T-Bag and Gretchen team up and a trip to Vegas leads Sucre learns first hand the rule 'what happens in Vegas, stays in Vegas.'

Remember this will be a SPOILER review.  Click read more for the review.

A humorous episode which really moved the plot forward a lot though ultimately in the end probably stalling it.  We've got another card and they're close to breaking into The Company's headquarters, it felt like it was coming soon but it seems now that Roland has lost his device that we won't be seeing this amazing break-in for a while.  I honestly thought that we would see them retrieve Scylla before the Christmas break, I hope I'm right but I'm guessing they'll have the Christmas cliffhanger of them breaking into the place.

The whole T-Bag grabbing Michael wasn't that interesting really.  What really was interesting is seeing him and Gretchen work together.  Could you see how impressed he was when he watched her choke out The Gate employee.  T-Bag thought he was a cold bastard but he's come across a cold bitch.  Though I'm glad that he didn't hurt hot receptionist girl, all the men can be thankful for that.

What made this episode for me was the Vegas bit.  Sucre going gay for Mike Novick. (I'm going to call The Company guy Mike Novick, 24 fans will though what I'm talking about)  Was so funny when the turnaround happened and you just knew what Sucre would do, come on who wouldn't?  I really did not see that coming, I should have.  Mike Novick is truly amazing but is having your genitalia gone and paying men to sleep with his wife, really the best way to get your  kicks?

Other goings on in this episode was Self taking it to Pad Man.  The setup here is that The Company will try and get him on their side and give him a position.  Will this happen?  It's obviously been setup like that so we'll see if it happens.  Probably so but it might be a way to get closer to The Company.

A couple of final notes, Roland may be funny but he's a stupid funny asshole.  Plus Mike Novick RULES.  See you guys next week.

Quote of the episode: Roland "Filling up nice.  Sucre must be in close proximity.  Getting oiled most likely."

Favourite Scene: Sucre going all YMCA.

Ladytron (from left): Danny, Helen, Reuben and Mira

2008 has been Ladytron's most successful year so far, and since the release of their new album 'Velocifero' they are playing to increasingly bigger audiences, with gigs at large venues and international festivals both in the UK and in the rest of the world. Though recently chosen by Gibson as one of the best bands from Liverpool, truth is that Ladytron are truly international: with two members from Liverpool, one from Glasgow and one from Bulgaria, they belong to the world.

The band has an effortless way of combining old school technology within a 21st Century context — and always with strong songwriting. Known for their high-energy live shows, the band is able to translate the same excitement and mood of their studio productions to the stage.

Ladytron relies on a mixture of different Roland synthesizer technologies, from some of the earliest vintage pieces to the latest workstations. Roland Product Specialist Dan Krisher met up with the band in New York during their tour for their latest release, “Velocifero.” Present were Mira Aroyo (keyboards and vocals), Danny Hunt (keyboards, guitar and vocals), Helen Marnie (keyboards and vocals) and Reuben Wu (keyboards and vocals).

In this interview for Roland, the band discuss their new CD, their songwriting process and how Roland gear fits into their enigmatic and compelling sound.

Dan From Roland: We’re here in New York, just before you go on stage. So what would be your ultimate live show, if you had unlimited time money and resources?

Reuben: The North Pole. We could fly everyone out.

Danny: Soulwax told us about this urban myth about the black Amex card. Apparently one of its default functions is to be able to hire a jumbo jet and fly your friends all over the world anytime.

Helen: And ideally no sound check!

Mira: And lots of pyrotechnics. Lots of lions jumping through hoops over us while we were playing.

Dan From Roland: I didn’t expect so much “Vegas” from Ladytron.

Helen: No, not so much Vegas..

Dan From Roland: What would the lights be?

Danny: Well, we really like the lights we have now.

Mira: Maybe more of them.

Reuben: Like maybe a million of them.

Dan From Roland: The band has a new release out. What’s the concept behind it?

Danny: It’s a long playing format with thirteen songs, called “Velocifero.”

Helen: But we all don’t say it like that.

Reuben: I say, “Velo-KI-fero.”

Helen: I say, “Velo-SO-fero.”

Danny: And it’s out now, and it’s been going well. We’re touring it at the moment. This is the first time we’ve really toured before an album came out. We’re playing seven songs off it.

Danny and his Roland keyboards

Dan From Roland: Last time we spoke, you described your process. You recorded this quickly, in December I believe. Was the process the same or different this time?

Danny: Similar process, but with little pockets of development.

Mira: It’s just that we really don’t have a process. So it’s easy to say it’s a similar process, because we don’t have a set process. So it was the same lack of process.

Dan From Roland: That’s probably one of the elements that keeps things moving forward and staying fresh all the time.

Reuben: Yes. This was thirteen happy accidents.

Dan From Roland: How did your Roland gear play into the new recording?

Danny: We had the V-Synth [GT] , the Fantom, the SH-201 and the Juno-G. Most of the recording was done in Liverpool.

Mira: Then we requested for other things to be there when we finished up in Paris. We specifically asked that an SH-201 be there in Paris to use.

Danny: There’s a lot of [SH]-201 on “Ghosts and “The Lovers.”

Reuben: We used a lot of SH-2 and SH-9. There’s always a lot of old school stock.

Danny: Juno-6, too. We used Fantom piano on “Runaway,” and on “Verses,” there’s a V-Synth patch called “Orgone.”

Dan From Roland: How’s the tour been going?

Danny: Really well — biggest so far. Biggest crowds, biggest venues.

Mira: When you have a new album out, it’s all more exciting and fresh.

Dan From Roland: For your millions of Roland fans, what are you using on stage?

Danny: We’ve got the Juno-G and we’re using the [SH]-201 of course.

Dan From Roland: And you use a lot of BOSS pedals too. You use these with the guitar and keyboards, right?

Reuben: We’ve got the Space Echo [RE-20] pedals. They’re our favorite toy.

Danny: They are brilliant.

Reuben: They’re so cool!

Helen: Definitely.

Danny: It’s amazing — if you’ve got a static instrument, the Space Echo gives it all this life and chaos to play with. Especially by pressing and holding the right hand pedal, which was this trick we learned about from the ‘net. That wasn’t in the manual.

Reuben: It’s made out of metal and has the same look as the original one, the same color scheme. It’s just authentic.

Danny: We’ve got that [RE-20] going through a couple of the keyboards and guitar as well.

Helen: Danny just goes off into his own world. He forgets what he’s doing, and all we’ve got in our in-ear monitors is all this echo.

Danny: You know what happens is that we’re both using our own at the same time! You look at me thinking it’s me, and then I look at Reuben and he’s got his foot on his using it too.

Reuben: [to Danny] Sometimes you play with the intensity knob. You are playing, then hit intensity and get this massive feedback from the keyboards — it’s great.

Mira, using FX pedals with her Korg synth

Dan From Roland: What happens after the North American tour ends?

Mira: More touring!

Danny: We’ll probably be out until next Summer.

Mira: Lots more big festivals.

Helen: We do a couple of support slots for Interpol, then all the big European festivals. Then we go to Australia. Then back to the UK and Europe.

Reuben: We could actually tour for years and years until we decide to put a new album out.

Dan From Roland: Can you tell me what the next single might be?

Danny: We think it’s “Runaway.” What do you think?

Dan From Roland: Well, I’m into “Tomorrow” and definitely “Burning Up.”

Danny: A lot of people say that.

Helen: Maybe we release all of them as singles.

Danny: Thirteen singles!

Look out for Ladytron everywhere in 2008. For more information, check out http://ladytron.nettwerk.com

Read our Hooking up Guitar FX Pedals To Keyboards article

24. September 2008 | von admin in Allgemein | Kommentare(0)

Ich kann nur alle jetzigen und zukünftigen Partner dieses Herrn Roland Rinnau warnen. Dieser Mann geht mit seinen Verleumdungen über alle Grenzen. Das mussten auch bereits andere Firmen, erleben die ebenfalls die Gerichtsprozesse gegen Herrn Rinnau gewannen (Firma 1MM & 1PP GmbH) und seither mit wenig Erfolg versuchen die von Herrn Rinnau zu zahlenden Gerichtskosten, die sie ja vorstrecken mussten, wieder zu bekommen.

(http://1.moneydiscount.de/index.php/tag/roland-rinnau)

Markus Kuhny und seine VEMA – Firmen verbreiten solche und ähnliche Veröffentlichungen, während gegen sie selbst Strafverfahren laufen.

Die Fakten:

Roland Rinnau hat Markus Kuhny und VEMA am 22.11.2206 jegliche Zusammenarbeit gekündigt.

Roland Rinnau hat Markus Kuhny und dessen Firma VEMA öffentlich des Rechtsbruchs bezichtigt, das war auch der Grund für die Kündigung der Zusammenarbeit. – Zahlreiche Strafanzeigen von Rinnau gegen Kuhny folgten.

Herr Markus Kuhny und seine  VEMA haben aus gutem Grund zur Kündigung und deren Gründen nie öffentlich Stellung bezogen.

Warum Markus Kuhny sich für andere Firmen einsetzt, die in ähnlicher Weise wie er selbst agieren, muss Markus Maria Kuhny selbst erklären. Roland Rinnau hat mit 1MM&1PP keinerlei geschäftliche Verbindung.

Hat Markus Kuhny einen (heimlichen) Vertrag mit 1MM&1PP?

Bekommt VEMA Provisionen von den Herren Henschel und Armin Hoch?

Vieles bleibt unklar im Geflecht dieser Firmen.

Roland Rinnau hat derzeit weder mit VEMA, Kuhny, Henschel, Hoch, 1MM&1PP oder anderen geschäftlich oder privat zu tun. Roland Rinnau hat von diesen ….(sagen wir mal „Herrschaften“) keinerlei Strafe zu befürchten  

Flucht ins Ausland? Guter Tipp für Kuhny und seine Helfer…

I see over at Cakewalk's main site they have a link for their new V-Studio product package.

What is V-Studio?

Well according to their site it's:

VS-700C Studio Console

VS-700R Studio I/O

Roland Fantom VS Hardware Synth

Sonar 8 Producer Edition

No word on the $$$ for this bundle but it will probably be up there... I'm really intrigued by the VS-700C Studio Console, it looks to have all the functions out of the gate with Sonar that you have to program other controllers manually to accomplish. Like my M-Audio ProjectMIX I/O, it's a great product also but a little cumbersome to cofigure etc.

ローランドはCakewalk SONAR 8 PRODUCERを中核に専用コントローラーVS-700C V-STUDIO CONSOLE、専用オーディオ・インターフェースVS-700R V-STUDIO I/O、ローランドFantom VSハードウェア・シンセサイザーをセットにしたオールインワン・パッケージの音楽制作システム SONAR V-STUDIO 700を発表した。

主な特徴：

• SONAR 8 PRODUCER
  • Windows最高峰の内部演算64ビット倍精度処理のオーディオ・エンジンを採用。徹底した高音質化を実現
  • オーディオ・トラック／MIDIトラックともに無制限に使用可能
  • ボーカルのピッチ（音程）やリズムを自在に編集可能な「V-Vocal」をビルト・イン
  • あらゆる音楽ジャンルに対応するプラグイン・シンセを15種類搭載
  • V-Vocalによる強力なボーカル・プロセッシングが可能
  • 音づくりからマスタリングまでフル対応のプラグイン・エフェクトを50種類搭載
• VS-700C V-STUDIO CONSOLE
  • 「SONAR 8」専用に開発されたコントロール・サーフェース機能で、高精度なソフトウェア・コントロールを実現
  • タッチ・センス付きの100mmモーター・フェーダーを9本搭載
  • 8つのロータリーエンコーダーとLCDディスプレイを搭載したチャンネル・ストリップ・コントローラを装備
  • ジョグ/シャトル・ホイールを搭載したトランスポート・コントロールや、サラウンド制御用のジョイスティックも搭載
  • EDIROLのビデオ機器DV-7シリーズのコントロール機能を搭載、さらにV-LINK対応機器との連携も サポート
  • 各コントロールのパラメーターを一括表示可能な大型LCD表示
  • LEDレベルメーターを各チャンネルに装備
  • EQ／センド／ACTコントロール部
  • 20系統のロータリーエンコーダー・スイッチ
  • 70以上の自照式ボタンを装備
  • ジョグ／シャトル・ホイールを含むフル・トランスポート･コントロール
  • 7セグメント表示の大型タイム・ディスプレイ
  • スピーカー、ヘッドホン×２の独立したモニターコントロール
  • 2系統のヘッドホン・アウト装備
  • サラウンド・ミックス用ジョイスティック装備
  • マルチアサイン可能なT-Barタイプのコントローラー
  • V-LINKによるEDIROL製ビデオ機器のコントロールも実現
• VS-700R V-STUDIO I/O
  • 18イン／24アウトのオーディオ・インターフェイス
  • 8系統のファンタム電源対応アナログ・インプット（XLR/TRS）、14系統のアナログ出力を装備
  • 24ビット／192kHz対応の高品位A/Dコンバーター
  • Roland V-Mixer M-400譲りの高性能マイク･プリアンプ
  • コンプレッサー、EQをはじめ、フェーズ、パッド、ローカットなど高品位なインプット、DSPエフェクトを装備
  • AES/EBU、コアキシャルタイプのデジタル入出力に加えADATデジタル入出力を装備
  • MIDI、ワードクロックなど充実の入出力
  • PCとの接続はUSBケーブル一本（USB2.0対応）
  • VS-700R I/Oユニットは、2台まで同時使用が可能
  • オーディオ入出力は最大37イン／48アウトまで拡張可能
• ROLAND FANTOM VS SYNTHESIZER
  • ローランドFantom VSハードウェア・シンセサイザーをシステムに完全統合
  • 世界中で支持されるFantomシンセを搭載、1400種類以上の高品位サウンドを活用できる
  • ハードウェア音源ならではの低レイテンシーと低CPU負荷
  • VSTiプラグイン、シンセ・エディター、自在なルーティングなど、複数のソフトを切り替えることなく、SONAR上でシームレスな操作とエディットが実現
  • VS-700Rにはエクスパンション・ボードARXシリーズに対応した拡張スロットを１基装備
  • 「SuperNATURAL」テクノロジーの圧倒的にリアルな音色を追加することが可能
  • VS-700Rを2台接続することで、Fantom VSを最大2台までコントロールできる

発売時期は2009年1月下旬の予定。オープン価格。

更に詳しい情報はwww.cakewalk.jpへ。

トラックバック：http://ja.audiofanzine.com/2008/10/03/sonar-v-studio-700/trackback/

Woody Bからインターナル・コンバスションV8とV12ギターが登場。

メーカーによるとこのギターはプレイヤーに楽器の自然な振動やハーモニクスを伝え、かつてない演奏フィーリングをもたらすとのこと。

二つのモデルの主な共通仕様：

• ヘッドストック：リバース・ガン・ハンドル
• ネック：ボルト・オン・メイプル
• ナット：ミディアム・ゲージ弦用の3/4インチ・スタンダード・グラファイト（5/8インチも可能）
• スケール：25 ½インチ（カスタム・バリトンも可能）
• 指板：メイプル・スタンダード。エボニーとポーフェロも可能（価格参照）
• フレットワイヤー：ジャンボ
• ボディウッド：V8とV12ともにハンノキとマホガニーで内部サウンドボードにはベイトウヒ（北米産マツ科トウヒ属の針葉樹）が使われている
• チューナー：スパーゼル・ロッキング
• アルミトーン・ハムバッカー
• 10ウェイ・バリトン・コントロール
• 絞りコントロール付きパワードライバー
• DR Zebraミディアムゲージ弦
• エクストリーム・ギグバッグ、1/4インチ・ジャック付属

これらに加えてV12はローランドの内蔵ヘックス・ピックアップが搭載されている。
価格はメイプル指板のものがそれぞれ $2,450 と $2,835、プラス $40 でエボニー指板も選択できる。

www.internalcombustionguitar.com

Dessvärre var det så att den är låst till Tre, och jag är Telia, så Henke, världens bästa pojkvän, har varit och låst upp den till mig. Innan dess satt vi alla 3 på mitt jobb och åt cheeseburgare som Roland snällt bjöd på och snackade lite skit. Sen tog de bilen ner till möllan och hängde hos Rolands synthar i hans lägenhet medans jag jobbade och nu sitter jag här och väntar på att den oupplåsta mobilen med pojkvän skall komma hem. Tänkte leta upp mina garantipapper och lämna in trasiga mobilen på service, vet dock inte om de finns här eller i Landskrona. HE!

Läst Jackys blogg som äger! Den kan ni finna till höger, är ni minderåriga, fisförnäma eller utan sarkasm bör ni skippa att klicka på denna länk. Denna kvinnan är född med samma humor som mig, skillnaden att hon säger det rakt ut, jag tänker det.

Mitt ansiktsvårdspaket har FORTFARANDE inte kommit. damn you posten!

The Finance Cabinet notes that the reimbursement rate is determined using the American Automobile Association (AAA) Daily Fuel Gauge Report for Kentucky for regular unleaded gasoline. The gasoline cost used for the calculation is located here.

Sen hem och sväris bjöd på mat, vi åt hamburgertallrik ifrån Ceder som är ett av våra favoritmatställen. Tillslist ensamtid med Henke och vi kollade "Waterboy".

Ikväll kommer Jessica, Annamaja, Jon och Kalle ner ifrån Stockholm, woho! Det är nämligen så att Stina hon fyller 30år imorgon och det är stor middag + fest på retro imorgonkväll, 50pers på middag och sen är det klubb Ich Robot därefter med minimal-synth och electro. :) Men innan dess  tänkte jag hooka upp med Stockholmarna imorgon på fm och gå och fika, shoppa och ha det trevligt.

Men ikväll ska jag vila, slappa och slappa ännumer. Slutar jag tidigare så hänger jag gärna med Henke ner i stan när han ska byta ps3 spel. Kanske jag kan hitta pyamasbyxor på Lindex mittemot Game isf, åtminstonde kan jag gå och handla nah champa som är slut här hemma.

She's tackled any number of issues over the years,and has featured a number of celebrities and ministers, ranging from Yolanda Adams to Bishop T.D. Jakes to Kirk Franklin.

But when the Atlanta, Georgia, entrepreneur decided to feature five female pastors on her cover this month, she says, Lifeway Christian Stores treated her like she had converted her Christian publication to something akin to the tastes of porn purveyor Larry Flynt.

Apparently, the owner of Lifeway, the Southern Baptist Convention, wasn't too happy with Hairston telling the story of female pastors, because the women go against their 2000 decree that only men can serve in the role of reverend or pastor.

According to Hairston, the Christian company didn't even give her the courtesy of a heads-up.

"We got an anonymous tip," she told me Tuesday on The Tom Joyner Morning Show, and after checking it out, she discovered that the magazine had been removed from the shelves in all of Lifeway's 100-plus stores nationwide and had been placed behind the counter.

"They have never called me," Hairston said. "Never sent an e-mail. Nothing. I had to go see my distributor to verify what they had done."

The actions of Lifeway didn't stun me. I had seen this movie before.

A few years ago, my wife was a longtime Lifeway teacher. She had taught at the company's teaching centers for years, but then one day, she was notified that she would have to take down her Web site and comply with their rules against female pastors or be dropped as a teacher. Her crime? Calling herself the Rev. Jacquie Hood Martin.

It wasn't that she did so for the heck of it. She graduated from Southwestern Baptist Theological Seminary; was the first female staff pastor at Houston's Brookhollow Baptist Church/the Church Without Walls, a Southern Baptist Convention church; and has been leading folks to the Lord all over the country for 20 years.

She was angered by Lifeway's decision but made it clear that she didn't serve the bookstore or even the Southern Baptist Convention. She made a commitment to serving Jesus Christ and was not about to back away from her call to ministry because a male-dominated organization decided that its interpretation of the Bible calls for a woman not to be in the pulpit.

So she cut them off and kept on calling herself the Rev. Jacquie Hood Martin.

Religious folks will quickly say that Scripture is clear that women can't be pastors and lead men, yet Hairston says that when she featured Pastor Paula White on her cover two years ago, Lifeway didn't take any action against the magazine.

Anyone who has served in a church or been a member of any faith knows that there are those who have strict interpretations of their faith's writings, while others have a different interpretation.

I've heard Brookhollow's pastor, the Rev. Dr. Ralph Douglas West Sr., preach several sermons stating that what Paul wrote in 2 Timothy with regards to only men preaching was specific to that church and not a blanket ban. Second, there were instances where Paul wrote that his views were his own and not mandates from God.

That is a doctrinal fight that any of us can have any time (and I love it how these same Bible thumpers ignore the biblical story of Deborah, who was a judge in the Old Testament -- and was over men).

But what is a greater issue is that Lifeway clearly has no respect for freedom of the press. Here is arguably the top Christian bookstore in the country making a decision based on their teachings and applying it to a magazine. A spokesman for Lifeway Resources, which runs the stores, was quoted in the Atlanta Journal-Constitution last week as saying of female pastors, "It is contrary to what we believe."

So does Lifeway and, by extension, the Southern Baptist Convention, fight vigorously for freedom of religion, but it doesn't give a hoot about the other freedoms guaranteed by the U.S. Constitution?

I now wonder whether Lifeway makes it its business to cull through any number of magazines and search for stories that go against its doctrine and pull them from the shelves.

This is the kind of nonsense that drives more people away from religion. I suppose it's fitting that this story would come out the same time as Bill Maher releases his religious documentary, "Religulous," which skewers all the major religions for their dogma. I'm sure he feasted on positions of the Southern Baptist Convention.

The conduct of Lifeway and the Southern Baptist Convention is shameful, and they owe Hairston an apology for their actions. Yet she's taken it in stride, saying that instead of giving the company hell, she'll "give them heaven."

I say, give them a lot of hell for this, because they deserve it for actions.

Source: CNN.com

Martin's daily contribution can be heard every morning at 6:20 am CST. He will offer daily insight into major news events and other issues affecting Black America.  "I am excited to join The Tom Joyner Morning Show, which has been at the forefront of community advocacy in urban radio," said Martin.  "As senior analyst, my goal is to bring clarity and a sense of purpose to the morning show's eight million listeners on the issues surrounding the current presidential election, but also provide a common sense perspective on the many other social and cultural issues of the day through interviews with top newsmakers, and occasionally commentary."As one of Black America's most recognized journalist, just this year alone Martin has been named by Ebony Magazine  as one of the 150 Most Influential African Americans in the United States and won a NAACP Image Award for Best Interview for "In Conversation: The Sen. Barack Obama Interview."  

Martin was also named one of the top 50 political pundits by the Daily Telegraph in the United Kingdom and was awarded the 2008 President's Award by the National Association of Black Journalists for his work in multiple media platforms."This is a time when people need to be challenged where they are on the issues, regardless of ideology, class, race and gender, and I intend to be honest and 'real' in every way possible," explains Martin.A seasoned member of the press, Martin is the former executive editor/general manager of the Chicago Defender, the nation's largest Black daily newspaper, as well as the former founding news editor for Savoy Magazine and BlackAmericaWeb.com. He earned a B.S. in journalism from Texas A&M University and recently received a Masters in Christian Communications from Louisiana Baptist University.  Martin's segments can be heard on a local Tom Joyner Morning Show affiliate or online at BlackAmericaWeb.com (http://www.blackamericaweb.com <http://www.blackamericaweb.com/> ).  

Also, reports will be available on demand on the "If You Missed It" page. Additionally, Martin hosts his own talk show on WVON-AM/1690 <http://www.wvon.com/>  in Chicago and is a special correspondent for Essence Magazine, writing a bi-monthly column and a daily blog on Essence.com.About the Tom Joyner Morning Show The nation's # 1 syndicated urban morning show, which airs in over 115 markets reaching nearly 8 million listeners, has distinguished itself over the years as continuously giving back to its audience with quality programming, highly popular promotions, special events and philanthropy.  Since 2004, Joyner has awarded millions to nearly 2,000 contest winners and his Foundation has raised more than $55 million to help keep students in historically black colleges and universities.  The Morning Show with co-hosts Sybil Wilkes and J. Anthony Brown also features news analysis with Roland Martin and special issues reporting from Jacque Reid; political commentary Stephanie Robinson and Jeff Johnson; and celebrity news with Jawn Murray, as well as comedic observations and lifestyle tips from Sheryl Underwood, D.L. Hughley, and the Celebrity Snitch Huggy Lowdown. Joyner's website, BlackAmericaWeb.com, has more than 1.5 million registered users and delivers news with special reports by award winning journalists and exclusive political coverage as well as interactive elements with on demand audio.

For additional information, contact Maiya Hollie, Communications Manager, REACH Media, (972) 371-5851 or maiya.hollie@reachmediainc.com.

Source: RolandSMartin.com

CakewalkはSONAR 8 ProducerとSONAR 8 Studioを発表した。登録ユーザーはSONAR 8へのアップグレードを先行予約できる。米国での出荷は2008年10月2日の予定。

SONARの進化がデジタル・オーディオ・ワークステーション・テクノロジーに与えてきた影響は大きい。初の64ビット倍精度浮動小数点処理のオーディオ・エンジン、ミュージシャンの作業の仕方をも変えたと言って過言ではないActive Controller Technology™ (ACT)、非常に優れた非破壊オーディオ・クォンタイズ・ツールセットAudioSnap™、MIDIツール、RolandのVariPhraseテクノロジーによる V-Vocal™ 1.5、そしてマルチコア・プロセッサや64ビット・プロセッサのサポート、Windows Vista対応という点でも先駆けている。

新バージョンの特徴：

• ループ・エクスプローラー2.0
• インストゥルメント専用トラック（バーチャルシンセに最適化されたモノ/ステレオのシングルトラック）
• アサイン・アシスタント（ウィザード）
• オーディオエンジン最適化
• トランスポート、コントロールサーフェス、ルーティングおよび編集の改良
• ワークフローの強化
• QuickTime 7 インポート/エクスポート

新しく追加されるインストゥルメント：

• ビートスケープ・ループパフォーマンス・インストゥルメント
• Dimension Pro 1.2 アップデート、Digital Sound Factory Volume 2 Classic Keys、Hollywood Edge Effects ライブラリ
• TruePianos Amber VSTi モジュール

含まれる新エフェクト：

• TL-64 Tube Leveler
• TS-64 Transient Shaper
• Channel Tools ステレオ・エンハンスメント・プラグイン
• Native Instruments Guitar Rig 3 LE

含まれる新クリエイティヴ・コンテント：

• ポピュラーなプラグインとコントローラー用ACTプリセット・マッピング
• すぐに使用可能なトラック・テンプレートとプロジェクト・テンプレート
• ドラム・マップとプラグイン・プリセットのアップデート
• ステップ・シーケンサー・ドラムパターンの統合

価格設定と出荷時期：
SONAR 8 Producerの希望小売価格は $619 (実売価格 $499)、SONAR 8 Studioは $369 (実売価格 $299)。
SONAR 7 Producerの登録ユーザーは $179 でアップグレードできる。SONAR 7 StudioからSONAR 8 Studioへは $99。その他のアップグレード・パスも用意されている。詳しい情報はwww.cakewalk.comへ。

米国外での価格設定と出荷時期：
SONAR 8はRolandとEdirolの流通網によって販売される。ヨーロッパでの予想実売価格はSONAR 8 ProducerとSONAR 8 Studioがそれぞれ €499 と €299 の見込み。出荷は10月中の予定。

日本国内に関して詳しくはwww.cakewalk.jpへ。

　
トラックバック : http://ja.audiofanzine.com/2008/09/23/cakewalk-sonar-8/trackback/

Atendendo a um pedido postado na matéria anterior pelo leitor EDU, segue
abaixo alguns modelos bastante usados atualmente e suas especificações.

Yamaha NS10 -

• Resposta de freqüência: 60 Hz a 20 kHz
• Potência: 60W (program); 120W (max)
• Impedância: 8 ohms
• Sensibilidade: 90 dB SPL (1W, 1m, on axis)
• Freqüência de crossover: 2 kHz (12 dB/oit)
• Falantes: graves JA1801 e agudos JA0518A
• Construção em madeira com acabamento na cor preta
• Dimensões: 38 (A) x 22 (L) x 20 cm (P)
• Peso: 6,3 kg

MONITOR GENELEC 8030 A

Avançada Tecnologia Genelec DCW™
A revolucionária tecnologia DCW™ (Guia de Onda para Diretividade) foi ainda mais realçada para fornecer controle extremamente preciso da diretividade da caixa acústica. Essa superfície muito lisa e com moldagem especialmente projetada é integrada ao gabinete, e sua área foi maximizada para obter uma resposta de freqüência surpreendentemente plana, tanto dentro quanto fora do eixo. Isso permite uma janela de audição larga e consistente, minimiza reflexões prejudiciais da sala e outras colorações associadas aos projetos.

MONITOR ROLAND BI AMPLIF DS 7

DS-7 Monitor Bi-amplificado
Plugue no Puro Áudio de ouro
Apresentando uma nova e nobre linha de monitores digitais para os profissionais de áudio mais exigentes, os modelos Roland DS-8, 7 e 5 de referência ativa, reproduzem performances em 24-bit com imagem sonora precisa, coloração ultra baixa, suave e potência balanceada. Discretos circuitos de energia Premium-Grade e capacitores de filme, proporcionam um roteamento puro de sinal. A nova linha DS é perfeita para projetos de estúdios e profissionais, além de permitir possibilidade de acomodação fixa, móvel ou para qualquer outro ambiente de mixagem e gravação, onde precisão e extrema qualidade de som são essenciais.
Exímia qualidade sonora com imagem de som precisa, suave e potência balanceada;
Entrada digital de 24 bit, suporta projetos de até 192 kHz;
Entradas digitais e analógicas, incluindo XLR, coaxial e óptica; compatível com AES/EBU e S/PDIF;
Compacto, design com estilo; três modelos perfeitos para uma grande variedade de ambientes de mixagem;
Gabinete aperfeiçoado com circuito Bi-amp; elimina diferenças de fase;
Design totalmente novo de falantes e botão liga/desliga frontal, totalmente compatível com IEC60065 safety standards. 

MONITOR BEHRINGER ATIVO TRUTY B-2030.A 

- Potência total de 110 Watts RMS (Graves 75 e Agudos 35 Watts)

- WOOFER de 6 3/4", Drive de 3/4" com domo de Titânio, refrigerado a ferro fluído

- Níveis de pressão sonora 113 dB 1W@1 m (o par)

- Resposta de frequência de 50 Hz a 21 kHz

- Entradas com conectores XLR ou Jack 1/4" balanceada

- Corte de frequência 2 kHz filtro ativo de 4ª ordem Linkwitz-Riley

- Controle de ganho, chave MUTE individual para grave e agudo

- Controle de ganho, chave MUTE individual para grave e agudo

- Ajustes para compensação de salas

- Blindagem magnética permite colocá-la próximo a monitores de computadores

Studiophile BX8a (M-Audio)

BX8 da M-Audio é famoso por proporcionar muito mais peso que seu tamanho parece gerar. O novo driver de freqüências graves é produzido com Kevlar um material extremamente elástico tipicamente encontrado em monitores mais caros. Seu design curvilíneo unido a seu formato de abertura e sistema de amortecimento proporcionam fidelidade sonora e durabilidade. O falante de altas freqüências isolado magneticamente produz um som cristalino e prazeroso de ouvir. Integração entre formato e egenharia eletrônica trabalham juntos para estabelecer a melhor resposta de graves,  Seu poder bi-amplificado de 130-watt e crossovers ajustados com precisão criam um par de monitores de referência com tamanho que se ajusta a qualquer tipo de estúdio.

Drivers de Kevlar                      
Usando Kevlar na construção dos drivers de baixa freqüência, o mesmo material usado em coletes a prova de bala, BX8a traz toda a elasticidade necessária para a produção dos melhores drivers mantendo entretando seu preço extremamente competitivo, desnecessário dizer que isso representa um avanço significativo em relação ao polipropileno e papel usados na maioria dos monitores vendidos ao mesmo preço.

Isolamento Magnético
Em modo desabilitado ondas eletromagnéticas do seu falante podem atingir e danificar monitores de vídeo ou outros equipamentos próximos, o isolamento magnético da BX8a permite a convivência de qualquer equipamento sem problemas de interferência magnética.

Eficiência Bi-Amplificada
Monitores ativos tem uma vantagem distinta em relação aos monitores passivos pois seus amplificadores nativos são especialmente desenhados para trabalhar com seus drivers e crossovers num sistema harmônico. Bi-amplificação vai mais longe dedicando amplificadores separados para graves e agudos que combinados a um crossover devidamente ajustado e design apropriado levam seus drivers a produzir somente as freqüências necessárias.

Indicação

Estúdios de todos os portes que necessitem de um par de monitores de referência de 130 Watts de alta qualidade a um preço acessível.

Características:

    * monitor de referência de duas vias
    * 130 watts (60w HF amp, 70w LF amp)
    * Falante de 8 polegadas em Kevlar
    * Falante de 1 polegada
    * Isolado magneticamente
    * entradas XLR e 1/4 balanceadas e não balanceadas
    * Controle de volume
    * Freqüência de resposta: 56Hz-22kHz
    * Freqüência de Crossover: 3kHz
    * Amplificador de freqüências baixas: 40 watts
    * Amplificador de freqüências altas: 30 watts
    * Sinal de ruído: > 100dB (typical A-weighted)
    * impedância de entrada: 20k Ohms balanceada, 10k Ohms não balanceada
    * sensibilidade entrada: 85mV pink noise produz 90dBA saída SPL com volume total
    * Força: 115V ~50/60Hz, 230V~50/60Hz or 100V~50/60Hz
    * Gabinete: vinyl laminado MDF
    * Size: 250 mm (alt) x 176 mm (larg) x 200 mm (prof)
    * Peso: 12 kg por unidade

KRK - RP5 

O Rokit Powered studio monitor da KRK nos fornece um nível de precisão e performance nunca ouvidos em monitores desta classe. Os Rokit Powered Monitors apresentam vários elementos de designs-chaves vistos antes nos premiados modelos da KRK, vários deles se tornaram o “padrão do estúdio” para os melhores engenheiros, produtores e músicos do mundo. Agora você pode ter o mesmo som da KRK, a mesma atenção aos detalhes e o compromisso ao qual você já está acostumado com um preço que deixa o Rokit Powered com um valor verdadeiramente incomum.

Dados Técnicos

- Drivers: Woofer: 5 " Glass Aramid Composite Woofer; - Tweeter: 1" Neodymium Soft Dome Tweeter com Ferro Fluid; - Entradas: XLR (3-pin), RCA & 1/4" TRS - 10k Ohm Balanceada / Não-Balanceada; - Amplificação: Alimentacao de 75 Watt em um Bi-amp dinamicoFiltros de Oitavas 18 dB; - Resposta da Freqüência: 53Hz – 20kHz; - Video Shielding: Sim; - Dimensões: 10 7/8" x 7 1/4" x 8 7/8" 27.6cm x 18.5cm x 22.5cm

The gnome of a man turned back to his heavy desk and buried his face in its dusty tome as the lone candleflame wrothe shadows aurasome around the hairy reaches of  a balding scalp precariously dusted with thin powdering drifting to snow on the dun rough of his smock. A wrinkled crookfinger upraisingly trembled.

"Aha!" he twinkled fingersomely, jagged nails tracing a chord in the wan light to stir the bloated dust motes that swam like torpid bumblebees in the thick air. His  leathery face fissured into a creaky smile that resembled a rotten red chrysanthemum. "The man with the big guns, Excalibur-like, lost his horn?"

His face fell as he peered past pitted and cracked ancient  mahogany paneling at non-existent holsters and invisible gunmetal. "I don't expect you have a sword stashed somewhere on your person?"

"I'm naked, asshole."

The guffaws that issued over the sheafs of bound hide clattersmelt like rotten chrysanthemums, if such flowers smelt of dredged bogcorpses. When gravity slowly descended upon his geriatric mirth and the folds of his face, his expression, robbed by entropy, trembled into its usual position and yellowmaw teeth soberly chopped three simple syllables: "You're new."

"You're telling me. What the fuck am I doing here?"

‘Le Merveilleux’ in the Chanson de Roland

Let us talk about ‘le Merveilleux’ in the Chanson de Roland. As I frequently have to be reminded, the term doesn’t mean ‘miracles’, but, in the case of Roland, we will be talking about miracles and divine manifestations. Other things we will be talking about include: Charlemagne’s active dream life; the weather’s deep interest in Roland’s health and wellbeing; a few mentions of divine intervention on someone’s behalf, as with Thierry in the judicial duel; Roland’s reception into heaven by Gabriel and Michael. Then we have the spectacular strength of all the major characters, but particularly of Roland, Olivier and Turpin; Roland’s ability to blow his brains right out his ears with his horn-blowing; and the ridiculously long time that all our heroes continue, after receiving mortal wounds, to run around bashing people heroically before dying with appropriate glory. For supernatural items, we have the sword of Roland (given to him by Charlemagne after a divine vision), and Charlemagne’s varicoloured sword Joyeuse, both of which are miraculous in their own right, and both of which also bear holy relics which invoke saintly protection upon their bearers and the French generally.

From all of this, there are several directions of enquiry one can take. I found, for example, that there was an extremely contentious debate in the 1920s regarding whether or not Charlemagne’s allegorical dreams were ‘proof of Teutonic influences due […] to the Norman descent of the author’.[1] More relevantly, there was a little squabble in Speculum in the early 60s, involving Alain Renoir and D.D.R Owen, drawing particularly on the work of Piere le Gentil before them, over whether or not Roland constitutes a true martyr, which drew heavily on these aspects of the poem.[2] However, I feel the role of les merveilleux, in marking out the character of our hero, was underestimated in this conflict. Accordingly, I will be looking at that which is ‘marvelous’ about Roland himself, and at the role external supernatural signs play in indicating his character.

The first marvel we must consider is Roland himself. The most outstanding thing about Roland- and we know, because the poet goes on about it for laisse after laisse- is that he is a supremely excellent warrior. He conquers vast swathes of land for Charlemagne; in the doomed battle he sets out to ferrai de Durendal granz colps (l. 1055), and does exactly that, bashing in heads and impaling people left right and centre. When he goes to blow his horn, he doesn’t just blow the horn- he bursts his temples with his heroic determination to do everything to the extreme- and then he fights on until he is the last man standing, attends to the bodies of his friends, and then dies facing the enemy. This is, needless to say, beyond the scope of normal men. The second remarkable thing about Roland is that he apparently dies a martyr’s death, which we shall return to in a moment.

Let us stop here to consider what kind of hero Roland represents. I’m going to take a detour for a moment into Beowulf studies. Not because I want to compare Roland to Beowulf- this would be interesting but largely pointless, I feel. However, there’s a discourse of heroism there which is relevant to understanding Roland, too. Fred C. Robinson, in his 1974 article ‘Elements of the Heroic in the Characterisation of Beowulf’, argued that there were two possible modes of heroism: the ‘high mimetic hero’, whom Robinson characterises as a ‘heroic man’, capable of extraordinary feats but not characterised by supernatural powers himself; or the ‘romance hero’, who is not only superior to other men in degree but also bestowed with supernatural powers which make him superior to his environment and thus different to other men in kind.[3] The heroic man, as Robinson articulates it, is like other men only more so: his human powers are magnified to the point of the marvellous, in order to indicate that which the best of men is capable against all odds. The romance hero, on the other hand, is removed from other men by his supernatural powers, and his tale becomes all about the fabulous. Now, I’m not sure what definition of Romance Robinson is working on here- as far as I can tell, high Romance heroes are still supposed to be an imitable example in their personal qualities if not their actions. And I know my supervisor Dan is currently happily shredding Robinson’s argument with regard to Beowulf. But all of that is beside the point for our purposes: for our purposes, Robinson’s paramaters will do, because they allow us to see that Roland does indeed differ from other warriors in degree rather than in kind.

This, then, is how we should view Roland’s extraordinary personal strength: he is not superhuman, but rather a super-hero. And sure enough we find that our other heroes are endowed with similar qualities of strength and endurance, although to a degree which is slightly less than that of Roland: Olivier is wounded and still fighting even though he has been blinded; Turpin, like Roland, outlives all of the enemy warriors. All the heroes of the cycle are figures of human heroism writ large: Roland is not unique in his ethos, or his feats, but in the scale at which he performs them.

Now, let us consider the role of marvelous signs in marking out Roland as an exceptional hero, beginning with his sword. In lines 2319-2321 we find out that Roland is indirectly appointed by God as Charles’ captain. Roland’s sword Durendal was given to Charlemagne in an angelic vision, with instructions to pass it on to one of his Captains, and Charlemagne presented it to Roland. Durendal becomes the physical embodiment of Roland’s martial prowess: the Saracens talk about going up against Durendal as well as against Roland (cf. ll. 926, 988); Roland himself emphasises that he will strike with Durendal (l. 1055). Finally, in the scene right before his death (ll. 2297-2354), Roland attempts to break Durendal on the rocks of Roncevaux, but the sword remains miraculously resilient. Just as Roland is not destroyed in battle, Durendal cannot be destroyed by Roncevaux. Furthermore, Roland accompanies his attempts at destroying the sword with a monologue about all the lands he has conquered for Charlemagne wielding Durendal, cementing this symbolic association between Roland as conquering hero and the sword he bears. [4]

In the aforementioned squabble back in the sixties, Alain Renoir analysed Roland’s speech to his troops in the middle of the battle as a conversion point. According to Renoir, Roland’s lament that the French will due pur mei constitutes an acknowledgement of fault.[5] Roland’s fault, according to Renoir, is firstly the pride demonstrated in the opening of the poem, but more importantly the sin of demesure: the pursuit of a noble end to a reckless degree.[6] D.D.R. Owen, who titled his paper ‘The Secular Inspiration of the Chanson de Roland’, argued that the religious framework of Roland’s life is flimsy; that the poet places most emphasis on the fact that he dies a conqueror, facing into enemy territory, than on Roland’s faith. In particular, he argued that Roland’s address to his soliders in the middle of the battle does not constitute recognition of, let alone repentance for, the sin of démesure.[7] In this, I agree with him: Roland’s heroic prowess is celebrated, and although it is clear that prudence is not his virtue, negative assessments of Roland’s character are largely based on Oliver’s criticisms of his companion,[8] despite the fact that the poet sets them clearly as equals- ambedui unt merveillus vasselage (l. 1094). Roland merits his reception into heaven by his martial heroism- he merits an exceptional reception, at the hands of the Archangels themselves, because he is exceptionally heroic.

D.D.R Owen does not discuss the marvelous elements of the poem in relation to Roland’s ‘secular’ character, which is a particular weakness of his argument. In Durendal alone, we have an angelic vision, and a supernatural sword, signifying divine investment in, and blessing upon, Roland as a vassal. He is not directly ordained as a warrior by God; he recieves his sword, and his divine mandate, through Charlemagne. Furthermore, we are of the sword’s divine origins in the same laisse as we are told of Roland’s attempt to destroy it. Here, we have an equally valid refutation of Renoir’s argument: Roland is not condemned by God or poet in the first part of the poem, only to undergo a conversion mid-conflic and go on to die a holy martyr. On the contrary, here we have clear evidence, stated at the end of Roland’s life, that God ordained him from the beginning; and in the sword’s failure to break, I believe we have a statement that all of Roland’s career has been blessed and approved of by God.

Within the poem, Roland is marked out as unique by his martyr’s death. As Eugene Vance points out in his 1991 article ‘Style and Value: From Soldier to Pilgrim in the Song of Roland’, when Charlemagne finds Roland, he finds that his nephew has effectively made his own sanctuary: surrounded by rocks of marble, Roland dies in a cruciform position, like a saint’s statue, and (although Charlemagne does not know it), Roland has already been welcomed into Heaven by Michael and Gabriel themselves.[9] The narrator does not pause over any other character to tell us that they are personally received into heaven by Michael and Gabriel; no one else is noted to have died in cruciform position. Gerard Brault, in a 1971 article entitled ‘Structure et Sens de la Chanson de Roland’, used typological analysis to interpret the Chanson. By this method, he interprets Charlemagne as an Abrahamic patriarch figure: ordained and sent forth by God; father of God’s people; called to sacrifice his son (or, in this case, nephew). Ganelon becomes a Judas figure, and Roland the Christlike martyr.[10]

Why, then, do we see no evidence of divine intervention on Roland’s part during the battle? Here, I’m going to change sides again and agree with Owen- I think he underestimates the religious framework of the chanson, but he’s right that the Christ-type is not the strongest element of Roland’s characterisation. It is unarguably there, particularly in all the storms and turmoil which begin at the third hour of the day (the hour the sky went dark for Christ on the cross) and continue until after Roland’s death. However, there is nothing particularly holy about Roland’s personal characterisation: his defining traits all the way through are those of the hero. Brault himself does understand the centrality of Roland’s heroism, taking issue- like Owen- with Renoir and le Gentil’s argument that Roland’s recklessness does not constitute a sin. Rather than a sin, Roland’s courage and heroism merit a martyr’s death.[11] That, I think, is the fundamental reason why we don’t see God intervening on Roland’s behalf on the battlefield: because that would remove him from the realm of human heroism.

This is not to say that Roland is not marked out as of particular interest to God throughout the battle. We do not find out until his death scene that his sword is of divine origin, but Charlemagne’s active dream life serves to keep us aware that God and the angels are deeply invested in the fortunes of Roland, as do the storms and natural disasters leading up to his death. This begins with the dream in which Ganelon breaks Charlemagne’s lance- a fairly straightforward symbolic association with Roland, in my mind (ll. 720-725). After that, the dreams get more complex in their symbolism, which I’m not about to go into here because quite frankly dream-symbolism makes my head hurt.

In order to divert your attention from my laxity in matters of allegorical dream interpretation, I’m going to point out the significance of the fact that they are Charlemagne’s dreams. Roland himself never experiences a moment of divine revelation, until the point of his reception into heaven. He serves Charlemagne, and through Charlemagne, he serves God. Charlemagne’s dreams, his sword Joyeuse which shifts and changes colour (l. 2502) combined with Charlemagne’s patriarchal status, serve to glorify him and elevate him as a living saint. Roland, on the other hand, is not represented as particularly holy, but sanctified by his service as a vassal to Charlemagne.

Thus, to come back full circle:

I would argue that Renoir, le Gentil before him, and more recently, Eugene Vance, are correct in that Roland is glorified and dies a martyr’s death. However, the argument which Renoir presented, based on a supposed conversion moment mid-battle, is insupportable, not because- as Owen argues- the poem is insufficiently spiritual, but because the poem glorifies martial heroism and feudal service as meriting the best of Christian rewards.

It’s not complex theology. It’s probably not even orthodox all the way through. But I don’t think that the poet is even concerned, as Renoir and Owen are, with the sin of demesure or Roland’s inner holiness. Turpin promises the Frankish warriors that they will all be rewarded in heaven, without moralising; Roland, as the best of warriors, merits the best reward. Furthermore, the distribution of marvelous signs throughout the poem: Charlemagne’s dreams; the turmoil in the weather; the divine origins of Roland’s sword, and its refusal to break at the last; serve to reinforce the fact of divine blessing upon Roland’s heroism from the moment he enters Charlemagne’s service, right through the course of the poem, and finally at his death.

Bibliography

Primary Sources:

• Burgess, Glynn (trans): The Song of Roland (Penguin: London, 1990).
• Short, Ian (ed & trans): La Chanson de Roland, 2^nd ed, Le Livre de Poche 4524 (Librarie Générale Française: Paris, 1990).

Secondary Readings:

• Brault, Gérard J: ‘Structure et Sens de la Chanson de Roland’, The French Review XLV, Special Issue No 3. (1971), pp. 1-12.
• Krappe, Alexander Haggerty: ‘The Dreams of Charlemagne in the Chanson de Roland’, Papers of the Modern Literature Association 36.2 (1921), pp 134-141.
• Owen, D.D.R.: ‘The Secular Inspiration of the Chanson de Roland’, Speculum 37.3 (1962), pp 390-400.
• Paden, William D.: ‘Tenebrism in the “Song of Roland”’, Modern Philology 86.4 (1989), pp 339-356 (p. 346-348).
• Renoir, Alain: ‘Roland’s Lament: Its Meaning and Function in the Chanson de Roland’, Speculum 35.4 (1960), pp 572-583.
• Robinson, Fred C.: ‘Elements of the Marvellous in the Characterisation of Beowulf: a Reconsideration of the Textual Evidence’, in Old English Studies in Honour of John C. Pope, pp 119-138.
• Vance, Eugene: Mervelous Signals: Poetics and Sign Theory in the Middle Ages (University of Nebraska Press: Lincoln, Neb., 1986), p. 66.
• Vance, Eugene: ‘Style and Value: From Soldier to Pilgrim in the Song of Roland’, Yale French Studies 80 (1991) pp 75-96.

PARTEA DE ALIMENTARE SI DESFASURARE
PARTEA DE IMPRIMARE
PARTEA DE USCARE
PARTEA DE EVACUARE SI REINFASURARE

II. GRUPUL DE IMPRIMARE FLEXO

- CILINDRUL DUCTOR
- DOZAREA CERNELII SI CILINDRUL ANILOX
- CILINDRUL PORT PLACA
- CILINDRUL DE PRESIUNE
- LUNGIMEA DE REPETARE SI ANGRENAJELE
- PANOUL DE CONTROL

III.PROCEDURI LA MASINILE FLEXO IN BANDA LATA

- 1. PROCEDURI DE SETARE,
- 2. PROCEDURI IN TIMPUL TIPARIRII TIRAJULUI
- 3. PROCEDURILE DE CURATARE

IV. MENTENANTA MASINII DE TIPAR
- Mentenanta de preventie = cel mai ieftin mod de a preintampina
opririle
- Utilitatile: furnizarea curentului electric, a aerului, racitoarele
- Lubrifierea: este elementul esential al programului de mentenanta

Roland Fantom X8 - Greatest workstations on the market next to Roland's new G series

Babolat AeroPro Drive Plus - What can I say, I like tennis

Lobster Elite 1 Ball Machine - Ditto

LG DARE - I actually like touchscreens but I like LG's even more

BMW M3 - One of my dream cars is finally in the 20k range.  Most likely will get this in month number 23...

MacBook Pro - Shawn suck a dick.  It's for music, Steve Jobs still eats it. : )

2008 Cannondale Rize 4 - CannonWhale my ass, this shit is HOT!  2009 models are even sicker.

Well I guess I could keep going and going with a lot of other stuff that tickles my pickle but I'll save it for another post.

-x

John and Roland perform their theme song. And you guessed it: it's another Monster House Jam.

Read more about this printer on the roland website