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The CLA3A compressor is keeping the main sound in our face and is controlling it, because it has a crescendo, which was a little bit too much. The second EQ3 is automated with a filter sweep that is a little different for each transition, and the final EQ3 has a very dramatic shape, doing surgery, with a high-pass filter at 87Hz, and cutting harsh frequencies at Hz, 1.

So what if that effects transitional sound had a bunch of rumbling sub happening on the crescendo that brings the track back into the hook? Be careful when you use the plug-in, because it will blow your speakers very easily! It creates low synthesized octaves, like a dbx When you listen to that part of the song with a system with sub-bass, you get an earthquake rumble in that section.

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So I adjusted them a bit, but otherwise left them as they were. The tracks also came in with the Aux track above, and the EQ3, with a high pass at 60Hz and notches at Hz and 1. Stu White retained this but tweaked the settings slightly. The audio tracks only have the EQ3 on the inserts and a few of them have a send to the Church Reverb. I use the Waves de-esser the most, but in this particular track, because I wanted to compress her voice really hard, I felt that the would work the best.

I get the energy from the RComp compression, and the EQs, including from the SSL E-Channel, are there to make her sit in the track, rather than making it sound filtered. It enables me to get a fatter vocal sound that again makes the vocal sit in the mix. The final EQ3 has a notch at 3. This track has a lot of energy, so this is an example of using compression for energy, mood and attitude. I wanted her breaths to be another percussive element in the track, and getting the attack and release on the compressor right was key to getting that feel and pumping effect.

Less is more! But these group tracks give me some control over certain groups if I need to. The RCompressor has a smooth Opto setting and glues all vocal effects together. It is great if you need a loud vocal in the mix. But the meters are barely moving on that compressor. UAD did a great job with that plug-in, because it has a mix knob with a roll-off that goes all the way to Hz, which is useful for guys like me who have so much bass in their mixes.

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I roll off pretty high, and the attack is slow. White had an obsession with the recording process from an early age. White bought a sampler, an eight-track tape recorder and some turntables, and in , at the age of 21, he went to Full Sail University in Florida for a year. White also met engineer Ann Mincieli at Quad, who worked with Alicia Keys, and when the latter built her own studio, Mincieli and White ended up working there for six years. It added to his two Grammy nominations for fun.

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I brought all my equipment over from New York. I have a rack of outboard, including a Bricasti M7 reverb, and a whole rack of guitar pedals on a patchbay. This means that White has a room full of Pelican flightcases ready to go, with everything he needs to record on location.

But yes, the ATCs also are very heavy!

I transport the monitors in their factory boxes, which I wrap with gaffer tape to make the boxes sturdier. In addition I travel with nine Pelican cases, and I check everything in on the plane as luggage.

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I have one Pelican for my Avalon VTsp, one for my Tube Tech Cl-1B compressor, one for the Avid HD Omni, one case is full of cables, one case has a small subwoofer and a Reflexion Filter, one has my Bricasti M7 for if I want a good reverb that is not a plug-in, one case has my Telefunken mic, and one case has speaker stands and a microphone stand. I fly with all that stuff so I can set up anywhere, because Bey might want to set up in a hotel room one day, the next day in a house, the next day in the venue, and so on.

That would be boring and lazy. It is certainly important to reassert blackness in the universal survey museum. Fred Wilson's "Mining the Museum" interventions are important historical precursors to this project. More recently, Kehinde Wiley's highlighting of black models in old master paintings has done a lot, though not unproblematically, to reassert blackness within the history of old master paintings. Again, in both cases, we are talking about the project of artists who work primarily with ideas, and the music video is a different type of medium altogether.

I did find the sequences of dancers set against, say, the Nike of Samothrace or the Venus de Milo to be an interesting juxtaposition, and these sequences were the least irksome for me.

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However, a history of art that treats the black body as decorative is not adequately rectified by a video that treats this art history as decorative. In fact, given the budget of a video of this scale, the exorbitant costs of renting a public museum for the purposes of shooting a video at the Louvre, and all of the labor involved in the production of this video, I suspect that the product only pays lip service to correcting a history of exclusion. It is more likely that videos like this featuring billionaire artists bolsters the dominant culture rather than challenging its power.

In these shots, the performer is small in the frame while the painting looms behind them. What should we know about each of these paintings? What's being said thematically by choosing these particular works? This is a great question: the Coronation of Napoleon, by Jacques-Louis David, is significant in this context because Napoleon created a meritocracy where hard work, rather than birthright or aristocracy, equalled success.

At least, that was the idea. France had abolished the monarchy bloodily in the s, and Napoleon declared himself Emperor, crowning himself rather than waiting on the pope to do so.

apeshit (adjective) American English definition and synonyms | Macmillan Dictionary

At best, within the context of this video, it's about the ascendancy of a smart, talented individual who redefines power and creates an empire. At worst, it's only seen as a symbol of power itself, and the tragic and irreversible end of Napoleon's reign, just over a decade of his coronation, offers no historical lessons. Speaking specifically of the history, Napoleon wanted to reinstate slavery in French colonies.

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The Raft of the Medusa, , by Gericault, is also an interesting choice. After the fall of Napoleon, Bourbon rule was re-established. The story goes, the Medusa was trading with West Africa, and the intent was to resume slave trading. Slavery had been abolished during the French Revolution, but Napoleon's plans to use slavery in Africa was also considered under the Bourbon kings after The captain of the Medusa was incompetent, the ship ran into a sandbar, and sailors from the lower decks were forced onto a raft that would lessen the load of the ship and allow the vessels to return to Europe.

Or so they thought. A raft was quickly constructed, men boarded it, and it was tethered to the Medusa by a rope. Unfortunately, the Medusa was still weighted down, so the ship's crew made a quick decision and cut the rope, abandoning the sailors to a raft that had no food, only casks of rum. When the rum ran out, the drunken sailors became delirious. Many got sick.

Many died. Murder, suicide, drowning, and cannibalism out of desperate starvation was practiced. Within two weeks, only 13 men survived out of the original Gericault's painting shows a moment of delusion, where a pile of bodies, crowned by a black sailor, writhes towards a flag in the false hope that the ship on the horizon will rescue them. This was not the moment that they were rescued. Given the context of this painting and its controversial history, it is difficult to see how this painting about slavery and careless brutality could have served as an appropriate backdrop in this video, but, I guess, it's a popular, well-known image.

These are a handful of paintings that we see in closeup for like, one second each.

What can you tell us about any of them? The painting depicts the moment when the Sabine men, who had mounted a counterattack against the Romans who had stolen their women a few years before in order to start the roman civilization , are interrupted by the Sabine women, now wives of the Roman soldiers and mothers of Roman babies. It's a painting that is about putting down your weapons after all of the violence of the revolution, of which David was intimately involved. This is a wedding banquet scene by Veronese, depicting the Wedding Feast at Cana, where Jesus converts water into Wine.

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Veronese was a venetian painter who transformed the biblical scene into a contemporary 16th century banquet. Dazed media sites. Music Feature. Everyone is always just close enough to set off the alarm — jordan femmeminem June 16, Subscribe to the Dazed newsletter. I would like to receive the Dazed Digital newsletter.

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