Blast Your Ass - Various - History Of Rotterdam Hardcore Volume 5 (CD)

Deal, solid early effort. Chinatown Shuffle Mexicali is fun. The transition started off energetic, Bob takes the first steps into Rider, and the rest of the team shifts over slowly, which hurt the momentum.

The vocals are full blown folk harmony. Hurts Me Too was painful. Jack Straw has a great tempo from the start! The playing is technically perfect, and Bob doesn't get overzealous in the vox department. Big RR is ripsnorting fun! Good Lovin' maintains the nice energy as we work our way through the traditional verses, with some nice Jerry solos in there. The largely slow rap isn't drawn out, but the return to the theme was still welcome.

Casey Jones caps off the set in typical fashion. Dew opens the second, and the set list variance is again appreciated. I love Dew as a set opener, personally, though it precludes the crashdown to ending a long meat sequence later.

Great version on our hands here, with Phil bombs bringing in the first solo around the 5 minute mark! He keeps the enemy's heads low while Jerry strafes the runway. The finale jam is great, though it doesn't crash down, it just stops for Jerry's final "anywaaaay" MAMU comes out of the corral bucking and wild.

Stranger has some punctuating work by Keith and Jerry that is nice, but this song just drags on me. El Paso, Jerry is a little lower key than I would like but the song is otherwise well performed with the ups and downs over the hilly landscape we would expect. TN Jed, nothing to see here in particular. So, I'm giving it a fair shot here. Starting off with a nice tempo.

The jam turns into a storm as it leaves the main theme around in, Phil and Billy pushing the tempo. Keith echoes Jerry, who slowed down the storm, bringing us back to a calm place. After the 6 minute mark we're back closer to the theme but getting quite mellow. In the 8th minute the jam becomes pretty incoherent, but Garcia brings it back together by the 9th, as he builds his way toward what I imagine will be the first verse before the drum solo. Instead the song just falls apart and Billy takes over without the verse.

The drums solo goes into a Phil solo, which is short lived, and then a Jerry bit with Phil and Billy barely behind him. The verse follows a lengthy solo around 7 minutes in, and I barely even noticed because I was a bit bored, and then it goes into space. Then, just as I lost all hope, Jerry starts to pick it up again, and may be headed for a Tiger. We get just that, and just after the 15th minute mark, Tiger still roaring, Phil starts with heavy melancholic bombs.

Minutes later we are still in a fully chaotic place with lots of dark energy. Then in the 19th minute we head into somewhat of a Mountain Jam, then Phil messes with Bird Song but no one bites. The momentum slows a bit by the 22nd minute, though you can hear hints of the eventual Caution in there.

One could argue the subsequent jam is a Caution themed jam, but as it never officially went into Caution yet that seems to have missed a lot of people's attention. After 27 in Phil clearly tries to go to Truckin, as does Bobby, but the rest of the band isn't taking it. I refuse to consider this a contiguous Dark Star, and therefore I do not accept its often touted lengthiness.

Instead, Bobby realizes that someone has to make a decision, and he goes to his lovely Magnolia, as he was wont to do. He doesn't hold back on the Rock'n'fuckin'Roll here, forceful rendition. Phil stomps at the end, and the boys don't hesitate to bring the train on in for the FINAL Caution they would ever perform. Bobby finally gets his Truckin', to cap off the lengthy meat sequence! Fully energized version! There are a few stinkers pigpen in there, but other than that, a different, fun setlist for the era.

The 2nd set, with the "longest Dark Star", is not the longest Dark Star It certainly sandwiches a long jam, and I give it credit for that. There is about 14 minutes of crap after the drums, before things get interesting, to boot.

When they get interesting, they get really interesting, and it ends up awesome. Reviewer: headless deadhead - favorite favorite favorite favorite favorite - October 2, Subject: Arguably the Best band is locked from the start. Reviewer: Fatangel3 - favorite favorite favorite favorite favorite - July 26, Subject: Dark Star This concert is amazingly good, probably the best from the tour arguably.

It also features a stellar Dark Star; as other have mentioned, it is cut into multiple tracks. Enjoy and keep on jammin! Reviewer: snoochieboochies - favorite favorite favorite favorite favorite - January 26, Subject: IMHO in my opinion, the dead was a far better band when billy was sole drummer.

I love it, Pig sings it Come on in, the water is fine. Thanks to Cliff Hucker for his Europe '72 Notebook. I'm following the trail to prosperity. Reviewer: Brontis - favorite favorite favorite favorite favorite - September 6, Subject: mega-dittoes on this one I agree with GratefulSkeptic, and also purpletornado regarding the opening sound 'problems' on PITB. Yeah, the 72 Europe tour was definitely a high-water mark. For some weird reason I have just listened to this show for the first time.

Even though I'm an 'Other One' guy for this period, I really think this is my favorite show of the tour. Indeed, they all brought their A-game. Clearly superior. Phil on Morning Dew Everything written about the Dark Star is true.

This is one remarkable Dead concert. And I won't add anything to cliff's description of this extraordinary dark star, other than Blast Your Ass - Various - History Of Rotterdam Hardcore Volume 5 (CD) say it is what we listen to this band for My only quibble with this show is that i think this Morning Dew is kinda overrated.

Not only is it sloppy, but there is a a bad flub at the end possibly due to Weir's broken string? A monumental performance, this treasure might be the finest show of the entire tour, and includes one of the finest Dark Star performances of all time. Every member of the band has brought their A game to Rotterdam, even Pigpen who shines every chance he gets.

It's his last chance at Caution, and he makes the most of it, as well as giving a fine effort on Chinatown Shuffle. From the opening moments of the show it becomes apparent that this is going to be special, as the band launches into a dynamite version of Playin' in the Band.

Virtually every song is very well played. Sugaree, Morning Dew and Good Lovin' are all fabulous performances. At times it's so beautifully played that you might find yourself forgetting to breathe.

It's an ultra jazzy odyssey that you must listen to in a quiet environment with no distractions in order to fully appreciate. Singularly one of the finest moments in the bands history, this one soars right from the opening notes of the theme.

Eventually Jerry steers the band into a quiet passage which eventually takes on a loose Let It Grow theme, Weir slashing in fills. At the 10 minute mark Jerry begins playing a repetitive scale, initating another extraordinary passage lasting untill the drum break.

Right out of the drums Phil and Billy collaborate on a sublime Bird Song themed jam that is all too brief before Jerry joins them and gradually guides the jam back to the Dark Star theme and into the first verse. The eleven minute post verse space jam begins with a brilliant duet between Jerry and Phil before things get atonal, gradually building in intensity. The segment turns incredibly wild as Phil detonates an awesome series of explosions, Jerry continuing his attack.

This is followed by another extremely intense Caution themed passage and screaming guitars. By now I imagine the fire alarms had to be going off at the Civic Hall. The concluding passage is beautifully Dylanesque with Pig's swirling organ and some eerie notes from Jerry, finally segueing into Sugar Magnolia. Is there a better performance on this tour? Reviewer: mellowmymind - favorite favorite favorite favorite favorite - March 31, Subject: Epic Dark Star Where to begin?

Playin begins rather garbled before righting itself. Stellar Morning Dew - Garcia's guitar dripping with emotion. The wonderful jam post-DS almost goes into Caution early but veers off into space. After a nice sugar mag- they swing into Caution for real and it swings with rare form. Reviewers here say its Pigs last andif so, he went out with a real scorcher. Reviewer: nodose - favorite favorite favorite favorite favorite - March 10, Subject Entitled Ev'ry Accolade!!!

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Amazon Advertising Find, attract, and engage customers. Amazon Drive Cloud storage from Amazon. Alexa Actionable Analytics for the Web. InAltec introduced a dedicated cinema subwoofer model tuned to around 20 Hz: the Starting inTHX certification of the cinema sound experience quantified the parameters of good audio for watching films, including requirements for subwoofer performance levels and enough isolation from outside sounds so that noise did not interfere with the listening experience.

InDolby Digital 's six-channel film sound format incorporated a single LFE channel, the "point one" in 5. Tom Horral, a Boston-based acoustician, blames complaints about modern movies being too loud on subwoofers. He says that before subwoofers made it possible to have loud, relatively undistorted bass, movie sound levels were limited by the distortion in less capable systems at low frequency and high levels.

Professional audio subwoofers used in rock concerts in stadia, DJ performances at dance music venues e. This is reflected in the design attention given in the s to the subwoofer applications for sound reinforcement, public address systemsdance club systems and concert systems. Cerwin Vega states that when a subwoofer cabinet is added to an existing full-range speaker system, this is advantageous, as it moves the " As a result, your main [full-range] cabinets will run more efficiently and at higher volumes.

Consumer applications as in home use are considerably less demanding due to much smaller listening space and lower playback levels. Subwoofers are now almost universal in professional sound applications such as live concert sound, churches, nightclubs, and theme parks. Movie theatres certified to the THX standard for playback always include high-capability subwoofers. Some professional applications require subwoofers designed for very high sound levels, using multiple, or inch drivers 30 cm, 40 cm, 45 cm, 53 cm respectively.

Drivers as small as inch 25 cm are occasionally used, generally in horn-loaded enclosures. The number of subwoofer enclosures used in a concert depends on a number of factors, including the size of the venue, whether it is indoors or outdoors, the amount of low-frequency content in the band's sound, the desired volume of the concert, and the design and construction of the enclosures e.

A tiny coffeehouse may only need a single inch subwoofer cabinet to augment the bass provided by the full-range Blast Your Ass - Various - History Of Rotterdam Hardcore Volume 5 (CD). A small bar may use one or two direct-radiating inch 40 cm subwoofer cabinets. A large dance club may have a row of four or five twin inch 45 cm subwoofer cabinets, or more.

In the largest stadium venues, there may be a very large number of subwoofer enclosures. The main speakers may be 'flown' from the ceiling of a venue on chain hoists, and 'flying points' i. Subwoofers can be flown or stacked on the ground near the stage. One of the reasons subwoofers may be installed on the ground is that on-the-ground installation can increase the bass performance, particularly if the subwoofer is placed in the corner of a room conversely, if a subwoofer cabinet is perceived as too loud, alternatives to on-the-ground or in-corner installation may be considered.

There can be more than 50 doubleinch 45 cm cabinets in a typical rock concert system. Just as consumer subwoofer enclosures can be made of medium-density fibreboard MDForiented strand board OSBplywoodplastic or other dense material, professional subwoofer enclosures can be built from the same materials. Other permanent installation subwoofers have used very thick plywood: the Altec used 7-ply 28 mm birch-faced oak plywood. Touring subwoofer cabinets are typically designed with features that facilitate moving the enclosure e.

In the s, many small- to mid-size subwoofers designed for bands' live sound use and DJ applications are "powered subs"; that is, they have an integrated power amplifier. These models typically have a built-in crossover. Some models have a metal-reinforced hole in which a speaker pole can be mounted for elevating full-frequency range cabinets.

In professional concert sound system design, subwoofers can be incorporated seamlessly with the main speakers into a stereo or mono full-range system by using Blast Your Ass - Various - History Of Rotterdam Hardcore Volume 5 (CD) active crossover.

The audio engineer typically adjusts the frequency point at which lower frequency sounds are routed to the subwoofer speaker sand mid-frequency and higher frequency sounds are sent to the full-range speakers. Such a system receives its signal from the main mono or stereo mixing console mix bus and amplifies all frequencies together in the desired balance.

If the main sound system is stereo, the subwoofers can also be in stereo. Otherwise, a mono subwoofer channel can be derived within the crossover from a stereo mix, depending on the crossover make and model. While era subwoofer cabinet manufacturers suggest placing subwoofers on either side of a stage as implied by the inclusion of pole cups for the full-range PA cabinetsDave Purton argues that for club gigs, Blast Your Ass - Various - History Of Rotterdam Hardcore Volume 5 (CD) two subwoofer cabinets on either side of a stage will lead to gaps in bass coverage in the venue; he states that putting the two subwoofer cabinets together will create a more even, omnidirectional sub-bass tone.

Instead of being incorporated into a full-range system, concert subwoofers can be supplied with their own signal from a separate mix bus on the mixing console; often one of the auxiliary sends "aux" or "auxes" is used. This configuration is called "aux-fed subwoofers", and has been observed to significantly reduce low-frequency "muddiness" that can build up in a concert sound system which has on stage a number of microphones each picking up low frequencies and each having different phase relationships of those low frequencies.

This simplifies the signal sent to the subwoofers and makes for greater clarity and low punch. To keep low-frequency sound focused on the audience area and not on the stage, and to keep low frequencies from bothering people outside of the event space, a variety of techniques have been developed in concert sound to turn the naturally omnidirectional radiation of subwoofers into a more directional pattern. Several examples of sound reinforcement system applications where sound engineers seek to provide more directional bass sound are: music festivalswhich often have several bands performing at the same time on different stages; large raves or EDM events, where there are multiple DJs performing at the same time in different rooms or stages; and multiplex movie theatresin which there are many films being shown simultaneously in auditoriums that share common walls.

These techniques include: setting up subwoofers in a vertical array; using combinations of delay and polarity inversion; and setting up a delay-shaded system. With a cardioid dispersion pattern, two end-fire subwoofers can be placed one in front of the other. The enclosure nearest the listener is delayed by a few milliseconds.

The second subwoofer is delayed a precise amount corresponding to the time it takes sound to traverse the distance between speaker grilles. Stacking or rigging the subwoofers in a vertical array focuses the low frequencies forward to a greater or lesser extent depending on the physical length of the array.

Longer arrays have a more directional effect at lower frequencies. The directionality is more pronounced in the vertical dimension, yielding a radiation pattern that is wide but not tall. This helps reduce the amount of low-frequency sound bouncing off the ceiling indoors and assists in mitigating external noise complaints outdoors. Another cardioid subwoofer array pattern can be used horizontally, one which takes few channels of processing and no change in required physical space.

This method is often called "cardioid subwoofer array" or "CSA" [96] even though the pattern of all directional subwoofer methods is cardioid. The CSA method reverses the enclosure orientation and inverts the polarity of one out of every three subwoofers across the front of the stage, and delays those enclosures for maximum cancellation of the target frequency on stage.

Polarity inversion can be implemented electronically, by reversing the wiring polarity, or by physically positioning the enclosure to face rearward. This method reduces forward output relative to a tight-packed, flat-fronted array of subwoofers, but can solve problems of unwanted low-frequency energy coming into microphones on stage.

Compared to the end-fire array, this method has less on-axis energy but more even pattern control throughout the audience, and more predictable cancellation rearward. The effect spans a range of slightly more than one octave. A second method of rear delay array combines end-fire topology with polarity reversal, using two subwoofers positioned front to back, the drivers spaced one-quarter wavelength apart, the rear enclosure inverted in polarity and delayed by a few milliseconds for maximum cancellation on stage of the target frequency.

The end-fire subwoofer method, also called "forward steered arrays", [98] places subwoofer drivers co-axially in one or more rows, using destructive interference to reduce emissions to the sides and rear. This can be done with separate subwoofer enclosures positioned front to back with a spacing between them of one-quarter wavelength of the target frequency, the frequency that is least wanted on stage or most desired in the audience.

Each row is delayed beyond the first row by an amount related to the speed of sound in air; the delay is typically a few milliseconds. The arrival time of sound energy from all the subwoofers is near-simultaneous from the audience's perspective, but is canceled out to a large degree behind the subwoofers because of offset sound wave arrival times. Directionality of the target frequency can achieve as much as 25 dB rear attenuation, and the forward sound is coherently summed in line with the subwoofers.

The end-fire array trades a few decibels of output power for directionality, so it requires more enclosures for the same output power as a tight-packed, flat-fronted array of enclosures. Sixteen enclosures in four rows were used in at one of the stages of the Ultra Music Festivalto reduce low-frequency interference to neighboring stages.

The output pattern suffers from comb-filtering off-axis, but can be further shaped by adjusting the frequency response of each row of subwoofers. A long line of subwoofers placed horizontally along the front edge of the stage can be delayed such that the center subwoofers fire several milliseconds prior to the ones flanking them, which fire several milliseconds prior to their neighbors, continuing in this fashion until the last subwoofers are reached at the outside ends of the subwoofer row beamforming.

This method helps to counteract the extreme narrowing of the horizontal dispersion pattern seen with a horizontal subwoofer array. Such delay shading can be used to virtually reshape a loudspeaker array. Some subwoofer enclosure designs rely on drivers facing to the sides or to the rear in order to achieve a degree of directionality. Some less commonly-used bass enclosures are variants of the subwoofer enclosure's normal range, such as the mid-bass cabinet 60— Hz and the infrasonic extra low subwoofer below 30 Hz.

Front-loaded subwoofers have one or more subwoofer speakers in a cabinet, typically with a grille to protect the speakers. In practice, many front-loaded subwoofer cabinets have a vent or port in the speaker cabinet, thus creating a bass reflex enclosure.

Even though a bass reflex port or vent creates some additional phase delay, it adds SPL, which is often a key factor in PA and sound reinforcement system applications. As such, non-vented front-firing subwoofer cabinets are rare in pro audio applications.

Horn-loaded subwoofers have a subwoofer speaker that has a pathway following the loudspeaker. To save space, the pathway is often folded, so that the folded pathway will fit into a box-style cabinet.

Cerwin-Vega states that its folded horn subwoofer cabinets, " Manifold subwoofers have two or more subwoofer speakers that feed the throat of a single horn. This increases SPL for the subwoofer, at the cost of increased distortion.

EV has a manifold speaker cabinet in which four drivers are mounted as close together as practical. This is a different design than the "multiple drivers in one throat" approach.

An unusual example of manifold subwoofer design is the Thomas Mundorf TM approach of having four subwoofers facing each other and sitting close together, which is used for theatre in the round shows, where the audience surrounds the performers in a big circle e.

The TM approach produces an omnidirectional bass sound. You hear sound directly from the back of the driver in addition to the sound that emanates out of the port.

This type of enclosure design extends the frequency capability of the driver lower than it would reproduce by itself. Bandpass subwoofers have a sealed cabinet within another cabinet, with the "outer" cabinet typically having a vent or port. In rare cases, sound reinforcement subwoofer enclosures are also used for bass instrument amplification by electric bass players and synth bass players.

For most bands and most small- to mid-size venues e. Since a regular electric bass has a low "E" 41 Hz as its lowest note, most standard bass guitar cabinets are only designed with a range that goes down to about 40 Hz. However, in some cases, performers wish to have extended sub-bass response that is not available from standard instrument speaker enclosures, so they use subwoofer cabinets.

Just as some electric guitarists add huge stacks of guitar cabinets mainly for show, some bassists will add immense subwoofer cabinets with inch woofers mainly for show, and the extension subwoofer cabinets will be operated at a lower volume than the main bass cabinets. Bass guitar players who may use subwoofer cabinets include performers who play with extended range basses that include a low "B" string about 31 Hzbassists who play in styles where a very powerful sub-bass response is an important part of the sound e.

Keyboard players who use subwoofers for on-stage monitoring include electric organ players who use bass pedal keyboards which go down to a low "C" which is about 33 Hz and synth bass players who play rumbling sub-bass parts that go as low as 18 Hz.

Of all of the keyboard instruments that are amplified onstage, synthesizers can produce some of the lowest pitches, because unlike a traditional electric piano or electric organ, which have as their lowest notes a low "A" and a low "C", respectively, a synth does not have a fixed lowest octave. A synth player can add lower octaves to a patch by pressing an "octave down" button, which can produce pitches that are at the limits of human hearing. Several concert sound subwoofer manufacturers suggest that their subs can be used for bass instrument amplification.

Since infrasonic bass is felt, sub-bass can be augmented using tactile transducers. Unlike a typical subwoofer driver, which produces audible vibrations, tactile transducers produce low-frequency vibrations that are designed to be felt by individuals who are touching the transducer or indirectly through a piece of furniture or a wooden floor. Tactile transducers have recently emerged as a device class, called variously "bass shakers", "butt shakers" and "throne shakers".

They are attached to a seat, for instance a drummer's stool "throne" or gamer's chair, car seat or home theater seating, and the vibrations of the driver are transmitted to the body then to the ear in a manner similar to bone conduction.

They can be attached to a large flat surface for instance a floor or platform to create a large low- frequency conduction area, although the transmission of low frequencies through the feet is not as efficient as through the seat. The advantage of tactile transducers used for low frequencies is that they allow a listening environment that is not filled with loud low-frequency Blast Your Ass - Various - History Of Rotterdam Hardcore Volume 5 (CD) waves in the air.

This helps the drummer in a rock music band to monitor their kick drum performance without filling the stage with powerful, loud low-frequency sound from a inch 40 cm subwoofer monitor and an amplifier, which can "leak" into other drum mics and lower the quality of the sound mix.

By not having a large, powerful subwoofer monitor, a bass shaker also enables a drummer to lower the sound pressure levels that they are exposed to during a performance, reducing the risk of hearing damage. For home cinema or video game use, bass shakers help the user avoid disturbing others in nearby apartments or rooms, because even powerful sound effects such as explosion sounds in a war video game or the simulated rumbling of an earthquake in an adventure film will not be heard by others.

However, some critics argue that the felt vibrations are disconnected from the auditory experience, and they claim that that music is less satisfying with the "butt shaker" than sound effects.

As well, critics have claimed that the bass shaker itself can rattle during loud sound effects, which can distract the listener. With varying measures upon which to base claims, several subwoofers have been said to be the world's largest, loudest or lowest. The Matterhorn was designed to reproduce a continuous sine wave from 15 to 20 Hz, and generate 94 dB at a distance of meters ftand more than dB for music playback measured at the horn mouth.

The subwoofer has a flat frequency response from 15 to 80 Hz, and is down 3 dB at 12 Hz. A diesel generator is housed within the enclosure to supply electricity when external power is unavailable. Another subwoofer claimed to be the world's biggest is a custom installation in Italy made by Royal Device primarily of bricks, concrete and sound-deadening material [44] consisting of two subwoofers embedded in the foundation of a listening room.

Each subwoofer is driven by eight inch subwoofer drivers with millimeters 3. The designers assert that the floor mouths of the horns are additionally loaded acoustically by a vertical wooden horn expansion and the room's ceiling to create a 10 Hz "full power" wave at the listening position. A single inch 1, mm diameter subwoofer driver was designed by Richard Clark and David Navone with the help of Dr.

Eugene Patronis of the Georgia Institute of Technology. The driver was intended to break sound pressure level records when mounted in a road vehicle, calculated to be able to achieve more than dBSPL. It was built indriven by DC motors connected to a rotary crankshaft somewhat like in a piston engine. The cone diameter was 54 inches 1, mm and was held in place with a 3-inch 76 mm surround. With a 6-inch mm peak-to-peak stroke, it created a one-way air displacement of 6, cubic inchescm 3.

The driver was mounted in a stepvan owned by Tim Maynor but was too powerful for the amount of applied reinforcement and damaged the vehicle. Still unfinished, the vehicle was entered in an SPL competition in at which a complaint was lodged against the computer control of the DC motor. Instead of using the controller, two leads were touched together in the hope that the motor speed was set correctly.

The drive shaft broke after one positive stroke which created an interior pressure wave of dB. The Concept Design inch was not shown in public after The Jackhammer has been known to take upwards of watts sent to a dual voice coil moving within a ounce 26 kg strontium ferrite magnet. The Jackhammer weighs in at pounds kg and has an aluminum heat sink.

From Wikipedia, the free encyclopedia. Loudspeaker designed to reproduce low-pitched audio frequencies.

Bass reflex enclosure schematic cross-section. Learn: Home. Retrieved April 24, Study Hall. Retrieved March 3, Retrieved Home Theater Design. Archived from the original on July 23, October AES E-Library. Audio Engineering Society. Oxford University Press, Sound and Vision. Retrieved 1 January Gordon Holt December 31, Source Interlink Media.

Retrieved January 18, February Retrieved 31 December


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