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pureavcanada · 1 year

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TORONTO AUDIO RENTAL COMPANY

Audio Rental Equipment Packages and Installation

Looking for quality Toronto audio rental services? Pure AV can help. With the best rental gear in the market, we are confident that you will feel comfortable with our products. Pure AV has an extensive audio equipment list available for rent. Our rentals include items such as: analog mixers, portable speakers, digital consoles, DSPs, microphones, outboard processors and even DJ gear. With our equipment, you can easily handle private parties, musical events and corporate functions, to name a few.

Furthermore, our sound engineers and tech crews can help support your event, no matter where it is. In addition to rental services, they will help install and monitor the performance of the system. If you have other audio gear that you are familiarized with, feel free to let us know and simply take the gear out for a day rental. That is our Toronto audio rental commitment to each and every customer.

Public Addresses Systems

Pure AV’s Toronto audio rental department offers a wide range of PA systems. We will support your speaking presentations, which can have anywhere from 50 to more than 2000 people. For speaking events with more than 50 people, you might need the help of a wireless microphone. With suggestions from Pure AV, we will come up with a perfectly paired speaker and microphone combinations. In addition, you might need to play music with during introductions and down time. We will have you covered on this front as well!

For any event between 50 to 250 people, you are encouraged to consider powered speakers. For extra punch, you can add some sub-woofers and more side fills. These can also be useful for stage monitors, party music and PA system applications. If you only need to play music in small sized events, you might rent the small music speakers from us. These standard music speakers and PA systems are suitable for customers looking to organize medium size events. In addition to the mentioned audio gear, if you need some audio accessories, such as the cables, distribution amps, connectors, CD players, etc, just let us know and we will take care of it!

Wireless Microphones

When customers want to organize activities, such as trade shows, award ceremony or corporate functions, having the right gear is a must. That is why having wireless microphones can increase the versatility and comfort level of your presenters or general guests. This audio gear rentals is important to have if your gatherings takes place in big spaces. Toronto audio rental packages from Pure AV include one wireless microphone and two speaker with an audio mixer. With our audio rental support, this type of audio equipment can help any event or meeting, including personal celebrations and small business meetings.

When customers pick up gear, Pure AV provide everything necessary tor run it. Upon request, our sound engineers will help install, test and monitor the system during your events. Therefore, our one-stop service is comfortable for most Toronto audio rental customers.

Booking Toronto Audio Rental Services with Pure AV

If so, please do not hesitate to contact our sales staff by filling out the form below, emailing [email protected] or calling 1-800-929-7089. You can expect a response in 24 hours or less. But while you are waiting, slide over to Pure AV social handles to see some of our previous work – Facebook, Instagram, LinkedIn and YouTube. We promise you will be intrigued!

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kehoewelch66 · 1 year

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Learn Digital Photography - Taking Perfect Portraits Outdoors

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anantradingpvtltd · 1 year

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Price: [price_with_discount] (as of [price_update_date] - Details) [ad_1] From the brand Tronica was born of desire. The desire to create audio products that recreate the power of a live performance. Stirring emotion through music. Escaping into the action of a film. Celebrating the love of the sport. That’s why we’ve committed years to research. Our innovations are guided by our love of sound. We want to help you have an extraordinary experience, whether you’re listening to your favourite song, watching a new series,etc How we get our start? Embee Enterprises was born in a small rented room in our CEO'S neighbourhood. Manjeet Singh had started his Home-grown electronics venture more than 20 years ago.The company started Manjeet off with Baby Steps into his quality electronics manufacturing journey.“Back in those Days, I used to manufacture small cassette players, load them into my car and go to the market to sell them,” recounts MS. There were no sales, on some odd days, However, despite all the hard work; Manjeet did not give up hope, and kept his focus on the quality of his products. For 23 years, Embee Enterprises (“Tronica”) has been providing audio & video equipment that addresses the high-quality & studio-grade needs of our customers. Our manufacturing unit specializes in the production of best-class consumer electronics and our research & development team keeps a track of current industry-specific challenges and trends. . Technically Trusted TRONICA " NOT JUST NEARLY MUSIC,BUT REALLY MUSIC!" Our Motto: "Customer Comes Back, Not the Product! " Speaker Bluetooth 5.1 Home theater speaker system - stream music from your phone to the built in Bluetooth receiver integrated power amp with 40 watts system power with Sound LED illuminated Sub with multi color and pattern flashing light display Latest design with Fully Loaded features which plays pendrive/sd card/Bluetooth/mobile/fm/tv or any aux source A Concert In Your Home : This speaker provides an unparalleled listening experience, complete with increasing both audio samples per second and the bitrate accuracy of each sample. QUALITY: After all these years we continue to manufacture products to meet our customers' needs and wants. We strive to make quality products at the lowest prices. Built using high-quality materials for a long-lasting finish and maximum usability [ad_2]

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tonkiwork · 2 years

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Clean and mean 100 watt machine! Year: 1979. This 6550 model has that classic JMP mid-range driven crunch these are notorious for as well as enough clarity and headroom to appease any rocker looking for a cool vintage amp. more is quite a force to be reckoned with. One the holy grails of the Marshall world this stunner. Please also be aware that each amplifier is serviced to UK regulations and our customers overseas may need to make slight alterations to meet electric requirements, of which The Music Locker cannot accept responsibility for. Please make sure you are aware of this before buying.1979 Marshal JMP 2203 Exceptionally clean and all original 1979 Marshall JMP 100 watt 2203 head. Please Note - If you're not located within Europe, you may be eligible to pay import duty or tax, of which The Music Locker cannot be held responsible. Personal inland delivery is also a possibility so please contact us for more information.Ī deal can be done on any item collected as we strive to keep the risk of breakages as low as possible for such delicate beauties.

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dareplayio · 2 years

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clemsonpatty111 · 2 years

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2016 Honda Civic LX 2DR Coupe

2016 Honda Civic LX Coupe (Lime Green) 96K. Bought brand new, 1 owner, never missed a maintenance service. (Brand New Battery) (Brand New Wipers) New all season $660 "premium" grade tires (lots of tread!). Comes with Auto Traction Adjust and Economy mode. 32 city 42 highway mpg. Darkest Legal Tint Windows $300. Power Moonroof. Power Mirrors. Front/Rear Defrost. Automatic Climate Control, Keyless Entry/Keyless Start, Remote Start(Great for Cold Weather). Adjustable Steering Wheel. Backup Camera. Tire Pressure Monitoring System. Electronic Stability Control. Traction Control. Everything works interior and exterior including mirror visor lights. Car has $2500 warranty including roadside coverage which can be transferred over at no extra charge upon sale. Compact Spare Tire is Easily Accessible in Trunk. Vehicle Anti-Theft System. Auto Off Headlights. Passenger Capacity (5). Front Bucket and Rear Bench Seating. Fuel Tank 12.4 Gallons. About $35-40 per fill up at $3.07 p/g. You can drive well over 450 miles per fill up making it the fuel economy leader in its class. KBB.com gives it a 9.6/10 in fuel economy. Included is a Brand New $3100 Stereo System (Professional Install by Best Buy Geek Squad with 4 year warranty) (2-10' Kicker Subs Type R in Factory Box. 2 New 6.5" Kicker KM Marina (Water Resistent) at Front (Both Door Panels) and 2 New Kicker 6.5" Axial (Rear Speakers). Kicker AMP, Converter with High Grade-Wiring and Full Power to Entire System. Easy to Use Brand New Kenwood Deck with Large Touchscreen. Easy to Sync Phone/Music App to Bluetooth and Hideaway Quick Adjust Kicker Base Knob (under deck on driver's side). Dual Phone Charger Port Under Deck. LOTS OF AFTER MARKET ADDITIONS. Looking into having it detailed soon!!!!! More pics to come!!!!! $22500 OBO Text Jesse at (509) 270-6717. Public Meeting Only.

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pubelicak · 2 years

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Numark mp103usb manual

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silverfoxlou · 2 years

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Answers To The Top Questions About Independent Distribution

The process of choosing a distributor can be difficult and confusing for indie artists and labels. Billboard deconstructs the market and demystifies the process.

For independent artists and labels, navigating the distribution landscape can be daunting. In the past year alone, TikTok, SoundCloud and Tencent have launched distribution offerings; 300 Entertainment and Republic Records have started indie distribution divisions; Sony purchased AWAL for north of $400 million; UnitedMasters raised $50 million in a funding round valuing the company at $550 million; and TuneCore parent company Believe went public on the Euronext Paris stock exchange, raising almost $350 million. And that’s to name just a few: It seems that everyone in the music business is trying to get in on the distribution space, causing a headache for artists and labels trying to navigate the choppy waters of how to get their music into the marketplace, and with what level of support. As Alex Valenti, founder of 3V Method, a management, recording and publishing company, puts it: “Distribution is more crowded than it has ever been, and the competition is higher than ever.”

This competitive aspect can work in an artist’s or label’s favor if they have done their homework. As a number of artist management and label sources interviewed for this story said, everything is negotiable in the distribution business.

There are arguably three levels of distribution companies that artists, labels and their teams can access, starting with the self-service style of DistroKid, TuneCore and CD Baby, where a new act can pay as little as a flat fee of $20 per year to have its music put on the major streaming platforms. Distributors such as Level and Stem are the next step and offer more services and hand-holding. Indie distributors such as AMPED, Redeye Worldwide and MVD have substantial experience with physical distribution as well as digital, for example. And at the top of the ladder, major label-owned distribution companies like Alternative Distribution Alliance (Warner), The Orchard and AWAL (Sony), and Ingrooves and Virgin Music Artist & Label Services (Universal) are full-service and tend to have more clout with digital service providers and physical product manufacturers.

Going with a distributor over a label is often a cheaper move and enables an artist to retain ownership and — depending on the services negotiated — a healthier royalty split. The self-service companies often offer tiered rates ranging from simply getting music to DSPs to various levels of marketing and playlist support, while the larger companies offer more and direct hands-on services like synch placement and digital advertising. The larger distributors also provide sophisticated data and financial systems that help labels better market their music and manage their finances. But according to sources in distribution, there are really only two major differences from one distributor to the next: funding and the services offered.

“Sometimes it’s just about the best rate, and for certain projects a no-fee, no-frills digital distribution is a fine option,” says Josh Madell, head of artist and label strategy at Secretly Distribution. “Or it’s all about the investment — [for example,] they want someone who’s giving data analysis just for financial backing. There are all different approaches.”

For an independent artist wanting to avoid the major-label route, the choice of which distributor to go with can be a difficult one that raises many questions even before the search begins. Here are answers to the most frequently asked.

What rates do distributors charge for their services?

When distribution was a purely physical business, distributors historically took a 17% to 23% cut of sales revenue, and the larger indie distributors collected 20% to 25% on a global deal. Now that distribution is largely digital, the rates have changed somewhat, and a label’s size and its share of current and anticipated hits, or an artist’s longevity and success, can result in lowering them. The high price of vinyl albums today and distributors’ current no-return policy have also resulted in their willingness to take a smaller cut for physical distribution, which ranges from 10% to 25% of revenue. The digital distribution commission spread is typically 10% to 20%, and if physical and digital distribution is needed, a blended rate is negotiated. Distributors will sometimes work with a large indie label for a lower rate to help spread out overhead, which typically amounts to 9% of an indie distributor’s sales. Some majors have achieved economies of scale that cut those costs to as little as 2%, however.

Added services usually lead to increased fees. If an artist or label wants its distributor to provide marketing, radio promotion or both, that typically adds 5% to 10% to the distributor’s cut. Extra expenses can be incurred if travel is required. If the campaign is unsuccessful, the distributor will usually reduce its fee.

A distributor may also agree to a budget-based marketing campaign in which it spends an agreed-upon dollar amount as it sees fit to promote a title or a specific group of titles. The label or artist is charged that amount, but the distributor does not earn a commission on that expense. If the promotion campaign is successful, the distributor is rewarded with increased commissions because of higher sales or digital activity.

What are key factors to consider when choosing a distributor?

Labels are more likely to want a digital distributor with a global reach. This way, they only have to deal with one company. For digital-only artists and labels, data insights and tools to analyze the data are crucial. It is especially difficult to sort through payments from around the globe, so distributors that can provide labels with consolidated data and the tools to parse and import that data into their own systems to determine royalty payments are especially attractive to labels. Distributors that will directly pay collaborators who worked on a track are particularly valuable to artists and songwriters.

What are the advantages to using a major-owned independent distributor?

Indie labels with big records like the ability to bring in a major-label radio promotion team to help work their releases — if the right kind of deal can be struck. The major labels and by extension the indie distributors they own have extensive deals in place with vinyl plants, which means that indie labels with a big physical presence can often get priority at a plant. Indie labels also like having access to a major label’s out-of-print catalog for licensing purposes.

What size advances are distributors paying?

For a desired label, the major-owned indie distributors might fork over as much as one year’s projected label revenue as an advance. For bigger labels, that could mean as much as a $10 million advance. Smaller distributors might have to pay out a $1 million to $2 million advance to land a desired label. Advances mostly are recoupable, but they do not have to be paid back all at once. An advance might be recouped by the distributor paying 50% or 75 % of proceeds each month to the label.

Distributors can also serve as a cash backstop if a label needs funds to close a deal to sign an artist, launch a marketing and promotion campaign or pay for a larger than expected vinyl manufacturing order. Today, however, labels have additional resources to raise capital, including bank financing.

What is the minimum level of staffing and array of job responsibilities distributors need to operate successfully?

In the 1990s, during the heyday of the CD, distributors employed an average of three employees per $1 million in revenue made. Today, the average is closer to 1.5 employees per $1 million. That suggests distributors are working with less staff, but sales volume is much larger, particularly at the bigger distribution companies, so staffing levels are about the same as they were when physical product dominated, but the number of employees per function has changed, and new positions have been created. Warehouse and sales staff are smaller, but systems and operations teams have grown to process all the data generated by the billions of microtransactions reported by DSPs. Due to the technical expertise needed for many of the latter jobs, salaries have increased on average.

Why do labels that can directly deal with a DSP still choose to use digital distributors?

Each DSP has its own technical requirements that must be met in order to upload — the term often used is “ingest” — a label’s music. As one label executive put it, “It takes a lot of work and know-how to be compliant in the YouTube world.” And with voice-activated search systems such as Siri and Alexa becoming more prevalent, digital distributors have tools, knowledge, experience and other resources that are superior to those in-house at an individual label. Marketing is also a key factor. While the labels are still responsible for getting a new release noticed, digital distributors help elevate that awareness in a business where over a million tracks are uploaded to digital services monthly.

How do majors working with indie distributors decide which labels and artists will be handled by the distributor?

Although the majors funneled acts they signed in the 1990s and early 2000s through indie distributors, they rarely do so today, although a major that wants to sign an artist who doesn’t like the deal it is offering him or her will instead use an indie distributor and negotiate the cost of having the label work the artist’s releases.

What payment schedules do independent distributors, DSPs and brick-and-mortar retailers use?

Distributors tend to pay monthly on a net 45-day basis, meaning payments received in December would be paid to artists and labels in mid-February. DSP payments can range from 60 days from the date of consumption to 120 days from the date of transaction — the latter term usually applies to payments made by global territories outside the United States. Brick-and-mortar payments range from 60 days to 90 days from the end of the month in which a product shipment was received. Retailers typically adopt 60-day terms, while wholesalers use 90-day payouts.

Do distributors help get vinyl albums made?

Yes. Delays in vinyl and, more recently, CD manufacturing can be substantial, and distributors can play an important role in navigating and expediting that process. Executives at established labels even say that independent distributors can be helpful with their vinyl orders because they have teams with a lot of experience and resources in that sector. Moreover, distribution fees usually include order fulfillment: The vinyl will be shipped to their warehouse and orders will be sorted, packed and shipped. They are also experienced with drop shipments — for example, fulfilling orders by individual stores or an artist on the road that needs product replenishment at the merchandise table.

Do holdbacks — also called reserves, in which the distributor retains 10% to 15% of revenue owed to a label in case of returns — still exist in the physical business now that labels no longer take back unsold vinyl?

Distributors usually negotiate the right to maintain a reserve but use them to a much lesser degree. Today, retailer holdbacks are limited to CDs, and those have become rarer as well because brick-and-mortar buyers are much better at managing inventory. “Labels aren’t pumping a lot of product into the big boxes anymore, and that’s where a lot of the returns used to come from,” says one distributor. On the other hand, wholesalers will still hold back a considerable amount of payment for physical product they acquire from distributors, which can affect labels that sell to wholesale accounts.

What are the advantages of using Merlin instead of a distributor, and why do distributors use Merlin?

For one, there’s cost savings. Merlin’s digital pipeline and reporting can cost as low as 1.5% to 5.5% of revenue. The independent rights association provides data reporting for 1.5% of revenue, but labels still need a digital pipeline to accommodate the different technical specifications that each DSP requires for ingestion. For labels that want to handle their own distribution and marketing, some services, such as FUGA, offer a digital pipeline-only option. Terms mostly differ, but industry sources say these limited arrangements can be had for about 4% of revenue. The downside is that labels that don’t have the expertise and bandwidth to market to streaming platforms risk having their releases languish.

Merlin is also a powerhouse in the indie distribution framework, and some labels and distributors will use it to target certain DSPs because the organization has the clout to strike better deals. Those labels and distributors will then rely on their own marketing strength to break a song or artist.

#billboard #the distribution revolution

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gadgetslite297 · 2 years

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Top Fin is Petsmart’s in-house brand and the Silenstream filter is included with most of their Top Fin aquarium kits ranging from 10g-55g. Although considered an entry level HOB filter, with the right mods it can be made into a very reliable and effective filter. The following lists the gph ratings of the models.

Topfin stand from petsmart.. - FishLore Aquarium Fish Forum.

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Jun 14, 2012 · Jan 23, 2014. #5. I run a Top Fin in my 20L that originally came with a Top Fin 29g kit. I think it's a 50 watt. Yeah, the temperature adjustment dial on top is a pain given it has no degF graduations on it. It does work though, I've had tanks up to ~88F with it for an ich treatment when I first got the setup.

Top Fin® Silenstream™ Power Filter | fish Filters | PetSmart.

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PetSmart. Log In. Checkout. 0. Items. $0.00... 2 suction cups for easy attachment and an instruction manual Intended For: Aquariums... Top Fin® LED Light Aquarium.

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Jul 28, 2021 · New top fin pro series filter. By Spewing_nonsense_, July 28, 2021 in General Discussion. Share. Followers 11. 0. Total Rating. September 14, 2021. cycled but not what I would consider fully settled and ready for fish.

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duaneburnett · 2 years

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marketresearchcapture · 2 years

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Brand Licensing Market Size 2022 by Key Players, Types, Applications, Countries & Forecast to 2028

<div style="color: #000000; width: 90%; height: 100%; background: white; padding: 2%; font-family: Cambria, serif; font-size: 14pt; font-style: normal; margin-left: auto; margin-right: auto;"><a href="https://crediblemarkets.com/reports/brand-licensing-industry-market-441017"><img class="aligncenter wp-image-5265" src="https://thetalkingdemocrat.com/wp-content/uploads/2022/02/Credible-Markets-300x200.jpg" alt="Brand Licensing" width="490" height="327" /></a>The most recent Brand Licensing Industry Market statistical surveying report involves a complete evaluation of Brand Licensing Industry industry, featuring the variables that will affect the business' income stream during the assessed course of events. Further, it gives an expressive framework of the open possibilities in the sub-promotes close by measures to profit from something almost identical.The analyst presents a detailed picture of the market by the way of study, synthesis, and summation of data from multiple sources by an analysis of key parameters. Our report on Brand Licensing Industry market covers the following areas:<ul><li>Brand Licensing Industry market sizing</li><li>Brand Licensing Industry market forecast</li><li>Brand Licensing Industry market industry analysis</li></ul>Competitive Analysis:The Brand Licensing Industry market report includes information on the product launches, sustainability, and prospects of leading vendors including: (Westinghouse, Authentic Brands Group, Iconix Brand Group, General Motors, Meredith Corporation, PVH Corp., Nickelodeo, National Basketball Association, Electrolux, Sequential Brands Group, The Walt Disney Company, Sanrio, Universal Brand Development)Request for Sample with Complete TOC and Figures & Graphs @ <a style="color: red;" href="https://crediblemarkets.com/sample-request/brand-licensing-industry-market-441017?utm_source=Ajay&utm_medium=Freepr">https://crediblemarkets.com/sample-request/brand-licensing-industry-market-441017?utm_source=Ajay&utm_medium=Freepr</a>The report includes the competitive analysis, a proprietary tool to analyze and evaluate the position of companies based on their industry position score and market performance score. The tool uses various factors for categorizing the players into four categories. Some of these factors considered for analysis are financial performance over the last 3 years, growth strategies, innovation score, new product launches, investments, growth in market share, etc.Market segmentationBrand Licensing Industry market is split by Type and by Application for the period 2021-2028, the growth among segments provides accurate artifices and forecasts for sales by Type and by Application in terms of volume and value. This analysis can help you expand your business by targeting qualified niche markets.By Types

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By Applications

Entertainment and Character Fashion Sports Art Music Corporate Brands

Regional Analysis of Global Brand Licensing Industry MarketAll the regional segmentation has been studied based on recent and future trends, and the market is forecasted throughout the prediction period. The countries covered in the regional analysis of the Global Brand Licensing Industry market report are U.S., Canada, and Mexico in North America, Germany, France, U.K., Russia, Italy, Spain, Turkey, Netherlands, Switzerland, Belgium, and Rest of Europe in Europe, Singapore, Malaysia, Australia, Thailand, Indonesia, Philippines, China, Japan, India, South Korea, Rest of Asia-Pacific (APAC) in the Asia-Pacific (APAC), Saudi Arabia, U.A.E, South Africa, Egypt, Israel, Rest of Middle East and Africa (MEA) as a part of Middle East and Africa (MEA), and Argentina, Brazil, and Rest of South America as part of South America.Direct Purchase this Market Research Report Now @ <a style="color: red;" href="https://crediblemarkets.com/reports/purchase/brand-licensing-industry-market-441017?license_type=single_user;utm_source=Ajay&utm_medium=Freepr">https://crediblemarkets.com/reports/purchase/brand-licensing-industry-market-441017?license_type=single_user;utm_source=Ajay&utm_medium=Freepr</a>Major Points Covered in TOC:Outline: Along with an expansive outline of the worldwide Brand Licensing Industry market, this segment gives an outline of the report to give a thought regarding the nature and substance of the examination study.Analysis of Strategies of Leading Players: Market players can use this analysis to gain a competitive advantage over their competitors in the Brand Licensing Industry market.Study on Key Market Trends: This piece of the report offers a more significant assessment of the latest and future examples of the market.Market Forecasts: Buyers of the report will approach precise and approved evaluations of the all market size as far as worth and volume. The report additionally gives utilization, creation, deals, and different conjectures for the Brand Licensing Industry market.Local Growth Analysis: All critical regions and countries have been covered in the report. The neighborhood examination will help with elevating players to exploit dismissed common business areas, prepare express philosophies for target regions, and contemplate the improvement of each and every regional market.Segmental Analysis: The report gives precise and solid conjectures of the piece of the pie of significant portions of the Brand Licensing Industry market. Market members can utilize this examination to make key interests in key development pockets of the market.Do You Have Any Query Or Specific Requirement? Ask to Our Industry Expert @ <a style="color: red;" href="https://crediblemarkets.com/enquire-request/brand-licensing-industry-market-441017?utm_source=Ajay&utm_medium=Freepr">https://crediblemarkets.com/enquire-request/brand-licensing-industry-market-441017?utm_source=Ajay&utm_medium=Freepr</a>Key questions answered in the report:<ul><li>What will the market development pace of Brand Licensing Industry market?</li><li>What are the key factors driving the Global Brand Licensing Industry market?</li><li>Who are the key manufacturers in market space?</li><li>What are the market openings, market hazard and market outline of the market?</li><li>What are sales, revenue, and price analysis of top manufacturers of Brand Licensing Industry market?</li><li>Who are the distributors, traders, and dealers of Brand Licensing Industry market?</li><li>What are the Brand Licensing Industry market opportunities and threats faced by the vendors in the Global Brand Licensing Industry industries?</li><li>What are deals, income, and value examination by types and utilizations of the market?</li><li>What are deals, income, and value examination by areas of enterprises?</li></ul>About USCredible Markets is a new-age market research company with a firm grip on the pulse of global markets. Credible Markets has emerged as a dependable source for the market research needs of businesses within a quick time span. We have collaborated with leading publishers of market intelligence and the coverage of our reports reserve spans all the key industry verticals and thousands of micro markets. The massive repository allows our clients to pick from recently published reports from a range of publishers that also provide extensive regional and country-wise analysis. Moreover, pre-booked research reports are among our top offerings.The collection of market intelligence reports is regularly updated to offer visitors ready access to the most recent market insights. We provide round-the-clock support to help you repurpose search parameters and thereby avail a complete range of reserved reports. 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copysampan4 · 2 years

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Best Kef Speakers 2022

With the bookshelf Pioneers and an inexpensive amp, you'll have something that beats the pants off comparably priced computer speakers or speaker docks. The A-20 also features a “loudness” button to increase low frequency output at low volume, bass, treble and balance controls as well as a ¼” headphone jack. A “direct” button disables all but the basics.

Consider towers or 6.5" bookshelf speakers and skipping the subwoofer if you live in an apartment so you don't disturb your neighbors.

Pioneer floor speakers sp-fs52 review.

Wanting to make sure that I wasn’t hearing things with regards to the SP-FS52s’ dynamics, I cued up Audioslave’s “Show Me How to Live” off their self-titled album .

Plus, the fact that they work right out of the box without any additional tweaks is the cherry on top.

The price of T50 is less than the SP-FS52 model. After considering various factors and comparing both tower speakers, we recommend Polk Audio T50. The design of SP-FS52 is different from T50. The group regarded themselves as the disco movement's rock band that made good on the hippie movement's ideals of peace, love, and freedom. Every song they wrote was written with an eye toward giving it "deep hidden meaning" or D.H.M. At the end of the 1960s, musicians and audiences from the Black, Italian and Latino communities adopted several traits from the hippie and psychedelia subcultures. They included using music venues with a loud, overwhelming sound, free-form dancing, trippy lighting, colorful costumes, and the use of hallucinogenic drugs. Examples can be found in the music of the Chambers Brothers, George Clinton with his Parliament-Funkadelic collective, Sly and the Family Stone and the productions of Norman Whitfield with The Temptations. Songs often use syncopation, which is the accenting of unexpected beats.

Top 6 Best Portable Keyboard Pianos In 2022 Reviews

If you enjoy a real deep noise real recommends to add the powered subwoofer to help fill a low end. Has my crossover together with 60hz in some fronts and Dayton is extracted perfectly. These speakers of tower are some the better speakers has not possessed never. I am very very picky on that my musician and his of films.

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#pioneer floorstanding speakers

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tommosupport · 3 years

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We get some asks from time to time about where to get data from. Of course, we want to preface this by saying that you need proper context in order to be able to use the data fully and build on it. Nevertheless, there are a bunch of platforms available for you to use - we’ve added caveats where necessary.

1. Kworb (http://kworb.net)

a. Provides realtime iTunes chart updates for both singles and albums, as well as iTunes popularity updates for both singles and albums. You can sort by country or get worldwide data, and the platform also offers some data on YouTube and other metrics, such as Artist Popularity.

b. Drawbacks: Keep in mind that even though it’s realtime, there is a lag in Kworb’s data nonetheless. Popularity is updated only every four hours or so. iTunes charts will update more regularly, but will lag behind what people may already be able to see in their own iTunes stores.

2. DigitalSalesData (http://digitalsalesdata.com)

a. This website used to be able to provide you with the sales numbers for singles on iTunes charts.

b. Drawbacks: It no longer gives accurate data, because this is no longer included in the iTunes Store API. Nonetheless, it does give you an indication of the market as a whole in a country – are the margins to get into the Top 10 close or not, and what’s the sales velocity like? Keep in mind that these numbers therefore should be interpreted, and not just blankly copied or taken as reflective of the actual sales numbers.

3. Chartmetric (http://chartmetric.com)

a. Probably one of the most elaborate websites that lets you collect many KPIs from various platforms – TikTok, Shazam, Spotify, AppleMusic, YouTube, etc. They have over 25 different data sources. It also shows you things like fan conversion rate (the ratio of monthly listeners vs artist followers on Spotify, for example), and lets you sort playlists on whether they are editorial, personalized or both. They provide data on trends and give you updates in percentages as well when it comes to relative change in subscribers, views, etc. There’s a separate section on social insights, too. They also developed their own cross-platform index which is a useful tool to see if an artist is able to really create a robust fan foundation across all various social platforms. Chartmetric regularly publishes interesting pieces on their latest finds and data analysis. Reading them will help you understand the data they offer, and will let you know how to interpret it all.

b. Drawbacks: You can only follow up to 5 tracks/items and get email notifications for the free version. And most importantly, you need to actually put in some work to understand how you can interpret their data points. Otherwise it can be overwhelming, or you may just copy-paste the numbers without contextualizing them, which isn’t going to help anyone. It’s great for trends, but you need to be able to identify those and explain them, supported by the numbers. You also don’t have as much insight into radio on the free platform.

4. Songstats

a. Similar to Chartmetric, SongStats offers data on an artist and their discography, using various inputs (Spotify, Beatport, AppleMusic, Deezer, Shazam, SoundCloud, Amazon, Instagram, Twitter, TikTok, TraxSource, 1001 Tracklists, YouTube, iTunes). It can also provide you with an overview of the top current playlists where any music by Louis is playlisted. You can customise what data inputs you want to see.

b. Drawbacks: The data they provide for the free version is very limited, and while they do provide some analytics for free – those are all cumulative data. For example, they’ll say Defenceless is on 114 playlists and has a reach of 2,04M. This is in total, across time. It is not always current, so again you have to be very careful with reading the data they give you in analytics, and how you need to interpret it. It also depends per input source. iTunes & AppleMusic do offer a distinction between current or total/cumulative.

5. Soundcharts (http://soundcharts.com)

a. Similar to Chartmetric and Songstats (more like Songstats in how it’s formatted, but more like Chartmetric in the data it lets you see). Very useful specifically if you want to see a breakdown of radio play per country.

b. Drawbacks: This is only free for two weeks, then plans start at 41$ a month. Moreover, again, be careful in how you interpret data. They don’t properly account for syndicated shows, and they use a questionable metric to track audiences. It also makes no distinction between internet/terrestrial radio. (There’s a difference, because internet radio is traditionally not counted for charting, whereas airplay on ‘terrestrial’ radio does count if radio is tracked for charting purposes like in the US). When you look at e.g. radio play, make sure to use the function to filter out plays shorter than 30 seconds!

6. SpotifyCharts (http://spotifycharts.com)

a. The official site of Spotify that updates on Viral and Top 200 playlists. You may find that there’s a difference between the numbers shown here and on an artist’s own profile. It’s because these numbers have been audited extra carefully to filter out any sort of artificial inflation or fraudulent streaming activities. These update daily around 3PM EST, usually a bit earlier than the song specific numbers.

b. Drawbacks: While they do update daily, the time thereof is incredibly irregular.

7. Chartmasters (http://chartmasters.org)

a. A site that allows you to quickly see an artist’s overall Spotify streams in a table. You can sort based on popular songs or on discography.

b. Drawback: You need an account and only get to use it 3 times a day. Make sure you use them wisely.

8. Billboard (http://billboard.com)

a. Billboard offers a variety of charts – aside from the most well known Hot 100 and Album 200 (and the Social 50 in the past). It also used to offer artist-specific overviews of peak chart positions.

b. Drawbacks: We said ‘used to’, because they technically still offer it – you just need to have a paid subscription to be able to access that data, as well as the other charts they have. Think of split-out charts on digital download sales or streaming, as well as radio airplay or genre-specific charts.

9. NextBigSound (http://nextbigsound.com)

a. NBS is monitored and used by Nielsen to compile the Social 50 for Billboard. It provides you a good overview of social media clout and activity. It also gives margins as to whether or not an artist’s activity and engagement are on par with what you’d expect of an artist what x amount of followers, for example. Also unique: It gives you insights in Pandora. Pandora is part of SiriusXM, as well as its own streaming service and is therefore influential in US radio play as well.

b. Drawbacks: It only tracks a limited amount of data sources (Facebook, Pandora, Twitter, Wikipedia), and used to provide more insights as to e.g. gender & country demographics. It no longer will do that, unless you have access to an artist’s AMP on Pandora.

10. Radio Airplay Chart UK (http://ukairplaychart.com/)

a. Gives you an overview of Top 40 songs being played on UK radio. You can also choose whether you want a rolling overview or see last chart week.

b. Drawbacks: It doesn’t tell you how often a song needs to be played and if this is based on audience or amount of plays (or when songs were most often played)

11. AllAccess (http://allaccess.com)

a. This is the database that is most often used by radio in the US to find new songs to play and to track radioplay across the country. It’s also a great platform to keep updated with the latest changes in terms of program directors or hosts at particular radio stations (which is useful when requesting). It will show you when a song was played and how often, and the estimated audience that was reached. All these things factor in airplay charting, so it’s nice to have a breakdown of it. It’ll also tell you which radio stations are giving support.

b. Drawbacks: You need to have an existing account with them and you need to know how to navigate their platform, which can be quite tricky. Moreover, they use the callsigns of radio stations, which can further complicate finding the data you need, because you’re most likely not going to be familiar with those.

12. SpotonTrack (http://spotontrack.com)

a. Sends you daily reports of Spotify and AppleMusic tracking data for a song. Useful for playlist updates!

b. Drawbacks: Only lets you track one song for two weeks in the free trial, after that you’ll have to pay for the service. You could technically also monitor radioplay, but this is not available for free trial users.

13. RadioMonitor (http://radiomonitor.com)

a. This site shows you radio charts around the world, but can also provide aggregate data for particular regions.

b. Drawbacks: Only useful once a song has started charting in airplay Top 10s.

14. WARM Music (https://warmmusic.net/)

a. Allows you to track radio play starting from 3E per month

b. Drawbacks: Not sure how accurate their data is, though they monitor over 28000 stations around the world. When using the free trial from time to time, it always seemed somewhat limited and not in step with what other sites would say (i.e., currently it says Defenceless was only played 49 times in total over the past two weeks. We know this is not correct.).

#info #resources

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hlupdate · 3 years

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Variety’s Grammy-nominated Hitmaker of the Year goes deep on the music industry, the great pause and finding his own muses.

“We’ll dance again,” Harry Styles coos, the Los Angeles sunshine peeking through his pandemic-shaggy hair just so. The singer, songwriter and actor — beloved and critically acclaimed thanks to his life-affirming year-old album, “Fine Line” — is lamenting that his Variety Hitmaker of the Year cover conversation has to be conducted over Zoom rather than in person. Even via videoconference, the Brit is effortlessly charming, as anyone who’s come within earshot of him would attest, but it quickly becomes clear that beneath that genial smile is a well-honed media strategy.

To wit: In an interview that appears a few days later announcing his investment in a new arena in his native Manchester (more on that in a bit), he repeats the refrain — “There will be a time we dance again”— referencing a much-needed return to live music and the promise of some 4,000 jobs for residents.

None of which is to suggest that Styles, 26, phones it in for interviews. Quite the opposite: He does very few, conceivably to give more of himself and not cheapen what is out there and also to use the publicity opportunity to indulge his other interests, like fashion. (Last month Styles became the first male to grace the cover of Vogue solo.) Still, it stings a little that a waltz with the former One Direction member may not come to pass on this album cycle — curse you, coronavirus.

Styles’ isolation has coincided with his maturation as an artist, a thespian and a person. With “Fine Line,” he’s proved himself a skilled lyricist with a tremendous ear for harmony and melody. In preparing for his role in Olivia Wilde’s period thriller “Don’t Worry Darling,” which is shooting outside Palm Springs, he found an outlet for expression in interpreting words on a page. And for the first time, he’s using his megaphone to speak out about social justice — inspired by the outpouring of support for Black people around the world following the death of George Floyd at the hands of Minneapolis police in May.

Styles has spent much of the past nine months at home in London, where life has slowed considerably. The time has allowed him to ponder such heady issues as his purpose on the earth. “It’s been a pause that I don’t know if I would have otherwise taken,” says Styles. “I think it’s been pretty good for me to have a kind of stop, to look and think about what it actually means to be an artist, what it means to do what we do and why we do it. I lean into moments like this — moments of uncertainty.”

In truth, while Styles has largely been keeping a low profile — his Love On Tour, due to kick off on April 15, was postponed in late March and is now scheduled to launch in February 2021 (whether it actually will remains to be seen) — his music has not. This is especially true in the U.S., where he’s notched two hit singles, “Adore You,” the second-most-played song at radio in 2020, and “Watermelon Sugar” (No. 22 on Variety’s year-end Hitmakers chart), with a third, “Golden,” already cresting the top 20 on the pop format. The massive cross-platform success of these songs means Styles has finally and decisively broken into the American market, maneuvering its web of gatekeepers to accumulate 6.2 million consumption units and rising.

Why do these particular songs resonate in 2020? Styles doesn’t have the faintest idea. While he acknowledges a “nursery rhyme” feel to “Watermelon Sugar” with its earwormy loop of a chorus, that’s about as much insight as he can offer. His longtime collaborator and friend Tom Hull, also known as the producer Kid Harpoon, offers this take: “There’s a lot of amazing things about that song, but what really stands out is the lyric. It’s not trying to hide or be clever. The simplicity of watermelon … there’s such a joy in it, [which] is a massive part of that song’s success.” Also, his kids love it. “I’ve never had a song connect with children in this way,” says Hull, whose credits include tunes by Shawn Mendes, Florence and the Machine and Calvin Harris. “I get sent videos all the time from friends of their kids singing. I have a 3-year-old and an 8-year-old, and they listen to it.”

Styles is quick to note that he doesn’t chase pop appeal when crafting songs. In fact, the times when he pondered or approved a purposeful tweak, like on his self-titled 2017 debut, still gnaw at him. “I love that album so much because it represents such a time in my life, but when I listen to it — sonically and lyrically, especially — I can hear places where I was playing it safe,” he says. “I was scared to get it wrong.”

Contemporary effects and on-trend beats hardly factor into Styles’ decision-making. He likes to focus on feelings — his own and his followers’ — and see himself on the other side of the velvet rope, an important distinction in his view. “People within [the industry] feel like they operate on a higher level of listening, and I like to make music from the point of being a fan of music,” Styles says. “Fans are the best A&R.”

This from someone who’s had free rein to pursue every musical whim, and hand in the album of his dreams in the form of “Fine Line.” Chart success makes it all the sweeter, but Styles insists that writing “for the right reasons” supersedes any commercial considerations. “There’s no part that feels, eh, icky — like it was made in the lab,” he says.

Styles has experience in this realm. As a graduate of the U.K. competition series “The X Factor,” where he and four other auditionees — Niall Horan, Zayn Malik, Liam Payne and Louis Tomlinson — were singled out by show creator and star judge Simon Cowell to conjoin as One Direction, he’s seen how the prefab pop machine works up close. The One Direction oeuvre, which counts some 42 million albums sold worldwide, includes songs written with such established hitmakers as Ryan Tedder, Savan Kotecha and Teddy Geiger. Being a studious, insatiable observer, Styles took it all in.

“I learned so much,” he says of the experience. “When we were in the band, I used to try and write with as many different people as I could. I wanted to practice — and I wrote a lot of bad shit.”

His bandmates also benefited from the pop star boot camp. The proof is in the relatively seamless solo transitions of at least three of its members — Payne, Malik and Horan in addition to Styles — each of whom has landed hit singles on charts in the U.K., the U.S. and beyond.

This departs from the typical trajectories of boy bands including New Kids on the Block and ’N Sync, which have all pro ered a star frontman. The thinking for decades was that a record company would be lucky to have one breakout solo career among the bunch.

Styles has plainly thought about this.

“When you look at the history of people coming out of bands and starting solo careers, they feel this need to apologize for being in the band. ‘Don’t worry, everyone, that wasn’t me! Now I get to do what I really want to do.’ But we loved being in the band,” he says. “I think there’s a wont to pit people against each other. And I think it’s never been about that for us. It’s about a next step in evolution. The fact that we’ve all achieved different things outside of the band says a lot about how hard we worked in it.”

Indeed, during the five-ish years that One Direction existed, Styles’ schedule involved the sort of nonstop international jet-setting that few get to see in a lifetime, never mind their teenage years. Between 2011 and 2015, One Direction’s tours pulled in north of $631 million in gross ticket sales, according to concert trade Pollstar, and the band was selling out stadiums worldwide by the time it entered its extended hiatus. Styles, too, had built up to playing arenas as a solo artist, engaging audiences with his colorful stage wear and banter and left-of-center choices for opening acts (a pre-Grammy-haul Kacey Musgraves in 2018; indie darlings King Princess and Jenny Lewis for his rescheduled 2021 run).

Stages of all sizes feel like home to Styles. He grew up in a suburb of Manchester, ground zero for some of the biggest British acts of the 1980s and ’90s, including Joy Division, New Order, the Smiths and Oasis, the latter of which broke the same year Styles was born. His parents were also music lovers. Styles’ father fed him a balanced diet of the Beatles, Fleetwood Mac, the Rolling Stones and Queen, while Mum was a fan of Shania Twain, Norah Jones and Savage Garden. “They’re all great melody writers,” says Styles of the acts’ musical throughline.

Stevie Nicks, who in the past has described “Fine Line” as Styles’ “Rumours,” referencing the Fleetwood Mac 1977 classic, sees him as a kindred spirit. “Harry writes and sings his songs about real experiences that seemingly happened yesterday,” she tells Variety. “He taps into real life. He doesn’t make up stories. He tells the truth, and that is what I do. ‘Fine Line’ has been my favorite record since it came out. It is his ‘Rumours.’ I told him that in a note on December 13, 2019 before he went on stage to play the ‘Fine Line’ album at the Forum. We cried. He sang those songs like he had sung them a thousand times. That’s a great songwriter and a great performer.”

“Harry’s playing and writing is instinctual,” adds Jonathan Wilson, a friend and peer who’s advised Styles on backing and session musicians. “He understands history and where to take the torch. You can see the thread of great British performers — from Bolan to Bowie — in his music.”

Also shaping his musical DNA was Manchester itself, the site of a 23,500-seat arena, dubbed Co-op Live, for which Styles is an investor and adviser. Oak View Group, a company specializing in live entertainment and global sports that was founded by Tim Leiweke and Irving Azoff in 2015 (Jeffrey Azoff, Irving’s son, represents Styles at Full Stop Management), is leading the effort to construct the venue. The project gained planning approval in September and is set to open in 2023, with its arrival representing a £350 million ($455 million) investment in the city. (Worth noting: Manchester is already home to an arena — the site of a 2017 bombing outside an Ariana Grande concert — and a football stadium, where One Love Manchester, an all-star benefit show to raise money for victims of the terrorist attack, took place.)

“I went to my first shows in Manchester,” Styles says of concerts paid for with money earned delivering newspapers for a supermarket called the Co-op. “My friends and I would go in on weekends. There’s so many amazing small venues, and music is such a massive part of the city. I think Manchester deserves it. It feels like a full-circle, coming-home thing to be doing this and to be able to give any kind of input. I’m incredibly proud. Hopefully they’ll let me play there at some point.”

Though Styles has owned properties in Los Angeles, his base for the foreseeable future is London. “I feel like my relationship with L.A. has changed a lot,” he explains. “I’ve kind of accepted that I don’t have to live here anymore; for a while I felt like I was supposed to. Like it meant things were going well. This happened, then you move to L.A.! But I don’t really want to.”

Is it any wonder? Between COVID and the turmoil in the U.S. spurred by the presidential election, Styles, like some 79 million American voters, is recovering from sticker shock over the bill of goods sold to them by the concept of democracy. “In general, as people, there’s a lack of empathy,” he observes. “We found this place that’s so divisive. We just don’t listen to each other anymore. And that’s quite scary.”

That belief prompted Styles to speak out publicly in the wake of George Floyd’s death. As protests in support of Black Lives Matter took to streets all over the world, for Styles, it triggered a period of introspection, as marked by an Instagram message (liked by 2.7 million users and counting) in which he declared: “I do things every day without fear, because I am privileged, and I am privileged every day because I am white. … Being not racist is not enough, we must be anti racist. Social change is enacted when a society mobilizes. I stand in solidarity with all of those protesting. I’m donating to help post bail for arrested organizers. Look inwards, educate yourself and others. LISTEN, READ, SHARE, DONATE and VOTE. ENOUGH IS ENOUGH. BLACK LIVES MATTER.”

“Talking about race can be really uncomfortable for everyone,” Styles elaborates. “I had a realization that my own comfort in the conversation has nothing to do with the problem — like that’s not enough of a reason to not have a conversation. Looking back, I don’t think I’ve been outspoken enough in the past. Using that feeling has pushed me forward to being open and ready to learn. … How can I ensure from my side that in 20 years, the right things are still being done and the right people are getting the right opportunities? That it’s not a passing thing?”

His own record company — and corporate parent Sony Music Group, whose chairman, Rob Stringer, signed Styles in 2016 — has been grappling with these same questions as the industry has faced its own reckoning with race. At issue: inequality among the upper ranks (an oft-cited statistic: popular music is 80% Black, but the music business is 80% white); contracts rooted in a decades-old system that many say is set up to take advantage of artists, Black artists more unfairly than white; and the call for a return of master rights, an ownership model that is at the core of the business.

Styles acknowledges the fundamental imbalance in how a major label deal is structured — the record company takes on the financial risk while the artist is made to recoup money spent on the project before the act is considered profitable and earning royalties (typically at a 15% to 18% rate for the artist, while the label keeps and disburses the rest). “Historically, I can’t think of any industry that’s benefited more off of Black culture than music,” he says. “There are discussions that need to happen about this long history of not being paid fairly. It’s a time for listening, and hopefully, people will come out humbled, educated and willing to learn and change.”

By all accounts, Styles is a voracious reader, a movie lover and an aesthete. He stays in shape by adhering to a strict daily exercise routine. “I tried to keep up but didn’t last more than two weeks,” says Hull, Styles’ producer, with a laugh. “The discipline is terrifying.”

Of course, with the fashion world beckoning — Styles recently appeared in a film series for Gucci’s new collection that was co-directed by the fashion house’s creative director, Alessandro Michele, and Oscar winner Gus Van Sant — and a movie that’s set in the 1950s, maintaining that physique is part of the job. And he’s no stranger to visual continuity after appearing in Christopher Nolan’s epic “Dunkirk” and having to return to set for reshoots; his hair, which needed to be cut back to its circa 1940 form, is a constant topic of conversation among fans. This time, it’s the ink that poses a challenge. By Styles’ tally, he’s up to 60 tattoos, which require an hour in the makeup chair to cover up. “It’s the only time I really regret getting tattooed,” he says.

He shows no regret, however, when it comes to stylistic choices overall, and takes pride in his gender-agnostic portfolio, which includes wearing a Gucci dress on that Vogue cover— an image that incited conservative pundit Candace Owens to plead publicly to “bring back manly men.” In Styles’ view: “To not wear [something] because it’s females’ clothing, you shut out a whole world of great clothes. And I think what’s exciting about right now is you can wear what you like. It doesn’t have to be X or Y. Those lines are becoming more and more blurred.”

But acclaim, if you can believe it, is not top of mind for Styles. As far as the Grammys are concerned, Styles shrugs, “It’s never why I do anything.” His team and longtime label, however, had their hearts set on a showing at the Jan. 31 ceremony. Their investment in Styles has been substantial — not just monetarily but in carefully crafting his career in the wake of such icons as David Bowie, who released his final albums with the label. Hope at the company and in many fans’ hearts that Styles would receive an album of the year nomination did not come to pass. However, he was recognized in three categories, including best pop vocal album.

“It’s always nice to know that people like what you’re doing, but ultimately — and especially working in a subjective field — I don’t put too much weight on that stuff,” Styles says. “I think it’s important when making any kind of art to remove the ego from it.” Citing the painter Matisse, he adds: “It’s about the work that you do when you’re not expecting any applause.”

#harry styles #variety #021220

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