UltraComp is here!!! this beautiful vintage compressor is for perfect for both audio professionals or the bedroom producer. With its simple control panel it is easy to use and sounds absolutely fantastic. UltraComp can be used on individual instrument tracks or on your master buss. THe fantastic Moogi version 2 is here! Now with LFOand ADSR.

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Welcome to Hell is the 1981 debut album by the English heavy metal band Venom. The sound of the album was very noisy and rough, perhaps in part because the band thought they were recording a demo when they recorded the album over a period of only three days. Geoff Barton stated[citation needed] in his 1981 five-star review of Welcome to Hell the album had "the hi-fi dynamics of a 50-year-old pizza" and it "brought a new meaning to the word 'cataclysmic'". However, those comments compared it to other heavy metal from the early eighties. The album is often described as "speed metal", although it had a great influence on the then-emerging thrash metal style.

"Tania Maria's second Concord release (which, as with her other output, has been reissued on CD) is still one of her best sets. The repertoire — five of her originals, "Imagine," and "Cry Me a River" — is diverse; the band (a sextet with two percussionists and guitarist Eddie Duran) is excellent and there is plenty of space for Maria's keyboard work in addition to her exuberant vocals. Throughout the set of Brazilian jazz-pop, Tania Maria is heard in prime form, making this an excellent introduction to her enthusiastic music."

Giuliani's 9/11 reveals how one man, confronted by a city on its knees, stood strong in the face of the life-or-death challenges he never dreamt he would encounter. The mayor describes his urgent efforts to establish a safe command post for the city's leadership team; protect sites like the Statue of Liberty, bridges and subways; marshal doctors and nurses; and conduct a press conference to let people know city leadership was intact and working to protect them.

Al Green is one of those artists whose range and scope, like those of James Brown or Johnny Cash, seem almost too large for a three- or four-CD retrospective. But like Brown's Star Time or Cash's Essential set, Anthology is a deeply satisfying overview of an important artist's work. In addition to its generous helping of hits, intriguing rarities (a great early single of "I Want to Hold Your Hand," a live medley of "Let's Stay Together" and the Carpenters' "We've Only Just Begun"), and early hints of the gospel career that would follow this set's final late-'70s tracks, the box offers interview excerpts that both outline Green's working methods and underscore his crazy-like-a-fox eccentricity. It's worth the price of the set to hear the singer explain the many practical lessons he learned from rock and soul.