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Part of what makes recording studios somewhat odd, a little museum-like in spirit, is that the gear of the past is not always rendered obsolete, even as the very latest technologies are welcomed in. A Telefunken U47 microphone from the 1940s is a favorite among artists across genres. Still. A Fairchild 670 compressor from the 1950s—they can cost some thirty thousand dollars on the vintage market—is regularly used in the digital environments of today’s best commercial studios. “There is a mystical air about a Fairchild 670,” Pete Townshend has said. “Sorry, but that’s a fact.” Old technologies, mythic technologies, and the very latest gear mix together in a way that is singular to recording culture. With the shift from analog to digital recording, the mixing of old and new would be ever more conspicuous and common. Imagine an office in which individual workstations have equipment from different eras: a typewriter in one, a Macintosh from 1985 in the next, and, in the following cubicle, a MacBook Pro from 2022. It wouldn’t happen. When the new stuff comes in, the old goes out. Computers, printers, copiers. In a recording studio, because different eras of technology do come together, a common language must be found.
Deliver Me From Nowhere
Warren Zanes
PJ: It’s been said recently that the hardest job in the NBA is picking the coach. I think because the coach has a relationship that’s intimate with the team, and if you’re on the outside, how do you know what that is? How do you know how a coach actually handles the locker room? I think every coach has a little different type of a relationship, a way of dealing with players that brings them together as a community. I think you have to have that now. One of my friends in coaching was Bill Musselman. He played this eerie, frightening music in the locker room before the game. Bill Fitch told me some guys are good people, they’re good basketball minds, but they’re just not head-coaching material. One thing that I was capable of doing is somehow or other not favoring the favored or blessed ones but bringing along the whole group, and particularly the people that were the same ilk as I was when I played, the level that I was. I think that’s the other thing about coaches: A lot of them who were star players never made good coaches.
Masters of the Game
Sam Smith and Phil Jackson
Thus had Grant wrought in a seventeen-day campaign during which his army marched 180 miles, fought and won five engagements against separate enemy forces which if combined would have been almost as large as his own, inflicted 7,200 casualties at the cost of 4,300, and cooped up an apparently demoralized enemy in the Vicksburg defenses. Of all the tributes Grant received, the one he appreciated most came from his friend Sherman. “Until this moment I never thought your expedition a success,” Sherman told Grant on May 18 as he gazed down from the heights where his corps had been mangled the previous December. “I never could see the end clearly until now. But this is a campaign. This is a success if we never take the town.”6
The Illustrated Battle Cry of Freedom
James M. McPherson
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