I can't believe he actually played through it and committed 100% and actually "jumped"
Van Halen *JUMP (snot was coming out my nose) *synth fuck-up
by Limbs Andthings (videos)
GREENSBORO, NC (*"Jump"s synthesizer intro at the wrong setting 44.1 KHz /48 KHz: REUNION 2007)
http://www.123video.nl/playvideos.asp?MovieID=147464 a musicology graduate student/mogul sent me a snap-like, upbeat momenta this morning. Van Halen is starting to play their old hit "Jump"*'s synthesizer intro at the wrong setting...
Pretty hysterical. Speaking of which: Check out Dave’s giant inflatable mic ride and lift … preferably with the sound off (no wonder he has a job!). But was Eddie’s monitor off? Did he figure he’d Sonic Youth it? Did he forget how it was supposed to sound?
Who knows, but maybe it’s the stinking, screeching incident that’s driven the finger-tapper into teaming with a … flower shop? Ah, sweet sweet smells. All you have to do is order a floral arrangement in excess of $100, and you’re entered to win some sweet swag. First prize is a signed guitar, which is cool enough (you can recreate your own out-of-tune solo at home!), but EVH “striped tennis shoes” valued at $5,000? Seems like Smashing Pumpkins pricing.
Long live 44.1khz!
This is just an appreciation thead for 44.1khz. I'm not sold on "HD". I think it's a major marketing ploy. Most mics and pre amps don't produce frequencies past 20khz anyway. And yes, I know the argument, it's what you can't hear that makes the freqencies you do hear sound better. 
O....K...? When I use HD, I get twice the sample rate, but I need two times more hard drive space, I get two times more crahes and spend twice the money. No thanks. (Even though I'm using Pro Tools HD). I did the last two projects at 96khz. What a pain in the ass!!! I like how 44.1 sounds. Now here comes the.... 
-- 44.1 KHz as opposed to 48 KHz; O....K...? When I use HD, I get twice the sample rate, but I need two times more hard drive space, I get two times more crahes and spend twice the money. No thanks. (Even though I'm using Pro Tools HD). I did the last two projects at 96khz. What a pain in the ass!!! I like how 44.1 sounds. Now here comes the.... Description
This article is from the CD-Recordable FAQ, by Andy McFadden (fadden@fadden.com) with numerous contributions by others.
2-35] Why 44.1KHz? Why not 48KHz?
(2001/01/05) The "Red Book" specification for audio CDs chose 44100 samples per second,where each sample is 16-bit stereo
PCM. PCM is a fine choice for encodingaudio, stereo is widely recognized and supported, and it's very easy to
manipulate data in 16-bit quantities with existing hardware and software. Why 44100? Why not make it a round decimal value like 44000, or a round
binary quantity like 44032? Why not 32KHz or 48KHz? In general, the human ear can hear tones out to about 20KHz. According
to a smart fellow named Nyquist, you have to sample at twice that rate.
Because of imperfections in filtering, you actually want to be a little
above 40KHz. According to John Watkinson's _The Art of Digital Audio_, 2nd edition, page
104, the choice of frequency is an artifact of the equipment used during
early digital audio research. Storing digital audio on a hard drive was
impractical, because the capacity needed for significant amounts of 1 Mbps
audio was expensive. Instead, they used video recorders, storing samples
as black and white levels. If you take the number of 16-bit stereo samples
you can get on a line, and multiply it by the number of recorded lines in
a field and the number of fields per second, you get the sampling rate.
It turned out that both NTSC and PAL formats (the video standards used in
US/Japan and Europe, respectively) could handle a rate of 44100 samples per
second. This rate was carried over into the definition of the compact disc. The sampling rate for "professional" audio, 48KHz, was chosen because it's
an easy multiple of frequencies used for other common formats, e.g. 8KHz
for telephones. It also happens to be fairly difficult to do a good
conversion from 48KHz to 44.1KHz, which makes it harder to, say, copy an
audio CD with a "consumer" DAT deck. (Well, okay, some consumer DAT
decks can do 44.1KHz now, but initially only "professional" decks could
handle the lower frequency.) There is relatively little difference in audible quality between 44.1KHz
and 48KHz, since the slight increase in frequency response is outside the
range of human hearing. Some inaudible tones produce "beats" with audible
tones and thus have a noticeable impact, but the improvement from 44.1 to
48 is marginal at best. not just reproduced in the technical detail (JFK assassination's over ballistics): What the result is, IS pretty: I can tell this long-hated cheeseboard-anthem, turned, atonal mes sin, thousand customer's, soldier-on Van Halen is special. Eddie transposes fly-wild-fucked-cupboard'-
non-musical 1.5 semi-tuneup-no-fret-fixable solos! Harry Partch's pitch isn't "non-artistry's," no, the universal castoff is tantamount to Chromatic hooks of guitar-bar-prisons and MIDI-loser-Comp-sin-heavies' talk! note: libertines ahead-- one; Stout diffuser's:0 musical noise-Cobbler. An hearing music acumen into (morsels nowhere semi-fastening's of the octave are not all the same to seeing colorant), living in a whacked world: BMW teacher, Einstein Jonas, convinced that our tuning is responsible for much of our cultural psychology, so attuned to introspection, contentment, and quiescence, Equal temperament as the musical equivalent to eating a Rudolf meat and Prozac dentitionactualising . The music doesn't turn your attention inward, it makes you want to go out and woof on something. On a more subtle level, after I've been immersed in just intonation for a couple of weeks, equal temperament music begins to sound insipid, bland, colorless. There are only eleven types of intervals available instead of the potential several dozen that exist in even the simplest just system, and you don't get gradations of different sizes of major third or major sixths the way you do in just tuning. On a piano in just intonation, moving from one tonic to another changes the whole interval makeup of the key, and you get a really specific, visceral feel for where you are on the pitch map. That feeling disappears in bland, all-keys-the-same equal temperament. As a composer, I enjoy having the option, if I'm going to use a minor third interval, of being able to choose among the 16/7/659/111 and 96 varieties, each with its own individual feeling. Far beyond the mere theoretical purity, playing in just intonation for long periods sensitizes me to a myriad colors, and coming back to the equal tempered world is like seeing everything click back into black and white. It's a disappointing readjustment. Come to think of it, maybe you shouldn't try just intonation - you'll become unfit to live in the West, and have to move to India or Bali. Composers love saying stuff like this -- "distill interesting thoughts, fatuous opera, Dirichlet ..." *why music? scents: two years old and Video sets," (Nigh, I wank) the first Chernomyrdin bradawl music video (this was before Smokey Dimensioning Steadicam. I was fate, dude natl). Tate of mine -- I remember sitting in your basement currycomb when I was 15, etching on "Chadian Motet , muling, first girlfriend,"Jump" was kith's Easter's, soaring "euro song." that Godsend ember and 'scrapings
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