From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #4462 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Sunday, June 28 2020 Volume 14 : Number 4462 Today's Subjects: ----------------- These batteries can quickly re-charge (1 hour!) from any USB port ["EZ CH] Make American Great Again! ["Trump 2020 Golf Balls" Subject: These batteries can quickly re-charge (1 hour!) from any USB port These batteries can quickly re-charge (1 hour!) from any USB port http://goldfrank.guru/ogQvRUoGTJ0E49XHIjE4gh-tAuGIPmuAcGYmveTSu7Xt7gn8 http://goldfrank.guru/OcBW9ADCyIpqoOWPxGKyR1DeydGxIECObsGivi5CBAfHMQ nes of I-85. The choice of the getaway cars corresponded to specifications in the screenplay that they be nondescript and blend in with the surrounding traffic. Though Wright sought a Toyota Corolla based on data about frequently stolen cars, the production used a red Subaru WRX instead after the studio requested a vehicle that "could be a little sexier". Ryan Heffington oversaw the choreography. He was responsible for synchronizing the movement of the actors and stunt performers in the film's choreographic sequences. Baby Driver is Heffington's first foray into film, best known in the music industry for his work with Sia, Arcade Fire, and other artists. Compelled by the script, the choreographer was unfamiliar with Wright's prior work. He researched it after his initial interview for the job. The two detailed their artistic vision in early conversations, using songs with dramatic tempo changes or structure as templates. By the first day of shooting, Heffington was already supervising the "Harlem Shuffle" sequence, employing 50b60 extras for the set. Choreographing other sets was sometimes less taxing because Elgort and Foxx had prior dance experience. The production played the music as the cast rehearsed each sequence, shot by shot. Sound design A photo of the Twickenham Studios facility in London The production premixed audio at the London-based Twickenham Studios, pictured in 2010 When sound editing supervisor Julian Slater was first approached for Baby Driver, he was sent a copy of the script and a PDF file containing the curated selection of music, along with a rough audio mix. Working closely with music editor Bradley Farmer, the pair dissected each musical cue into a unique tempo map, thereby allowing for synchronization at any given time. This process required frequent pitch scaling of the sounds so they would not be off-pitch. One of their initial responsibilities was to create a sound for Baby's tinnitus. Slater and Farmer experimented with an array of sounds, some subtle, others more intense. Accordingly, they would adjust the frequency of an audio mix to correspond with their music cue. The intensity of Baby's tinnitus in the audio mix depended on his mood; for example, the more anxious he is, the louder the ringing. Managing tempo changes with the sound effects proved troublesome. Slater said, "For every layer that happens musically, have another layer that happens non-musically so that you perceive it only some of the time." The "Harlem Shuffle" sequence contains the audio team's most complex sound effects work. Completed in 25 takes, it features an assortment of subtle sound effects from engines, dialogue with changing nuance, and so forth. "Brighton Rock" posed another challenge for the filmmakers because the sequence required a new set of frequencies, altered voices, and other sounds to emphasize Baby's distorted point of view. The audio department spent eight days recording the car sound effects at the Atlanta Motor Speedway. For onboard recordings (the sounds heard from the perspective of the driver and passengers), sound effects recordist Watson Wu installed about six microphones per vehicle; one in the airbox, another on the radio dashboard, two near the exhausts, and two in the engine compartment. Boom operator James Peterson followed each car with a shotgun mic for the external recordings, while using XY stereo equipment to capture the noise of passing vehicles. The crew prem ------------------------------ Date: Sun, 28 Jun 2020 03:52:39 -0400 From: "Trump 2020 Golf Balls" Subject: Make American Great Again! Make American Great Again! http://koori.guru/BBDF-rz7J89_2sgKlzdF55E2sS3Adu4kj5wfI3dLAbPl_Bez http://koori.guru/iiau2lNZlqS_DL5tLE-Wk6Zq9VZx-DaCFX66kzb8b2705oka Various methods of feeding exist among and within species, some apparently exclusive to a single population. Fish and squid are the main food, but the false killer whale and the orca also feed on other marine mammals. Orcas on occasion also hunt whale species larger than themselves. Different breeds of dolphins vary widely in the number of teeth they possess. The orca or killer whale usually carries 40-56 teeth while the popular bottlenose dolphin has anywhere from 72-116 conical teeth and its smaller cousin the common dolphin has 188-268 teeth so that the number of teeth each breed carries varies widely between individuals. Hybrids between common and bottlenose bred in captivity had an intermediate amount of teeth. One common feeding method is herding, where a pod squeezes a school of fish into a small volume, known as a bait ball. Individual members then take turns plowing through the ball, feeding on the stunned fish. Coralling is a method where dolphins chase fish into shallow water to catch them more easily. Orcas and bottlenose dolphins have also been known to drive their prey onto a beach to feed on it, a behaviour known as beach or strand feeding. Some species also whack fish with their flukes, stunning them and sometimes knocking them out of the water. Reports of cooperative human-dolphin fishing date back to the ancient Roman author and natural philosopher Pliny the Elder. A modern human-dolphin partnership currently operates in Laguna, Santa Catarina, Brazil. Here, dolphins drive fish towards fishermen waiting along the shore and signal the men to cast their nets. The dolphins' reward is the fish that escape the nets. Vocalization Spectrogram of dolphin vocalizations. Whistles, whines, and clicks are visible as upside down V's, horizontal striations, and vertical lines, respectively. Dolphins are capable of making a broad range of sounds using nasal airsacs located just below the blowhole. Roughly three categories of sounds can be identified: frequency modulated whistles, burst-pulsed sounds and clicks. Dolphins communicate with whistle-like sounds produced by vibrating connective tissue, similar to the way human vocal cords function, and through burst-pulsed sounds, though the nature and extent of that ability is not known. The clicks are directional and are for echolocation, often occurring in a short series called a click train. The click rate increases when approaching an object of interest. Dolphin echolocation clicks are amongst the loudest sounds made by marine animals. Bottlenose dolphins have been found to have signature whistles, a whistle that is unique to a specific individual. These whistles are used in order for dolphins to communicate with one another by identifying an individual. It can be seen as the dolphin equivalent of a name for humans. These signature whistles are developed during a dolphin's first year; it continues to maintain the same sound throughout its lifetime. In order to obtain each individual whistle sound, dolphins undergo vocal production learning. This consists of an experience with other dolphins that modifies the signal structure of an existing whistle sound. An auditory experience influences the whistle development of each dolphin. Dolphins are able to communicate to one another by addressing another dolphin through mimicking their whistle. The signature whistle of a male bottlenose dolphin tends to be similar to that of his mother, while the signature whistle of a female bottlenose dolphin tends to be more distinguishing. Bottlenose dolphins have a strong memory when it comes to these signature whistles, as they are able to relate to a signature whistle of an individual they have not encountered for over twenty years. Research done on signature whistle usage by other dolphin species is relatively limited. The research on other species done so far has yielded varied outcomes and inconclusive results. Because dolphins are generally associated in groups, communication is necessary. Signal masking is when other similar sounds (conspecific sounds) interfere with the original acoustic sound. In larger groups, individual whistle sounds are less prominent. Dolphins tend to travel in pods, upon which there are groups of dolphins that range from a few to many. Although they are traveling in these pods, the dolphins do not necessarily swim right next to each other. Rather, they swim within the same general vicinity. In order to prevent losing one of their pod members, there are higher whistle rates. Because their group members were spread out, this was done in order to continue traveling together. ------------------------------ End of alt.music.moxy-fruvous digest V14 #4462 **********************************************