How To Change My Apple Music To A Family Plan Comments: 30 and Never Had a Real Date

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Comments: 30 and Never Had a Real Date

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How To Change Music To Mp3 In Windows Media Player Ripping and Converting WMA Music Files in Windows Media Player to MP3 Format

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Ripping and Converting WMA Music Files in Windows Media Player to MP3 Format

Windows Media Player is the default player on your Windows XP machine. You may find that you have got files off online download stores such as Napster, but you want to play these on your iPod or other audio Device. The only problem is that stores such as Napster save the files onto your computer as WMA files, this is a file format created by Microsoft and supported by a lot of different players. However your player may not support this format of audio, so how do you get those files onto say an iPod. Well you have to convert the files in Windows Media into MP3 format, now MP3 is a supported format of the iPod and can be played on it, MP3 is a smaller file size and has no copy protection so you can easily transfer to any device.

To start off find where your files are located on your Windows XP machine, this is likely to be your ‘My Music’ folder. Make sure they are in your Windows Media Player library ready to be converted, now I am sure you’re going to say “Do I have to buy commercial software to do this WMA to MP3 conversion” and the answer is yes you can if you want but you’re wasting money doing that when you can do the conversion for free. To start off the process go into Windows Media Player, now I am going to instruct you as you have Windows Media Player 11, however in Windows Media Player 10 it’s the same process. You will want to get a blank CD-RW and then just place it in the CD drive and wait for it to be recognized. Now go into your Windows Media Player library and drag the files you want onto the tab on the far right hand side, you will see a little meter telling you how much space is left on the CD. Once you have added the files you want select ‘Start Burn’ this will then burn your files in Windows Media Audio format to the blank CD-RW.

Of course now you have to put them back on but this time before you do what is called ripping (the transfer of files onto a PC) you must change some settings so that you rip into MP3 format.

First go to the Tools menu.

Click Options

Then click the Rip Music Tab

Here you will see a variety of options at the top of the screen it will say by default rip music files into Windows Media Audio. You want to change this to do that click the arrow next to the text to bring a dropdown menu up. On this menu select MP3 then click ok. Now your files will be converted into MP3 format, so now we go to ripping to start the transfer click the rip tab. Make sure the CD you just burned is in the drive then the files will load up on the screen select rip music at the bottom of the window and the files will be transferred to your PC in MP3 format. Your files are likely to be in the same location to your WMA files so just go into ‘My Music’ locate the artist then the album and move the MP3 files out of there into a separate folder. For example if you wish to copy these onto an iPod go to iTunes select the folder add to the iTunes library and complete the sync process.

There you go you have just successfully completed a conversion of WMA files into MP3 files.

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How To Change Background Music Of A Video In Iphone EDGE: A Stepping-stone Toward 3G Technologies in Pakistan

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EDGE: A Stepping-stone Toward 3G Technologies in Pakistan

ABSTRACT

The business of wireless data is expected to grow in the region of 100-200 % per annum and the mobile communication industry agrees that wireless data services will form the foundation for future business. The enormous success of short messaging in many countries proves that people accept the benefits of non-voice services.

Enhanced Data Rate for Global Evolution (EDGE) is a technology that gives Global Systems for Mobile Communications (GSM) the capacity to handle services for the third generation of mobile telephony. It provides three times the data capacity of General packet Radio Service (GPRS). Using EDGE, operators can handle three times more subscribers than GPRS; triple their data rate per subscriber, or add extra capacity to their voice communications.

This article provides an overview of EDGE technology. In particular, starting from the introduction of this 2.5G technology I describe the core technical aspects and distinct features. I will provide a comparison with GPRS for data services and then a survey of the current state of this technology in Pakistan. I have also covered some benefits for operators and customers.

1. Introduction

The importance of wireless data and multimedia services both for business and end customers are increasing on an unparalleled scale. Enhanced Data Rates for GSM Evolution (EDGE) is a new radio interface solution and is based on an enhanced modulation. EDGE offers GSM network operators an evolution path to mobile data and multimedia services with a three fold increase of data throughput in the existing GSM spectrum. EDGE therefore provides an alternative for operators who do not have a Universal Mobile Telecommunication System (UMTS) license. Moreover it also represents a complement to UMTS for operators intending to first deploy UMTS only in densely populated areas, but who can also use EDGE to provide wide area coverage of future oriented 3G services. In the US market operators have chosen EDGE as the 3G solutions. [8].

We are presently experiencing the Wireless Application Protocol (WAP) as well as the higher transmission speeds of High Speed Circuit Switched Data (HSCSD), joined by the convenience of “always on-line” direct Internet connections with GPRS. [1]

EDGE, new radios interface technology with enhanced modulation, increases the HSCSD and GPRS data rates by up to three fold. EDGE modulation is going to increase the data throughput provided by the packet switched service even over 400 kbps per carrier. Similarly, the data rates of circuit switched data can be increased, or existing data rates can be achieved using fewer timeslots, saving capacity. Accordingly, these higher speed data services are referred to as EGPRS (Enhanced GPRS) and ECSD (Enhanced Circuit Switched Data).

EDGE, is a major improvement in GSM phase 2+. As a modification to existing GSM networks, EDGE does not require new network elements. [1]

In the US, for instance, EDGE is part of the IS-136 High Speed concept, which is one of the third generation Radio Transmission Technology (RTT) proposals from TR.45. EDGE is eventually going to be standardized which makes possible to achieve a global mobile radio system with many services characteristic to third generation systems.

2. Overview

The increased bit rates of EDGE put requirements on the GSM/GPRS network architecture. Figure. 1 illustrates the GSM/GPRS architecture, the shaded parts of which are discussed in this section. Other nodes and interfaces are not affected at all by EDGE introduction. An apparent bottleneck is the A-bis interface, which today supports up to 16 kb/s per traffic channel. With EDGE, the bit rate per traffic channel will approach 64 kb/s, which makes allocation of multiple A-bis slots to one traffic channel necessary. Alternative asynchronous transfer mode (ATM) or IP-based solutions to this problem can also be discusses.

One important fact is, however, that the 16 kb/s limit will be exceeded already by the introduction of two coding schemes (CS3 and CS4) in GPRS, which have a maximal bit rate per traffic channel of 22.8 kb/s. Consequently, the A-bis limitation problem is being solved outside the EDGE standardization, and it is therefore a GPRS related, not EDGE-related, modification. For GPRS-based packet data services, other nodes and interfaces are already capable of handling higher bit rates, and are thus not affected. For circuit-switched services, the A interface can handle 64 kb/s per user, which is not exceeded by EDGE circuit-switched bearers. [9]

2.1. Impact on GSM Network Planning

An important prerequisite, which to a large extent will determine the success of EDGE in GSM, is that a network operator be able to introduce EDGE gradually. For initial deployment, EDGE-capable transceivers will supplement standard GSM/GPRS transceivers in a subset of the existing cells where EDGE coverage is desired. Hence, an integrated mix of GSM, GPRS, and EDGE users will coexist in the same frequency band. To minimize effort and cost for the network operator, radio network planning (including cell planning, frequency setting of power and other cell parameters) must not require extensive modification.

2.1.1. Coverage Planning

One characteristic of non-transparent radio link protocols that include automatic repeat request (ARQ), is that low radio link quality only results in a lower bit rate for the user. Hence, low SIR for a user does not result in a dropped call, as for speech, but in a temporary decrease of user bit rate. For transparent bearers, which typically offer a constant bit rate, link quality control must be extended to incorporate resource allocation, in the sense that the number of dynamically allocated time slots fits the bit rate and bit error rate (BER) retirements. Transparent bearers, will thus be available in the entire GSM cell, but require fewer time slots in the center of the cell (where 8-PSK coding schemes can be used).

2.1.2. Frequency Planning

Most mature GSM networks of today have an average frequency reuse factor of around 9 (meaning that available frequencies are divided into nine frequency groups). However, there is also a trend toward tighter reuse factors. With the use of frequency hopping, multiple reuse patterns (MRP), and discontinuous transmission (DTX), reuse factors as low as 3 become feasible. EDGE supports a variety of reuse patterns. In fact, by its use of link quality control, EDGE can be introduced in an arbitrary frequency plan, and benefit from high SIR closer to the base stations. EDGE can be introduced in an existing GSM frequency plan, and that it also supports future high-capacity solutions based on tighter frequency reuse.

2.1.3. Radio Network Planning

An important prerequisite (and to a large extent, one that will determine the success of Edge) is that network operators should be able to introduce Edge gradually. The initial deployment of Edge-capable transceivers will supplement standard GSM transceivers in a subset of cells where Edge coverage is desired. An integrated mixture of circuit-switched, GPRS and Edge users will thus coexist in the same frequency band. To minimize operator efforts and costs, Edge-related implementation must not require extensive modification of the radio network plan (including cell planning, frequency planning, the setting of power levels and other cell parameters).

2.1.4. Channel Management

After Edge has been introduced, a cell will typically include two types of transceiver: standard GSM transceivers and Edge transceivers. Each physical channel (time slot) in the cell can be viewed as being one of at least four channel types:

1. GSM speech and GSM circuit-switched data (CSD);

2. GPRS packet data;

3. Circuit-switched data, enhanced circuits witched data (ECSD), and GSM speech;

4. Edge packet data (EGPRS), which allows a mix of GPRS and EGPRS users simultaneously.

While standard GSM transceivers only support channel types 1 and 2, Edge transceivers support all four channel types. Physical channels are dynamically defined according to terminal capabilities and needs in the cell. For example, if several speech users are active, the number of type-1 channels is increased, at the expense of GPRS and Edge channels. Obviously, channel management must be automated, to avoid the splitting of channels into static groups. Otherwise, trunking efficiency would diminish.

3. Interleaving

To increase the performance of the higher coding schemes in EGPRS (MCS7 to MCS9) even at low C/I, the interleaving procedure has been changed within the EGPRS standard. When frequency hopping is used, the radio environment is changing on a per-burst level. Because a radio block is interleaved and transmitted over four bursts for GPRS, each burst may experience a completely different interference environment. [7]

If just one of the four bursts is not properly received, the entire radio block will not be properly decoded and will have to be retransmitted. In the case of CS4 for GPRS, hardly any error protection is used at all. With EGPRS, the standard handles the higher coding scheme differently than GPRS to combat this problem. MCS7, MCS8 and MCS9 actually transmit two radio blocks over the four bursts, and the interleaving occurs over two bursts instead of four. This reduces the number of bursts that must be retransmitted should errors occur. The likelihood of receiving two consecutive error free bursts is higher than receiving four consecutive error free bursts. This means that the higher coding schemes

for EDGE have a better robustness with regard to frequency hopping.

4. EDGE & GPRS

EDGE, or the Enhanced Data Rate for Global Evolution, is the new mantra in the Global Internet Connectivity scene. EDGE is the new name for GSM 384. The technology was named GSM 384 because of the fact that it provided Data Transmission at a rate of 384 Kbps. It consists of the 8 pattern time slot, and the speed could be achieved when all the 8 time slots were used. The idea behind EDGE is to obtain even higher data rates on the current 200 KHz GSM carrier, by changing the type of the modulation used.

Now, this is the most striking feature. EDGE, as being once a GSM technology, works on the existing GSM or the TDMA carriers, and enables them to many of the 3G services. Although EDGE will have a little technical impact, since its fully based on GSM or the TDMA carriers, but it might just get an EDGE over the up coming technologies, and of course, the GPRS. With EDGE, the operators and service providers can offer more wireless data application, including wireless multimedia, e-mail (Web Based), Web Infotainment, and above all, the technology of Video Conferencing.

Now all these technologies that were named earlier, were the clauses of the IMT-UMTS 3G Package. But, with EDGE, we can get all these 3G services on our existing GSM phones, which might just prove to be a boon to the user.

The current scenario clearly states that EDGE will definitely score higher than GPRS. The former allows its users to increase the data speed and throughput capacity, to around 3-4 times higher than GPRS.

Secondly, it allows the existing GSM or the TDMA carriers to give the sophisticated 3G services. And with 1600 Million subscribers of GSM in over 170 countries, offer the full Global Roaming, anywhere between India to Japan and to San Francisco. Based on an 8 PSK modulation, it allows higher bit rate across the air Interface. There is one symbol for every 3 bits. Thus, EDGE Rate is equal to 3x GPRS Rate.

5. Future Evolution Towards WCDMA

The next evolutionary step for the GSM/EDGE cellular system includes enhancements of service provisioning for the packet-switched domain with the service provisioning in UMTS/UTRAN (UMTS terrestrial radio access network). GERAN will provide improved support for all quality of service (QoS) classes defined for UMTS: interactive, background, streaming and conversational. By doing so, a new range of applications, including IP multimedia applications, will be adequately supported. This part of the GSM/EDGE evolution focuses on support for the conversational and streaming service classes, because adequate support for interactive and background services already exists. Additionally, parallel simultaneous bearers will support multimedia applications with different QoS characteristics towards the same MS, such as multiple media streams handled through IMS domain. A driver for such evolution on the packet-switched side is the paradigm shift within the telecommunications world from circuit to packet-switched communications.

Both the core network defined for GPRS and the current GSM/EDGE radio access network require modifications to support enhanced packet services. The GPRS/EGPRS networks can quickly and cost effectively evolve with market needs, and align with services provided by WCDMA networks. The current evolution of GSM/EDGE, which covers all of the above aspects, is being standardized in 3GPP TSG GERAN. [4]

6. EDGE in Pakistan

Pakistan has the sixth largest population in the world – approximately 150 million. There are currently four mobile operators in the country. Mobile penetration at the end of 2003 was just 2.3% with a subscriber base of 3.4 million, while fixed line penetration was approximately 2.4%. Many geographic areas in Pakistan are without telephone coverage. To accompany recent positive economic development in Pakistan and the inherently low mobile penetration, high growth within the mobile segment is expected. At the moment the people in Pakistan are more concern with the text-enabled facility like SMS. Although the introduction of GPRS gave a new concept and new boost in Cellular network but still, people are not that much concern using Internet by their terminal. Few think that it still more costly and few believe that GPRS didn’t develop the interest for using Internet if we compared it by computer.

In April 2004 Norwegian mobile telecom operator, Telenor, bid for and ultimately won a license to operate a cellular network in Pakistan. The license covers the operation of Global System for Mobile Communications (GSM), General Packet Radio Service (GPRS) and Enhanced Data Rates for Global Evolution (EDGE) technology for the network. [14]

Telenor Pakistan has signed two deals with mobile infrastructure contractors for different areas of the network:

Nokia have signed a three-year deal to build and operate a GSM / GPRS / EDGE network to cover the central and Northern Punjab region (phase one), centered around Lahore.

Siemens have signed a deal to build a GSM / GPRS / EDGE network to cover the southern areas of Pakistan, centered around Islamabad.

Further enhancements in data capability over the core GPRS / GSM network will be provided in both networks with the installation of Enhanced Data for Global (GSM) Evolution technology. This component of the two systems will be installed after the initial roll-outs and will allow the subscribers to have the use of advanced mobile services such as downloading video and music clips, full multimedia messaging, high-speed color Internet access and email on the move.

Nortel Networks will upgrade Ufone’s existing wireless systems and supply new GSM/GPRS core network and radio access equipment, including Mobile Switching Center, Home Location Register (HLR) and advanced Base Transceiver Stations (BTS).

A key component of the Ufone expansion will be Nortel Networks BTS 12000, designed to deliver additional capacity within a GSM/GPRS network while positioning operators to drive lower costs and to offer advanced wireless services based on third generation (3G) EDGE (Enhanced Data for GSM Evolution) technology. The expansion will also include Nortel Networks Passport Packet Voice Gateway (PVG) for migration of TDM voice trunking to a packet-based infrastructure.

7. Benefits

As highlighted previously the need to reduce business risk and make the best use of existing resources is of paramount importance within today’s business environment.

7.1. Financial

GSM based networks have become the standard within the cellular landscape. As EDGE is a GSM based technology and provides an enhancement for GPRS at a little additional cost it is considered the best way in which to capitalize on existing resources. [1]

7.1.1. Radio Access Network

In most cases GPRS enabled base stations and BSC’s can be simply upgraded to EDGE by way of relatively low-cost software and hardware upgrades, which will pro-long the life cycle of the deployed RAN elements.

7.1.2. Core Network

For GPRS enhancement, there is very little modification to be completed within a GPRS enabled core network, thus enhancing the sunk core network investment.

7.1.3. Antenna Sites

There is no requirement for additional antenna sites when deploying EDGE. Assuming high quality linear amplifiers with high RF output power are used within the BTS, the coverage pattern will be the same as the existing GPRS deployment, so protecting existing site investment.

7.1.4. Spectrum Utilization

EDGE triples the GPRS data capacity whilst using the existing GSM spectrum and offers up to three times the GPRS data rate to the end user. EDGE is spectrally the most efficient radio technology for data applications requiring up to 100Kb/s throughput (compared to CDMA and WCDMA), and only WCDMA is spectrally better for higher throughputs.

7.1.5. Applications

GPRS enabled applications and services will generally not require any additional investment to become EDGE compatible. This is also valid for known WCDMA applications.

Although the financial benefits of EDGE can be apportioned to individual network elements as outlined above, one of the main business drivers is that EDGE forms an essential part of the overall GSM evolution towards a seamless multi-radio GSM/ GPRS/EDGE/WCDMA network. As mentioned previously GSM is the main standard for cellular communications worldwide and the business benefits of deploying an industry standard technology can be seen in nearly every aspect of a network deployment, from end-user devices, to applications to hardware.

7.2. For Operator

Operators can also experiences the advantages of EDGE in following ways.

7.2.1. Migration to wireless multimedia services

The operator can increase data revenues by offering attractive new types applications to end-users.

7.2.2. Improved customer satisfaction

Increased data capacity and higher data throughput will decrease response times for all data services, thus keeping end users satisfied and connected.

7.2.3. Early deployment of 3G type applications

EDGE networks are expected to emerge in year 2001, when mature markets are likely to start demanding multimedia applications.

7.2.4. Quick network implementation

EDGE will not require new network elements and EDGE capability can be introduced gradually to the network.

7.3. For User

7.3.1. Improved quality of service

Increased data capacity and higher data throughput will eventually satisfy the customers’ need for QoS.

7.3.2. Personal multimedia services

Attractive new types of applications and terminals will become available.

7.3.3. Potentially lower price per bit

Lower cost of data capacity for high-speed data applications gives the operator flexibility in pricing.

8. Conclusion

While the tug of war between access technologies – CDMA vs. UMTS vs. GSM — continues to be debated globally, EDGE provides an ideal solution for GSM carriers to add data capacity using limited spectrum. Keeping in view the fact that GSM supports more subscribers today than any other access technology (roughly 65 to 70% of the global subscriber market), and that GSM/GPRS operators are scrambling to add capacity to support user growth and launch next generation data services, the increased capacity and throughput offered by EDGE becomes very compelling. And, in a market where wireless carriers must squeeze the most out of capital outlays–past and future, it is no real surprise that we are going to see a renewed wave of interest in EDGE from our GSM customers.

Today the position of EDGE as a technology evolution of GSM is clear. Initially promoted as an alternative to WCDMA and generally a niche technology, EDGE is now regarded as a key enabler for GSM/EDGE and WCDMA operators alike. Being able to drive business value from existing GSM infrastructure and spectrum is one of the main advantages, and along-with the ability of EDGE to reduce CAPEX, time-to-market and time-to-revenue, with regards the delivery of global high-speed data services, EDGE is a must technology.

The cellular companies working in Pakistan did not have the license for the EDGE. Now as the introduction of some new companies like Telenor and WARID, it is possible that in near future Pakistan will also be able to use this facility. Then GPRS can become a real important factor in cellular network, as the people in Pakistan will use the Internet not only for downloading ring tones but also can enjoy the streaming videos by their cell phone and so many other facilities.

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How To Change Artist Name On Apple Music For Artists Working With Chet Atkins – An Interview With Jimmy Moore

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Working With Chet Atkins – An Interview With Jimmy Moore

Tom: Can you tell me a little bit how you got your first start with photography?

Jimmy: We lived in this little small town, Lawrenceburg, TN. There was one small magazine store that got Popular Science Magazine and Popular Mechanics and I just read everything in there. I wanted to be an artist, and I kept trying but then I started thinking of doing photography when I was about 14. By the time I was 16, my dad bought me a kit to develop my own film. I found this old camera upstairs in the attic that was my grandmothers. It was an antique folding camera with bellows. She gave it to me. The bellows had so many holes, the pictures you would shoot would have white spots all over the film.

So I went in and rebuilt the bellows with cardboard on the inside. Then I did a balsa tack thing on the outside to make it more sturdy and I got it to work. I made pictures with it for a long time. The newspaper here saw some of my pictures and they started using them. The editor there was a friend of ours, and he just kept encouraging me. He said, “Let me show you how to get a story. Let me show you how to get things people want to see.” I guess my first break was when I started to win Sunday photo contests in the Nashville Tennessean. Seemed like I was winning almost every week.

My dad knew a guy at Union Carbide Corporation here in Lawrenceburg that did scientific photography. The guy called me and said “I want you to come down here and interview for this new job working with the Center of Space Flight on an Air Force contract. They want a research photographer.”

I did not think I was on that level just because I had won a newspaper contest but I went for the interview. Dr. Raymond Dull was the scientist there. He said, “You got any experience with microscopes? Infra-red, ultraviolet photography? Metallography?” and I said, “Sure.” The truth was I was working at the bicycle plant at the time.

But he called me back, and I took a test which I made a high score on. He hired me first as an hourly employee. I was the only research photographer on that project then. Within a month and a half I went on salary and they made me the director of photography. That was in the Advanced Materials Lab. They trained me there to be a metallographer and I did all the microscope photography. Anyway, that was where I think I really learned the basics.

One photo won an international prize from the ASTM (American Society for Testing and Materials). The photo knocked them out. It was a closeup of the re-entry shield for the Saturn rocket. The photo is shot through a microscope. It’s a magnified photo of the graphite heat shield particles. The funny thing about it was that it looked like modern art. When Union Carbide went up to New York, they had the pictures that won the contest displayed in the Museum of Modern Art up there.

We would grind down samples of polygraphite and uranium and other materials they use to make the heat shield. They polish it to a real high gloss with diamond dust. It’s a hard process, but when you get it done, you’re looking at the basic structure of it. The microscope goes down 1000 times magnification and you can see the structure. They were trying to find something that got stronger as it heated as opposed to steel which gets weaker the hotter it gets. That’s what they needed for heat shields. When I went to the Smithsonian Air and Space museum I saw they still had that capsule.

Jimmy: One of my heroes and mentors there was a German named Carl Ziess. He taught me so much about heat transfers and things like that. I just ate that up, because it was like the things I read as a kid in Popular Science magazine.

Tom: This was another employee at the lab?

Jimmy: Yeah. He was a real scientist. Odd fellow. He’d climb the Matterhorn every year. He was really a way out guy. He advised against drinking water because of impurities, pollution in the water. He would say alcohol is better for you. Some of those guys we still have in research are people that think a little bit outside the box. People think they’re crazy, but sooner or later, you go, “Oh, that worked.”

After 7 years I finally told Dr. Dull that I had not initially been truthful about my experience and he said, “I know that, but I’d rather have somebody like you that wanted to learn and do it right instead of some engineer out of college that comes here and tries to tell us what to do. You have worked out perfectly.” That just made me feel much better.

Tom: Can you tell me how you made the switch from a scientific photographer to music?

Jimmy: Well, even before I went to Union Carbide I was shooting gospel covers for JD Sumner, the Statesmen and the Oak Ridge Quartet, which was their name before becoming the Oak Ridge Boys. I won the Dove award for the best album cover for the Oak Ridge Boys’ gospel album “It’s Happening” in 1969.

I had done gospel for a long time, and even while I was working at Union Carbide I’d go shoot artists on the weekends.

The real transition was when John D. Loudermilk the songwriter wanted to meet me. He came to my house and we just hit it off perfectly. I think it’s because we are both borderline crazy. He’s a great songwriter.

He said, “I want you to meet somebody,” I had no idea who he meant. He took me in there to Chet’s office and John says to Chet, “You’re a damn fool if you don’t use him, because he’s the best.” Chet waited a minute and then looked up and said “Well, I won’t be a damn fool. Okay.”

I was very embarrassed. I was meeting Chet Atkins for the first time, and here’s this crazy songwriter going, “If you don’t do this… “

I was always nervous around Chet at first, but after I got to know him it was just like being with your brother.

After that it wasn’t a week until Felton Jarvis, who was a producer at RCA called me and said that Chet had suggested me for a shoot. Mr. Jarvis wanted to know if I’d shoot an album cover picture of Willie Nelson. I said yes and he told me where to go and what time. So I hung up the phone and my wife said, “Who was that?” I said, “That was Felton Jarvis at RCA. Chet told him to call me to go shoot an album cover of Willie Nelson.” She was quiet for a second and then said, “Who’s Willie Nelson?” and I said, “I don’t know.”

So we got a Billboard magazine out, and we found him. I said, “He’s a songwriter.” That’s before he was really famous. It was ’68 or’69. It was his early stuff with RCA. He’d done albums before, but he’d had a hard time. He’d written some great songs. I shot his photo for the album “Both Sides Now”.

When Willie came to Nashville, he couldn’t give a song away. We used to ride around together and we got to be friends. I took his family pictures and and other things. He didn’t have enough money so we’d have to put our money together to get 2 beers.

Tom: You and Willie?

Jimmy: Yeah, and Willie’s wife at the time, Connie. Willie would appear in a place in town like the Captain’s Table, and we’d go down there. It’d be happy hour and there would be a total of 3 people in there – me, Connie and Willie. He never gave up. He was unusual and different and worked hard.

Chet told me once, “This guy Willie Nelson is going to be a big star, he is going to be at the top.” Chet was almost always right about most of the people he helped.

Tom: Why do you think Chet was so successful that way? Did he have a knack for finding stars?

Jimmy: Chet knew good songs and what was different. He knew Willie had something and his songs are great songs. Other people record Willie’s songs and they have done very well.

Chet also helped Dottie West and Dolly Parton. Dolly Parton came to him as a teenager and he said, “You go back and finish school and then come back here and I’ll help you,” and she did.

He read people really well. He read me right off. When my first book came out he wrote a little thing on the back that says,

“Someone once said if God really loves you, he sees that you are born in the country near a small town. He must love Jimmy Moore, because in addition to being a country boy born near a small town, he is a very talented photographer and writer. You will enjoy sharing some of his experiences via his camera and pen. – Chet Atkins”.

I was honored he wrote that for me.

Tom: Before you were introduced to Chet did you listen to his music?

Jimmy: Yes, I knew about Chet Atkins. I had bought some albums and I watched him on TV.

Tom: Do you remember what the first Chet album was that you shot?

Jimmy: The first cover was “Chet Picks the Best” where he’s bent over the guitar, and the last photos for Chet were the inside photos from “When Fingerpickers Took Over the World.”

Tom: When you are shooting these album cover photos for artists, does the artist typically get involved with you in the collaboration of what photos you’re going to take?

Jimmy: If Chet was producing he would tell me what to do and I would go shoot it. If it involved the artist being in the photo I always tried to spend some time with them one day and shoot the next. I wanted to know them better than just shooting them the first time we met. I never used flash or anything. I just set up something really natural, then shot what I saw. I think it’s why Chet liked my work.

Tom: So you would hang out with Dolly Parton for a day to get to know her better, and then shoot her photos?

Jimmy: I didn’t get to do that all the time, but most of the time when I did do it I got good covers. A good example would be Jerry Reed. Jerry Reed loved to go shoot pictures. Chet would tell him that I was shooting the project and Jerry would come out to Lawrenceburg in his Jeep and we’d ride all over middle Tennessee taking pictures.

Tom: How did you decide which photos to turn in?

Jimmy: I’ve learned to take the “bad” ones out all together. You would be amazed at how some covers get picked. Sometimes artists would just let the secretary at the front office pick them and her reasoning would be, “He’s wearing a red shirt that’ll show up better.” RCA was continuously arguing with New York about whether the picture meant anything to an album. They would end up putting bright green lines and pink letters and all that over top of the photo. I would just raise Cain about it.

Chet would get tickled about that. He said, “I’m afraid up there they don’t think that we can do something artistic.” I said, “Well, I’m going to keep trying.” Finally I got to where I kind of broke through. I knew a couple of designers up there, and they would give me more leeway but that was a long, hard battle.

Tom: How well did it pay?

Jimmy:We used to shoot covers for $200 early on in my career. My last cover I think was $1500 a day plus expenses. But I remember when I was shooting for $200-300 down here. Jim Marshall in New York was charging $6000.

Jimmy: Sometimes when artists became famous or very successful, they would change photographers. A lot of them did because they wanted to go big time. I understand that and I didn’t take it personally. Some artists stuck with me such as Kenny Price, Roger Miller and Tammy Wynette. I felt honored to be able to shoot a picture of a star that was already a star.

Tom: You described your business relationship with Chet, but it also sounds like there was a friendship.

Jimmy: I think we were close friends, because he would tell me things that he wouldn’t want anybody to know. If somebody in my family passed away, he’d call me and talk to me about it. He would write me notes. If I went by his office and missed him and I left a picture or something I thought he might like, he’d write me and thank me for it and say come back by. He did thoughtful things that I know he didn’t have time to do for all his friends. He must have had a million friends.

I was always careful not to take too much of his time. Chet would call me at night, and we’d just talk about stuff, we wouldn’t talk about the business. We’d talk about people and simple solutions to the world’s problems.

One time I was in Chet’s office and I said, “Someday I want to learn how to play the guitar.”

He didn’t say a word. He just got up real slow and walked over to the closet and pulled out a guitar and said “This is yours.” Then he walks over to the other closet and gets his “Chet Atkins Guitar Method” album. Shows you how to do the chords and you sit and listen to it. I wanted to learn how to play the guitar and I worked on it for a few months.

Later I was up there one day and he said, “Show me what you’ve learned.” I thought I was going to faint. I start picking and he’s right in front of me which made me very nervous. I did about two or three chords very badly, and he reaches over, and puts his hand on the top of my hand on the frets.

He says, “Jimmy, I’ll make a deal with you. You don’t play the guitar, and I won’t shoot pictures. I’ve never discouraged anybody, but your fingers are not wired to your brain for this type of thing. Your mind is wired for what you see. I’ve never done that to anybody.” I said, “Okay, I’ll bring the guitar back.” but Chet said, “The guitar is yours.” I still have it.

Tom: He wanted you to keep the guitar?

Jimmy: Yes, he did things like that. It would always surprise you, but I’ve heard so many stories about him and the things he did for people, like sending some promising young kid to Julliard for 4 years, and they never knew where the money came from. Now that to me is the mark of a man, you know?

Tom: Tell me about your time with the Johnny Cash Show.

Jimmy: My partner and I had a company called New World photography. A friend who worked for the Hall of Fame invited me to the taping of the TV Pilot for the show. And so by luck I had gotten up in the front row and then had the opportunity go backstage. This lady that worked in the Hall of Fame took me back there and I talked to him. He said, “I’ve seen some of your pictures.”

I knew he liked trains and I told him I had written some poems about trains and there was one called “Last Train to Memphis.”

It was about the train that comes to Lawrenceburg, a little pasture train. The last time the train came through I was sitting at the depot that day writing. It was foggy and just perfect for writing poetry. I wrote the poem and then a policeman drove up. He hollered at me, “You need to go to the hospital as soon as you can. Your dad’s there.” I went out there and my dad had died.

After that first meeting Johnny went on the road and I sent some of my pictures and also wrote about my poem and sent it as well. He called about 2 days later. He said, “I love this poem. Can I keep it? I might want to use it sometime in a show.” I said, “Yes, you can.” We talked for a few minutes, and then he had to take another call.

His secretary called me the next day and said, “Jimmy, Johnny just wanted you to know that you got the ABC contract in New York to be the official photographer for the Johnny Cash show for 2 years.

I had a great time there. He had so many great people on that show.

One year Johnny Cash asked me to come out to their house to take the Cash family Christmas card photo. That was an honor for me, except when they were trying to pose for the picture, Johnny’s son in law kept making wisecracks and Johnny was so tickled that we just could not get the photo. We tried half the day. They ended up using a montage of photos on that year’s card but boy we had a good time.

Another fond memory I have of Johnny Cash was when he called me once and asked me to join him at the Country Music Hall of fame. He was hosting a visit by pop star Stevie Wonder who was coming in for a tour.

Since Stevie Wonder is blind they set it up so that the plaques were taken down and handed to him so he could touch the engravements with his fingers and feel the contours of the facial busts of the stars. Johnny hit it off immediately with Stevie Wonder; they were laughing and getting along like old friends.

Tom: It sounds like you had a lot of referral work from artists.

Jimmy: Chet used to jokingly tell people he was my agent. I wrote a poetry book called “A Value of Time” and Chet gave it to a bunch to people. Chet loved it and bought boxes of it. He’d give them to his friends. I saw Dolly Parton in Chicago once, and she said, “Chet gave me your book!”

Tom: Tell me more about this book.

Jimmy: It was a book of poetry published by the Benson company. Benson primarily published religious books. Mine was just free verse poetry but as a result of Benson being the publisher it was only initially carried in religious bookstores. It sold out. It was stories about people, about love, about families and animals and America and things like that.

Tom: I think there was another Jimmy Moore that wrote a couple pop songs that got on Chet’s album, but that’s a different Jimmy Moore correct?

Jimmy: Yes. Thank God there’s more Jimmy Moores. If somebody does something wrong, I can go, “That wasn’t me. That’s that other one.”

But I did write one song with Dottie West. She recorded it on a demo but they never published it. They never put it out on record. She and I were best friends and we were planning on going into the greeting card business. I’d write poems, and she’d write them too. At night I used to call her, or she’d call me. I would read some new poems to her, and she’d sing a new song to me.

Tom: Tell me about the photo on Chet’s album “Hometown Guitar”.

Jimmy: One of the most enjoyable times I ever had with Chet was when he and I went to his hometown, Luttrell, Tennessee to shoot an album cover. We left Nashville early one morning in a rent-a-car with cameras, film, guitars and a truck load of clothes and several boxes of those little cigars Chet liked to chew on. We talked the whole time in the car on a variety of subjects, like photography, music and the worlds problems.

As we drove into Luttrell, Chet began to talk: “There is the place where I heard a jukebox play for the first time, and over there is where I saw my first guitar, and over there is where I started to learn to play”. I could not believe my ears. I was with the greatest guitarist in the world and he was showing me where it all began and telling me in his own words.

He showed me the little short cut trail he would take through the woods to walk to school every morning and the old store where he and his buddies bought candy after school.

As we pulled up in the yard of his childhood home I noticed a little gray-haired lady sitting at the top of the steps on the porch. It was his mother, Ida Sharp Atkins. Chet reached out and hugged her and said “Mom this is Jimmy Moore, a friend of mine from Nashville”. She said, “Hello he has mentioned you before, you are the photographer” and I said, “Yes, Ma’am”.

Chet and his mother Ida Sharp Atkins on the porch in Luttrell

Chet and I went down to the old railroad station to see if we might use it on the album cover picture. We both thought it was a good idea, because the old wooden sign hanging on both ends of the depot identified the stop as Luttrell. We shot several rolls of film, mostly of Chet walking along the tracks with the depot in the background.

We went back to the house and his mother made sure I was stuffed with dinner which was fried chicken, mashed potatoes, vegetables and apple pie.

That trip was one of the highlights of my life, and inspired me to write the poem that is on the back of his album called “Alone”.

Tom: What did you do with Hee Haw?

Jimmy: I had the idea to do some short films for Hee Haw. I thought it might be funny to do some films sort of Charlie Chaplin style. These are very brief segments they use when the program is getting ready to drop out or between the main skits. There would be a lot of falling, jumping, etc. in these shorts so I hired a stuntman. Well we got our 16 mm camera and we went out but the stuntman did not show up.

I had done some TV commercials where I did falls and could do falls with tables and all that so I did the running and the falling and goofy stuff. We put it together and took it to the director, Bill Davis.

He took it off to Beverly Hills and a few months later I got a call and he said, “You got the contract – provided that you are the stunt guy.” I said, “I don’t want to be the stunt guy. I want to be the camera guy. I’m a photographer.”

But he said, “No deal. Your stunts are great, you’re funny. How many people can fall out of the upstairs of a barn and get up and run off?” So I had to do all that or there was no deal.

Bill Davis and I got to be friends, and we were put on as members of the show. I got to use some of my other friends on it sometimes. They’re still running in syndication and I still get checks from all over the world for them.

Tom: I know that there were so many pictures of Chet that you took. Do you have Chet pictures that were your favorites?

Jimmy: I’ve got several. That one where he was bent over the guitar on “Chet Picks the Best”. I did a cover for Nashville magazine that was real good of him, and I’ve done a lot of candid stuff. I’ve got probably thousands of pictures that he never saw. I did a lot of portraits of him and a lot of pictures of him with his family.

Tom: Tell me about the black and white photo that was on his biography.

Jimmy: That was the book Red O’Donnell did with Chet. It was a profile of him. It’s just solid black and white. That was one of the first pictures I made of him and what folks don’t know is that in the original picture he was with George Hamilton IV. George was right behind him in the original.

We didn’t have Photoshop back then, so when I got home I took black markers and marked out George. Then I made a mask and printed that picture like that. When Chet saw it, he said, “I want that to be on last album.” Of course, things change and that didn’t happen, but I like that picture and I know members of his family like it.

Tom: What did you think about Jerry Reed?

Jimmy: He was a wild man but he was so talented. He’d pick anything. He was great to photograph. He would just get in the right positions. I’ve got thousands of pictures of him, and they could all be covers.

He was just electric. You never knew what he was going to do. We were in a restaurant once just getting a Coke and the waitress said, “I know who you are.” He said, “You do?” She says, “Yeah, I’ve seen you on TV.” and Jerry says, “Well, who am I?” She says, “You’re Chet Atkins.” He says, “That’s right!”

Tom: She thought he was Chet?

Jimmy: It was hilarious but that’s how he was. Chet loved him for that, because he never knew what Jerry was going to say or do. Sometimes he would just amaze Chet with his picking. Sometimes he would just pick just unbelievable. So did John D. Loudermilk. He was a genius, really. He could pick classical music just like Segovia.

Tom: I know that you also have been involved with military contracts and emergency management. What can you tell me about that part of your career?

Jimmy: I started really as a kid getting interested in civil defense and eventually became civil defense director in Lawrenceburg which eventually led to a job with the Tennessee state emergency management department.

Basically, I traveled all over the state and provided photography and videography at disaster and emergency sites. Then I worked for the National Guard on disaster missions. I taught soldiers videography and photography which helps document damage and also improve preparedness and responses for future events. I’ve spent lots of time shooting photos and videos out of helicopters.

Tom: You were present in New York after the attack on the World Trade Center on 9/11/2001 correct?

Jimmy: Yes. I was at home that morning and got a call from my director asking me to turn on the TV. That was just after the planes hit the buildings. They told me to quickly pack and head to the airport. I was in New York by the late afternoon taking pictures there. I spent twelve days on the ground serving as mission leader of the National Guard’s Rapid Response Documentation team.

Tom: What was the scene like? Is what you remember different than what you think most Americans remember from what they saw on television?

Jimmy: I remember how much it shook me up. I had seen bodies and body parts before but the huge scale of this was overwhelming. There were police and firemen and soldiers all in shock. Many folks who were used to seeing bad things; they were just really shaken up and crying as was I. It changed my life and the way I looked at things.

Tom: You shot John Loudermilk’s covers as well didn’t you?

Jimmy: I shot John’s cover, and I got nominated for a Grammy. I didn’t win it. Jim Marshall won that year with a picture of Bob Dylan which was really great.

Tom: Sounds like you really have a lot of creativity in you. Can you just tell me about the processes that you think you go through to try to create something, whether it’s photograph or poetry. What do you think sparks your brain to work?

Jimmy: If I’m taking a picture, I do it the way I see it. I know all the rules, what’s supposedly correct, composition and all that. But I’ve always believed the way you shoot it is to get just what you want, so that’s what is correct.

Sometimes I have to feel something in my heart to do things that are heavy. That is how I felt when I wrote that poem on the back of Chet’s “Alone” album. I think that most of my work that has done well are things that I honestly feel.

Tom: You give everything your best and try to do your best work all the time.

Jimmy: I do. I’ve worked all my life. My wife said, “When you get bored, you get in trouble.” So I need to not be bored.

Tom: Thanks Jimmy

Jimmy: Thank you.

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How To Change Apple Store Country Without Cancelling Apple Music It’s a Big Multi-Media World Out There – Creating an Integrated Marketing Plan For Your Brand

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It’s a Big Multi-Media World Out There – Creating an Integrated Marketing Plan For Your Brand

Consider these statistics: 104 television channels in the average household. Over 12 million Blackberries used in 2008. Nearly 52 million iPods sold in 2007. More than 53% of Americans watch videos online. Almost 20% of Americans listened to podcasts. [1]

Americans are multi-tasking through various media channels. They are listening to iPods while surfing the internet. Many are working on laptops while watching television.

Now, ask yourself: “Have I utilized these mediums in my marketing and branding efforts?” If not, your brand could be lagging. In fact, marketing strategist Kaihan Krippendorff believes companies must employ an integrated approach to marketing or else they will fall behind the competition. According to Krippendorff, approximately 60% of the sophisticated online companies in business employ integrated marketing strategies today.

Melding Tradition and Innovation

With all of the available technology – and the consumer’s penchant for using it as evidenced above – a stand-alone brochure or use of a single, traditional medium can no longer build or sustain a brand. Building a brand is a process that doesn’t happen overnight. It requires a strong, consistent message that resonates with your constituents and is sustained over time. However, employing an integrated strategy that delivers a consistent message and leverages today’s marketing channels can help give your brand a good head start.

Building an integrated marketing plan that incorporates the right vehicles across multiple channels to communicate your message can support your efforts to create a strong brand. There are many aspects to consider: Who is your audience? What channels do they use for communication? What expectations do they have about how you communicate with them? How can you engage with them most effectively? What message will you deliver? What must you do internally or operationally to support that message? An integrated approach should take into consideration the following elements:

  1. Traditional mediums, such as broadcast media, print media and direct mail. These tried-and-true methods still have value for reaching certain target audiences and delivering brand messages for particular products and services in certain industries.
  2. Online and digital mediums, including websites, email and both handheld and mobile devices. The statistics indicate that growing numbers of consumers are turning to online and digital mediums to communicate, obtain information, share data, and receive messaging that can influence their buying decisions. These mediums offer direct and sometimes more cost-effective ways to reach and engage specific audiences with your brand message.
  3. Viral and word of mouth marketing tactics. Word of mouth marketing combines online and offline mediums with the most basic human behavior – talking. Your customer can actually be your greatest advocate. Techniques that help virally spread your message through the voice of your customer should be considered as a part of your marketing mix and brand strategy.
  4. Internal operational processes. Equally influential in building and sustaining your brand, operational practices are often overlooked when creating an integrated marketing strategy. The human interaction customers have with your company – be it sales or service – can make or break their future purchasing plans. But it’s not just client-facing employees that affect the brand. If your back office operations fall short in processing orders or are indifferent about defective products or services, the effect can be devastating to a company’s brand.

Podcasts, collective intelligence, peer-to-peer networks like MySpace, blogs and RSS feeds are a few of the latest communication mediums used in marketing. There continue to be new and innovative ways to communicate your message to your target audience. Regardless of the latest innovative technique, no one medium or channel will suffice today. It is clear consumers receive messages, process information, and communicate with one another and with companies in multiple ways across multiple channels. To be an effective marketer in today’s marketplace, you must take an integrated approach that combines time-tested marketing mediums with the power of evolving technologies and the desire for human interaction if you are to build a powerful brand.

The Reasons You Won’t and the Reasons You Should

Despite all the evidence to the contrary, many executives find reasons not to implement an integrated marketing approach. They see the following as obstacles:

  • Lack of resources to implement
  • Insufficient barometers to track results
  • Too little time available and too much reorganization required
  • Inadequate understanding of how to use different marketing tools and what their benefits will be
  • Inability to implement this approach into the business strategy, since it will evolve and change over time

Though it’s easy to dismiss integrated marketing with the above excuses, in the long run, the benefits far outweigh the challenges. Benefits include:

  • Gaining an edge over the competition
  • Securing customer loyalty
  • Fostering goodwill in the community
  • Developing collaboration from your employees, constituents and the community and in turn, their dependence on your organization

With the know-how and a strong plan, integrated marketing can turn a company around, take it to the next level and secure sustainability into the future. JetBlue understands this premise. Due to inclement weather in February 2007, the low-cost airline was forced to cancel nearly one-fourth of its flights at 11 airports, stranding thousands of passengers. JetBlue took three integrated marketing elements (direct-apologizing in newspapers and magazines; online-doing the same at the website; and operational processes-drafting a customer bill of rights) and quickly set about wooing back customers. It worked. Today, JetBlue is back on track and consistently voted a favorite among travelers.

Integration, Not Separation

No matter how pervasive your marketing efforts, they’ll be for naught if your sales and marketing and operational teams are not on the same page. Don’t believe me? Just peruse the myriad of online forums consumers can visit to check out products and services or rant about bad experiences with them. As mentioned above, there has been more than one instance where a consumer has sworn off of a business due to a bad experience with the sales team or customer service. The airline industry is inundated with such scenarios.

The same holds true for disparate approaches between your organization and the various agencies or consultants you hire to help drive your brand. If they are not clear about your marketing approach and what your brand represents, the message will get muddled. Similarly, just one “bad apple” in your bunch can wreak havoc on all of your hard work. Additionally, everyone, from the board of executives and the marketing team to the sales representatives and the IT department, must share the same vision and goals for the company. In order to achieve this, all members of your staff must understand the customer and the brand, and properly execute their role in delivering on the brand.

As mentioned earlier, building a brand isn’t just about employing traditional “marketing” functions such as direct mail campaigns and media relations. Instead, it takes a more comprehensive approach that includes customer service scripts, sales tools/training, investor or shareholder relations, community outreach, customer maintenance or service, and industry partnerships. Consequently, it ensures that everyone speaks the same language, sends the same message and delivers the same quality product or service.

By creating an integrated marketing strategy with a team that embraces it and is willing to work together to implement it, you will be able to effectively manage your brand and optimize the promotional and marketing channels used. If your organization traditionally is reluctant to collaborate and share information between departments or outside the company, then your first order of business will be to get everyone in sync before moving forward. Why is it integral to the brand process? Without it, you run the risk of missed opportunities, conflicting messages and confusion in the market about your brand.

Collaboration and Integration at Its Best

There are many companies that have deftly and successfully built a brand through integrated marketing. Here are a few examples:

Abercrombie & Fitch: This apparel company has created a strong brand and a lot of buzz over the years, both good and bad. Abercrombie & Fitch (A & F) employs distinct integrated marketing plans for each of its three entities–A & F, Hollister (the teenager’s version of A & F) and Abercrombie (for the elementary school set). The company combines key components to create a readily recognizable brand. Their fresh, all-American models are often recruited/casted from their stores. Along with the models, employees, visual displays, marketing materials and communications exude an ultra-cool vibe to which its demographic longs to aspire. The company’s Hollister store accomplishes a similar integrated marketing strategy, but takes on a laid-back surfer persona. A & F leverages its website to tout its hipness and reinforce who the customer is or wants to be, and features models discussing their interests in slick black and white videos. Website visitors can also click on the company’s own web-based radio station to hear current music that is played in their stores. Even Mad TV parodied the store’s distinct brand a few years ago. Every customer contact, store soundtrack, visual display, staff member and store layout contributes to marketing the brand. In the spirit of extending the integrated marketing concept to include operational functions, A & F implemented broadband in its stores; thereby improving online security, in-store transactions, employee training programs and more, all of which enhance the customer’s experience.

Disney: The Magic Kingdom’s creator, Walt Disney, was not only visionary in planning but marketing as well. Disney has been using integrated marketing for years. They are masters of creating a mental image that will resonate with their target audience. You can download a Miley Cyrus (aka Hannah Montana) video from the website. There are also games at the website as well as portals through which visitors can enter the world of a Disney character like Wall-E to build a robot or explore one of his trucks. Their events and destinations present a myriad of opportunities for visitors to interact with the characters and become part of the action; thereby reinforcing their philosophy that anything is possible and you can create magical memories. Customers can also “experience the world of Disney” through their cell phones merely by texting Disney. Its radio division has expanded beyond the traditional airwaves to include a branded section at Apple’s iTunes store as well as a music channel on Verizon/VOD.

Harley Davidson: Back in 1983, Harley Davidson was just barely hanging on by a thread. There was no cash flow, waning employee morale and a more than lackluster consumer market. Today, the company is thriving and ubiquitous. Harley Davidson boasts a strong brand, thanks to a very strong integrated marketing program. Aside from the obvious tools like the bikes, merchandise and stores, Harley Davidson employs multi-media channels and operational tools that have strengthened their brand and the company overall. Utilizing interactive technology, customers can create customized Harley Davidson “skins” for their MP3 players or cell phones. The company also hosts “Try a Bike” events throughout the country, where you can test ride a demo bike. Harley Davidson makes it easy to reach customers and convince them that owning one of their bikes can be a reality. They do so with features such as a payment estimator, a budget calculator and learn-to-ride classes. There is a lot of “involvement/engagement” marketing at Harley Davidson. Bikers can utilize interactive road trip planners and maps. Fans can also share their “creeds” for the road with other fans at the website. Factory tours, a Harley Davidson film at the website, blogs and a museum dedicated to the motorcycles round out their marketing. The organization also participates/volunteers with many groups such as Big Brothers Big Sisters and the Muscular Dystrophy Association. From the back-end, Harley Davidson took the concept of the factory’s self-managing groups and implemented it at the executive level. Doing so ensures that customers will be happy and return again. Moreover, the company will thrive through a stronger brand. Ron Hutchinson, Vice President of Parts, Accessories and Customer Service for Harley Davidson, said “In the final analysis, I’d say the customer service department, where you spend eight hours a day taking phone calls from unhappy customers, is a true test of whether the Business Process works or not. I’m convinced that we wouldn’t have the reputation we have today in the marketplace if we didn’t have front-line people excited by charismatic, visionary leadership, who can see exactly how their little piece of the organization fits into the long-term strategy and direction of the company.”[2]

These three organizations do a stellar job of triggering multiple senses in their customers and they all repeat the same impression over and over again to leave a lasting image. And while multi-media channels can go a long way in achieving these things, there is no better way to accomplish it than through engaged employees who feel proud to represent the company.

Final Thoughts & Tips

Branding is complex today and requires more forethought and planning than ever before. That’s not to say that it should be set in stone. Quite the contrary. It should be malleable and adaptable, with a framework that can respond to today’s ever changing environment and provide clarity in the decision-making process. By understanding the current landscape, you will enable the employees tasked with managing the brand’s various components to ensure that their initiatives “fit” the message and direction.

Customers don’t distinguish your brand by the vehicle through which you market to them. Integrated marketing allows you to create a customer experience that is seamless and holistic.

Upfront “thinking” and planning, along with rubric development and benchmarks, will make way for not only a more integrated approach in an organization’s marketing and communications efforts, but a successful one too.

[1] Statistics from a PRNewswire presentation by Kaihan Krippendorff.

[2] From “Harley Davidson: Organisation-led Integrated Marketing”, Jenkinson, Angus and Sain, Branko.

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How To Change Apple Music Subscription From Individual To Family Internet Connected TVs – The Idiot Box Smartens Up

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Internet Connected TVs – The Idiot Box Smartens Up

Smart TV evolution

The expectation of our TVs have changed – we now expect our set to do a lot more than just flick through broadcast TV channels. Consumers have been given a taste of a vast array of online content made available through TV sets, allowing the viewing of programs that may have been missed through apps such as Plus7 and I-View, and “renting” of new release streaming video straight from the TV from apps such as Bigpond TV. Content that we traditionally only accessed on our PC is now made available to us through our TV sets, Blu-Ray players and Home Theatre systems – closing the gap between internet and TV.

Movies

One of the most attractive capabilities of Smart Televisions is the ability to stream movies via the internet straight onto our big screen. This has revolutionised the manner in how a lot of people are accessing their movies, with the video store rental industry starting to really feel the pressure. In fact Samsung have just announced they have signed a deal with blockbuster to bring more movies to Samsung devices. The new Blockbuster streaming service is expected to land in the US and Europe in early 2012, and in Australia by September.

Bigpond Movies has been available on Samsung and LG TV’s for a couple of years now, and this represents a collection of thousands of new release and back catalogue titles which are streamed to your TV via the internet. No more leaving the house to go to the video store, or amassing late fees for that disc you forgot to return.

Quickflix has been available on Sony TVs and Blu-Ray players previously, and thanks to a recent deal Samsung join Sony in partnering with the online DVD subscription service and developing an app that will allow Australian users to stream video content to their Samsung Smart TVs.

Sony also bring us their own streaming service – Video on Demand, offering late release movies in the option of HD or a cheaper SD version – for those of us who don’t have the fastest internet speeds available or just tightening our wallets.

Consumers are also beginning to take up services such as Telstra’s T-box and Optus’ similar service FetchTV, over traditional cable or satellite connections from Foxtel and Austar. This has developed into a billion dollar industry in Australia – with nothing but growth forecast into the near future.

There is also a plethora of Multimedia devices available on the market such as Apple TV, Boxee and WD Live so we now have the widest option of internet content made available for us to watch on our TV screens than we have ever had before. Two of the more powerful Media centres have emerged from Sony’s PlayStation and Microsoft’s Xbox, with the latter also recently able to stream a wide selection of Foxtel channels including movies and sports via the internet. Both also have movie streaming services available.

Television

Smart connectivity also opens up many options for us with regards to television channels. Almost every major television manufacturer has ABC’s popular I-View app pre loaded into their menus. ABC iview is a catch up service featuring the best of ABC TV. You can watch your favourite programs in full screen at your leisure. Most shows are available to watch for 14 days and new programs are added every day.

Another ever present app in any Smart TV’s arsenal is PLUS7. Plus7, from Yahoo and Channel 7, offers video streaming of full length episodes as seen on Seven, 7mate and other content partners. High quality, full screen videos are available for immediate streaming. New episodes are added daily and are available for up to 28 days after the air. You can pause, forward and rewind programmes, and all available to watch on your TV in full screen. PLUS7 also includes an email reminder service so you don’t miss out on watching shows before they expire. There is also the option to share videos with friends via email and Facebook.

BBC’s Iplayer is another Video On Demand service which provides access to the bulk of the BBC’s massive television archives, with over 1000 hours being available at launch and “hours” of additional footage being “regularly added”. Content available include BBC News, Documentaries, Entertainment, Drama, Science and Nature, as well as Family and Kids, Music and Culture and Comedy and Lifestyle. There is also a collections of the BBCs best exports such as Dr Who, Little Britain, A Bit of Fry and Laurie, Absolutely Fabulous and more.

Bigpond TV is available through LG Smart TVs and Samsungs connected TVs (with internet at TV function). This is also the same service made available through Telstra’s T-Box. Bigpond TV is a TV channel streaming service which provides us with channels like AFL TV, NRL TV, Bigpond News, Bigpond Sport and Bigpond music and more. According to a study undertaken by independent telecoms research company Telsyte, One in ten subscription TV services in Australia are delivered via broadband, and they predict that by 2015, one third of all Pay TV services will be over broadband networks.

This is an obvious concern for cable subscription companies Foxtel and Austar. Austar, in particular, has had a big dip in fortune as it faces increasing competition from cheaper Internet TV rivals like FetchTV, iiNet and Internode – available from as little as $10 a month. With the streamed Internet TV content available from Smart TVs like movies and new release TV shows, as well as many new free-to-air digital channels – compared to a cable subscription which starts at $45 a month plus possible fees for the box, consumers are voting with their wallets en masse.

Music

Television giants Sony and Samsung will both have music streaming services available on their Smart TVs, with Samsungs soon to be released “Music Hub” set to revolutionise the connection between our music and our devices like never before.

Samsung’s Music Hub gives us access to shared music without the need to download and transfer content from one device to another, with the service becoming available on Samsung smart TVs, Samsung smart home theatres and smart Blu-rays by mid-December. The music hub offers owners of Smart TVs, Smart Home Theatre and Smart Blu Ray players access to more than 10,000 music videos with the premium subscription.

The technology stores music playlists in a cloud, and music can be accessed from individual devices anywhere in Australia where there is an internet connection available. A neat function is the “follow me” feature, which allows users to begin listening to stored music through a mobile phone, before picking up the same playlist again when they get home through their TV.

Sony’s Music unlimited has been available for a couple of seasons now, on phones, Bravia Smart TVs, PlayStation 3, and Sony PCs and tablets. Over 10 million songs are available on demand, from independent artists to blockbusting superstars. Thousands of new songs are added weekly, and you can create and edit an unlimited number of playlists, as well as listen to any song you want as often as you want. There are internet radio channels categorised by Genre, Era or Mood. You can “Like” or “Dislike” tracks to customise channels to your personal taste, and you also have the ability to create new channels based on your favourite artists.

How Smarter will Smart TVs be this year?

Viewers will be able to control their TV using face recognition, plus gesture and voice controls and move away from the traditional TV remote control – in a similar vane to Microsoft’s XBox Kinect. LG and Samsung both demonstrated Voice and gesture controls in their next generation televisions at CES 2012.

Samsung’s new 8 series TV, the ES8000, has gesture recognition integrated – via a camera which recognises hand-gestures prompting it to change channel, adjust volume, move an onscreen cursor and more.

Samsung and LG both introduce voice control in some models in their 2012 line up. Current LG Smart TV owners may be familiar with the Magic Motion Remote, which allows you to control a cursor on the screen in a similar fashion to how a Nintendo Wii controller works. This year will see an upgrade to the Magic Motion remote which now delivers voice recognition functionality. A microphone in the remote sends your voice to your Smart TV – allowing the user to web-search, tweet and make Facebook posts all with spoken words.

Panasonic have developed a new “flick” technology, and they believe it will open up brand new ways of displaying content from our mobile devices in perfect picture quality on a Viera TV. This will revolutionise the connectivity between our devices, allowing us to simply “flick” content to remotely transmit photos, videos, and webpages from Android or Apple products directly to the TV.

Another important feature coming is the ability to upgrade your TV with future functionality, without the need to buy a new TV. This will basically be in the form of an upgrade slot at the back of the TV and you will be able to purchase upgrade “kits” as they become needed and available.

Google have announced that LG, Sony, and Vizio will be parading Google TV devices at CES 2012, with Samsung coming out with Google TV later in the year, with Apple also rumoured to be manufacturing TVs ranging from 37″ – 50″, and reported iTV features such as Siri-powered controls, iOS app support, AirPlay, iCloud support and deep iTunes integration.

Sony have announced two Google TV add-on boxes in the form of a Blu-ray player and a network media player. These will ship in America and Europe shortly, and other parts of the world can expect them to roll out afterwards. Both boxes have a completely new remote, featuring a backlit QWERTY keyboard with touchpad. The remote can also work as a universal remote for other devices, while the Blu-ray player also supports voice search.

Death of the idiot box

The aim and vision of television manufacturers has now progressed far beyond just delivering us a great picture quality. The ability to seamlessly link our media, whether it be on our phones, tablets or computers, with our Home Televisions has become of paramount importance. A plethora of new content, in the form of applications brimming with Movies, Television and Music is shifting us away from the traditional way we consume such content – placing heavy pressure on industries such as the traditional Video and Music Stores, and Cable / Pay TV companies like Foxtel and Austar. What we used to have to leave the house for, we now have at the wave of our hand. The days of the missing remote are fast disappearing, in fact the days of using a remote control are disappearing altogether. The idiot box has finally smartened up!

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How To Change Apple Music Plan From Student To Individual The State Of Graphic Design In Jordan

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The State Of Graphic Design In Jordan

Jordan’s unique geographical position results in its experts choosing self development, which includes graphic design. Experts are also involved with developments taking place in neighbouring countries and the internet was extremely useful in putting interested parties in these two fields in touch with each other and sharing possible development tools. The development of Graphic Design is also assisted by annual exhibitions and specialised conferences held both in Jordan and outside the Arab world.

The academic and professional specialists for the basis in developing graphic design through the formation of local learning institutions. In these institutions academics, programmers and graphic design teachers can meet with professional designers and discuss the way business is moving forward and requirements of the labour market.

Practical training is considered the foundation of Graphic Design, upon which the academic skill of the student and his creativity are built. Working in a design office is considered to be the most important and effective tool in measuring the level of academic learning. It also gives an indication of the effectiveness of teachers in producing a generation of students capable of dealing with the academic ethos and engaging with the requirements of the profession. This training provides the students with opportunities to polish and develop their skills by working along side established practitioners. Today’s graphic design tools rely on information technology for producing visualisations of scientific developments. This visualisation requires an understanding of the scientific theory and the visualisation tools available, which in turn relies on the expertise of graphic designers.

In this paper I will focus on the profession of graphic design and its development by discussing its early development. I will review the positive and negative aspects of that development and how they related to changes in the market and the size of the market and labour force. I will also discuss the academic concepts, and the requirement for graduate graphic designers.

In this paper I draw from my experience of working in Jordan since 1987 at the MIDAS Establishment and my roles in student training at Yarmouk University and the Applied Sciences University, which I had been attached to since 1999. This paper addresses many questions and aims to explore the mechanics of enhancing graphic design in the academic and professional sectors.

The historic and technical initial stages of graphic design in Jordan

Graphic design developed alongside the printing and information technology industries. Printing was brought to Jordan in the 1940s by people who had learnt the trade in other countries. Jordan’s printing evolution was similar to that of other countries. Printing started using wooden moulds, then zinc clichés and letterpress, as well as other printing tools, symbols and shapes. It was the printing technology that restricted the scope for producing new designs. The range of items printed was limited to newspapers, cards and stationary. Printing started mainly in black and white, and was then developed to make photo made clichés through which the printers were able to print in full colour. Typolography, or raised printing was the main method and is still used today. Offset printing enhanced the quality of production, providing improvements in colour and picture reproduction. Around the same time the role of the graphic designer was developed, involving the preparation of makettes and then film montage and plates to be ready for printing (prepress); this relied on the professionalism of the film montage technician for the preparation of backgrounds for the pictures and words. Prepress was considered the most important process in the production of the final printed article. This process was carried out at the prepress service centre which was limited to a single institution until 1987. This centre had the capability and technology to perform a range of techniques where an artistic touch was required.

In the late sixties, design pioneers were not graphic designers, but had learnt the technologies of collage and calligraphy. They were able to imitate designs from abroad and in some instances reproduced them. Their work initially ranged from greetings cards, business cards, social stationary, letterheads and envelopes, then progressed to brochures and folders. The work was mainly limited to newspaper advertising which relied predominantly on the offset printing method. We shouldn’t forget the air brush technology that provided designers with the use of graded colours, achieving three dimensional effects for some designs, although the number of people using this was limited.

From 1980-87 design was performed by specialists in Plastic Arts and Architecture, as well as the first graduates of the college of arts at Yarmuok University and similar institutions. By the end of the eighties, the computer Linotype was used as a publishing tool by newspapers to prepare text for layout and paste it on the required pages next to advertising. Some publishing houses have graphic design offices which also acquired these systems to ensure the production of books and magazines to a similar quality. Linotype was also used to prepare the design of brochures and advertising materials that cannot be hand drawn. With time Linotype was also used for the preparation of other material by this method, including greeting cards, posters and advertisements.

The design and printing sectors found the computer to be an effective way of improving productivity. In 1988 with the arrival of the first design computer by Apple Macintosh, the numbers of workers in the field increased and performance progressed in the pre-printing stages such as film making and separation. However, the expense of computers meant that there use was still limited. The production of personal computers by competitors of Apple Macintosh as well as the ease with which film can be processed through its programs, created a huge increase in the number of professionals interested in graphic design. This became evident by the growth in the number of agencies, design offices, publishing houses and service centres.

Personal computers affected the technical and artistic aspects of production. Some production centres were able to develop their skill base and by recruiting experienced designers and developing them by organising training courses. These highly trained individuals achieved high standards of work within and outside Jordan and were able to compete with others in the Arab regions and captured a share of these markets, producing many publications. Jordanian specialists became serious competitors against other Arab countries which had previously monopolised the fields of design and printing. Jordan has developed so that it can meet the demand for design and printing within the country. Jordan has become a magnet for many publishing houses in the Arab region. Many production and publishing organisations were able to catch up to the levels of the latest technology. There is plenty of evidence to suggest that they will develop further, using modern production tools, and this will ensure there are enough local specialists who can continue to produce work of the highest quality.

The pace of technological development made it necessary for the academic institutions to provide the Jordanian market with the skilled workers who can work to the high standards required. These institutions have to continually adapt to the advancing technology as well as support the academics in their quest to enhance the artistic, scientific and technological aspects of production and publishing. Relationships must also be strengthened by co-operation between business leaders and academic institutions in order to provide the mutual benefit of improve standards, with the ultimate aim of keeping up with both local and international developments.

The easiest way to judge the standard of design and printing in a country is through the newspapers, magazines and books published. Television also provides a showcase for visual communication through locally produced advertisements. The speed of printing development has made impositions on graphic design and the designers themselves. Designers have to continuously update their training to keep abreast of new technology. This enables them to be at the forefront of improving quality and creativity in all aspects of production.

The advantages and disadvantages of sectors allied with graphic design

When discussing the organisations involved in design and production in Jordan it is easy to become overwhelmed by the variety and abundance of them. These organisations saturate the market. One of the reasons for the number of organisations is the variety of production formats, each of which has its own structure. Computerisation has lead to many operators being made unemployed.

Production sources can be divided into;

– Design

– Commercial printing

– Publishing houses

– Pre-press services centres

– Computer software training centres

These are the organisations where people often look for graphic designers, although most of them do not have academically trained staff who specialise in graphic design. Many of the people who own these organisations have chosen to specialise. Some of them specialised because the profession does not require a large capital outlay, others specialised because they had a knowledge of the tools used. Most appear to have specialised because this provides them with status in their community.

Although there are many organisations working in graphic design, the workers and owners in these establishments often lack awareness of the professional graphic design concepts as they have not studied the subject in depth. Employment opportunities for graduates only began to develop after 2000 when some organisations recognised the need for such skilled workers and academic institutions were able to produce professionals of this standard. The impression of graphic design graduates has changed so companies are no longer choosing graduates who studied abroad. Design establishments have noticed the high quality of products which trained graduates can produce with their competence and skills, and their ability to use the full range of design and printing equipment. Without this properly structured training program, experience had been gained through hap-hazard on the job training.

One of the weaknesses of those producing the designs is that they are not always confident about how to use the latest techniques. They often ask advice and prefer to work within their comfort zones, failing to produce designs that would demand a great deal of time, effort or care. Graduates are much more comfortable with change and willing to develop new skills. There are a few professionals, however, who have been invaluable in the development of graphic design by training others and developing their own technical and professional skills. These people have also monitored the pace of development in the fields of printing and graphic design.

Many of the professionals have established themselves thorough the high quality of the work they produce. This is not possible without a capable, aware and educated body of co-workers, who have scientific knowledge and are creative rather than imitating the work of others.

The increasing gap between academic designers and employers, or art directors and creative managers is often due to misunderstanding the role of graphic designers. In industry, the priority of some designers or agency owners is profitability regardless of the quality of the results.

The first problem is that some of the art directors or creative managers are not aware of the importance of their position, and often the employer is equally ignorant of this. Job titles are often arbitrary so artistic or creative managers frequently lack experience and expertise.

There is an absence of a common language between academic designers and managers or employers. This often frustrates designers, creating insecurity and hindering creativity. Such an environment can be an attempt to reduce a designers` status and restricts him from engaging in the creative thinking he would have been taught and university.

Adequacy of the professional reality

Graphic designers are distinguished from other fields by being one of the most creative professions; they work with information technology and visual communication. It also involves dealing with the business world, in which credibility and ability are necessary to achieve the creative work. Qualifications and talent are essential for this.

A graphic designer is not only an artist but also a technician who is able to use software and techniques to tackle the project in hand. His approach should go beyond communication with the audience, to effective promotion and display. His aim is to produce clarity and he should be able to do this from the information using the techniques available to him. The aim is to connect the data and in order to do this must understand the development and design of the software that could be used. He has to understand all the innovations and methods of designing texts.

The design sector requires professionals to have the experience to be able to select and classify information, and to create links between related elements. However, this won’t be enough if they can not interpret this and transform it into definite forms. It is also important to understand the vocabularies of with language, sound and music as they are the most important tools of communication. Added to this, the designer must understand how to use the specialised design software to write texts, prepare drawings, animated cartoons and websites. The designer should know about design, timing, transformation, rhythm and visual presentation.

The potential of the design sector should be realised by knowledge of the necessary theories and techniques to improve communication with the audience, enrich the design proposals and understand the reflective aspect of the design process, studies and research.

There is much variation in the qualifications of staff within the design sector. It is important to differentiate between the craftsman and the academic designer. The graphic designer is a complete cultural and intellectual entity that is noted in the sensational theory, linguistic theory, visual eloquence and the cultural history of art, literature, science, technology, industry and humanity. They cannot isolate themselves from developments in theories of communication, information development, and from management and criticism. Moreover to improve the added value of the final product, all methods and tools used in production and publication should be understood. They must understand the stages before the design, and they must understand the printing process and its implications on the design.

The market is crowded with many people working in graphic design. Due to the wide use of graphic design in many fields of work, the widespread use of computers and availability of basic software packages there is a role for people using graphic design without any prior knowledge. The expression of graphic design is still not adequately understood by some employers in industrial and commercial firms and organisations that need graphic design services.

I do not doubt the potential of the vocational sector but this is the reality of graphic design. It must be remembered that well qualified people now occupy high status positions in the Jordanian market, showing its expertise and its ability to demonstrate the highest levels of graphic design.

The size of the market and people working in graphic design

There are now more than five hundred establishments working in graphic design. There are many who would not classify themselves as an agency, centre or office, as they have found their own market niche. Therefore these classifications can not be meaningfully applied in Jordan.

The sector is large compared to the market. The establishment of new graphic design organisations peaked in 1999. Since then, some have declined while others have expanded. Some have stagnated or changed management, while others have merged.

A quick look at the design sector will show that 85% of those working in the field can be classified as;

– Computer science graduates

– Architecture graduates

– Interior design graduates

– Graduates in ‘Computers and the Fine Arts’ from community colleges

– Fine arts graduates (both graphic design specialists and non-specialists)

– Graduates of design courses run by computer centres

– Unemployed people who are interested in computers

University educated graphic design graduates fulfil an important role because;

– Universities produce Graphic Designers with a different outlook to those mentioned above.

– Organisations run by people who understand graphic design will be better able to develop designers skills and adapt to the future

I am concerned for students who study graphic design at university but do not try to improve his rate of innovation and creativity in order to improve. This will affect whether he is employable.

Academically and scientifically talented students will have few problems because good employers need students who are able to form ideas quickly, use appropriate design programs for his ideas and able to produce those. Other organisations are not useful for the academic designer. These are the push-pull level of the graphic design sector which reflects the levels of awareness of the concepts and functions of graphic design.

The market is capable of absorbing all graduates. This is dependent on the development of visual communication methods through graphic design. Such development requires the presence of skilled workers capable of meeting the needs of the market. This places incentives for educational organisations that deal with design to plan to suit the graphic design market.

The academic reality of graphic design

The emergence of academic institutions that specialised in the arts started at the Yarmouk University where the first arts and music department was established in 1980. This became a faculty in 2001, teaching drama, design (industrial, interior and graphic), plastic arts and music. The university awards bachelor degrees. It started in 2001 at the height of the computer revolution within the design sector in Jordan. In1991 teaching graphic design started as an independent specialisation within the Arts Department at the Applied Sciences University. This was followed by the Ahiya Amman University, the Petra University, Philadelphia University, AlZaytouneh University, the University of Jordan, and later the Israh University.

Apart from universities, during the time when graphic design became popular and a profitable profession, community colleges started teaching graphic design. These included the Al-Quds College, Granada College, Middle University College and Princess Alya College.

The work of the universities that award bachelor degrees is similar to colleges that grant two year diplomas, because both produce students with a certificate in graphic design. But in reality where creativity and technical skills are concerned we find differences. The differences are in the course curricula, and include understanding the production process, product identity, knowledge of software and design innovation.

There is confusion between graphic design and graphic art. These differences affect the student, particularly when he enters employment. He is judged by both his creativity and innovation in producing new ideas and his ability to use technology which now involves the computer, the main graphic design tool.

The reason for these differences becomes clear when we look at the number of workers in the market and where they graduated from. During the time that the largest number of graduates were being produced, the highest quality graduates were produced by well-known institutions and these were recruited by the most successful companies.

A distinction has developed between technicians and designers. This is because some academic institutions concentrate on technology and the practical aspects of design software, whilst others developing the ability to use knowledge and know how to connect ideas to the psychological and social context and include qualitative studies of theories and design curricula.

The reasons for this are;

– The absence of specialised academic experts in graphic design and the poor quality of some of the teachers.

– The absence of appropriate study plans for creating graphic designers

– The absence of a system defining the role of universities and colleges in teaching graphic design

– The absence of entry examinations to graphic design courses, unlike courses in the art specialisations

– The absence links to the outside world, other than through books.

– Some universities and colleges do not understand the concept of graphic design in an industrial context.

– The absence of official government support for finding a way to establish a core curriculum for university courses.

I have taught in the art departments of a number of universities and have assessed many graduation projects. These gave me the opportunity to find out about graphic design teaching, the standards of students, and showed the need for appropriate study plans. There is a lack of competitiveness which would improve educational standards and there is an arbitrary use of teaching methods. Objectives can be clear, but often mistake in not using the appropriate teaching methodology leads to them not being achieved.

In order to develop and improve, the graphic design sector needs skilled and competent workers. The workers will not be able to respond to the changes in technology unless they have a formal academic training. In order to achieve this advancement it is essential that graduate students are used as graphic design specialists.

Conclusion

There is a requirement in the Jordanian arena for the academic and professional sectors to review their experiences and identify their strengths and weaknesses. This is used by them to set a strategy capable of giving graphic design the respected position it deserves.

There is a requirement for government intervention to provide arena where specialists in graphic design may discuss many of the concepts that help them make company owners and managers aware of how to make the best use of graphic designers.

As well as teaching graphic design, universities and community colleges must support the markets needs for designers and artisans within the new specialisations which need to be introduced in order to reduce unemployment.There is a need for a professional body in graphic design to give support to designers, co-ordinate educational and technical preparation and for making contacts with the outside world. It is important to hold workshops and symposiums that enhance the competence of teaching staff, designers and students; these should be held with assistance from international institutions which are respected in this field.

It is also important to hold national and international competitions to encourage creativity and innovation. This will create a competitive atmosphere in which graphic design can flourish.

Finally, it is important to create a national identity in graphic design, which can cement its position in the international arena.

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How To Change A Music File From M4A To Mp3 Western Digital HD TV Media Player

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Western Digital HD TV Media Player

If you’re a fan of putting your feet up and watching a good flick, and in particular, movies stored on your computers hard-drive, with the ability to view in full HD, then this little black box may well be the ultimate electronics gadget you’ve been looking for.

In addition to playing your favorite movies, you can view images in a variety of different formats as well as playback audio files, through the on screen interface with animated HD menus – read on for a complete list of supported file types!

In the past if you wanted to watch a movie file stored on your computer from you had to…..

* Watch it on your computer (oh my aching eyes)

* Burn the file to a disc, the problem here is, if your DVD player hasn’t got the correct Codecs for your video file (I’ll touch on Codecs shortly) then chances are the disc won’t play anyway, then you’ve gotta convert the file to a format your player can read & re-burn it! (yawn)

* Plug your laptop directly to the Television via S-Video connection, problem here is a substantial loss of audio/video quality, not to mention it’s a right pain in the butt hooking it up every time you want to watch a movie.

* Transfer the video file onto an External hard/flash drive, or SD card and connect via USB to the TV/DVD (provided the TV/DVD has USB ports of course).You’ll find many DVD Players & Digital Televisions nowadays have USB or SD card connectivity but you can run into the same problem as with the “Disc Playback Errors” due to the absence of certain Codecs.

I’m going to try and keep this description as simple as I can, because this subject can get confusing very quickly and frankly the average person doesn’t really give a flying nun, so….. A “Codec” is a piece of software, that gets its name from the function it performs, ie.enabling Compression/Decompression of a video file. So lets take your average run of the mill DVD from down the local video Store, it is created with the standard MPEG4 codec e.g. “Xvid” and can then be played back using any other standard MPEG4 Codec, such as “DivX” or “FFmpeg” codecs and so on, and all reside within your household DVD player.

This is where problems can arise when trying to playback a video file obtained online, because of the huge variety of different file formats out there and their associated Codecs, many DVD players just can’t recognize them and they subsequently won’t play.

Enter the, Western Digital WD TV HD 1080p Media Player.

You can connect to your Television using either a standard AV cable(red,white,yellow) or a single HDMI cable, assuming your TV is HDMI capable that is, and that’s it! All you need now is to plug in your external Hard Drive, or Flash Drive.Two USB Ports is a great feature but the addition of an SD Card Slot would have been a nice for photo viewing.

NOTE – CONNECTION DIRECT TO A COMPUTER IS NOT POSSIBLE!

If you didn’t already know the 1080p basically means “Full High Definition” and that’s exactly what you get, when using the HDMI cable connected to a HDMI Television. 1080 refers to a screen resolution of 1080 pixels High X 1920 pixels Wide, under the assumption of a 16:9 Widescreen Aspect Ratio.

Supported Video File Formats/Codecs Include – MPEG1/2/4, WMV9, AVI (MPEG4, Xvid, AVC), H.264, MKV, MOV (MPEG4, H.264),

MTS, TP, TS

What this means is that the Western Digital will handle most of the popular video formats you will encounter on the Internet today, including MKV (or Matroska) a format becoming increasingly more popular for it’s versatility, having said that there is a few formats absent that other media players in its class support, including FLV, & RMBV.

Supported Image File Formats Include- JPEG/JPG, GIF, TIF/TIFF, BMP, PNG

* JPEG only supports compressed RGB format files. BMP only supports uncompressed files. TIFF only supports single layer files. BMP, TIFF/TIF, PNG, and GIF have a max resolution of 2048×2048. JPEG/JPG has a max resolution of 4096×4096 unless it is in a progressive format, then maxes out at 1280×720.

Supported Audio File Formats Include – MP3, WMA, MPA, M4A, MP4A, OGG, WAV/PCM/LPCM, AAC, FLAC, Dolby Digital, AIF/AIFF, MKA

Other Formats Include –

Playlists – PLS, M3U, WPL

Subtitles – SRT, SMI, SUB, ASS, SSA

Pros –

Ease of use, setting up is child’s play and with all the controls at your finger tips, watching High-Def content couldn’t be easier.

The playable formats available on this unit are more than sufficient for accessing most popular media including “MKV” video, which is absent in some other media players in this range.

Full 1080p HD compatible.

The addition of two USB ports, connect two drives simultaneously.

Cons –

No SD card slot, which is available on some of its competitors units in this range.

Cannot play FLV (Flash Media Files)

Reports of, no audio on some files.

Does the WD TV HD Media Player earn the prize for the ultimate electronics gadget when talking about playing removable media at an affordable price?

I think for the money you really can’t go past these types of Media Players, without splashing out a lot more money for the built in Hard Drive versions, if you already own an External Hard Drive or Removable Media that’s all you need, I might add, the physical size of your Hard Drive makes no difference, there is no size limit!

Western Digital WD TV HD 1080p Media Player, has made accessing digital files on an alternate media, easier than ever before.There is however one change I would DEFINATELY make to this media player, is its long winded name, I mean SHEESH talk about being literal, why not simply call it the “ultradocious” & give me a 5% kick-back! Now that’s innovation!

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How To Cancel My Amazon Music Subscription On My Phone Amazon Prime Twitch Digital Gaming

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Amazon Prime Twitch Digital Gaming

What do you get with your Amazon Prime Membership? You get Twitch which is a popular online service for video games, digital video broadcasts, live streaming of artwork creation, music, talk shows and occasional t.v. shows. Twitch is a subsidiary of Amazon; it is owned by Twitch interactive, I love all of the free entertainment which, come from my Prime Membership. Twitch, which lets users watch and share game videos. Now, thanks to the recent addition of Free Games with Prime, you can play some of those titles instead of just watching them. There many free games and loot with an Amazon Prime membership. For non -members Twitch is free for 30-days, after that it is t$12.99/mo. An annual plan is also available for $119 which includes an Amazon Prime membership. Amazon Prime, this year alone we’ve offered members more than $1,000 worth of games and loot. Each month gamers get four games free, exclusive badges, monthly channel subscriptions, free two-day shipping and access to Prime Video and Prime Music. The four new free movies for October are:

1. Dark Siders: In this game you will battle against Heaven and Hell.

2. Sanitarium (WIN) In Sanitarium you play an amnesiac person. After a car accident, you wake up to find that instead of lying in a hospital, you’re in an asylum with your head wrapped in bandages. Who the hell am I?

3. SOMA is an unsettling story about identity, consciousness, and what it means to be human.

4. System Shock: Enhanced Edition (WIN) is a first-person fight to the death in the depths of space! Twenty one years after its first release,

https://amzn.to/2NiGNWR

5. Free in-game loot for popular games: Get your hands on rare outfits, vehicles, items and even exclusives for popular games. Check out twitch.tv/prime for updates.

6. Exclusive emoticons

Access emoticons such as KappaHD, ScaredyCat and others, reserved only for Prime members.

7. Expanded chat color options

Set a chat color by toggling a set of 3 sliders (RGB). These options can be changed at any time by going to your Prime Settings.

8. Member-only Prime chat badge

Reign supreme with a unique chat badge, which can also be toggled in the chat settings on any Twitch channel.

9. At press time, for example, you could score five free games (including the super-hot indie title Superhot) with a combined value of over $100. And next month promises five more, including Telltale’s popular Tales from the Borderland.

All you need is a free Twitch account that’s been “enabled” for Prime and the Twitch desktop client. A free channel subscription every 30 days. Support your favorite streamer, plus get exclusive emotes, more chat colors, and crown yourself with the chat badge of royalty. Member discount on pre-release box games on Amazon

Plus get pre-order price guarantee and release-day delivery. Watch thousands of movies and TV shows

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How To Call And Play Music At The Same Time Piano Chords – Play Or Practise?

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Piano Chords – Play Or Practise?

Some people just enjoy hammering Hanon before their real practise… or do they?

Here’s a practise style that you can try:

Play a minor 9th chord using with your right hand while the left hand plays the root

Everybody knows what the root is, so let’s discuss the minor ninth chord. This chord gives a dream-like feeling.

In the key of C, your right hand would play a B-flat, D, D-sharp, and G. The ring finger is not used. At the same time, your left hand plays a C, which is the root. Note that the note D is the 9th in this minor 9th chord. This is because the 9th is after the 8th, and as you know, the 8th is an octave, so essentially, the 9th is one note more than the 8th, which is one note more than the root. So, it is D.

Now, your right hand fingering should be 1-2-3-5. You can play that chord with the notes separately. This means, when you hit C with your left hand, your right hand can play the four notes in anyway you like. After maybe 4 counts, play the same chord in the key of F. So, your right hand should now be E-flat, G, G-sharp, C. The left hand would be the F root. Run the notes in other inversions, or string them up as a run.

The thing with this practice habit – i call it habit and not drill – is that you make music instead of playing meaningless drills from Doe-Ray-Mi until God knows how many Does later and descending back. Make music, not noise. If you do Hanon as a warm-up, why don’t you play some real music instead of the racket that you are going to make?

Another pattern that you can do to strengthen your chords familiarity is to play some random pattern, like the 2nd, 3rd, 5th, 6th notes of the major scale and run it through the circle of fifths. Pick the notes out fast enough to let yourself know that you do not only know how to pick the white keys of C major only. See? Useful practice I would say. The more familiar you are with all 12 keys, the more comfortable you will be sitting in front of the piano and having fun.

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