Reel to Reel Players

Top 25 Transfer Music From Ipod To Computer Links

admin — Mon, 25 Jan 2010 15:54:48 +0000

Transferring music from your iPod to your computer is easy to do if you have the tools. Unfortunately, the iPod is designed to prevent us from sharing our music. Which is understandable, because the music industry is reeling from the technology which allows us to copy music CDs, and reducing their profits. But the problem is longstanding, ever since the old cassette tape players were used to record music, straight from the radio. So, what should you do if your computer with all your iTunes goes on the bum, or even worse, just breaks. You're stuck, without any way to transfer your tunes to your new computer. Until now! As technology goes, there are always folks who will find a way to beat the system, and this article will outline 25 options for transferring your tunes from your beloved iPod to your computer. Some are either freeware or shareware and the others of course, come with a nominal price tag. A couple of the links are actually for transferring photos from your iPod to your computer so I included the link below as an extra. It allows you to transfer tunes and videos between iPods. Lots of folks have more than one iPod and would like to simply copy thier favorites from one iPod to the other or thier friend's iPod. iPod 2 iPod http://www. topshareware. com/iPod-2-iPod-download-39933. htm Many people own more than one iPod. iPod 2 iPod is an application that allows you to transfer your music and video between them. Macintosh Operating System iLinkPod http://www. ilinkpod. com/ iLinkPod is first of all a unique tool that creates a permanent and direct access from your Desktop (and your iPod or wherever you want) to the hidden folders in which iPod stores your audio files. So you don't need iLinkPod or any other utility to access your hidden audio files on the iPod, you'll have access to them through a common folder on your Desktop (and iPod too). iPod Viewer 3. 0. 1 http://www. versiontracker. com/dyn/moreinfo/macosx/15864 Transfer songs to and from your iPod. Expod0. 3 http://www. versiontracker. com/dyn/moreinfo/macosx/30994 With Expod you can copy any or all of your songs (or videos) off your iPod, using whatever file naming convention you like. PodView 1. 5 http://www. versiontracker. com/dyn/moreinfo/macosx/29287 Play music, movies, photos at full screen and import content from your iPod. iPodDisk http://ipoddisk. ourbiti. com/index. php/download/ iPodDisk is a tool designed to make it easy and intuitive to copy music from your iPod. You copy music off your iPod in the Finder, like a regular disk drive. Senuti http://www. fadingred. org/senuti/ Get music off of your iPod onto any computer. PodUp 1. 0. 0 http://www. versiontracker. com/dyn/moreinfo/macosx/31475 PodUp is an application which copies all your music files from your iPod to a folder of your choosing, without having anything to do with iTunes. Mac and Windows Operating System iPodRip http://www. thelittleappfactory. com/application. php?app=iPodRip iPodRip supports recovering your songs and playlists, playback of audio files and much more. iPodRip is compatible with Mac OS X 10. 2 and later, and Windows XP and 2000. Trial version available. Music Rescue (Upgrade to the previously called PodUtil) http://www. kennettnet. co. uk/software/podutil. php Music Rescue is a shareware utility for copying songs from your iPod to your computer. PodUtil is compatible with Mac OS X and 9. x, and Windows XP and 2000. iPod Music Liberator http://www. zeleksoftware. com/products. htm The iPod Music Liberator allows you to copy music, playlists, and ratings from your iPod to any computer, filling in a missing feature of iTunes. It supports Mac OS X and Windows XP, 2000, NT and 98. TuneRanger 0. 9. 5 Build 270 http://www. versiontracker. com/dyn/moreinfo/macosx/32865 TuneRanger connects iTunes-running computers over a network, allowing music, video, and playlists to be merged from one iTunes library to another seamlessly. iPod Access Photo 1. 2 http://www. versiontracker. com/dyn/moreinfo/macosx/32383 iPod Access Photo allows you to select individual photos and albums to be moved back onto your Mac computer or an external hard drive. iPod Access http://www. ipodaccess. com/ipodaccess/upgradeofferWin. html The premier application for copying music, videos and playlists from your iPod back to your Windows PC. Microsoft Windows PC Microsoft Windows PC iPodCopy http://www. topshareware. com/iPodCopy-download-42821. htm iPodCopy allows you to copy music, video, podcasts and photos from your iPod back into iTunes or onto your PC hard disk. Also can copy playlists, artwork, ratings and play counts from your iPod into iTunes. xPort http://www. topshareware. com/xPort-transfer-19893. htm xPort is the ultimate backup tool for your iPod. It enables you to easily transfer your all your songs from your iPod to your PC and it enables you to download lyrics, list your songs, create m3p playlists%u2026 CopyTrans (formerly CopyPod) http://www. copytrans. net/ CopyTransTM is the ultimate backup and recovery tool for your iPod songs. It requires Windows XP or 2000. CopyTrans Photo http://www. topshareware. com/CopyPod-Photo-download-39841. htm CopyTrans Photo allows you to transfer, backup, copy or download your photos from your iPod to your PC effortlessly. xPodClone http://www. topshareware. com/xPodClone-download-37702. htm xPodClone is the ultimate backup tool for all your devices, it clone easily folders, dvds, cds, directories, ipod. You only have to drag and drop your files into the xPodclone window. Xplay 2 http://www. mediafour. com/products/xplay/ XPlay makes it possible to not only add music to your iPod but copy music back off the iPod. With XPlay you can use both Mac and PC formatted iPods. iGadget (formerly iPod Agent) http://www. ipodsoft. com/index. php?/software/ipodagent You'll be able to transfer all kinds of data to your iPod, including driving directions, contacts, appointments, email, notes, tasks, podcasts, RSS news feeds, weather forecasts, daily horoscopes, movie show times, gas prices and more! You will have the tools necessary to copy songs off your iPod and back onto your computer. Tansee iPod to PC Transfer http://www. topshareware. com/Tansee-iPod-to-PC-Transfer-download-45653. htm Transfer music from iPod to computer. Tansee iPod Photo Transfer http://www. topshareware. com/Tansee-iPod-Photo-Transfer-download-45654. htm Backup/transfer photos from iPod to computer. Tansee iPod video to PC Transfer http://www. topshareware. com/Tansee-iPod-video-to-PC-Transfer-download-45655. htm Transfer video audio from iPod to computer. iBack http://www. topshareware. com/iBack-download-49338. htm Copy your songs & videos from your iPod to any computer. Kandalu X Cube http://tc. versiontracker. com/product/redir/lid/1007753/sendform. php3 Kandalu X Cube is a user friendly utility that quickly and easily allows the transfer of music files from your iPod to the computer. In Summary There you have it, all the resources you need to get your tunes and pictures off your iPod. There are other more expensive options available, but these are a very good starting point, especially since most are either free or have a very nominal fee attached. If I had to pick only one, I'd pick the iGadget because it's a full featured utility with so many other useful functions in addition to the file transfer function.

One of the best iPod download sites and my favorite is QuickiPidDownloads For more info on iPod downloads please visit my blog at iPodSid. com where you'll find numerous free iPod downloads.

VINTAGE 1960's GE TWO WAY POWER PORTABLE RECORDER w/BOX
US $9.99

VINTAGE REEL TO REEL OLSON TAPE RECORDER
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NEW 40 TAPE, REEL to REEL 7. IN TASCAM - -NEW
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NEW 20 STUDER TAPE, REEL to REEL 7. IN
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NEW 20 SONY TAPE, REEL to REEL 7.NEW
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Vintage ADVENT Noise Reduction Unit Model 100 A
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(2)--TEAC R TO R BELTS CAPSTAN & COUNTER -40S- 4010
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Vintage Tube Reel to Reel Recorder with Microphone
US $29.99

VINTAGE SONY TC 558 REEL TO REEL TAPE RECORDER DECK
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VINTAGE AKAI GX-285D REEL TO REEL TAPE DECK
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7" Reel to Reel Tapes lot of 7
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Sony 555 Vintage Tube Superscope Reel to Reel Recorder
US $110.49

Sony Tapecorder TC-105
US $35.00

7" Reel to Reel Tapes lot of 9
US $1.00

Akai X-1800SD Cross Field Reel to Reel Tape Recorder
US $49.99

Webster Electric Ekotape Reel to Reel Recorder
US $29.99

Reel to Reel Tape reels 4/7" 2/5" 1 5 3/4"
US $1.00

Revox B77 B-77 end of tape sensor Tape recorder NEW
US $72.00

NEW TASCAM 38 48 58 80-8 TSR MSR NAB 1/2" HUB ADAPTERS
US $45.00

REN Vintage NIB 1/4" Reel To Reel Tape Recorder
US $75.00

SONY REEL TO REEL STEREO TAPECORDER # TC - 355
US $9.99

Pioneer RT-707 Reel To Reel Player Recorder No.1
US $62.03

51 7" inch X 1/4" inch Reel To Reel Tape Tapes no2
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Pioneer RT-707 Reel To Reel Player Recorder No.2
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76 7" inch X 1/4" inch Reel To Reel Tape Tapes no1
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Studer console master input mixer audio 1.960.345 C963
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MAXELL 35-180 10 1/2" NAB HUB METAL REEL WITH TAPE
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Studer console compressor limiter mixer 1.960.349 C963
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Teac Reel to Reel pinch roller A5500/A-5300
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AKAI X-355D VINTAGE REEL TO REEL TAPE RECORDER
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BASF STUDIO MASTER (by EMTEC) 10.5" ALUMINUM TAPE REEL
US $10.00

Reel to Reel Audio Recorder-Pioneer
US $108.50

Vintage Sony Reel to Reel Model TC-260
US $9.99

Rare Vintage CONCORD Dolby Noise Reduction unit-DBA -10
US $21.99

VINTAGE AKAI 4400 REEL TO REEL CONVERT-A-DECK 3 HEAD
US $169.00

TASCAM 22-4 PRO REEL-TO FOUR TRACK RECORDER DECK PARTS
US $99.99

2 NEW SEALED AMPEX 766 1" REEL TO REEL TAPES !!
US $49.75

SONY AV-3650 VIDEOCORDER
US $99.99

New 3M Scotch Audio Tape, 7 1/2" X 1800 feet, 90 mins.
US $9.99

US TASCAM 22-2 22-4 @ NEW CAPSTAN BELT + EXPL VIEW
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2--VINTAGE NORTRONICS TAPE RECORDER HEAD REPLACEMENTS
US $5.99

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Teac 7" Reel to Reel Main Belt Motor EM1443
US $22.00

Tape Head Demagnetizer
US $12.27

Otari MTR-90 Power Supply
US $199.99

5 new unused vintage 7" inch reel to reel blank tapes
US $20.51

M.C.I extender & option boards
US $199.99

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US $2.99

Ampex ATR-800 extender cards
US $199.99

VINTAGE TEAC A-2500 REEL TO REEL TAPE RECORDER RARE! NR
US $29.50

VINTAGE REEL TO REEL HERB ALPERTS TIJUANA BRASS
US $3.99

Digital Camera is a Device of a Common Man Now

admin — Sun, 24 Jan 2010 16:14:18 +0000

Each one of us wants to keep our memorable moments alive. But literally, it is not possible. In the past people used to do this by writing autobiographies. But the advancement in technology has discovered some new methods also. Invention of camera has actually made it possible. First, film cameras were discovered by which photos were captured on the film reels. In these old video cams, video clips were recorded in the magnetic tapes. But the digital technology has given us such gadgets which come enriched with more sophisticated features. In the case of film cameras, you had to wait until the role was developed. But, on the contrary you are able to view the photos immediately after capturing the pictures. These pictures can be saved in the computer storage devices also such as hard disks, CDs etc. . These days most of the people want to purchase such digital cams. But the aspect, that stop them can be pointed out to the cost factor. But now the situation has been changed. A number of cheap digital cameras are now available in the market that has brought such gadgets under the purchasing power of a common man. Many of the companies that used to manufacture film cameras, have now started to manufacture the digital ones in the cost-effective prices. These can be availed very easily from the many electronics shops. These widgets can be searched on the World Wide Web also. One can search them easily on the search engines. A number of websites are available that provide cheap cams on Online purchase. These products would reach at your doorsteps in good condition without any doubt. These portals would even give you the facility to add review about these cams. Some of the manufacturers of these widgets even give their ads on the television. Some complete programs are made on the basis of these ads. Many manufacturers have made cameras of small size. In spite of being small in size, these widgets have the potential to give good image resolution interestingly. These devices come in inexpensive rates. These cheap digital cameras can be ordered without any hassles. Many advertisements are published in daily newspapers and some of the magazines also. One can get the information about these from their also. One reason of cams becoming inexpensive is the advancement in technology. As the technology is getting more and more advanced, the manufacturing cost of these is also becoming comparatively low. That's why most of the manufacturers are selling these devices at very low costs. Growing competitions have also played a major role in this context. These are manufactured by the camera and IT companies. As the competition is growing and the technology is getting advanced, the costs of these cams are slopping down day by day. It can be hoped that we shall find more cheap digital cameras in more cost-effective rates in the near future. This fall in price, is benefiting the people. It is helping them to keep their memorable events in the form of images and video clips. For sure, some more good widgets will come in front of us in the coming time.

Alden Jerry is an author of Xpert4u a Price comparison site that provides the relevant information on various Games, electronics and mobile phones products. Digital Camera.

VINTAGE 1960's GE TWO WAY POWER PORTABLE RECORDER w/BOX
US $9.99

VINTAGE REEL TO REEL OLSON TAPE RECORDER
US $24.00

NEW 40 TAPE, REEL to REEL 7. IN TASCAM - -NEW
US $79.99

NEW 20 STUDER TAPE, REEL to REEL 7. IN
US $49.99

AKAI GX-280D Tape Deck Recorder Reel to Reel VINTAGE
US $49.00

NEW 20 SONY TAPE, REEL to REEL 7.NEW
US $49.99

Vintage ADVENT Noise Reduction Unit Model 100 A
US $24.99

Scotch 10" Aluminum Audio Reel - Mint! Mint!
US $19.95

(2)--TEAC R TO R BELTS CAPSTAN & COUNTER -40S- 4010
US $9.99

Vintage Tube Reel to Reel Recorder with Microphone
US $29.99

VINTAGE SONY TC 558 REEL TO REEL TAPE RECORDER DECK
US $19.99

VINTAGE AKAI GX-285D REEL TO REEL TAPE DECK
US $41.00

7" Reel to Reel Tapes lot of 7
US $2.25

Sony 555 Vintage Tube Superscope Reel to Reel Recorder
US $110.49

Sony Tapecorder TC-105
US $35.00

7" Reel to Reel Tapes lot of 9
US $1.00

Akai X-1800SD Cross Field Reel to Reel Tape Recorder
US $49.99

Webster Electric Ekotape Reel to Reel Recorder
US $29.99

Reel to Reel Tape reels 4/7" 2/5" 1 5 3/4"
US $1.00

Revox B77 B-77 end of tape sensor Tape recorder NEW
US $72.00

NEW TASCAM 38 48 58 80-8 TSR MSR NAB 1/2" HUB ADAPTERS
US $45.00

REN Vintage NIB 1/4" Reel To Reel Tape Recorder
US $75.00

SONY REEL TO REEL STEREO TAPECORDER # TC - 355
US $9.99

Pioneer RT-707 Reel To Reel Player Recorder No.1
US $62.03

51 7" inch X 1/4" inch Reel To Reel Tape Tapes no2
US $29.00

Pioneer RT-707 Reel To Reel Player Recorder No.2
US $62.03

76 7" inch X 1/4" inch Reel To Reel Tape Tapes no1
US $52.00

68 used Plastic 7" inch used reel to reel tape reels
US $17.27

Studer console stereo input mixer audio 1.960.255 HL
US $99.00

NATIONAL AUTO REV PORT TAPE RECORDER JAPAN ACCESS MINT!
US $99.99

Studer console master input mixer audio 1.960.345 C963
US $159.00

MAXELL 35-180 10 1/2" NAB HUB METAL REEL WITH TAPE
US $16.50

Studer console compressor limiter mixer 1.960.349 C963
US $229.00

Teac Reel to Reel pinch roller A5500/A-5300
US $38.00

AKAI X-355D VINTAGE REEL TO REEL TAPE RECORDER
US $199.99

BASF STUDIO MASTER (by EMTEC) 10.5" ALUMINUM TAPE REEL
US $10.00

Reel to Reel Audio Recorder-Pioneer
US $108.50

Vintage Sony Reel to Reel Model TC-260
US $9.99

Rare Vintage CONCORD Dolby Noise Reduction unit-DBA -10
US $21.99

VINTAGE AKAI 4400 REEL TO REEL CONVERT-A-DECK 3 HEAD
US $169.00

TASCAM 22-4 PRO REEL-TO FOUR TRACK RECORDER DECK PARTS
US $99.99

2 NEW SEALED AMPEX 766 1" REEL TO REEL TAPES !!
US $49.75

SONY AV-3650 VIDEOCORDER
US $99.99

New 3M Scotch Audio Tape, 7 1/2" X 1800 feet, 90 mins.
US $9.99

US TASCAM 22-2 22-4 @ NEW CAPSTAN BELT + EXPL VIEW
US $20.90

US TEAC X-3R X-300 (R) @ NEW ROLLER + 2 BELTS + 2 VU LA
US $59.90

Lot of 16 Ampex Scotch Recording Tapes Reel to Reel 7"
US $29.95

Lot 11 Ampex 641 Reel to Reel Tapes Boxes 1 Sealed 7"
US $29.95

2--VINTAGE NORTRONICS TAPE RECORDER HEAD REPLACEMENTS
US $5.99

AKAI 4000DS MK-II DECK REEL-TO-REEL - WONDERFUL !!!!
US $189.00

Teac 7" Reel to Reel Main Belt Motor EM1443
US $22.00

Tape Head Demagnetizer
US $12.27

Otari MTR-90 Power Supply
US $199.99

5 new unused vintage 7" inch reel to reel blank tapes
US $20.51

M.C.I extender & option boards
US $199.99

VINTAGE REEL TO REEL JERRY VALE
US $2.99

Ampex ATR-800 extender cards
US $199.99

VINTAGE TEAC A-2500 REEL TO REEL TAPE RECORDER RARE! NR
US $29.50

VINTAGE REEL TO REEL HERB ALPERTS TIJUANA BRASS
US $3.99

How Do I Transfer My 8mm Film To DVD

admin — Sat, 23 Jan 2010 15:48:53 +0000

In either case, you want to sit down and think about the importance of your film to yourself and your extended family, what skills and equipment you have or are willing to buy and how much time you have to invest in the project.
For most people, time, skills and/or equipment are the issues which cause them to search out a company that can do it for them. Before you do that, you need to understand what type of 8mm film to DVD processes there are and which one best fits your needs and budget.
Before we jump into the different 8mm film to DVD processes, let's go over some basics. Video has several characteristics that determine how good it is. One of the most important characteristics is the number of lines of resolution. The resolution determines how detailed and sharp the video is. If you've ever watched a standard definition video channel on an HDTV and then switched to the HD version, you notice that the HD version is much sharper and detailed. The reason is that standard definition video has 480 horizontal lines while HD has 1080 lines.
In a similar way, your old 8mm movie films have a maximum resolution. The maximum resolution for an 8mm film to DVD transfer is limited by the film grain size and the size of the frame. Research has shown that 8mm film has the equivalent of 700 lines of horizontal resolution. So, a standard definition 8mm film to DVD transfer will only be able to capture 480 out of the 700 lines of resolution on your film. A high definition 8mm film transfer will be able to capture all 700 lines of resolution on your 8mm film since it is a 1080 line video format.
In addition to resolution, the type of film transfer is equally important to the final video quality you receive from your 8mm film to DVD transfer.
There are a few basic types of 8mm film to DVD transfer processes. More than 98% of the companies out there today use a real-time transfer. That is, they capture the film at the same speed that the film normally runs at. So, if a 3 inch reel runs in 3. 5 minutes, the capture takes just 3. 5 minutes. There are several ways to perform a real-time 8mm film to DVD transfer. Some shoot the film on a screen and record it with a camcorder. Some use mirrors and a camera. Some transfer the film to VHS first using equipment from the 1980's and then transfer that to DVD. Because of the transfer speed and nature of a real-time capture, the resulting video frames are usually slightly blurry and the colors are faded compared to the film. In general, any type of real-time transfer will result in video that is 30-50% worse than the film's current condition.
A second and much newer 8mm film to DVD transfer process is called frame by frame. A frame by frame process means that each 8mm film frame is captured like a separate digital picture. Most frame by frame machines are high-end $50,000+ machines that scan or project the image directly onto a CCD device. Reading each frame one at a time ensures that all the details are captured from the film. A frame by frame process will result in video that is 30-50% better than a similarly configured real-time process.
Be aware, some companies claiming a frame by frame transfer are doing a real-time transfer and then are extracting each film frame after the real-time capture. Because the capture process is real-time, it will still produce video that is 30-50% worse than the current film's quality just like any other real-time process. These companies are trying to capitalize on the "Frame by Frame" slogan and price without giving you frame by frame quality.
So, at this point you've learned that 8mm film to DVD transfers can capture at standard definition (480 lines) or high definition (1080 lines). You've also learned that a frame by frame transfer can be 30-50% better quality than a real-time transfer. So, looking at it this way, there are now four 8mm film to DVD transfer process combinations. In order from least to best quality we have:
1) Real-Time Standard Definition (least quality)
2) Real-Time High Definition
3) Frame by Frame Standard Definition
4) Frame by Frame High Definition (best quality)
You'll find all four processes being used today and you'll see the price reflect that. Real-time standard definition processes go for 10 to 15 cents/ft, real-time high definition for 16-21 cents/ft, frame by frame standard definition 21 to 28 cents/ft and frame by frame high definition for 40 to 60 cents/ft
Besides these 4 different 8mm film to DVD transfer processes above, you'll notice that a few companies have started to offer restoration services. The reason is that over 90% of the 8mm film today has colors that have shifted, exposure that is now darker, is grainy and scratched. These are natural side affects of the aging process. In addition, there may have been exposure or other types of issues that were originally recorded on the film to begin with.
Companies will have a wide range of abilities from no restoration at all, to a limited scene level color corrector, to full frame by frame restoration using dedicated film restoration machines.
If you want to pursue doing the 8mm film to DVD transfer yourself, there are a few options you can try. Elmo used to make a telecine transfer machine. They sell for about $2000. It produces about 240 lines of resolution per frame and only transfers to VHS.
Goto also makes a telecine machine called the TC-20. You can use a digital camcorder to capture the images through a firewire connection to your computer. This unit costs around $1300. You should be able to read in 480 lines of resolution on this type of transfer.
Even though the Goto machine will produce better results than the Elmo, both will produce the least quality of the 4 processes outlined above. But again, these may be good alternatives for you if you have a lot of film that you want to transfer.
Don't forget that you'll most likely need a splicer and splicing tape to repair your film before the transfer. You'll also want to look into getting a film cleaner to clean the film as well.

Video Conversion Experts have been involved in 8mm film to DVD transfers and restoration since he opened his company in 1980. Video Conversion Experts is one of the premiere 8mm film transfer and restoration labs in the United States today. http://www. videoconversionexperts. com

VINTAGE 1960's GE TWO WAY POWER PORTABLE RECORDER w/BOX
US $9.99

VINTAGE REEL TO REEL OLSON TAPE RECORDER
US $24.00

NEW 40 TAPE, REEL to REEL 7. IN TASCAM - -NEW
US $79.99

NEW 20 STUDER TAPE, REEL to REEL 7. IN
US $49.99

AKAI GX-280D Tape Deck Recorder Reel to Reel VINTAGE
US $49.00

NEW 20 SONY TAPE, REEL to REEL 7.NEW
US $49.99

Vintage ADVENT Noise Reduction Unit Model 100 A
US $24.99

Scotch 10" Aluminum Audio Reel - Mint! Mint!
US $19.95

(2)--TEAC R TO R BELTS CAPSTAN & COUNTER -40S- 4010
US $9.99

Vintage Tube Reel to Reel Recorder with Microphone
US $29.99

VINTAGE SONY TC 558 REEL TO REEL TAPE RECORDER DECK
US $19.99

VINTAGE AKAI GX-285D REEL TO REEL TAPE DECK
US $41.00

7" Reel to Reel Tapes lot of 7
US $2.25

Sony 555 Vintage Tube Superscope Reel to Reel Recorder
US $110.49

Sony Tapecorder TC-105
US $35.00

7" Reel to Reel Tapes lot of 9
US $1.00

Akai X-1800SD Cross Field Reel to Reel Tape Recorder
US $49.99

Webster Electric Ekotape Reel to Reel Recorder
US $29.99

Reel to Reel Tape reels 4/7" 2/5" 1 5 3/4"
US $1.00

Revox B77 B-77 end of tape sensor Tape recorder NEW
US $72.00

NEW TASCAM 38 48 58 80-8 TSR MSR NAB 1/2" HUB ADAPTERS
US $45.00

REN Vintage NIB 1/4" Reel To Reel Tape Recorder
US $75.00

SONY REEL TO REEL STEREO TAPECORDER # TC - 355
US $9.99

Pioneer RT-707 Reel To Reel Player Recorder No.1
US $62.03

51 7" inch X 1/4" inch Reel To Reel Tape Tapes no2
US $29.00

Pioneer RT-707 Reel To Reel Player Recorder No.2
US $62.03

76 7" inch X 1/4" inch Reel To Reel Tape Tapes no1
US $52.00

68 used Plastic 7" inch used reel to reel tape reels
US $17.27

Studer console stereo input mixer audio 1.960.255 HL
US $99.00

NATIONAL AUTO REV PORT TAPE RECORDER JAPAN ACCESS MINT!
US $99.99

Studer console master input mixer audio 1.960.345 C963
US $159.00

MAXELL 35-180 10 1/2" NAB HUB METAL REEL WITH TAPE
US $16.50

Studer console compressor limiter mixer 1.960.349 C963
US $229.00

Teac Reel to Reel pinch roller A5500/A-5300
US $38.00

AKAI X-355D VINTAGE REEL TO REEL TAPE RECORDER
US $199.99

BASF STUDIO MASTER (by EMTEC) 10.5" ALUMINUM TAPE REEL
US $10.00

Reel to Reel Audio Recorder-Pioneer
US $108.50

Vintage Sony Reel to Reel Model TC-260
US $9.99

Rare Vintage CONCORD Dolby Noise Reduction unit-DBA -10
US $21.99

VINTAGE AKAI 4400 REEL TO REEL CONVERT-A-DECK 3 HEAD
US $169.00

TASCAM 22-4 PRO REEL-TO FOUR TRACK RECORDER DECK PARTS
US $99.99

2 NEW SEALED AMPEX 766 1" REEL TO REEL TAPES !!
US $49.75

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Rajeev Jain – Indian Cinematographer

admin — Fri, 22 Jan 2010 15:23:15 +0000

Life through the lens . . . . What can I say, I've been shooting film ever since. . . Over the years, I have had the opportunity to work with many of the best cinematographers around. The great thing is that I was exposed to many approaches and styles. I learned what I liked and I learned how to problem solve for a variety of lighting situations. My favorite lighting style is to shoot with natural-looking, motivated light sources. I enjoy working with large soft sources and then "paint" in the shadow areas. I work very hard to make certain that whatever story is being told is enhanced and communicated with the light and images. To me, the best cinematography is the kind that takes you into another world ? cinematography that brings you the experience of the story and makes you quickly forget that you are watching a movie. Seamless and realistic. The great masters of light who inspired me include Dante Spinnoti, ASC Heat, The Insider, Vilmos Zsigmond, ASC Sugarland Express, The Deer Hunter, Don Burgess, ASC Cast Away, and Contact, and John Toll for his brilliant work on Legends of the Fall. Finally the greatest master of light in my opinion is Rembrandt. His art has truly been inspirational to me. My favorite piece is The Polish Rider, a magnificent work of art. Directors I admire include Akira Kurasawa Ran; Tony Scott Enemy of the State; Ridley Scott Gladiator; Gus Van Sant Good Will Hunting; and Michal Mann Insider and Heat. I've been blessed by being able to make a living doing what I love to do. " A CONVERSATION WITH RAJIV JAIN ( ICS / WICA) QUESTION: Where were you born and raised?RAJIV JAIN: I was born on the 29th of November, 1964 at a Civil Hospital, in Lucknow, India in a working class (Indian term: Lower Middle Class Family), hard core Hindi speaking family. I spent my formative years in Etawah which is nestled in the state of Uttar Pradesh, India. That is where I grew up. It was a one-horse town with a one-horse bank. I had a great child-hood though. We came from a fairly closed in urban area, and suddenly I was in this environment where we could ride bicycles out into the bush. We also had the river. It was beautiful. I loved the outback and the wide-open spaces. My father was working in a bank and we moved / on transfer every two to three years. My mother is whole world centered around her kids and the home, so as you see, I led a very sheltered childhood with little or no contact with the outside world so to speak off. My father had a still Instamatic camera that fascinated me but I was forbidden to lay my hands on it, its funny but somewhere my curiosity in photography actually developed I was forbidden to touch that camera. My dad envisioned me as a Doctor, Engineer or an IAS officer. QUESTION: Your Qualification. . . RAJIV JAIN: I went to the University of Lucknow in Lucknow, State of Uttar Pradesh and also I had the good luck of going to the Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy/ Bhartendu Natya Akademi), Lucknow. I majored in Stage Craft and minored in Stage Lighting, intending to become a Light Designer. QUESTION: Did you plan to follow in your father's footsteps?RAJIV JAIN: I don't think I ever saw myself in the banking profession. I actually caught the filmmaking bug when I was around 10 or 11yrs old. A Satyajit Ray movie called Shatranj Ke Khilari was being filmed in my neighborhood in Lucknow. I watched the trucks going up the street, and then snuck around to the house where they were shooting. I watched them setting up the lights and cameras. I was in complete awe. QUESTION: Were there any other influencers in your family?RAJIV JAIN: My mother is a religious person. I had often watched her pray, I do not think I need to elaborate for who all those prayers went up for. Our careers and our future was my mother is utmost concern. I still remember that moment as if it were yesterday, i was chatting with mom as she cleared the dinner dishes and she happened to ask me what i wanted do with my life after getting my diploma from drama school, at that precise moment i had a piece of 35mm still film in my hand "I would like to do something with this" I said looking at the film. Its been a long journey since then but my mom stood by me in those formative years and guided me every step of the way. I was very keen to join the Film & television Institute of India, but i failed to qualify for the entrance exam, however moving from still photography to theatre and then cinematography seemed like a very natural progression. QUESTION: Were you interested in movies in those days?RAJIV JAIN: Ya sure! like any other kid my age the world of movies fascinated me, it was not the case of being star struck every aspect of the movie interested me, so it came as a very spontaneous reply when one of my all time favorite professors (Guptaji) asked me what I wanted to become in life? " I want to make a career for myself in the film world, i want to create magic behind that screen". So yes, my love for cinema goes back a long way. I grew up watching Hollywood & Indian movies. I was not drawn to foreign films. American films were the ones I enjoyed seeing. Not any more than most kids, but I managed to see the big hits of the time. My dad took me to see Lawrence of Arabia, Dr. Strangelove, The Longest Day during the 1970s. He loved the big historical dramas. I became a movie buff during the early 1980s, while I was going to Drama School in Lucknow. Some of my bohemian friends and I happened to find a folk & classical music & dance theatre, professional drama company, amateur still photography club and underground cinema called Lucknow Film Society. They showed classic and new wave films. They were usually 16 mm images projected on a wall. That is where I discovered the world of cinema. I remember seeing Metropolis and Citizen Kane, and films by Bergman, Fellini, Truffant, Welles, Cocteau and Stan Brahkage. That was during my late high school and early college years. I began reading about movies and directors and started clicking photographs. I did see one movie that changed my life at that time- it was a Goddard film called Contempt that Raoul Coutard shot. It was a Cinemascope film, which was very similar to what I was doing in still photography, although obviously twenty years prior to that. It used a lot of primary colors. It was a movie that put a lot of emphasis on composition and it had wide shots and long tracking shots with two little people walking against a big red wall. That was the first time that I made the connection in my mind that maybe films was where my career was headed. I was starting to feel limited by still photography. It was the first time I recognized the potential of cinema where by a narrative story can be told in a visual way. QUESTION: Were there particular movies that made an impression on you?RAJIV JAIN: Citizen Kane, Vertigo, La Regle du jeu, The Godfather and The Godfather Part II, Tokyo Story, 2001: A Space Odyssey, Sunrise, Battleship Potemkin, 8-1/2, Singing in the Rain, Lawrence of Arabia, Dr. Strangelove, Bicycle Thieves, Raging Bull, Vertigo, Rashomon, Seven Samurai. QUESTION: Tell us about your background?RAJIV JAIN: My first encounter with the physics of light came by accident. One day, as I was cleaning paint brushes in a darkened garage, light falling through a crack projected an image onto the wall turning the room into a giant camera obscure. My first exposure to film was with a process camera attached to a darkroom the size of my apartment. It just so happened that one of the Surendra jija ji (universal sister in law) he was a very avid 35 mm photographer who always had his Nikon camera strung around his neck. He got me interested in photography and encouraged me to go to Kanpur, with him to take stills of a student demonstration in 1980 s. That was my first experience with a camera where I was able to express myself by taking photographs. I started studying photo manuals-trying to learn about composition. I looked at how artistic photographers used the foreground and colors and light and shadows. That fuelled my desire to learn more and more. I had a full time job in a darkroom and was going to a photography studio at night and taking pictures on weekends. That just was not satisfying my thirst for learning more about photography. After finishing my education in Lucknow in 1985 I relocated to Mumbai / Bombay and started as an runner / apprentice / trainee in low budget serials, features and industrials. QUESTION: Were you thinking at that point in your life that you wanted to get into narrative film making?RAJIV JAIN: I must admit, I never thought there was much of a chance for me to work in Mumbai / Bombay. It was very very hard for north Indians to get a break in Bombay. . The only other place they were making movies back then was in Calcutta and Madras. I decided to learn English, with the concept that I might go over there and give it a try. Of course, with all the work I was doing, I never got into any real sequence of lessons; and I am partially dyslexic, so it was difficult learning a new language. QUESTION: How did you get started in the business? What did you do?RAJIV JAIN: I started as a gofer, apprentice, trainee, spark, grip, key grip, loader, best boy, focus puller and worked my way up to gaffer (Indian term: chief assistant to DOP). QUESTION: How long did you work as an assistant?RAJIV JAIN: Oh, around 7 - 8 years. QUESTION: What did you do when you completed you assistant job?RAJIV JAIN: I worked in Mumbai / Bombay on documentaries, industrial films and commercials as a camera assistant and gaffer. They were all small projects. I worked with a couple of cameramen who were shooting locally. It was mostly 16mm and a little 35mm, mainly to make some money. While I was doing that I was still shooting mainly short films and some documentaries. I was always working on my craft and building my reel, with the idea that one day I would shoot features. When I got out of assistance ship, I gaffed a bit, assisted a little bit and was shooting industrial films, documentaries, commercials and other small jobs. I shot sales films for medical companies promoting new products and techniques, small dramatic religious films for a company T-Series, which distributed them to temples, and some variety shows. I got a lot of jobs through people I knew in during my assisting days. It's very important to make friends because they're the ones who are going to want to bring people they know along when they get a job. We had our own revolving group of guys who all did different jobs depending on who was shooting and who was gaffing. QUESTION: When did you decide to concentrate on cinematography?RAJIV JAIN: Immediately. I thought the directing process was too long, and I liked being a cinematographer. During my second year of drama school In 1985, I worked for three to four months for a Lucknow television station. It was my job to select what was good enough to make up the programme. It was a great internship. I also learned the craft as a second and first assistant cameraman in Mumbai / Bombay under Ashok Mehta, Binod Pradhan & K. K. Mahajan QUESTION: What was the deciding factor in making that decision?RAJIV JAIN: I didn't want to look back some day and regret that I never tried. I didn't want to be 80 years old wondering if I could have succeeded. If I failed, I could have gone back to Lucknow knowing I gave it my best shot. So, I came to Mumbai / Bombay in the midst of a fuel crisis - just traveling in auto rickshaw was a big challenge. I went around interviewing at various DOP s because they were much more accessible than big feature film operations. There was no way I could get in the door at any of those places. After about three months, money was running low. I was walking by a kind of a warehouse in Mumbai / Bombay on a Saturday, and I could see though an open door they were building sets. I remember thinking; they would not be working on a weekend unless they were behind. So, I walked in, found the foreman and told him I was a carpenter. He asked if I had any set-building experience? I lied and said yes. It was only a half lie because I had built many sets for plays in drama school. The only similarity is that they are both made out of wood. They were building sets for television commercials. QUESTION: Did working as a gaffer help you in cinematography?First in India Gaffer means Chief assistant to DOP. We do not have the tradition of gaffer. I approached that job thinking like a cinematographer. I would bring a new technique or a new type of light to the attention of the cinematographer I was working with, suggesting it as something that would help to tell the story in a better way. I think I learned more by watching other cinematographers work than anything else. One of the only ways to really learn cinematography is from another cinematographer. That is how I think the knowledge gets passed on. You end up picking up little pearls of wisdom along the way. The most important things I learned by watching other cinematographers at work were not technical, but how to make the set comfortable for the director and actors, and how to make it a creative environment instead of a technical environment. QUESTION: How did you get into T-Series music videos?RAJIV JAIN: I tried to work as a freelancer for a while but it was tough to get into the union. There was a company called Super Cassettes Studios that was run by the late Gulshan Kumar in Bombay. They had an editing place first and then they opened up an online editing facility. They were hiring a lot of people at that point and I had some experience as a cameraman and crew person, so they brought me in to be an all around studio maintenance guy. I also learned to run the tape machines. When I got in there, It was quite a small place at the time, so I learned all kinds of things. I had already done two videos at that point. I was working in the studio on commercial stuff and they would bring in union lighting cameramen, and I would sometimes work as an operator for them. I was kind of a lighting technician for them, so I learned more in that studio in the space of one-and-a-half year than anywhere else. It was a very intense education because they brought in high-quality video being recorded to one inch. We used the Sony camera and it was quite a good camera. I still think it is better than the cameras that are out there now, but we were always trying to get a film look out of it. We would play with the filtration and black levels and all kinds of lighting to see how we could get it to look like a film. QUESTION: That sounds like it was a great experience for you?RAJIV JAIN: Yeah, I got to shoot a lot and be fairly creative with the camera on that video. I also got to be in the postproduction process. It was a really exciting editing process, and then we did some kind of in-studio effects as well, which I got to shoot. That was a real good break for me and then the director put me forward for a lot more projects after that. I started doing documentaries. I went on the road with them and on tour three times. I did a documentary in Delhi about the recording of music videos, which we shot on video; all the documentaries we shot on video, but it really gave me an opportunity to play around with the image and lenses and moving the camera. It was great! QUESTION: What was your first feature?RAJIV JAIN: My first feature as an independent DOP was Army (1994) starring Sharukh Khan, Sridevi & Ram Shetty directed it. It was color in anamorphic. I changed the contrast with lighting to eliminate all the gray tones. That was my signature, pure blacks and whites with no grays. Late Mukul S Anand visited the set when I was shooting, and later I worked with him for his production house MAD Films on his commercials (1994). QUESTION: What do you look for when you are reading a script? Is it the story, the director, a combination or something else?RAJIV JAIN: Usually it is the story, but there are some people who are so talented and good to work with that I am always inclined to say yes; I shall go anywhere. I think primarily it is the story that has to grab me. I don not necessarily think about it visually at that point. . . ideally it would be a film I would love to go see. I am also looking for something different than I have done before. I crave variety. It is a combination of things. At first, I thought the script was the most important thing, but I discovered scripts are constantly changing. It is not so much about the shots you make. Cinematography is about the environments you create. A film is a reflection of a series of two-dimensional images projected on a white screen. It is static flashes of light projected through a lens that somehow stimulates the brains of people in the audience and create a three-dimensional moving world. When you agree to shoot a film, you are making a moral commitment - it is an obligation you owe to the director and to the audience. There has to be a visual continuity that makes the audience feel like they have witnessed a slice of life. I tend to be more interested in the concept of a film. I ask the director to tell me what they want to do with the film. There was one film called Army. The movie is two and a half hours long, and it is the only movie I have worked on where only two pages changed during shooting. It is the best script in a Indian movie that I have ever worked on. There are not many experienced cinema directors in India because many of them are from TV. I have tried to train myself to understand what is necessary to make a film for the cinema. QUESTION: What were some of the other low budget movies you worked on?RAJIV JAIN: I do not claim the ones before Pyar Mein Kabhi Kabhi. The first thing I did out of my being an independent was a small movie named Rasta that was shot over 15 days in Jaisalmer and never got released. It was my first full-fledged narrative experience. I did other films after that. Those films played a big part in putting things together in subsequent movies because you learn from your mistakes. You learn that there is no time like the present on a film. There is no going back. You need to plan and also persevere through the hard times on a film. On lower budget and independent films, those hard times come all the time. There is no easy shoot, because the powers of commerce are bearing down on your shoulders. The main thing I learned doing these movies is that you have to answer to yourself eventually. You have to pace yourself and stay true to the purpose. When we made Pyar Mein Kabhi Kabhi (in 1998) I had a clear idea of the purpose and that told us how to shape the look, but I did not know it worked until it was screened. I was terrified looking at the dailies and not knowing if I was on the right path. When I saw the first rough cut, it was probably my most terrifying and most exciting experience. QUESTION: Your recent work includes two features. The last one was Badhaai Ho Badhaai. Describe your experience shooting a comedy feature. RAJIV JAIN: Comedy can be tragedy. I believe the hardest part about it is that if we shoot everything flat, it is just going to look like a flat comedy. Comedy is bright but you still want to see texture in the sets. In comedy, I think a lot of times it plays static because it is about the comedy, it is not about the joke. If the joke is happening in the frame, people should be listening. If you move the camera to tell the joke, it is distracting. Now, if you move the camera for a reaction in the picture itself, that is a different thing. I think comedy is harder to light than drama. There are different levels of comedy and I photographically see each level differently. QUESTION: How did you get started shooting commercials?RAJIV JAIN: While I was still assisting in camera, the production company called and said the agency wanted me to shoot their next commercial. I had never shot 35 mm film, so I was shocked. I still remember the slate with my name on it. That was a magic moment. The commercial came out good, and that lead to other commercials, mainly in India. Shooting commercials, I learned how to collaborate with many different people, jumping from one project to another with many different looks and locations. I think I have applied a lot of what I learned from shooting commercials on to shooting features. It is not a conscious thing. I was just in so many different situations solving the same types of problems. QUESTION: Who were some of the cinematographers you worked with on commercials?RAJIV JAIN: I worked with K. K. Mahajan, Binod Pradhan, Vikas Sivaraman and then Ashok Mehta. QUESTION: Did you move back and forth between commercials and feature?RAJIV JAIN: I did almost one feature film in three years. The rest of my time was on commercials. Commercial work is very interesting because you can try a lot of tools first. In India now, commercials deal a lot with aesthetic so it is just like still photography, and you learn to create different worlds and they are eager to get those kind of non-realistic worlds. I learned to take risks, because if you want to achieve something special you have to try, and sometimes you succeed and sometimes you do not but then that is all part and parcel of the learning process. QUESTION: Have commercials affected the way you shoot movies?RAJIV JAIN: They give you a firmer grasp of the possibilities for what you can achieve with photography. You get a lot of experience creating different looks in different ways that may apply to a movie. The more you shoot, the more you learn. Occasionally, you will discover something new that you can build on. QUESTION: Do you have a particular style that makes your work recognizable?RAJIV JAIN: I think everyone has got his or her style, but I would hate for someone to go in a movie theater and say 'Oh, RAJIV JAIN shot that because that is his style. ' I would like them to say, 'Oh, who shot that?' I think you have got to be more versatile in your looks these days. Every film is different, so you like to think that you can put something different into each movie as opposed to creating a repetitive look. QUESTION: How many features, commercials, music videos have you shot?RAJIV JAIN: 6 features, almost 1032 commercials , 43 music videos & 150 documentaries, corporate & industrial films. QUESTION: Have all your projects been restricted to India or have you done shoots abroad as well?RAJIV JAIN: I shot in Austria, France, India, Kenya, Malaysia, Mauritius, Nepal, Holland, Russia, Singapore, Sri lanka, Switzerland, Uganda, United Arab Emirates & United Kingdom. QUESTION: How did you finally get into the Indian Cinematographers Society and Western India cinematographer s Association?RAJIV JAIN: You could apply to get into the Association. I had experience both in commercials and movies as an assistant, and also as a cinematographer on five feature films. I had much better documentation as an assistant for getting in the union. I was a loader for K. K. Mahajan on five features & two TV serials, and I was an assistant for Binod Pradhan on two features & approx. 300 commercials and Ashok Mehta on two features & approx. 100 commercials. I pulled focus for one year until I moved up to chief assistant & camera b operator. QUESTION: Is cinematography a talent that you are born with, a skill you learn, or both?RAJIV JAIN: I think you have to be born with the ability to visualize. As a child, I spent a lot of time looking out of the window in school when I should have been looking at the books. I got scolded for it many times. I grew up and yet I still do it. I still fantasize, more than I think an average person would dare to do. Out of that kind of daydreaming, you end up making images that take on a kind of reality of their own. Movies have influenced how we make love, what we wear, how we eat, how we walk, how we talk, and how we act in everyday life. You have to be able to walk across the bridge into this imaginary world and be able to walk back. One of the tricks is that you have to know how to handle light. You must have a feeling for different kinds of light. Where do you get that knowledge? You have to know film like the back of your hand. That is a skill among others that you have to learn. Even as a kid, I responded to light emotionally. It is always been a part of me. Filmmaking grabbed me at a young age and gave me a voice I did not have in any other part of my life. I am lucky to have found an outlet for that. I ca not imagine doing anything else. QUESTION: Finally do you ever get used to the fact that you are living your dream?RAJIV JAIN: The night before I shot my first commercial for Late Mukul S Anand, I only got two hours of sleep and I had a panic dream that our interior hallway set had been built less than half scale-it was kind of like. We could not walk on it much less film on it. There was no room for our lights or the actors. In my dream, I kept asking, 'How are we going to shoot in this space' After 600 commercials & 5 Feature Films later, I still do not sleep much the night before the first day of shooting. The truth is that I feel incredibly fortunate to be able to earn my living by using shapes, colors, contrast and movement to bring a story to life. I love the collaboration with the director, production designer and actors and the passive collaboration with the composer, editor and writer. When I hear a carefully crafted musical score and images that I have photographed come together on the screen it brings tears to my eyes. It is really incredible how the music can enhance my work. I have talked to composers about this and they tell me it is the same for them when they hear their music and see how the photography works with it. We have almost no contact during the making of the film, but are key collaborators in the emotions that bring it to life on the screen. QUESTION: Do you feel a sense of responsibility since a lot of people will be influenced by the movies you make?RAJIV JAIN: I feel a responsibility towards the public and for a business that I have loved all my life. I take a lot of pride in the fact that I can work in Bollywood in the tradition of the great filmmakers who were here before us. Movies have brought something into our lives, and we have a responsibility to give something back.

Rajiv Jain ICS WICA is an Indian Cinematographer / Director of Photography based in Dubai ( UAE ), Nairobi ( Kenya ) and Mumbai ( India ). He brings years of professional films and video experience to every production. As Director of Photography he specializes in shooting television commercials and feature films in the 35mm motion picture film format. His body of work as DP covers 7 full length feature films, 5 Short Films, 1032 commercials, 6 TV Series, 43 music videos, 105 documentaries & infomercials. As a DOP and Camera Operator, Rajeev has a wealth of experience with specialty camera rigs, lens systems SFX techniques, Tyler helicopter mounts, cranes & jibs, probe and swing shift lens systems, blue/green screen, white limbo and HDTV. His freelance work has taken him to Asia, Africa, Europe, and the Middle East. A graduate from the Bhartendu Academy of Dramatic Arts ( Bhartendu Natya Academy ), Rajeev Jain brings energy, creativity and professionalism to every production.

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Backmasked Lyrics â Did the Devil Make Them Do It?

admin — Thu, 21 Jan 2010 15:21:30 +0000

The devil is said to appear in countless forms, and many people were convinced he appeared in the form of rock bands when they began backmasking their lyrics in the 60s. Â Backmasking, or backward masking, is a technique of recording song lyrics backward onto a track that is played forward. Â What started as an innocent accident by John Lennon swirled into a frenzy of controversy, record-burning protests, proposed government legislation, and a witch hunt for bands whose lyrics were deemed satanic. Backmasking of song lyrics was one of the Beatlesâ many musical innovations. Â While high on pot, John Lennon accidentally played the tapes for the song âRainâ backwards, and liked the sound of the reversed lyrics. Â The rest of the band agreed, and incorporated the effect into the tune, making it the first to contain backmasked lyrics:Â âSunshine. . . . rain. â¦when the rain comes, they run and hide their heads. â At the time, music was recorded on vinyl, which could be manually played backwards on a turntable. Â A disc jockey, intrigued by rumors that Paul McCartney was dead, played the tune âRevolution 9â backwards, and heard the lyrics âTurn me on, dead man,â as well as the lyrics âPaul is a dead man, miss him, miss him,â when playing âIâm So Tiredâ backwards. Â These lyrics appeared to confirm the âPaul is deadâ rumor, which popularized the backmasking of rock music lyrics. This led to a fierce backlash from Christian fundamentalists in the 70s. Â They accused Led Zeppelin of planting satanic lyrics in âStairway to Heaven. â They also alleged that bands, including the Beatles, Pink Floyd, the Electric Light Orchestra, Queen, and Styx were cooperating with the Church of Satan by backmasking messages from the devil into their song lyrics. Â The religious right pushed for legislation to place stickers on these bandsâ albums warning about lyrics inspired by Lucifer, but the bill was defeated. In retaliation, several of the accused bands recorded albums containing intentional, ridiculous backmasked lyrics. Â ELO fired back with an album called Secret Messages, containing the backmasked lyrics, âThank you for listening,â âLook out, thereâs danger ahead,â and âYouâre playing me backwards. âÂ Styx took jabs their critics with the album Kilroy Was Here, whose lyrics parodied an imaginary group called âThe Majority for Musical Morality,â which outlaws rock music. Heavy metal song lyrics reeled from some of the hardest hits. Â In his 1988 trial, serial killer Richard Ramirez testified that the lyrics of âNight Prowler,â from AC/DCâs Highway to Hell album, drove him to commit murder. Â Judas Priest was sued in 1990 because two Nevada boys had made a suicide pact that was allegedly inspired by the subliminal lyrics, âDo it,â in the bandâs song âBetter By You, Better Than Me. âÂ The case was dismissed for insufficient evidence that the lyrics played a role in the boysâ deaths. Like inkblots and clouds, lyrics played backwards can be interpreted as anything if you concentrate long enough. Â Or, as comedian âWeird Alâ Yankovic joked in the backmasked lyrics of âI Remember Larry,â âYou must have an awful lot of free time on your hands!âÂ Elcitra siht deyojne uoy epoh.

If you are interested in the songs that were backmasked and their lyrics, Lyrics Bay has everything you need in their archives. They also offer new lyrics for all the new songs released.

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How to get/Import/rip from DVD into Adobe Premiere Pro on Mac?

admin — Tue, 19 Jan 2010 15:21:26 +0000

Get/Import/rip from DVD into Adobe Premier Pro There are occasions you find yourself facing DVDs as source videos for a project or need to do some "operation" on DVD with Adobe Premiere Pro. Whether it's for a wedding video, a sport highlight film, a video game demo, or some other project, more and more people have their video footage on DVDs (only) these days. Obviously this is not a wise move for editing - the video file has already been compressed, so you've already lost quality to begin with. But the fact is that you have to work with what you've got. DVD Ripper for Mac facilitates copying DVD to hard drive and ripping DVD to AVI (DivX, XviD), MOV, MPEG-1/MPEG-2/MPEG-4, WMV, MP4, H. 264, 3GP and FLV, etc. Rip DVD to MOV, MP4, MPG, AVI, 3GP, FLV, M4V, MKV. Support iPod, iPhone, PSP, Apple TV, Creative Zen, iRiver. Extract MP3, AAC, AMR, M4A, WMA, WAV, RA, M4A, AC3, MKA. Download Now (15. 6 M) Guide: How to put/import/rip/convert DVD to Premier? There are many problems would arise when importing and editing DVD to Adobe Premiere Pro, I just listed some of them here below, just check them out, if you happen to fall into one of their situation, then just read patiently, you will find an answer at the end. Get/Import/rip from DVD into Adobe Premier Proa. I have a camcorder that writes straight to DVD, I have copied all the files to my desktop but find it very difficult using Adobe Premier Pro to import; The files extensions are . IFO + . VOB, it just can’t even open anything that I have recorded. b. I’ve tried renaming . vob to mpeg. But Adobe Premiere Pro doesn’t seem to play the whole thing, or there is no sound. I have tried using a ripper and although it plays fine on Mac it doesn’t play the picture in premiere. c. I have tried to convert the VOB files from the DVD to mpeg and wmv, and tried to import them into Premiere, but every time i try to do so, the program freezes and crashes. Edit DVD with Adobe Premier Pro on Maca. I have film reels on a DVD and want to remove a portion from the beginning. I know how to rip the DVD to ifo/vob/bup file but not sure what the best way is to create a file that I can then import/edit in Adobe Premiere Pro. Supported video format by Adobe Premiere ProA. Tapeless formatFile-based camcorders from various manufacturers’ record video and audio into files of specific formats organized within specific directory structures. These formats include Panasonic P2 camcorders, Sony XDCAM HD and XDCAM EX camcorders, Sony CF-based HDV camcorders, and AVCHD camcorders. Camcorders recording in any of these formats typically record to hard disks, optical media, or flash memory media, not to videotape. These camcorders and formats are therefore referred to as file-based, or tapeless, rather than tape-based. The video and audio from a file-based camcorder are already contained in digital files. No capture or digitizing step is necessary to bring them into Adobe Premiere Pro. B. DV AVI and HDVAs always with Adobe Premiere Pro, content in other formats (DV, HDV) can also be imported and used in the timeline freely. Convert DVD to DV AVI to Adobe Premier ProWhatever DVD you get, encrypted commercial DVD or home video DVD, to copy the files off the DVD and trying to import them to Adobe Premiere Pro isn't really the way to do this. It can be done, but involves jumping through a few hoops. The . ifo file usually contains all the DVD info, the DVD structure, title, text, subtitle, video and audio files, while . vob mainly contains video info, and that’s what we usually need to focus on. However, the fact is that vobs can’t be directly imported into APP. The trick is to rip the video files out of the DVDs, transcode them to a format that Adobe Premier Pro does support then import. You best bet is to use DVD to Adobe Premiere Converter to rip DVD and convert video to DV AVI format, which can be easily recognized by APP. DVD to Adobe Premiere converter is a Mac friendly program that support both Intel Mac and PowerPC Mac system, the user-friendly interface and powerful capacity is suitable for both novice and pro alike Mac users. You can choose to rip one title or the entire DVD to DV AVI, you can also trim, crop, rotate, add effect and merge files. Be afraid of quality loss, don’t be, Mac DVD to Adobe Premiere Converter allows you to customize resolution, frame rate, bit rate for video, you can just keep the highest setting to get the ideal output effect.