UYRL

Track List:
“Intro”
“White Chalk”
“Excuse Me…”
“Realms Of Junior M.A.F.I.A.”
“Player’s Anthem”
“I Need You Tonight” (featuring Aaliyah)
“Get Money”
“I’ve Been”
“Crazaay”
“Back Stabbers”
“Shot!”
“Lyrical Wizardry”
“Oh My Lord”
“Murder Onze”
“Outro”

Incredible new vocal processing pedal from TC-Helicon: VoiceTone Synth brings together a collection of extreme exotic and contemporary sonic effects, including jagged HardTune effects, classic Vocoder effects, a voice-controlled synthesizer and vocal distortion and megaphone effects. Now vocalists or anyone looking to add a modern edge to their live performances and studio productions can dial-in these effects instantly with the press of a footswitch.

HardTune
The jagged, stair-stepped vocal sound of key-based hard tuning is everywhere in contemporary R&B, Hip Hop and Electronica. This feature has eluded the majority of performing musicians until VoiceTone Synth came along. Now musicians can produce this effect live by simply recalling a preset and hitting the ‘On’ button. Easy key input methods include auto-instrument sensing or pushbuttons with a clear display of the current key. Other features of the HardTune effect include dry voice mixing, octave shift and character modification.

Vocoder
The vocoder in VoiceTone Synth is called ‘Massive-Band’ for a reason. It effectively scales resolution from ultra-clearly-enunciated Robot voices to the sound of the classic, analog low-band-count vocoders we all know and love. The benefit is that, while typical vocoders require a lot of pre-processing like distortion and EQ to hear the effect properly, with the VoiceTone Synth vocoder effect you can input signals such as clean acoustic guitar and vocode perfectly for sounds that until now have been impossible to achieve.

Voice-controlled Synth
The Vocoder also features a voice-controlled synth mode – considered by many as the Holy Grail for vocoding. Prior to VoiceTone Synth, vocoding required your voice (the exciter), and an instrument input (the carrier) to make cool vocoded sounds. Of course VoiceTone Synth supports the dual input method, but for artists who don’t have another instrument or don’t play one, VoiceTone Synth can generate a synth part directly from your vocal and vocode that. The result? Generated vocoder parts with one input: your voice.

VoiceTone Synth - key features
• HardTune effect with user-selectable key or instrument-sensing
• Vocoder carrier can be driven by internal voice-controlled synth or instrument input (such as guitar)
• Transducer effects, such as megaphones, distortion and radio voices
• All effects can run simultaneously
• Includes Tone feature for adaptive live engineer sound processing
• Presets that can be edited and stored
• Instrument Thru allows normal instrument amplification and vocoding

More about TC Helicon

TC-Helicon is the only pro audio company 100% dedicated to the performance needs of singers. Every vocalist should know there is a dedicated group of engineers, researchers and product specialists based in Victoria, BC, Canada that spend every waking moment of their working lives listening, talking, singing, and interacting with singers and those who have passion for the singing voice. All this knowledge and experience is used to design products respecting and empowering the contemporary vocalist. Their products focus on removing barriers and inspiring creativity in performance and include everything from near-field personal vocal monitors to floor-based vocal harmony and effects pedals to plug-ins.

Michael Jackson’s production company was seeking the return of items for sale in an auction, including a collection of art, MTV Video Music Awards, crystal-encrusted gloves, and a list of about 2,000 more items. On Friday a judge ruled against returning the times to the company – they are still scheduled to go up for bidding on April 22.

The company, however, has issued another motion for an injunction to stop the sale of these items, which will be heard by a judge on April 15.

The auctioneer, Darren Julien, felt vindicated after this current ruling, and he and his lawyer do not expect the other motion to get anywhere either. But the other side of the courtroom is optimistic as well – Alan Gutman, who is representing Jackson’s company (MJJ Productions), says that the ruling will “have no impact whatsoever” on the injunction motion.

It’s just like Michael Jackson to try and hawk all of his stuff off to pay his exorbitant bills, only to realize he can make all the money he needs by selling out a few shows in London’s O2 Arena, and then ask for his stuff back.

MJJ Productions actually sued Julien’s Auction House last month, because they said that Jackson hadn’t approved of the sale of items from the former Neverland Ranch. An agreement was signed by Jackson’s representative Tohme Tohme, and the dispute is over whether the contract is binding.

Track List:
Complete Control
London’s Burning
What’s My Name
Clash City Rockers
Career Opportunities
(White Man) In Hammersmith Palais
Capital Radio
City of the Dead
I Fought the Law
London Calling
Armagideon Time
Train in Vain
Guns of Brixton
The Magnificent Seven
Know Your Rights
Should I Stay or Should I Go
Straight to Hell

No one's surprised that *Monsters Vs. Aliens* is No. 1 at the box-office with a $58 million weekend take. 3-D movies seem to be getting audiences off their couches and off to the multiplex. The problem? Except for Seth Rogen's hilarious voicing of BOB the blob, 3-D is really all this movie has. Box-office is up a huge 40 percent over the same weekend last year. The economy is in the toilet yet people are going out to the movies in record numbers.

One major exception is *Duplicity*, the sassy caper that suffers from an overcomplicated plot. This was supposed to be the movie that brought back the Julia Roberts heat. Guess not. It took in a measly $7 million. Many pundits are claiming this marks the end of Roberts' power to open a movie and the end of her big paydays.

General Motors is to team up with Microsoft Zune to soup up the Chevy Camaro with in car audio support for Zune Players.

The deal could be huge for Microsoft. In-car listening is one of the largest music consumption points in the US; and as new vehicles become increasingly wired (or wireless) the scope for integration with digital music services will grow. Zune now has secured support from one of the world’s biggest car makers, with 27 further models set to be launched with Zune compatibility across the US, Europe, Asia and Australia during the next year.

Still, neither GM nor Zune are setting the world alight at the moment. This week GM chief Fritz Henderson warned that the company could fall into bankruptcy; and while Microsoft is still very much solvent, its Zune player has been a flop. So what else can Microsoft do?

Clutch at straws seems to be one answer. Microsoft has created an advert featuring a navy blue-blazered “certified financial planner” comparing the USD $30,000 it costs to fill an iPod with the $14.99 it costs to fill a Zune using Zune Pass.

Microsoft is leaving it up to analysts such as ourselves to remind you that iTunes tracks are permanent ownership whereas the Zune Pass is a subscription.

From the Seattle Times:

Its Spring Series 2009, which puts together prominent, avant-garde, European and American musicians, begins tonight with a performance at the Seattle Asian Art Museum by the Dutch saxophonist Ab Baars and his trio. Joining him will be Chicago saxophonist Ken Vandermark, known for his intricate compositions and multilayered improvisation.

The saxophone-dominated series continues Sunday night with a performance at the Triple Door by American alto saxophonist Steve Coleman and his group Five Elements (see accompanying story).

The final two concerts come at the end of the month: German saxophonist Peter Brotzmann and his trio will play April 28 with Americans Eric Revis (Branford Marsalis’ longtime bass player) and drummer Nasheet Waits. Then Norwegian saxophonist Mats Gustafsson and his trio The Thing will perform at Cornish College of the Arts on April 30.

Twenty summers ago, Young MC's "Bust A Move" was inescapable, a G-rated funk-bomb integral to hip-hop's eventual mainstream acceptance. Fueled by a sample-heavy production, Flea's popping bassline, and infectious rhymes written in a University of Southern California dorm by economics major Marvin Young, "Bust A Move" helped usher in the era of pop-rap — songs squeaky clean enough for the whole family and infectious enough to bombard Billboard.

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