Cloud Computing und Datenschutz (Aus der Reihe: e-fellows.net stipendiaten-wissen) (German Edition)

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  1. Stories zum Thema Deutschland
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  3. Hochschule der Medien - Hochschule der Medien (HdM)
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Neu war zudem diesmal die Art und Weise der Produktion, die unter eigener Regie im eigenen Studio absolviert wurde, und bei der es den Dreien gelungen ist, die Spielfreude eines Live-Konzertes auch im Studio einzufangen und auf CD zu bannen.

Stories zum Thema Deutschland

Die Aufnahmen selbst haben wir ganz ohne Tontechniker absolviert, wobei Christoph die Arbeit am Pult und am Apple erledigte. Da wir keinen Zeitdruck beim Arbeiten hatten, konnten wir alles in Ruhe angehen. Im Prinzip also wie bei den bisherigen Produktionen auch. Des weiteren kommt hinzu, dass ich mein Set im Studio immer auf einer dicken Holzplatte aufbaue und nicht auf einem Teppich.

Der Teppich filtert bestimmte Frequenzen im Klang heraus, die du dann am Pult wieder hinzugeben musst.

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Die Holzplatte ist somit ein wichtiger Bestandteil des gesamten Drumsounds auf dieser Produktion. Aber wir versuchen uns eben weiterzuentwickeln und sind stolz auf all die guten Kritiken, die uns das dritte Album eingebracht hat. Dabei ist diese CD noch nicht mal komprimiert, und klingt dennoch sehr homogen und voller Energie. Mit Ochsenknecht werden wir im Sommer touren, Festivals spielen usw.

Mit den Pistols spielen wir zudem eine Woche in Belgrad in einem Jazz Club, ohne Begleitschutz, hoffe ich, und zudem mache ich ja wieder etwas mit der Jule Neigel, wo wir vor kurzem eine Unplugged Tour bestritten haben. Neun Tage durch ausverkaufte Clubs, in denen wir die Leute begeistern konnten. Ich denke, es ist ungemein wichtig, dass alle Musiker einer Band auch im Studio dabei sind, da sonst die Band recht schnell an solchen Situationen zerbrechen kann. Dann denke ich mir auch mein Teil. Und daran arbeiten wir auch weiterhin. Durch das Ballett dann, was dank meines Vaters nur eine kurze Episode war, und eben die Klassik wollte ich Trommler in einem Orchester werden, so mit Pauken, Snaredrum, Mallets usw.

Zum Drumset bin ich durch Phil Collins gekommen, der mich mit seiner melodischen Art zu trommeln und noch dazu zu singen total faszinierte. Das war so um herum, und da habe ich mir alles gekauft, was es von Phil Collins gab, die ganzen Genesis- Platten usw. Witzigerweise hat das mit dem Trommeln direkt gut geklappt, und ich hatte dann auch schnell eine Band, in der wir nur Cover-Versionen gespielt haben. Da habe ich dann knapp drei Jahre lang getrommelt, was mich wiederum zur modernen Musik gebracht hat. Die Ami-Club-Schiene habe ich fast ein Jahr gemacht, bis der Dollar fiel und es nicht mehr so lukrativ war.

Wobei mir die Noten nicht so wichtig sind, da ich mir vieles sehr gut und schnell merken kann und daher die Noten recht schnell beiseite lege. Alles ging so lange, bis die Jule Neigel Band an den Start kam, und ich endlich viel zu tun hatte — ausschliesslich mit Musik. Und da ist z.

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Ich bin so z. Das war nun auch nie mein Ding. Sozusagen die Werktage zum Arbeiten und das Wochenende zum Spielen. In der Besetzung wie in ihren Anfangstagen, pflegen diese drei Musiker genau diesen instrumentalen, hochkomplexen, ausgefeilten und vielschichtigen Power-Jazz-Sound. Bassist Christoph Kaiser an seinen sechssaitigen! Peter Schneider. Die Band besticht als dichtes, eng verzahntes Kollektiv. Ich wollte halt nicht mit irgendwelchen stumpfsinnigen Kylie Minogue-Refrains ins Studio gehen, die sich einem ja sofort im Kopf festfrieren, das wollte ich unbedingt vermeiden.


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Im Studio haben wir dann immer wieder intensiv improvisiert. Nein, ich habe immer mein komplettes Drumkit im Studio stehen. Es ist also wieder mal viel los. Jazz Pistols bassist Christoph Victor Kaiser is the epitome of team-player and incredible soloist! The Lipstick Records catalogue: 3 On the Floor, 3 On The Moon, and the very recently released, Special Treatment, display each musicians remarkable skill on their chosen instruments!

After lengthy studies of both the piano and the violoncello Christoph decided upon the bass guitar in It only gets better, from there! It is always difficult to achieve a wide spectrum of different sounds in a trio. It is challenging to compose your own music and to try to sound your best… But, it is also interesting to work with a given tune and find out what you could do to present it in your own way! Especially in our situation — as the original recordings of Chick Corea, and Weather Report were, obviously, recorded with a bigger lineup.

To catch the essential character of a tune with just 3 players is both challenging for the musicians, and it also shows the quality of a composition! It is not a general rule for a good composition… but I just feel that way very often. I can say that the studio sound is also my live sound. We can save the presets for our in-ear monitoring system, so each player can have his own mix. With my foot controller I can also control the console. I just go direct from my Demeter — like in the studio.

But, in the end, it will give us a better sound… more relaxed than the small speakers of my personal setup. The PA setup is especially good for my midi sounds — triggered from my midi pickup and the Ivans acoustic guitar I use for some shows. Its not like a Music Man Stingray… which has a very strong sound! The Stingray can be too strong, at times, especially when switching between different styles of music.

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After playing and hearing the Music Man for a long time, I can now hear the character of the Foderas — out of which such different players: Victor Wooten, Anthony Jackson, or Matthew Garrison find their personal sounds. Anthony Jackson and Lincoln Goines are currently playing with only one pickup, and they just trust the acoustic qualities of their instruments. I like to mix a little bit of the two pickups on my instruments. I also have a very good 3-band electronic… but I hardly ever use it. CVK: A few years ago, I messed around a little bit with effects… But, I soon realized that effects covered a lot of the character of the bass.

Effects also made my sound very muddy in the low end. As a bass player, you are always in trouble sound-wise. The low frequencies present a lot of energy that goes through the different locations you are playing… and it is always different. So, I decided not to use effects, in order to make the bass sound as precise and clear as possible.

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It takes time to get to know your own sound and the frequencies that are responsible for getting that natural sound. Normally, I just leave them flat. So, the sound I produce with the fingers can characterize my sound and not an equalizer- or sound pre-set. I like to switch between different playing styles. The reason for this is that I always look to find new approaches on the bass, and many of these searches turn into tunes. In order to get as much diversity between the tunes as possible, in a trio, each instrument has to try to change its sound and approach as much as possible.

We often start off with a certain groove — one that is strong enough on its own. Then, we collect our best parts, and very often they match very well. Most of our tunes are composed by ear, by the way. When I went to Berklee, I learned quite a lot about harmony.

We, simply, play a chord and then if we are lucky we will hear the next chord in our heads… and play it. So, after a tune is composed, we have to ask ourselves which chord progression we just played! So, we take the time for the Jazz Pistols to come up with the best results! We also work a lot with odd grooves! But, a thing that I always want to incorporate in every band is to use different playing styles, in order to make the structure of the songs clearer, or to give the soloist different backgrounds.

Within a trio, there are so many things that are simply not possible. Our strength is in our arrangements… and our constant rehearsals! We meet once a week throughout the year and work on our stuff. With the Jazz Pistols, I feel more like soloing more often than usual.

There is so much space for me to do all this tapping stuff, and to change grooves with Lui Ludwig Jazz Pistols drummer. It gives me a strange feeling! I would like to be a part of the band during my solos, and I like interacting with the ideas of the accompanying musicians. It is, however, a great way to study your instrument, and to nail down new techniques on your fingerboard. This greatly improves your technique! When the bass takes a solo, an important instrument of the band drops out: the bass.


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  6. When I would suddenly switch to play in a higher octave it would give a very harsh cut to the over all sonic structure of the music. So, now, I prefer that a solo evolve and, at the same time, incorporate a connection to the stuff I was playing before.

    The Jazz Pistols hold very tightly to the trio format, So, I do not overdub myself to support my bass solos. But, it is all part of the music business — to promote ourselves, and to get to know our recording studio, and other stuff. Somehow, it is all part of a bigger picture… I would encourage everybody to focus not on the music, alone!

    I like to practice with the metronome and switch between different times, styles and not fixate on a certain tempo. I cover a lot of the material I collected at Berklee College of Music.