MATTHEWS STUDIO EQUIPMENT. STUDIO EQUIPMENT
Matthews studio equipment. Laundry equipment distributor. Sports equipment retailers.
Matthews Studio Equipment
- The act of equipping, or the state of being equipped, as for a voyage or expedition; Whatever is used in equipping; necessaries for an expedition or voyage; the collective designation for the articles comprising an outfit; equipage; as, a railroad equipment (locomotives, cars, etc.
- The necessary items for a particular purpose
- The process of supplying someone or something with such necessary items
- an instrumentality needed for an undertaking or to perform a service
- Mental resources
- A tool is a device that can be used to produce or achieve something, but that is not consumed in the process. Colloquially a tool can also be a procedure or process used for a specific purpose.
- Matthews is a surname derived from the forename Matthew. Some notable people with this surname are listed below.
- Stanley (1824–89), US Supreme Court associate justice 1881–89. He was appointed to the Court by President Garfield. A previous nomination by President Hayes in 1880 had been rejected because it was felt that a conflict of interest existed
- (matthew) (New Testament) disciple of Jesus; traditionally considered to be the author of the first Gospel
- (matthew) one of the Gospels in the New Testament; includes the Sermon on the Mount
- A room where an artist, photographer, sculptor, etc., works
- studio apartment: an apartment with a living space and a bathroom and a small kitchen
- A place where performers, esp. dancers, practice and exercise
- workplace for the teaching or practice of an art; "she ran a dance studio"; "the music department provided studios for their students"; "you don't need a studio to make a passport photograph"
- A room where musical or sound recordings can be made
- workplace consisting of a room or building where movies or television shows or radio programs are produced and recorded
Jack Kennedy: Elusive Hero
“What was he like?”Jack Kennedy said the reason people read biography is to answer that basic question. With the verve of a novelist, Chris Matthews gives us just that. We see this most beloved president in the company of friends. We see and feel him close-up, having fun and giving off that restlessness of his. We watch him navigate his life from privileged, rebellious youth to gutsy American president. We witness his bravery in war and selfless rescue of his PT boat crew. We watch JFK as a young politician learning to play hardball and watch him grow into the leader who averts a nuclear war.What was he like, this person whose own wife called him “that elusive, unforgettable man”? The Jack Kennedy you discover here wanted never to be alone, never to be bored. He loved courage, hated war, lived each day as if it were his last.Chris Matthews’s extraordinary biography is based on personal interviews with those closest to JFK, oral histories by top political aide Kenneth O’Donnell and others, documents from his years as a student at Choate, and notes from Jacqueline Kennedy’s first interview after Dallas. You’ll learn the origins of his inaugural call to “Ask what you can do for your country.” You’ll discover his role in the genesis of the Peace Corps, his stand on civil rights, his push to put a man on the moon, his ban on nuclear arms testing. You’ll get, more than ever before, to the root of the man, including the unsettling aspects of his personal life. As Matthews writes, “I found a fighting prince never free of pain, never far from trouble, never accepting the world he found, never wanting to be his father’s son. He was a far greater hero than he ever wished us to know.”
It was 1970 when Live Dead was released, which was really a satisfaction with the accomplishment of that goal."
While Matthews downplays his vision and the depth of his involvement, it was far more than spinning wheels and spinning splifs. "The actual technology that we used, I perused and created for Live Dead, and then it was used - exactly the same system of equipment and approach - for Live Dead, Skull & Roses, and Europe '72. Like many of man's innovations, the "system" Matthews developed was really quite simple. More than the actual concept, what is so impressive is that Matthews was able to see the problem and to remove it. As he tells us, "The music was always what the Grateful Dead were about, and my job, from my point of view, was to remove all the usual obstacles that required attention before you could pay attention to the aesthetics of the music. I tried to work diligently so that the music was the only thing that decisions had to be made about." Nowadays, with the amount of technology we have to record music (live or in the studio), we can't even consider the task at hand for someone like Bob Matthews as he tried to transfer what the Dead did as a band on stage to a tape. "My experience with remote recording trucks was that usually when you got back in the studio, it didn't have any cohesion. It never represented at all what had gone on. What I came to realize was that decisions got made in the truck that you were locked into, and Murphy's Law said that they were more often wrong than they were right. So what I created was a keep it simple approach where the microphones on stage went into the PA, and they didn't go through a console - they were plugged one microphone into one track on the 16-track, so there's no signal processing or other processes done. There were no decisions or alterations of the original signal until we got into the laboratory environment of the studio, where you could make decisions and be able to reverse them. And that's what allowed Live Dead to have 'Space' on it that sounded like it was in the hall."
Matthews's work on Live Dead saw the advancement of the live medium, something that would continue to be a calling through his life. His production on Workingman's Dead taught him how to use the studio and how to organize and make a clean, stellar album quickly and efficiently. "And Jerry's first solo record Garcia, musically, is probably the top thing. Because that was artistically, aesthetically, relationship-wise, from a creative perspective, that was almost perfection." The relationship Matthews had with Garcia, and with music in general, was perhaps as big an influence on the recording process as any. "I would maybe further comment that as I was mentioning earlier, my perspective of what my job was, as far as the music and trying to eliminate 'The Murphy' as it were, a lot of it too - I was in the jug band, I was fortunate enough to be the first bass player in the New Riders [of the Purple Sage], I got to play with Jerry, which was great, and I bring a technical side of what I do to the perspective of what I describe as - being able to bring both sides of the glass - both from the control room and as a musician. I think it's really important to have that perspective and understanding to translate the music well to the medium."
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Couldn't sleep tonight for some reason, woke up 2 in the morning and pretty much tried to sleep but I couldn't. showered 3 hours later, got to school and felt like shit, I was yawning all over the place.
I came home and found 3 boxes on my stairs that belonged to me, I was ecstatic because finally my studio equipment came. I told my mom it was dad's birthday today, which she forgot so I went up to Safeway with my bro to get a cake.
Got home and opened the rest of my boxes Unfortunately only half of it came, the big box that I thought contained my mic was my a Video cassette rewinder I ordered for my grandpa.
Went to my grandpa's house to drop off the thing I ordered for him, filled up my gas where I saw my cousin, came home to eat.
Matthew then called me and asked if I was still joining LA Fitness and told him I was still down to join. So I finished up and picked up Matthew from school and signed up at La Fitness.
I took Matthew home and when I got home I just started homework.
January 7 2008
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