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James Garcia
James Garcia

Dance House Vol 1 Nexus For Fl


The free nexus 2 loops, samples and sounds listed here have been kindly uploaded by other users. If you use any of these nexus 2 loops please leave your comments. Read the loops section of the help area and our terms and conditions for more information on how you can use the loops. Any questions on using these files contact the user who uploaded them. Please contact us to report any files that you feel may be in breach of copyright or our upload guidelines.




Dance House Vol 1 Nexus For Fl



Upgrade your library with 600 samples from the pioneer of Future Rave. Each and every sample was created to instantly bring you the quality and inspiration you may have been missing to execute on your ideas. With this wide-ranging sample pack, you will find yourself with an abundance of sounds for all possible uses.


Miami bass (booty music or booty bass) is a subgenre of hip hop music that became popular in the 1980s and 1990s. The use of drums from the Roland TR-808, sustained kick drum, heavy bass, raised dance tempos, and frequently sexually explicit lyrical content differentiate it from other hip hop subgenres. Music author Richie Unterberger has characterized Miami bass as using rhythms with a "stop-start flavor" and "hissy" cymbals with lyrics that "reflected the language of the streets, particularly Miami's historically black neighborhoods such as Liberty City, Goulds and Overtown".[1]


Clubs in South Florida, including Pac-Jam, Superstars Rollertheque, Bass Station, Studio 183, Randolphs, Nepenthe, Video Powerhouse, Skylight Express, Beat Club and Club Boca, were hosting bass nights on a regular basis. Miami radio airplay and programming support was strong in the now defunct Rhythm 98, as well as WEDR and WPOW (Power 96).


Miami bass is closely related to the electronic dance music genres of ghettotech and booty house, genres which combine Detroit techno and Chicago house with the Miami bass sound. Ghettotech follows the same sexually oriented lyrics, hip-hop bass lines and streetwise attitude, but with harder, uptempo Roland TR-909 techno-style kick beats. In 2007, contemporary hip-hop and R&B songs became more dance oriented, showing influences of Miami bass and techno, and are typically sped up to a "chipmunk" sound for faster tempos for dances such as juking, wu-tanging and bopping (usually only done in Miami-Dade, Broward and Palm Beach Counties in south Florida).[citation needed]


Key information such as effective dates, thresholds, and includable sales for out-of-state sellers making sales into states that have enacted economic nexus legislation both before and after the South Dakota v. Wayfair Supreme Court decision.


Komplete 13 by Native Instruments is a huge collection of samplers, synthesizers, effects, and expansions in one package and platform. These synths, especially the Kontakt synthesizer slash sampler, are a must-have for any progressive house producer.


Since many progressive house music mixes analog or real style sounds with digital synth sounds, Kontakt will probably be what you use most. With everything from vocal chops to real sampled instruments and beyond, you get everything you need in one convenient package.


Diva, or "Dinosaur Impersonating Virtual Analogue synthesizer" as it's originally called, is the favorite among top progressive house producers like Ben Böhmer and is perfect for creating any house sounds.


This is an instrument that's specifically designed for producers of contemporary dance music, with the supplied Dance Vol 2 preset expansion pack containing 128 patches for use in trance, electro house and hard dance styles. Presets can be tweaked with a range of sound-shaping tools, and both the arpeggiator and trancegate are impressive. The Mix screen enables you to adjust individual layers - each patch can have up to four - and there are some good effects, too.


Dakimh appears and takes Jennifer and Man-Thing to an extra-dimensional nexus to try and recover the Tome, battling various forces of the demons of Sominus in the process. When the cult members are captured, Jennifer and Man-Thing work together to secure the book and restore reality to normal, freeing the captured cultists. All are transported back to Earth, including the creature which Man-Thing is fighting. On Earth,the demon is easily defeated by Man-Thing.


Mixing is usually performed live in front of an audience in a nightclub or for a party setting. Mixing is also performed live on radio or recorded in a studio. When a DJ is mixing, the DJ is creating a sequence of musical tracks mixed together to appear as one continuous track. Endless. Stable. Uninterrupted. Unfaltering. Seamless. The main reason the DJ uses the mixing/blending of songs is to keep dancers on the dancefloor.


This pack is more geared toward commercial EDM (future bass, future house, pop) but suitable for a range of genres, this pack includes 300+ presets covering bass slaps, subs, hypersaws, and anthemic leads (think Alan Walker).


Jago R, Edwards MJ, Sebire SJ, et al. Bristol Girls Dance Project: a cluster randomised controlled trial of an after-school dance programme to increase physical activity among 11- to 12-year-old girls. Southampton (UK): NIHR Journals Library; 2016 May. (Public Health Research, No. 4.6.)


Following school recruitment, a participant recruitment campaign was initiated in all 18 schools. A taster session was provided for all Year 7 girls who were able to engage in PE classes. Taster sessions were delivered by external dance instructors within school time (usually in a PE session). At the end of the taster session pupils were told about the study (including details of the randomisation and data collection commitments). The only exclusion criterion applied at pupil recruitment was that girls were able to participate in standard PE lessons.


A Local Advisory Group (LAG) was formed to improve the relevance and delivery of the intervention for the schools and girls taking part. The LAG consisted of a variety of individuals in order to address the views of as many stakeholders as possible. The group met on three occasions during the study and played an important part in informing the intervention materials (dance diaries), behaviour management and attendance. The LAG also provided extensive input into the dissemination materials, which were developed in consultation with them. The group consisted of local council staff, school teaching staff, dance instructors, creative directors, school sport development managers and parents.


In an attempt to standardise the reporting of interventions, the Template for Intervention Description and Replication (TIDieR) checklist and guide has been proposed.65 The 12-item checklist aims to improve the reporting and replicability of interventions. Table 3 summarises the BGDP trial in accordance with the TIDieR checklist.


Schools in the control arm did not receive the dance intervention and continued with their normal practice (no data were collected regarding what was offered during the intervention period in control schools). Control schools received a 500 donation to the school fund after all data had been collected from girls.


All girls were asked to complete a 67-item questionnaire at T0. The questionnaire assessed psychosocial variables that could be influenced by the intervention and/or mediate the effect of the intervention on MVPA. Questionnaires assessed autonomous and controlled motivation for dance and PA,68 perceptions of autonomy, competence and relatedness69,70 within PA and self-esteem.71


A modified questionnaire was used at T1 and T2. The girls were asked about the after-school activities in which they took part and whether or not they took part in organised dance outside school. At T1 only (during the intervention), girls rated the degree to which they perceived their dance instructor to be autonomy-supportive on a seven-point scale (strongly disagree to strongly agree). Items were based on the Health Care Climate Questionnaire72 and have been adapted for use in an activity setting.73 At T2 these six questions were removed from questionnaires, as they were relevant only at T1 when girls were taking part in the intervention. A summary of the variables that were assessed at each time point can be found in Table 5.


The quantitative element of the process evaluation was conducted using self-report questionnaires and instructor observations. To conduct these measures, visits were made to all nine intervention schools on four randomly chosen occasions during the intervention. No visits were made during the first four sessions to avoid adversely affecting the settling in period for dance instructors and girls. Similarly, no visits were made during the last four sessions of the intervention to avoid clashes/overlap with the T1 data collection.


Attendance at the dance sessions was recorded in registers provided to the dance instructors. These data were used to calculate compliance adherence to the intervention, defined as girls attending two-thirds of the total sessions available at their school.


As noted above (see Psychosocial questionnaire), to measure perceptions of autonomy support provided by the dance instructor, all girls in intervention schools were asked to complete six items from the Sport Climate Questionnaire at T1.72,73


At the end of the 20-week intervention, semistructured interviews were conducted with the dance instructors who delivered the intervention and school contacts. School contacts were individuals within schools who facilitated the intervention and were the main contact for study staff. A focus group with participant girls was conducted in each intervention school.


The analysis and presentation of the trial was carried out in accordance with Consolidated Standards of Reporting Trials (CONSORT) guidelines, with the primary comparative analyses being conducted on an intention-to-treat basis and due emphasis placed on CIs for the between-arm comparisons. To take appropriate account of the hierarchical nature of the data, we used multivariable, mixed-effects, linear regression to estimate the difference in the primary outcome for intervention group versus control, adjusting for baseline MVPA and randomisation variables.


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