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Overdrive (Original Mix) - Various - Clubworks 2012 - The Ultimate Dance Album (CD)

05.02.2022

Overdrive James Beverley is a fictional villainappearing in American comic books published by Marvel Comics. The character is usually depicted as an enemy of Spider-Man. Something of a throwaway joke character, Overdrive made a few inconsequential appearances throughout Dan Slott's run on The Amazing Spider-Man.

As part of Marvel NOW! James Beverley is a race car driver who had dreams of being a superhero. When every attempt failed and he ended up in an accident, he gained the assistance of Power Broker.

Mister Negative approached him and offered him a job in his criminal organization. Overdrive was hired by Mister Negative to steal an artifact from a museum, but was unable to deliver it because of interference from Spider-Man.

Overdrive led Spider-Man on a high-speed chase through the streets of Manhattan. When Spider-Man smashed the windshield of Overdrive's car, it revealed dozens of pieces of Spider-Man-related merchandise such as bobble-heads, air-fresheners, and action figures. Overdrive declared that he was Spider-Man's "biggest fan", even asking for an autograph as Spider-Man was trying to stop him.

The chase finally culminated in a car-wreck that had Overdrive and his vehicle hanging from a bridge in New York by Spider-Man's webbing with Spider-Man's trademark Overdrive (Original Mix) - Various - Clubworks 2012 - The Ultimate Dance Album (CD), "Courtesy of your friendly neighborhood Spider-Man".

Overdrive asked the police who were on the scene to arrest him if he could keep the note. Overdrive was then sent by Mister Negative to steal the Sonic Pulse Generator from a laboratory but he failed again when he met Spider-Man once again. Mister Negative told his men to dispose of Overdrive and they put him in the trunk of Mister Negative's limo and Overdrive was able to escape them by converting the limo into one of his "tricked out" cars.

Ever since Lily Hollister 's baby was stolen by the ChameleonSpider-Man had been going on a rampage against any villains involved. The police recovered a web ball containing Overdrive, Spotand Diablo. Peter Parker later sees Overdrive kidnapping Terri Hilman, the daughter of a powerful socialite.

Since his costume is dirty after the battle with Doctor OctopusPeter is forced to use a Halloween Spider-Man costume.

Overdrive transforms the limousine he is driving into a copy of the Spider-Mobile. He then shoots Peter with webs pinning him into a wall. Early valve amplifiers used unregulated power supplies. This was due to the high cost associated with high-quality high-voltage power supplies. The typical anode plate supply was simply a rectifieran inductor and a capacitor.

When the valve amplifier was operated at high volumethe power supply voltage would dip, reducing power output and causing signal attenuation and compression. This dipping effect is known as "sag", and is sought-after by some electric guitarists. This is because, technically, sag results from more current being drawn from the power supply, causing a greater voltage drop over the rectifier valve.

Class AB amplifiers draw the most power at both the maximum and minimum point of the signal, putting more stress on the power supply than class A, which only draws maximum power at the peak of the signal. As this effect is more pronounced with higher input signals, the harder "attack" of a note will be compressed more heavily than the lower-voltage "decay", making the latter seem louder and thereby improving sustain.

Additionally, because the level of compression is affected by input volume, the player can control it via their playing intensity: playing harder results in more compression or "sag". In contrast, modern amplifiers often use high-quality, well-regulated power supplies. Guitar loudspeakers are designed differently from high fidelity stereo speakers or public address system speakers.

While hi-fi and public address speakers are designed to reproduce the sound with as little distortion as possible, guitar speakers are usually designed so that they will shape or color the tone of the guitar, either by enhancing some frequencies or attenuating unwanted frequencies. When the power delivered to a guitar speaker approaches its maximum rated power, the speaker's performance degrades, causing the speaker to "break up", adding further distortion and colouration to the signal.

Some speakers are designed to have much clean headroomwhile others are designed to break up early to deliver grit and growl. Guitar amp modeling devices and software can reproduce various guitar-specific distortion qualities that are associated with a range of popular "stomp box" pedals and amplifiers. Amp modeling devices typically use digital signal processing to recreate the sound of plugging into Overdrive (Original Mix) - Various - Clubworks 2012 - The Ultimate Dance Album (CD) pedals and overdriven valve amplifiers.

The most sophisticated devices allow the user to customize the simulated results of using different preamp, power-tube, speaker distortion, speaker cabinet, and microphone placement combinations. For example, a guitarist using a small amp modeling pedal could simulate the sound of plugging their electric guitar into a heavy vintage valve amplifier and a stack of 8 X 10" speaker cabinets.

Guitar distortion is obtained and shaped at various points in the signal processing chain, including multiple stages of preamp distortion, power valve distortion, output and power transformer distortion, and guitar speaker distortion. Much of the distortion character or voicing is controlled by the frequency response before and after each distortion stage.

This dependency of distortion voicing on frequency response can be heard in the effect that a wah pedal has on the subsequent distortion stage, or by using tone controls built into the guitar, the preamp or an EQ pedal to favor the bass or treble components of the guitar pickup signal prior to the first distortion stage.

Some guitarists place an equalizer pedal after the distortion effect, to emphasize or de-emphasize different frequencies in the distorted signal.

Increasing the bass and treble while reducing or eliminating the centre midrange Hz results in what is popularly known as a "scooped" sound since the midrange frequencies are "scooped" out. Conversely, decreasing the bass while increasing the midrange and treble creates a punchy, harsher sound.

Rolling off all of the treble produces a dark, heavy sound. While musicians intentionally create or add distortion to electric instrument signals or vocals to create a musical effect, there are some musical styles and musical applications where as little distortion as possible is sought. When DJs are playing recorded music in a nightclubthey typically seek to reproduce the recordings with little or no distortion. In many musical styles, including pop musiccountry music and even genres where the electric guitars are almost always distorted, such as heavy metal, punk and hard rock, sound engineers usually take a number of steps to ensure that the vocals sounding through the sound reinforcement system are undistorted the exception is the rare cases where distortion is purposely added to vocals in a song as a special effect.

Sound engineers prevent unwanted, unintended distortion and Overdrive (Original Mix) - Various - Clubworks 2012 - The Ultimate Dance Album (CD) using a number of methods. They may reduce the gain on microphone preamplifiers on the audio console ; use attenuation "pads" a button on audio console channel strips, DI unit and some bass amplifiers ; and use electronic audio compressor effects and limiters to prevent sudden volume peaks from vocal mics from causing unwanted distortion. Though some bass guitar players in metal and punk bands intentionally use fuzz bass to distort their bass sound, in other genres of music, such as pop, big band jazz and traditional country musicbass players typically seek an undistorted bass sound.

To obtain a clear, undistorted bass sound, professional bass players in these genres use high-powered amplifiers with a lot of " headroom " and they may also use audio compressors to prevent sudden volume peaks from causing distortion. In many cases, musicians playing stage pianos or synthesizers use keyboard amplifiers that are designed to reproduce the audio signal with as little distortion as possible. The exceptions with keyboards are the Hammond organ as used in blues and the Fender Rhodes as used in rock music; with these instruments and genres, keyboardists often purposely overdrive a tube amplifier to get a natural overdrive sound.

Another example of instrument amplification where as little distortion as possible is sought is with acoustic instrument amplifiers, designed for musicians playing instruments such as the mandolin or fiddle in a folk or bluegrass style.

From Wikipedia, the free encyclopedia. Redirected from Overdrive music. Electronic manipulation of audio signals to increase their gain. For other uses, see Fuzzbox disambiguation. This article is about distortion in music. For distortion in general, see Distortion.

A "Turbo Distortion" guitar effect pedal made by Boss. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Rolling Stone. Archived from the original on 13 July Getting Great Guitar Sounds. Hal Leonard. ISBN Inside the Blues, to Durham, N.

His first venture, the Phillips label, issued only one known release, and it was one of the Overdrive (Original Mix) - Various - Clubworks 2012 - The Ultimate Dance Album (CD), most overdriven, and distorted guitar stomps ever recorded, "Boogie in the Park" by Memphis one-man-band Joe Hill Louis, who cranked his guitar while sitting and banging at a rudimentary drum kit.

New York: Rolling Stone. Retrieved 5 July Black country bluesmen made raw, heavily amplified boogie records of their own, especially in Memphis, where guitarists like Joe Hill Louis, Willie Johnson with the early Howlin' Wolf band and Pat Hare with Little Junior Parker played driving rhythms and scorching, distorted solos that might be counted the distant ancestors of heavy metal.

Continuum Encyclopedia of Popular Music of the World. Performance and Production. Continuum International. Retrieved 29 April Retrieved Louisiana Rocks! Gretna, Louisiana : Pelican Publishing Company. Chuck Berry: The Biography. Retrieved January 25, Overall, the MXR Timmy Mini is a really good take on a classic pedal - it keeps everything that players love about the original, and houses it in a smaller casing.

Read the full MXR Timmy review. There are bass and Overdrive (Original Mix) - Various - Clubworks 2012 - The Ultimate Dance Album (CD) controls for tone sculpting, as well as gain and volume knobs so you can dial in exactly what you want it to do. Read the full TC Electronic Mojomojo review. The guitar is a midrange instrument so why not embrace that?

The ability to place mid-EQ before or after the gain stage elevates the Logan as distinctive and versatile drive in a crowded market. You can even plug in an expression pedal and use the Logan as an auxiliary wah. The overdrive tones here cover everything from a clean boost to cranked crunch and even cocked wah. Transcendental indeed. Firstly, what are you looking to get out of it?

Are you looking to use it as a boost for solos? Do you want one as the basis of your main sound? Are you using it to push an already driven amp? Thinking about the application will help you figure out what you need in an overdrive pedal.

Some feature more tone-shaping controls than others too. If you have a specific sound in mind, then look for something with more EQ controls, as these will give you more ability to fine-tune your sound. You can also use these to combat troublesome frequencies within your amp, for example, many metal players use a Tube Screamer, or something similar, to push the front end of an already distorted amp a little more, and to tighten up the bottom end.

Some of the best overdrive pedals even have different foot-switchable gain stages. MusicRadar The No. Fulltone OCD V2 overdrive pedal The latest version of one of the world's most highly regarded Overdrive (Original Mix) - Various - Clubworks 2012 - The Ultimate Dance Album (CD) pedals.

Sockets: Input, output, power. Bypass: Fulltone Enhanced Bypass, true bypass. Power requirements: V power supply, 9V battery. Reasons to avoid - A little pricey, given the number of affordable clones. Mesa Boogie Flux Five overdrive pedal Get total harmonic control over every frequency. Bypass: True bypass. Reasons to avoid - Dedicated mid-range controls would have made this perfect.

Controls: Tone, level, overdrive. Power requirements: 9V power supply. Reasons to avoid - More versatile overdrives are available.

Controls: Volume, drive, treble. Power requirements: 9V power supply, 9V battery. Controls: Master volume, Independent volume, drive and tone.

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