Napster

Remember to just try your best! The next step for the technology is actually blocking songs and other content, instead of just monitoring--much the same way that Napster wound up filtering songs under court order in the waning days of its service. Audible Magic has a music "fingerprint" library that it says can reliably identify more than 3.5 million different audio files. In theory, songs could be blocked as the data

passes the network monitor and is compared against this database of fingerprints. "We believe that what this does is transform network devices to be content-intelligent," Ikezoye said. "That will be important. You can't just say, 'Let's block peer-to-peer.'" In practice, this is potentially an enormous computing job that has yet to be tested on a wide scale. Blocking files means that someone has to come up with a list of files to block. Record companies have been loathe to perform that role, a massive undertaking that would require the listing of virtually every copyrighted work ever recorded, and that blocking services such as Audible Magic were updated as new songs were released. Marshall has also recently introduced a handful of hand-wired reissues, using old-fashioned manufacturing techniques whereby the circuit is hand mounted on "turret boards." These have small metal stakes to which the components and leads are soldered, as compared to PCB, wherein the components are print-mounted by computer to the board, leads placed through the board, and soldered in place. The amps are "true" reissues of the 100 Watt 1959 "Plexi" a 20-Watt 2061x, and a 1974x 18-Watt model, which is a combo amp. The cabinet marketed as the match to the head version, as well as the combo, use special Celestion re-issued 55 Hz version of the popular "greenback" speaker, which Celestion has made available under its "Heritage" series. [edit] Solid-state amplifiers Moreover, the computing power necessary to monitor, identify and block the millions of songs that could traverse a university network in the course of a month would be enormous and expensive, critics say. Napster's experience in 2001 has been the biggest experiment in song filtering to date. People quickly found ways around the simplest ways of song filtering, and when Napster tried to integrate song fingerprint recognition into the filters, hurdles emerged that quickly saw the company shut its doors altogether. The fingerprint recognition tools, provided in part by Audible Magic competitor Relatable, did block copyrighted songs, but also wound up "overblocking" so completely that even non-copyrighted files were stopped. Concurrently, sources said at the time, a few copyrighted songs that did continue to slip through, endangering Napster's status in the courts. ....The DSL is a solid extension of the JCM800 series with several sound enhancements and is perfect as an all-round workhorse for many genres of music. The TSL came with similar functions but was targeted at more modern grunge or nu-metal genres. The newest flagship modern amplifier is the JVM, which comes in a wide variety of models and ranges and is designed as an ultra modern amp for the newer breed of guitar players. The JVM series can be seen as an evolution of the JCM 2000 series (although the 2000 series is still produced), as it has a wide variety of options and channels available, while still providing a modern flavour on the classic Marshall tone. Around the same time as the release of the full featured JVM, Marshall also released a new amp called the Vintage Modern, which is designed to be a much simpler amp, boasting a single channel and designed to be controlled more by the player's style and guitar than by channel switching or multiple settings, reminiscent of the vintage "Plexi" and JCM800 range, but with modern conveniences such as foot-switchable distortion levels and reverb. [edit] Vintage series Marshall periodically will discontinue a model of amplifier, and reissue it later. Currently, a significant portion of Marshall's valve amp lineup are reissues. In 2001 Marshall reissued many of its amplifiers of yesteryears. The most popular and well known of these is the Model 1959-SLP, which is designed to be a reissue of the late 60s era "Plexi" amplifier, but which are in reality reissues of the post-1973 Super Lead models in that they use printed circuit boards internally for ease of production. The original design utilised hand wired circuits on turret boards, which is now available for a premium in the "hand wired" series. The actual difference in sound between the circuit paths is debatable, with some[who?] insisting PCB design is inferior and others (including Randall Smith of Mesa/Boogie)..... .... saying that the difference is negligible. Other reissues are similarly PCB designed, even where the originals were hand wired, except where explicitly noted (i.e. the "hand wired" range currently offered). Other models in the Vintage series include the 1987x (the 50W version of the 100w 1959SLP, used by some, including Yngwie Malmsteen for its lower headroom and "early" distortion curve), the 100 watt valve driven JCM800 2203 (used extensively by Zakk Wylde and both Jeff Hanneman and Kerry King of Slayer), the JCM900 4100, the JTM45 2245, and the 1962 combo, also known as the "Bluesbreaker" for its famous use by Eric Clapton with John Mayall's Bluesbreakers. Sing with your heart Not rated yet Dont just write songs that dont even make sense to you or your audience. Be sure to really tell how you feel about things. Even write songs about past ... Other features such as custom voiced effects and Marshall's revolutionary new Stompware footswitching technology add further flexibility to the line. Immense supply and marketing of this amplifier leads to the overwhelming sales attributed to the MG Series. Much confusion has arisen over the years due to Marshall's arbitrary method of naming each amp model, especially during its first few decades, when under Rose-Morris. For example, the models given the 1987 designation (in the late 1960s to 1970s), or the 1987x designation (in the 1990s and beyond) had nothing to do with the year 1987 nor was there any apparent relationship in the numbering to its direct counterpart the 1959 model, which was not made in 1959 either. This led to a "clean up" of the model numbering beginning with the JCM 2000 series, although reissues retain the original model numbers. [edit] The Marshall Legacy The classic Marshall Stack is one of the defining images behind loud rock music. A full stack consists of one head containing the actual amplifier, on top of two stacked 4x12s, which are loudspeaker cabinets each containing four 12 inch loudspeakers arranged in a square layout. The top cabinet has the top two loudspeakers angled slightly upwards, giving the Marshall stack a distinctive appearance. When a single cabinet is used, the complete unit is called a half stack. The fuzz circuit was first marketed by Maestro as the "Fuzz Tone" Model FZ-1.[citation needed] In May 1965 Keith Richards used a Gibson Maestro Fuzz-Tone to record "(I Can't Get No) Satisfaction".[2] The song's success so boosted sales of the device that all available stock had sold out by the end of 1965.[3] Clean and fuzzed guitar Play sound Several power chords: 1) "clean" (without distortion), 2) with bass-heavy fuzz, and 3) with treble-heavy fuzz. Problems listening to this file? See media help. Types . Other examples of fuzzboxes include the highly-sought Mosrite FuzzRITE, the Fuzz Face (originally made by the Arbiter Group) used by Jimi Hendrix, the Big Muff Pi (made by Electro-Harmonix) and the Vox Tone Bender, used by Paul McCartney on George Harrison's composition Think for Yourself, and featured on many tracks throughout Rubber Soul, Revolver and many other Beatles albums and recordings. Colin Greenwood of Radiohead uses the Shin-ei Companion FY-2 and a Lovetone Big Cheese. Pete Townshend used a Univox Super Fuzz pedal starting from 1968 and used on many recordings and stage shows by The Who (being his only pedal for concerts from 1968-1978). There is also a market for boutique fuzzes, such as the Ultralord, Woolly Mammoth, one of the most popular being the Z.Vex Fuzz Factory and the Italian T-Fuzz from T-Pedals, made with selected components. In the early-mid 1960s, Pete Townshend and John Entwistle of The Who were directly responsible for the creation and widespread use of stacked Marshall cabinets. Pete later remarked that John started using Marshall Stacks in order to hear himself over Keith Moon's drums and Townshend himself also had to use them just to be heard over John. In fact, the very first 100 watt Marshall Amps were created specifically for Entwistle and Townshend when they were looking to replace some equipment that had been stolen from them.

Tags: napster, file sharing, p2p, piracy, music, marshall plexi reissues, jcm800, slayer jcm900, bluesbreakers