Radio Instrumental

Word of Truth Radio offers relaxing Christian music and inspiring classical hymns. The goal of this station is to glorify the Lord through soothing and uplifting sounds, such as the piano, harp, violin, and classical guitar, as well as other traditional instruments. The mixture results in a peaceful blend of traditional Christian instrumental music that will turn your mind away from the stress of life and towards the love and compassion of Christ.

Hi! I would like to set up a radio station for instrumental guitar music (music without vocals). I listen to such stations while working, and words bother me. How do I go about this? I start a station based on a favorite title, but eventually apple serves up a song with vocals, which I have to manually skip. Can I "teach" a radio station to completely avoid songs with vocals? Thanks!

Radio Instrumental

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Word of Truth Radio provides relaxing Christian music and inspiring instrumental hymns. The goal of this station is to glorify the Lord through soothing and uplifting sounds, such as the piano, harp, violin, and classical guitar, as well as other instruments. The mixture results in a peaceful blend of sacred Christian instrumental music that will turn your mind away from the stress of life and towards the love and compassion of Christ.

Word of Truth Radio provides two different Christmas radio stations to match our two main stations: Instrumental Christmas and Acoustic Christmas. Whether you prefer the soothing tranquility of the sacred instrumentals, or the folky sound of the acoustic praise and worship ballads, there's something for everyone with these two Christmas stations. Or maybe you like the variety of both as you celebrate the gift of our Savior!

In a companion paper, a mathematical formalism to describe thepolarimetric response of a radio interferometer was presented.Some of the instrumental parameters, however, are either unknownor poorly known. Here we consider the determination of theseparameters both by a traditional radio-interferometryinstrumental approach as well as by using optical polarimetryprinciples. In doing so, we establish links between the twofields. We show that some degrees of freedom cannot be solvedfor with various calibration or self-calibration schemes. Thesedegrees of freedom are identified with instrumental parametersand physical source properties. The number of unsolvable degreesof freedom is reduced for a long synthesis with alt-az antennas.We also consider the effect of errors in the assumedinstrumental parameters on the resultant calibrated data. Thepolarimetric calibration procedure for some telescopes isreviewed in the context of this analysis.

"Rumble" is an instrumental by American group Link Wray & His Wray Men. Released in the United States on March 31, 1958, as a single (with "The Swag" as a B-side), "Rumble" utilized the techniques of distortion and tremolo, then largely unexplored in rock and roll.

At a live gig in Fredericksburg, Virginia, in early 1958, while attempting to work up a backing for The Diamonds' "The Stroll", Link Wray & His Ray Men came up with the instrumental "Rumble", which they originally called "Oddball". It was an instant hit with the audience, which demanded four repeats that night.[6] The host of the sock hop, disc jockey Milt Grant, paid for the song to be recorded and released as a single; in turn, Grant would receive songwriting credit.[7][8]

Eventually the instrumental came to the attention of record producer Archie Bleyer of Cadence Records, who hated it, particularly after Wray poked a pencil through the speaker cone of his amplifier to make the recording sound more like the live version.[9][10] But Bleyer's stepdaughter loved it, so he released it despite his misgivings.[11] Phil Everly heard it and suggested the title "Rumble", as it had a rough sound and said it sounded like a street fight.[10]

It was banned in several US radio markets, because the term 'rumble' was a slang term for a gang fight, and it was feared that the piece's harsh sound glorified juvenile delinquency.[10] The record is the only instrumental single ever banned from radio in the United States.[12][13]

Another recording of the instrumental was released by Wray in 1968 as "Rumble '68", and again in 1969 as "Rumble-69" (Mr. G Records, G-820).[16] In 2014 jazz guitarist Bill Frisell released a cover of "Rumble" on his album Guitar in the Space Age![17]

Bob Dylan once referred to "Rumble" as "the best instrumental ever",[18] and the piece has remained widely used in various entertainment media. It has been used in movies, documentaries, television shows and elsewhere, including Top Gear, The Warriors (in the deleted opening scene), Pulp Fiction,[19] Screaming Yellow Theater with host Svengoolie, Independence Day, SpongeBob SquarePants vs. The Big One, Blow, the pilot episode of the HBO series The Sopranos, StarCraft II: Wings of Liberty, Riding Giants, Roadracers, and Wild Zero.

In 1958, the song was too raw for radio. The hit was banned in New York and Boston after fears grew that the track may incite gang violence. It remains to this day the first and only instrumental song to ever banned from the airwaves.

Polarization studies of long-duration gamma-ray burst (GRB) afterglows are expected to probe the presence of ordered magnetic fields in their jetted outflows as well as the viewing geometry (Granot 2003; Granot & Knigl 2003; Rossi et al. 2004; Granot & Taylor 2005; Kobayashi 2017), yielding crucial constraints on the jet launching mechanism and the central engine (Lyubarsky 2009; Bromberg & Tchekhovskoy 2016). Whereas polarization studies in the optical have revealed evidence for structured magnetic fields in the outflow (Steele et al. 2009; Cucchiara et al. 2011; Mundell et al. 2013; Wiersema et al. 2014), similar studies at radio/millimeter frequencies have been more limited due to instrumental sensitivity constraints (Taylor et al. 1998, 2004; Frail et al. 2003; Granot & Taylor 2005; van der Horst et al. 2014; Covino & Gotz 2016).

Polarization capabilities with ALMA have continued to evolve since the initial commissioning effort (Nagai et al. 2016), making it necessary to deploy consistent analysis frameworks to interpret polarization observations, especially in the case of detections near the threshold of the current instrumental systematics. Here, we discuss strategies for testing data for these systematics in polarization measurements of faint sources. We reanalyze the observations reported in Urata et al. (2019), and demonstrate that the data suffer from unremovable, systematic calibration uncertainties.

We report our derived upper limit on the polarization of GRB 171205A in Section 2. We discuss the implications of the upper limit on the magnetic field structure, and compare with previous observations of polarized emission for GRB radio afterglows in Section 3.

Given the apparent instability of polarization properties of the target and phase calibrator with both time and frequency in the QA2 results, we perform a full independent reduction of the data. We import the raw ASDM data sets into CASA, followed by flagging of non-interferometric (e.g., pointing, atmospheric calibration, and sideband ratio) data. We apply the system temperature (Tsys) and water vapor radiometer (wvr) calibrations to the data, and concatenate the three executions of the scheduling block (SB) into a single CASA measurement set.

A detection of linearly polarized radio emission unambiguously associated with the afterglow forward shock would provide the first constraints on the magnetic field structure and viewing geometry for long-duration GRBs (Granot & Knigl 2003). In particular, the evolution of this quantity across the jet break is a sensitive measure of the degree of order in the magnetic fields, the jet structure, and the off-axis viewing angle (Rossi et al. 2004). Thus, we suggest that a more robust interpretation of afterglow polarization requires sensitive measurements (with detections) at multiple epochs. Such observations, while challenging for typical GRBs with ALMA in the millimeter band, may be routinely tractable with the ngVLA and full SKA.

Answer: First of all, for an East-West array w is not necessarily equal to zero. The w-coordinate is in the direction of the object being observed. For an East-West array, when a source goes through transit the geometric delay is equal to zero. One always needs to add any instrumental delay to the total delay for an interferometer. For reference, there is a nice description of how an interferometer works in practice on the University of Virginia Astronomy 534 chapter on Interferometers.

The Instrumental Hit radio is masterpieces of instrumental music from world composers live on the air. Here you can hear both lyrical, romantic compositions without words, and solo orchestral melodies. Acoustic jazz motives will make you nostalgic, and electronic synthpop and space disco melodies will return you to the progressive 70s. Show more

Listening to the Instrumental Hit online radio means to get an emotional relief. It is easy to create, work and just relax with the radio station. Each fingering of keys, strings or a gentle flow of instruments give a positive feeling, fill the soul with bright memories. Live on the air you will hear your favorite instrumental music from Didula, Vanessa Mae, Jesse Cook, Nino Rota, Francisco Garcia, Carlos Santana and other virtuosos who know how to speak without saying a word. Collapse

We all know Raul Malo as the lead singer and guitarist for The Mavericks. His voice is legendary, as legendary as he and the band are. So, why is that his new solo album is an instrumental album?

Abstract: We present the completion of a data analysis pipeline that self-consistently separates global 21-cm signals from large systematics using a pattern recognition technique. In the first paper of this series, we obtain optimal basis vectors from signal and foreground training sets to linearly fit both components with the minimal number of terms that best extracts the signal given its overlap with the foreground. In this second paper, we utilize the spectral constraints derived in the first paper to calculate the full posterior probability distribution of any signal parameter space of choice. The spectral fit provides the starting point for a Markov Chain Monte Carlo (MCMC) engine that samples the signal without traversing the foreground parameter space. At each MCMC step, we marginalize over the weights of all linear foreground modes and suppress those with unimportant variations by applying priors gleaned from the training set. This method drastically reduces the number of MCMC parameters, augmenting the efficiency of exploration, circumvents the need for selecting a minimal number of foreground modes, and allows the complexity of the foreground model to be greatly increased to simultaneously describe many observed spectra without requiring extra MCMC parameters. Using two nonlinear signal models, one based on EDGES observations and the other on phenomenological frequencies and temperatures of theoretically expected extrema, we demonstrate the success of this methodology by recovering the input parameters from multiple randomly simulated signals at low radio frequencies (10-200 MHz), while rigorously accounting for realistically modeled beam-weighted foregrounds. Read more via arXiv. 2351a5e196