, trebly texture of Diplo's "Florida," something I'd never heard before I tried the P7's.
|
|
A spindly, trebly synth line lurks ominously in the background, as a stately, matter-of-fact chord rings out every few measures.
|
|
Around 85,000 police, soldiers and national guards, some trebly armed with automatic rifles, shotguns and pistols strapped to their thighs, have been dispatched to patrol the streets.
|
|
But her set grew more serious the closer it drew to traditional aspects of fado, without a drum set and with greater prominence of the trebly-sounding, teardrop-shaped Portuguese guitar.
|
|
It's a trick, and after a while you get used to it, but it is impressive, especially in songs with a lot of separate, trebly sounds (like a funky rhythm guita).
|
|
Those moments all read like delicate threats, but you'd easily miss them if you were only bopping to the song's lolling retro beat and cranking up the sound of its trebly guitars.
|
|
Mr. Abrams draws on a global scrapbook of sources: the liquid chime of 73th-century minimalism, the trebly funk of guitar-driven jazz fusion, the burrowing pulse of West Africa's Gnawa music.
|
|
While the lyrics describe sexual anxiety and coming out with empathetic generality, Lacy's hesitant singing often disappears beneath an oceanic expanse of high, wet, trebly rhythm guitar, the album's loudest and mildest ingredient.
|
|
"Psy Ops" has gnashing, dissonant, trebly guitar riffs over pounding drum syncopations, with Nadia Garofalo wedging telegraphic little bursts of lyrics — "now pay attention/your anger/fear/has got me" — wedged tightly into the groove.
|
|
"Madiba Riddim," cascading through a lilting guitar hook that shares its trebly tone and bittersweet prettiness with several African pop genres, also showcases Drake's gentle soulfulness as a singer responding to rhythmic nuance and kinetic motion.
|
|
On the album, a radiator warmth pervades everything; at this show, you got more direct access to the materials: the trebly, yellow hue of Mr. Frisell's guitar and the exposed earth tones of Mr. Morgan's bass.
|
|
In those presentations, several of Ms. Monk's stylistic hallmarks were in evidence: unpredictable yet ensorcelling rhythmic grooves; trebly, chattering murmurs arising from groupings of singers; solo passages requiring the deep, plaintive power of the composer's shockingly serene voice.
|
|
The fuzzy, clanging, nevertheless streamlined guitar roar, bursting forth with trebly riffs and solos and rhythmic slams between verses, resonates with a yowling clarity, while Jon Wurster's drums throb with an agile speed that implies a light touch.
|
|
This music is defined by the creaky, dust-spattered sound of her acoustic guitar and/or cleanly trebly electric, strummed or plucked, as a token of expressionist sincerity and a way to sound homemade, if not exactly lo-fi.
|
|
Those elements start with his guitar playing: a trebly tone; careful trills and tremolo; short melodic figures cutting across the simple chord progressions; his weaving around the playing of the band's other guitarist, Nick Millevoi, building up toward dramatic peaks.
|
|
Rolling Blackouts C.F.: Talk Tight (Sub Pop) Released mid-2017 U.S. but early-2016 Australia, this sounds more New Zealand—Chills-Clean-Bats, bright young white guys whose trebly guitars purl and mesh, although Go-Betweens recitative enters as well.
|
|
It makes less sense for a company to set up in Britain to sell to Spaniards than for it to base itself in Singapore to cater to Indonesians—and trebly so if Britain loses unrestricted access to Europe, as it probably will after Brexit.
|
|
Now behold waves of pealing keyboard ripples, noodling trebly guitar, sweeping electronic strings, organic grooves inhabiting a soft-rock variant on neosoul, and a panoply of chirpy female R&B voices, most prominently Estelle and Kali Uchis, whispering sweet nothings and providing vocal cushioning.
|
|
Here, he locks into a beat Burial co-produced with Four Tet that's a perfect hybrid of the two artists' strengths; Burial presumably supplies the washes of drone and the clacking drum samples, while Four Tet accentuates the beat with crisp, trebly synths and auxiliary percussive sounds.
|
|
Vampire Weekend (2008) and Contra (2010) are light, tuneful, summery romps, condensing trebly guitar, violins and harpsichords, bubbly, pitched percussion, and ska beats into clean, spare, distinctive, skewed guitar-pop that, despite comparisons to African pop and Paul Simon's solo music, didn't sound much like anyone.
|
|
Its punchy power pop has broadened, daubing power chords with a range of wacky elements: xylophone; marimba; breathy backup vocals; lanky string arrangements; splashes of synthesizer gloss; bubblefunk rhythm guitar; and foregrounded African highlife riffs, of all things, with that high, clear, trebly guitar sound (is this the '80s influence in question?).
|
|
Dalton's performance of the song is perhaps the best known.Ben Ratliff, "MUSIC: PLAYLIST; Resurrecting 'Katie Cruel' and That Old, Weird Trebly Sound", New York Times, Oct. 29, 2006, accessed Mar. 29, 2008.
|
|
Norwegian-inspired black metal guitarists usually favor high-pitched or trebly guitar tones and heavy distortion. The guitar is usually played with fast, un-muted tremolo picking and power chords. Guitarists often use dissonance—along with specific scales, intervals and chord progressions—to create a sense of dread. The tritone, or flat-fifth, is often used.
|
|
Three ideal triangles in the Poincaré disk model Two ideal triangles in the Poincaré half-plane model In hyperbolic geometry an ideal triangle is a hyperbolic triangle whose three vertices all are ideal points. Ideal triangles are also sometimes called triply asymptotic triangles or trebly asymptotic triangles. The vertices are sometimes called ideal vertices. All ideal triangles are congruent.
|
|
"Isolation" is a 1980 song appearing on the post-punk band Joy Division's second and final album Closer. The song is based on an electronic drum beat by Stephen Morris, accompanied by a thin, trebly keyboard part by Bernard Sumner. Midway through the song, a rushing drum and hi-hat motif come in, propelling the song toward its dramatic end.
|
|
The band's sound has been described as "guitar-squall", with comparisons to Sonic Youth and that dog., with Lockey and Cleave often alternating on vocals within the same song. Their sound also included what has been described as a "frantic trebly bass"."Tse Tse Fly - "s/t" cd (Pehr)", IndiePages They also used samples of sounds such as dogs and telephones.
|
|
McGee (2008), p. 18 However, he found the sound of the Explorer's bass strings unsatisfactory and avoided them in his playing early on, resulting in a trebly sound. He said by focusing "on one area of the fretboard [he] was developing a very stylized way of doing something that someone else would play in a normal way". Other equipment choices contribute to the Edge's unique sound.
|
|
Washburn Guitars also produced a version of the N4 with a body of swamp ash, a wood considered to have an "aggressive" trebly emphasis, granting this N4 a distinctive tone. After Washburn stopped producing padauk N4, they offered a swamp ash models stained to resemble padauk. These are readily recognized because of the typical swamp ash porous veins showing behind the stain. This models sounds exactly like the (unstained) N4E-SA.
|
|
Vintage Rickenbacker 330s included a 0.0047µF capacitor between the switch and the volume knob for the bridge/treble pickup. The capacitor filtered out lower frequencies resulting in a more trebly output. Some players credit this capacitor for creating the more vintage "jangly" tone as opposed to the much fuller sounding bridge pickup without the capacitor. A side effect of this capacitor was a volume reduction in the bridge pickup's output.
|
|
"Dear Jessie" ends with all instrumentation and vocals fading out, except the orchestra, which is equalized to make it sound very thin and trebly, as if coming out from a distorted radio. The lyrics encourage the young girl Jessie to use her imagination. It summons up a psychedelic landscape, where pink elephants roam with dancing moons and mermaids. It references fairy-tale characters and creates an image of children playing with each other.
|
|
Entwistle at the Manchester Apollo with the Who in a 1981 performanceEntwistle's playing technique incorporated fingerstyle, plectrum, tapping, and the use of harmonics. He changed his style between songs and even during songs to alter the sound he produced. His fingering technique involved plucking strings very forcefully to produce a trebly, twangy sound. He changed his thumb position from pick-up to the E string and occasionally even positioned his thumb near the pick-up.
|
|
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.
|
|
In their early days, the Edge's only guitar was his 1976 Gibson Explorer Limited Edition, which became a signature of the group.McGee (2008), p. 18 However, he found the sound of the Explorer's bass strings unsatisfactory and avoided them in his playing early on, resulting in a trebly sound. He said by focusing "on one area of the fretboard [he] was developing a very stylized way of doing something that someone else would play in a normal way".
|
|
La Pompe is the rhythmic pattern used in gypsy jazz. This form of percussive rhythm is similar to the "boom-chick" in stride piano. The first beat is a staccato chord, emphasizing the lower strings with a more "bassy" sound, produced by a down stroke; the fretting hand immediately afterward releases the strings slightly to deaden them. The next beat is a percussive strum, produced by a down stroke, that emphasizes a more "trebly" sound by engaging a fuller range of the strings.
|
|
When wired in series, as is most common, the overall inductance of the pickup is increased, which lowers its resonance frequency and attenuates the higher frequencies, giving a less trebly tone (i.e., "fatter") than either of the two component single-coil pickups would give alone. An alternative wiring places the coils in buck parallel, which has a more neutral effect on resonant frequency. This pickup wiring is rare,humbucker as guitarists have come to expect that humbucking pickups 'have a sound', and are not so neutral.
|
|
"Techno Cumbia" was praised as the first successful case of a cumbia-rap prototype in the industry. "Bidi Bidi Bom Bom", which also draws on music from the Caribbean, features lusher arrangements and less driven, trebly synthesizers than the first four songs on Amor Prohibido. Infused with cumbia and reggae, its onomatopoeic title suggests the sound of a heart palpitating when a person longs to be the protagonist's object of affection. Critics praised the song's catchiness and noted a sense of conviviality in the track.
|
|
Times New Viking have been noted for their lo-fi aesthetic, recorded to cassette, which drew comparisons to Guided by Voices' early material. They were considered part of the "shitgaze" genre, alongside contemporaries such as Psychedelic Horseshit, Sic Alps and Eat Skull. Notable features of their songs include shouted vocals, distorted drums and loud, trebly guitars in addition to tape hiss and brevity. The tracks on Rip It Off were mastered to a RMS -db value of 0 (or near to) making them comparatively as loud as possible.
|
|
This contributed to the need for the fifth control knob for balancing pickup volumes. The capacitor was removed from the circuit by the mid-1980's. A popular modification is to reintroduce the capacitor back into the circuit on more modern 330's, but it is usually attached to a push/pull potentiometer switch so it can be engaged by pulling up the knob and disengaged by pushing the knob back down - this allows for the more modern full bridge pickup sound as well as the thinner, more trebly sound.
|
|
According to Vasicka, the genre's hallmarks include minimal musical structures, relatively unpolished production, and the use of analog synthesizers and drum machines manufactured in the 1970s and 1980s. The instrumental arrangements featured "mechanical beats" and "short repetitive patterns", plus "noticeably synthesized drum programming and trebly, thin melodies" which emphasized the artificiality of synthesized sound. Vocal arrangements "acted as a counterpoint to that artificiality." Musicians in the genre were often influenced by avant-garde movements such as futurism and constructivism, and by the literature of science fiction and existentialism.
|
|
Taberer attended St. Andrew's College, Grahamstown, from January 1883 to June 1892. He played in St. Andrew's cricket XI and rugby XV. At Keble College, Oxford, he attained a B.A. (Hon) in Theology. Henry was the brother of Bill Taberer, international rugby player. Taberer represented Oxford University in 1891 and 1892 but did not gain a ‘Blue’, which is awarded to those selected for the annual intervarsity match against Cambridge at Lord’s. The South African Review remarked that ‘favouritism of the grossest kind robbed [Taberer] forever of the great, trebly great, honour of a triple blue’.
|
|
Mike Greenblatt called To the One "very heady, complicated, meandering, spiritual, bass-centric yet trebly and deeply satisfying" in The Aquarian Weekly. Thom Jurek of Allmusic called the album an "inspired milestone for McLaughlin and a fine recorded introduction to one of the more exciting electric jazz groups in the 4th Dimension". Stuart Nicholson of Jazzwise referred to the album as "an odyssey through McLaughlin's spiritual awakening and the meaning it has had in his music". John Fordham of The Guardian wrote that the album is a "tight 40-minute document [that] hums with a collaborative energy".
|
|
"Vapour Trail" is written in standard tuning, with the main riff constructed from a four chord pattern (C-sharp minor–B–A–E) which opens the song and repeats throughout, characterized by the distinct sound of two Rickenbacker 12-string guitars. The guitar sound on the song has been the subject of much debate. Fans have stated the use of compression, flanger, and chorus effects as the closest ways to emulate the trebly rhythm sound. However, according to Bell, no actual effects were used to achieve the sound, and that it was purely the two 12-strings guitars.
|
|
The pickup placement, closer to the instrument's neck than on Gibson's EH steel guitars and on guitars made by other manufacturers, produced a warmer, less "trebly" tone that was favorably received by jazz and blues players. In 1937, the model's peak year, Gibson shipped an average of forty guitars a month. In early 1937, Gibson began shipping two four-string versions: a tenor guitar (the EST-150, with a 23" scale, renamed the ETG-150 in 1940) and a plectrum version (the EPG-150, with a 27" scale). Early players included Eddie Durham, Floyd Smith and, the most famous of them, Charlie Christian, who bought an ES-150 in 1936.
|
|
Example of ext2 inode structure: Estructure Quote from the Linux kernel documentation for ext2: > "There are pointers to the first 12 blocks which contain the file's data in > the inode. There is a pointer to an indirect block (which contains pointers > to the next set of blocks), a pointer to a doubly indirect block and a > pointer to a trebly indirect block." Thus, there is a structure in ext2 that has 15 pointers. Pointers 1 to 12 point to direct blocks, pointer 13 points to an indirect block, pointer 14 points to a doubly indirect block, and pointer 15 points to a triply indirect block.
|
|
Numismatists Anthony Swiatek and Walter Breen noted, "[This] must have been doubly and trebly humiliating in that Fraser's initial was then adorning the current 5¢ nickel, while neither Barber's nor Morgan's was on any regular issue coinage then in production". On January 3, 1924, Fraser wrote to Moore that the new models had been considerably improved, and complained that Vestal had advised the Huguenot-Walloon commission to have the models made at the Mint as he had been told by its officials that private artists made models in a relief too high to be easily coined. "It seems to me perfectly disgusting that this inane and lying criticism should go on constantly". The Fine Arts Commission approved the revised designs.
|
|
With elements of funk, jazz, and progressive pop, "The Noisy Days are Over" features a fast- paced and energetic tempo, a circular and repetitive bassline, and a dance- floor groove that lasts for the song's duration. Jacob Nicholas of The Mancunion wrote that the song "showcases the whole of Commontime in a single track: the tight, trebly groove, the orchestral flourishes, the two brothers harmonising, and a slightly off-kilter drum outro". By starting the album with "The Noisy Days are Over", PopMatters writer Ian King said Field Music "(goes) for broke up front ... setting up the rest of Commontime with a flexibility that they enthusiastically explore but don’t push too far". David Brewis said the horn arrangements and the song's outro were "a touch of homage" to Prince, particularly works from his 1986 album Parade.
|
|
Motown specialized in a type of soul music it referred to with the trademark "The Motown Sound". Crafted with an ear towards pop appeal, the Motown Sound typically used tambourines to accent the back beat, prominent and often melodic electric bass-guitar lines, distinctive melodic and chord structures, and a call-and- response singing style that originated in gospel music. In 1971, Jon Landau wrote in Rolling Stone that the sound consisted of songs with simple structures but sophisticated melodies, along with a four-beat drum pattern, regular use of horns and strings, and "a trebly style of mixing that relied heavily on electronic limiting and equalizing (boosting the high range frequencies) to give the overall product a distinctive sound, particularly effective for broadcast over AM radio". Pop production techniques such as the use of orchestral string sections, charted horn sections, and carefully arranged background vocals were also used.
|
|
Nolen created a "clean, trebly tone" by using "hollow-body jazz guitars with single-coil P-90 pickups" plugged into a Fender Twin Reverb amp with the mid turned down low and the treble turned up high. Funk guitarists playing rhythm guitar generally avoid distortion effects and amp overdrive to get a clean sound, and given the importance of a crisp, high sound, Fender Stratocasters and Telecasters were widely used for their cutting treble tone. The mids are often cut by guitarists to help the guitar sound different from the horn section, keyboards and other instruments. Given the focus on providing a rhythmic groove, and the lack of emphasis on instrumental guitar melodies and guitar solos, sustain is not sought out by funk rhythm guitarists. Funk rhythm guitarists use compressor volume-control effects to enhance the sound of muted notes, which boosts the “clucking” sound and adds "percussive excitement to funk rhythms" (an approach used by Nile Rodgers).
|
|
With each song named after an individual that may or may not have ever existed, 1992's Trance Syndicate debut Gloryhole marked a change in the band's sound, whilst retaining much in the style of its two predecessors: open, loose backbeats overlaid with pop song structures, and Butthole Surfers- esque influence. Production changed following the move to Butch Vig's Smart Studios, and highlights included "Buster Enamel" and the Jakob-like instrumental "Bernie Sticky," along with a cello-driven cover of Kiss's "Beth" (also released as a 7-inch single on Trance Syndicate) 1993's Motherscratcher opening track "White House Girls," with its exaggerated backbeat and laughing chorus, employs prickly riffs and trebly, note-driven leads of guitarist Gary Chester, with bass player Larry Strub and new drummer Lyman Hardy, who replaced Kevin Whitley prior to the Gloryhole tour. Influences also include Flipper, and with whom they toured in 1994. Ed Hall's fifth album, 1995's La La Land was an extension of the ground covered on Motherscratcher .
|
|
Sally McKean D'Yrujo "He was an obstinate, impetuous and rather vain little person with reddish hair; enormously wealthy, endlessly touchy, extremely intelligent and vastly attractive … he liked America, he understood it and enjoyed it; he was tremendously popular at Philadelphia, and at Washington when he condescended to appear there; he was on intimate terms at the President's House. If he lost his temper from time to time, and thought nothing of haranguing the country through the newspapers, he served his King with energetic loyalty; he went about his business with dignity and shrewdness; he never forgot the respect due to his official person, however much he might indulge his democratic tendencies in private intercourse; he was the only Minister of the first rank in America, and consequently the leading figure in the diplomatic corps; he contributed to American society the brilliant qualities of his elegant and felicitous personality; he was a very great gentleman." — from Aaron Burr, Samuel H. Wandell, Meade Minnigerode, 1925. Yrujo was doubly and trebly attached to the Administration.
|
|
Self-portrait – one form of artist's self-identification According to Stevie Davies, Anne's depiction of the woman as fee-earning artist "trebly trespasses on the domain of the masculine: female artists dabbed in water-colours or sketched decoratively in pen and ink; ladies did not engage in trade; and, besides, tools of her trade [legally belonging to her husband] in this case count as stolen." Melinda Maunsell believes that Helen is "both revealed and concealed by her artistic hand; providing her with an acceptable means of expression within her social construction, the artists hand also offers a form of independence, a possibility of earning a living, in a period when a woman had virtually no independent power base in any sphere." The story of Helen Graham, according to Samantha Ellis, may have inspired Emily Mary Osborn's painting Nameless and Friendless (1857), which depicts a widow attempting to make a living as an artist. Nicole A. Diederich has argued that in The Tenant Anne Brontë constructs marriage and remarriage as a comparative and competitive practice that restricts Helen's rights and talents.
|
|
The French government replied that these objections were baseless since the promise not to alienate Louisiana was not in the treaty of San Ildefonso itself and therefore had no legal force, and the Spanish government had ordered Louisiana to be transferred in October 1802 despite knowing for months that Britain had not recognized the King of Etruria in the Treaty of Amiens.. Transfer of Louisiana by Ford P. Kaiser for the Louisiana Purchase Exposition (1904) Henry Adams claimed "The sale of Louisiana to the United States was trebly invalid; if it were French property, Bonaparte could not constitutionally alienate it without the consent of the French Chambers; if it were Spanish property, he could not alienate it at all; if Spain had a right of reclamation, his sale was worthless." The sale of course was not "worthless"—the U.S. actually did take possession. Furthermore, the Spanish prime minister had authorized the U.S. to negotiate with the French government "the acquisition of territories which may suit their interests." Spain turned the territory over to France in a ceremony in New Orleans on November 30, a month before France turned it over to American officials.
|
|