Examine individual changes

@@ -1 +1 @@ - +<br>Plugged-in acoustic guitars are an essential part of playing music these days — whether live or recording. In my opinion, the electronics side of the equation is the great equalizer, so to speak. Even lower-cost instruments with onboard pickups can do the trick on a gig or a home-recording session. But to my ears, the exceptional acoustic-electric guitar is one that has the classic acoustic sound, as well as the plugged-in option. My kind of acoustic/electric is the Martin DCPA3 Performing Artist cutaway [https://commons.wikimedia.org/wiki/Category:Male_vocalists_from_Lithuania Dreadnaught reviewed] here. A further evolution of the 16 Series that Martin created in the 1990s, the DCPA3 is an all solid-wood, full-sized cutaway Dreadnaught guitar with onboard Fishman Aura F1 pickup, controls and tuner.<br><br><br>The Performing Artist Series guitars are built with modern methods and use a variety of renewable materials and cost-saving design elements in their construction. Hence, they are not as expensive as the traditional-built acoustics. Other PA models also include an 0M-sized cutaway and an Grand Performance cutaway in mahogany, sapele and rosewood bodies. I have played a variety of 16 series guitars since the mid-1990s (even have owned a few), and have marveled at how they sounded at often half the price of a traditional D18, 28 or 35 model. The DCPA3‘s solid Indian rosewood back and sides and solid sitka spruce top are very much like the traditional, iconic D28. The guitar sports a 25.5[https://Www.Eventbrite.com/e/harper-denhard-female-vocalist-tickets-51922017151 -inch scale] neck made of "select hardwood", which is typically Spanish Cedar or genuine mahogany these days.<br><br><br>The fretboard measures a comfortable 1 3/4 inches at the nut and 2 1/8 inches at the 12th fret. Although Martin guitar necks were predominately Honduran mahogany from the early 1920s, shortages of that wood has forced Martin and other guitar makers to supplement with other woods, such as Spanish cedar. With Martin, the Honduran mahogany necks are still used on standard models, if available. The more readily-available cedar looks similar to mahogany and is just about as stiff. In fact, Martin used cedar necks in the 19th and early 20th [https://ugmdallas.org/ugm-dallas-hosts-four-time-icma-female-vocalist-of-the-year-mary-james/ century]. The neck features a rosewood-veneered DCPA3 headstock with Martin-labeled Gotoh tuners.<br><br><br>The MOP fret markers are a bit unique in that they are arrayed on the bass string side. The fretboard (and bridge) is made from a synthetic substance called Richlite, which is hardened paper and resin synthetic material that is considered renewable and, thus, green. It is now showing up on more and more guitars. It looks like ebony and is said to be quite hard, which give a slightly "brighter" character over traditional ebony or rosewood. The body wood on this DCPA3 sample had great visual appeal with tight-grained Sitka top, devoid of the marked light and dark banding that I see more and more these days on sitka guitar tops. The DCPA3's body and neck binding are made from a durable plastic, Boltaron. There is no decorative back strip to separate the two-piece rosewood back, which I think looks pretty darn cool.<br><br><br>The nut is made from white Corian and the saddle from Tusq; both are synthetic materials said to be as dense and hard as bone or ivory. The guitar top is is finished in a gloss nitrocellulose lacquer — while the back, sides and neck are sprayed with a satin lacquer that gives it a more natural feel. The lower bout metal strap pin doubles as the cable jack. The battery compartment also is housed inside the end-pin. The other strap holder is mounted on the neck heel via a wood screw. Inside the guitar is a work of perfection: no stray glue traces, the perfing was straight and properly spaced.<br><br><br>The electronics are mounted on the under side of the top side above the sound hole with two controls and a small LED display. The DCPA3’s electric side [https://www.Gigmasters.com/frank-sinatra-tribute-act/songs-of-sinatra-and-other-male-vocalists features] the well-regarded Fishman F1 Aura pickup/digital preamp system. The preamp system features an undersaddle pickup and digitally sampled 24-bit "images" or sounds of the guitar recorded with nine notable microphones. They include: DPA 4011, AKG C414-B, Neumann U87, Schoeps, CMC64g, Neumann KM84, Shure SM57, Groove Tubes Velo 8[https://Www.airgigs.com/online-male-vocalist-for-hire/3545/Male-vocalist-with-warm-expressive-voice---versatilehigh-range T ribbon] mic and Earthworks QTC30. Other features include tuner, phase control, EQ and compressor, as well as anti-feedback reduction so you can crank it up on stage without squeal. With just two buttons on the top side of the DCPA3, there is a bit of a learning curve to engage all the functions.<br><br><br>But after a few days usage, I was comfortable selecting the various function and mic images I wanted. The included manual explains the various combination of button pushes to get the desired function. The Martin DCPA3 has a nice feel, and the Performing Artist profile neck is perfect — with low action and the 1 3/4"-to-2 1/8 fretboard is easy to find your way around. In fact, this is one of the best feeling necks that I have ever played on an acoustic guitar! Martin should be commended for the setup; the neck set was perfect with a medium-high saddle; yet the action was so playable. Frets were comfortable as well with no sharp edges. Intonation to the 12th fret was spot on.<br><br><br>With the onboard electronics, the guitar felt a little heavier than a non-electronics laden Martin D-sized acoustic, but it still is pretty easy to maneuver and the DCPA3 felt well balanced when using a strap. I have played a number of the A-frame braced rosewood Martins with cutaways, and the DCPA3 is very similarly voiced. It has that warm bottom end and lower midrange that personifies the rosewood spruce Martin sound. Finger picking and strumming produces rich tones with just enough top end to make it cut. I have played a number of the A-frame braced rosewood Martins with cutaways, and the DCPA3 is very similarly voiced. It has that warm bottom end and lower midrange that personifies the rosewood spruce Martin sound. Finger picking and strumming produces rich tones with just enough top end to make it cut.<br><br><br>The hybrid A-framed bracing allows the guitar to be loud enough for playing without amplification and a considerable degree of openness. The Martin that have this bracing always have a bit of low midrange growl, and the DCPA3 was no exception. With moderate to hard strumming, I measured an 87 dB level at 1 meter using an audio analyzer/level meter. Not as loud as a HD28 or D-45, but good enough to play without electronics in small to medium settings. As mentioned, the supplied review sample had a superb feeling neck — with its "performing artist" profile, providing a low-fast action that rivals any Taylor or Takamine I have played.<br><br><br>With may large hands, the positioning on the lower frets felt much less cramped than my Martin J-40’s standard "low-profile" neck — with is slightly narrower dimensions at the nut. By engaging the Fishman mic image modes, a new sonic palette emerges from the DCPA3. Although I am ordinarily a fan of traditional miking methods, I liked the DPA-4011 "image" for that transparent mic’d sound and the Neumann U87, with the compressor engaged, to get a fuller sound. By engaging the Fishman mic image modes, a new sonic palette emerges from the DCPA3. Although I am ordinarily a fan of traditional miking methods, I liked the DPA-4011 "image" for that transparent mic’d sound and the Neumann U87, with the compressor engaged, to get a fuller sound.<br><br><br>Some of the other modes seemed a little too bright for my ears, so I EQ’d the amp and left the EQ flat on the Aura. By the way, the onboard tuner is excellent; it was easy to tune exactly on pitch with easy nudges of the tuners. The Martin held its tune — even in the fluctuating temperatures of the fickle Washington DC winters. All in all, I think the Martin DCPA3 is a perfect electric-acoustic for those that want the Martin tone with slightly livelier air and a full-featured on-board pickup/preamp system. John Gatski is publisher/editor of the Everything Guitar Network, and has reviewed guitars and guitar-related products since 1998 A basic rhythm player, Mr. Gatski also collects guitars and restores vintage guitar amps for his own pleasure. He also is publisher/editor of the hi-fi, home cinema, home recording studio review site, Everything Audio Network. ©All original articles on this site are the intellectual property of the Everything Guitar Network. Any unauthorized use, via print or Internet, without written permission is prohibited.<br><br><br>This NYC pianist will help you choose the perfect music for the live wedding performance. To add elegance and charm to your momentous moment, Arnie has the finest music in New York. Name the genre of music and Arnie plays it out for you: be it classical, jazz, swing, light rock, sing-alongs, 60’s, 70’s or 90’s! In case you do not have a piano at your venue do not worry, Arnie has professional keyboards and sound system equipment. Everything is authentic and true-to-life. 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Everyone is welcome to consult him to personalise your special day for free. 716-2419. A mail can also be sent to Arnie@ManhattanPianist.com .<br><br><br>It was the stretchy band I ordered! Needless to say, I was super excited and tried it out with almost all of my classes on Friday! Two kinder classes, two first grades, and two second grades, and two third grades. In hindsight, I probably shouldn't have done it all on one day because using it can get exhausting, but I was just so eager to share this new learning tool with my students. And they LOVED it! I started planning by collecting activities to try on my Pinterest. I couldn't find too much on there; I've heard great things about Artie Almeida's Parachutes book and I think I might order it soon to try some of those. If you have experience with this book or have other stretchy band activities you like, please let me know!<br><br><br>Third grade was learning Liza Jane on solfege, so as a class we decided where the stretchy band should be for each pitch. In the primary grades we showed high and low sounds by holding the stretchy band over our head and in our lap. We practiced bouncing the band to a steady beat and counting measures in groups of four beats. In first grade, we listened to Elgar's piece, "Faeries and Giants." I asked the students to make a prediction about what the faeries would sound like and they voted by holding the band high or low. I also told my students about my favorite part of using the stretchy band: putting it away! We counted down "3-2-1-GO!" and all let go of the band at the same time so that it snaps into the middle of the circle.<br><br><br>So Steven Tyler is one of the new judges for American Idol. I like him and his band Aerosmith, but that still isn't enough to get me to watch the show. Sorry Mr. Head of Programming at Fox. It might surprise you that The Greek Blonde girl is not a fan of American Idol. Just because I am a singer and recording artist doesn't mean I must like a show about singers that creates manufactured careers. I also think Daughtry is a really talented singer as well as Kelly. The problem I have with the show American Idol is that it gives false hopes to so many people.<br><br><br>This is a hard business. But now thanks to that reality series so many people think that if they get on TV it will make them a great singer. What it actually does, is it reinforces that lose screw in their coconut that makes them think they are a good singer. Hold the phone William Hung can you hear me now? We all really know that just because you are on TV doesn't mean you are a good singer, or that you can even sing for that matter. We had that nonsense and muckery with Larry Platt and his song, Pant's On The Ground to prove that. I have great respect for myself as a singer and for all of those who have also trained to perfect their craft like I have.<br><br><br>However, I don't have a great deal of respect for marginal Karaoke singers who have a really great back story and get lots of exposure on National TV. Now before you go off asking me if this Greek Girl wants a little whine with her cheese, let me say, this is not about sour grapes. I am happy when anyone has something wonderful happen to them. And clearly anyone who is on American Idol is in for an incredible ride with some really great opportunities in store for them. But just because they were on American Idol doesn't mean they are a fantastic singer.<br><br><br>No Indian wedding is complete without a memorable sangeet ceremony. While Bollywood actors, singers and choreographers have always been popular choices for the sangeet, one is spotting a new trend with a shift towards unconventional performers. The latest entrant into this market seem to be singers who have gained popularity via social media platforms. These independent artistes have been performing at various festive occasions, marriages and events all over the country. "Digitalisation has opened a whole new world of opportunities for today’s artists. Despite the paucity of major breakthroughs, artists carve a niche and create [https://www.Ticketmaster.com/acdc-acdc-tribute-act-tickets/artist/1514533 opportunities] for themselves. Delhi based Kamakshi Khanna is a singer and songwriter whose music blends both the old and new has performed at the NH7 Weekender Pune, Shillong, Sofar Sounds Delhi and New York. Vipin Aneja, who sung Jaane Tere Shehar Ka in the movie Jazbaa (2015), also agrees on how Youtube and Instagram have emerged as a huge platform to showcase one’s talent to a wider range of audience. "It has broadened the scope of experimentation with music and helped setting variable trends. Also, it has helped generating a fairer share of revenue for artists," says Vipin, who has performed at various weddings in Hong Kong, Thailand, Dubai and India.<br><br><br>I've spent the best part of today converting this unsuspecting acoustic guitar into an 8-string. It's a (possibly 1980s/1990s) Kent-branded acoustic that I bought very cheaply off eBay recently because I wanted a back-up guitar for my main acoustic guitar. However, for one of the songs we are doing at the guitar club I attend, I've been hankering after a 12-string sound. For the two additional tuners, I used a pair that originally came off a Washburn guitar I used to own. You may notice in the above photo what might at first seem like an odd placement of these tuners. My reasoning was to use the two different tuners for the two octave strings. Hopefully it should be less trouble than a 12-string. Easier to re-string, easier to tune, and what's more it doesn't have that annoying wide fingerboard that many 12ers have. I'm aware that it looks a bit "Heath Robinson" perhaps, but I don't care too much about the aesthetics in this instance. It's the sound that I was after. This conversion cost me nothing. I used a guitar, parts, strings and tools that I already had.<br><br><br>Rochele and Nickolas were married in the Hanna Courtyard of the Western Reserve Historical Society in Cleveland, Ohio. I was thrilled to be their harpist at the Friday afternoon wedding ceremony. The museum even had a display of wedding dresses in the room just before guests went out into the courtyard! The gardens were absolutely beautiful, even though it was a bit chilly! The guests were able to wait inside where it was warm until just before the ceremony began. During the prelude, I played harp arrangements of pieces from Phantom of the Opera by Andrew Lloyd Webber. For the family processional, Rochele requested "Canon in D" by Pachelbel.<br>