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...beats are digital icing—finely groomed and processed gems that remind listeners that, despite its faults, radio hip-hop has consistently pushed sonic boundaries. “Platinum BlaQue Party” employs shaker, hi-hat and triangle samples straight from a Missy Elliott chart-topper, along with a creamy-wet, futuristic synth. The lyrics imitate radio-hop’s vapid babble but exaggerate it even further, laying bare its superficiality. “I got so much access to excess,” they croon, “words cannot describe my success...

Author: By Michael S. Hoffman, CONTRIBUTING WRITER | Title: CD Review | 4/4/2003 | See Source »

...scale. Yeager was thunderstruck. He was flying supersonic, and "it was as smooth as a baby's bottom: Grandma could be sitting up there sipping lemonade," he said later. He half didn't believe it--until the tracking crew ran up and reported hearing the world's first sonic boom, a sound that marked the end of the Wright Brothers' era and the beginning of the age of the astronauts, taking humankind into outer space. His XS-1 had accelerated to Mach 1.06, or 700 m.p.h. That night Yeager fixed his buddies a pitcher of martinis to celebrate...

Author: /time Magazine | Title: Oct. 14, 1947 | 3/31/2003 | See Source »

What really matters is your choice of mixing software. Even semiserious mashers should consider splurging on the Plasma 2003 ($39.95 with registration at cakewalk.com or the superior Acid Music 3.0 ($69.97 at sonicfoundry.com) But you don't need either of these programs to flex your mash-up muscles. Sonic Foundry also offers a serviceable stripped-down, free version called Acid Xpress. And if you know how to finger-paint, you know how to make...

Author: /time Magazine | Title: Mix and Mash-Up | 3/24/2003 | See Source »

...band really shines, however, on “Stars As Clocks” and “Table For Two,” two songs that exhibit more of an all-encompassing band. The angular guitars of “Stars As Clocks” are reminiscent of Sonic Youth, while the moog synth line that haunts “Table For Two” is equally striking...

Author: By J.k. Ames, CRIMSON STAFF WRITER | Title: Filling in The Blanks | 3/6/2003 | See Source »

Dropped by his label, he built a recording studio—called the Sonic Promiseland—in his Los Angeles bedroom and recorded 36 songs, each in one take. Word-of-mouth hype, coupled with brief mention in the New York Times and support from The Roots, generated anticipation for an album release as unique as the artist himself. Turning down record deals reaching seven figures, ChesnuTT sold the first pressings of The Headphone Masterpiece on his website, with his cousin as manager...

Author: By Brian D. Goldstein, CRIMSON STAFF WRITER | Title: Recording Rebel ChestnuTT Jams at House of Blues | 2/7/2003 | See Source »

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