"setting of eleven, unlike standard amplifiers whose volume settings are typically numbered from 0 to 10. Believing that this numbering increases the highest volume of the amp, he explains ""It's one louder, isn't it?"" When Marty asks why the ten setting is not simply set to be louder, Nigel hesitates before responding blankly again ""These go to ""eleven""."" The use of ""11"" as a maximum pre-dates ""This Is Spinal Tap"" by almost forty years. In 1947, the Baldwin Locomotive Works and the Chesapeake and Ohio Railway introduced the Chesapeake and Ohio class M-1 steam turbine locomotive. The locomotive's throttle included"
"started buying equipment whose knobs went up to 11, or even higher, with Eddie Van Halen reputedly being the first to do so. Marshall, the company that provided amplifiers for the film that the custom-marked knobs were applied to, now sells amplifiers such as its JCM900 (first sold in 1990) whose knobs are marked from 0 to 20. The QSC 3500 and 3800 amplifiers made for the professional sound company Sound Image in the 1990s went to 11, as do Soldano amplifiers. Other controls with a maximum of 11 include SSL mixing consoles, the BBC's iPlayer on demand video player,"
"Up to eleven ""Up to eleven"", also phrased as ""these go to eleven"", is an idiom from popular culture, coined in the 1984 movie ""This Is Spinal Tap,"" where guitarist Nigel Tufnel proudly demonstrates an amplifier whose volume knob is marked from zero to eleven, instead of the usual zero to ten. The primary implication of the reference is one in which things that are essentially the same are seen as different, due to mislabeling or the user's misunderstanding of the underlying operating principles. A secondary reference may be anything being exploited to its utmost limits, or apparently exceeding them."
"the mockumentary ""This Is Spinal Tap"", the band is presented by the fictional filmmaker Marty di Bergi, as ""one of England's loudest bands"". One popular joke from the film features Nigel Tufnel displaying the band's amplifiers which are calibrated up to 11, instead of up to 10, allowing them to go """"one"" louder"". As a consequence of this, manufacturers began making amplifiers with knobs that went up to 11, or even higher, with Eddie Van Halen reputedly being the first to purchase one. Marshall, the company that provided amplifiers for the film that the custom marked knobs were applied to,"
"show the moods of the character. A total number of 1,600 visual effects shots of the film was originally filmed in 2K resolution and then converted into 4K resolution with the help of color grading. To give the visual effects a realistic look, sound designers Addison Teague and Eric Norris and re-recording mixers Paul Massey and David Giammarco mixed the background music using Auro 11.1 cinema sound technology and the film's soundtrack was remixed using Dolby Atmos, Auro and Dolby 5.1. The film was mixed in Auro 11.1 and Dolby Atmos in the converted William Holden Theater. The mix for"
"eleven settings, ranging from one (idling) to eleven (full speed). The locomotive's cruising speed was , at which point the throttle was on ""seven"". During a trial run with a reporter from ""Popular Mechanics"" aboard, a C&O engineer expressed his dissatisfaction with a local speed limit of , noting that he would ""Sure like to be able to pull it back to eleven!"" Gibson Les Paul guitars with low-impedance pickups were outfitted with special controls designed by Les Paul himself. Controls included a ""Decade Switch"" which went up to 11. As a consequence of the film, real bands and musicians"
"was released in Sensurround. Initially installed in 17 U.S. theaters, the Cerwin Vega ""Sensurround"" system used large subwoofers which were driven by racks of 500 watt amplifiers which were triggered by control tones printed on one of the audio tracks on the film. Four of the subwoofers were positioned in front of the audience under (or behind) the film screen and two more were placed together at the rear of the audience on a platform. Powerful noise energy and loud rumbling in the range of 17 Hz to 120 Hz was generated at the level of 110–120 decibels of sound"
"the film: violin, cello, and bass (all three electric), two theremin electronic instruments (played by Dr. Samuel Hoffman and Paul Shure), two Hammond organs, a large studio electric organ, three vibraphones, two glockenspiels, marimba, tam-tam, two bass drums, three sets of timpani, two pianos, celesta, two harps, one horn, three trumpets, three trombones, and four tubas. Herrmann's advances in film scoring included Unison organs, tubas, piano, and bass drum, staggered tritone movement, and glissando in theremins, as well as exploitation of the dissonance between D and E-flat and experimentation with unusual overdubbing and tape-reversal techniques. In using the theremin, Herrmann"
"the maximum volume was designed as an homage to Spinal Tap. The master section of the mixing console Custom Series 75 by Neve has a volume pot that goes up to 11½. In Celine Dion's music video for ""Ashes"" from the ""Deadpool 2"" soundtrack, Dion and Deadpool discuss her performance as ""up to eleven"" when Deadpool only needs it at a ""5, 5-and-a-half at most"". Furthermore, in ""Deadpool 2"", soldier-from-the-future Cable wields a plasma blaster with a control knob that goes to eleven. Up to eleven ""Up to eleven"", also phrased as ""these go to eleven"", is an idiom from"
"sound system. This consisted of standard Western Electric soundheads together with the Western Electric 4A amplifier system. The 4A was the smallest of the Western Electric cinema amplifier systems available at the time and was intended for small cinemas. Two Western Electric 12A full-range horn loudspeakers were employed, hung from a substantial wooden structure behind the screen. The high efficiency of these speakers made the most of the limited output power (about 5 watts) of the 4A amplifier system. At the same time the two Gaumont projectors were replaced by new Kalee model 7 machines. The cinema closed. The projection"
"scrims mounted high among the lighting rigs, sometimes in dynamic swirling fashion such as for ""Kite"", and even on the entire indoor surface. Williams would win ""Live Design"" magazine's 2001 EDDY Award for his work on the tour; the award stated, ""While U2's current Elevation tour is striking in its simplicity, Williams created an almost complete amalgamation of lighting and video by using the entire space of each arena as a projection surface."" The film features the band playing Slane to more than 180,000 people, the second of two concerts played at Slane Castle on the Elevation Tour. The performances"
"ceilings now had a flocked finish, a 40 screen video wall was installed in the foyer, and new decorative treatments in lobby areas included mirrored finishes and exposed cold cathode lighting features. The HVAC system was upgraded with a new rooftop chiller unit. A laser projector was also installed in Empire 1, for a short sound-and-light show; the projection was onto the tabs and walls, and the concealed lighting was sequenced. It preceded the start of each programme, proclaiming it to be ""The Most Spectacular Cinema in the World,"" and advertised the THX certified sound system. Dolby SR-D was fitted"
"the projection room, the circle was also extended toward the screen to increase audience capacity. The proscenium arch was also moved into the auditorium to increase the backstage area to house the 5 surround sound loudspeakers and the 43feet wide screen. Also housed backstage were the motors to drive the adjustable black cloth screen-masking and the Phillips surround sound main-amplifiers. Some other alterations were made to improve access and exits in line with changes to increased seating. The projection equipment removed prior to the installation of the Phillips DP70 was reinstalled at the Associated British Cinema ‘The Kings’ in Old"
"and improved again when electric arc lighting became available in 1880. In 1910, Adolf Linnebach invented the Linnebach lantern, a lensless wide angle glass slide projector. In 1933, the Gobo metal shadow pattern for the ellipsoidal spotlight allowed images to appear and disappear by dimmer control. In 1935, 16 mm Kodachrome film projectors added the first fully animated visual reinforcement to live events. A sound reinforcement system is professional audio, was first developed for movie theatres in 1927 when the first ever talking picture was released, called ""The Jazz Singer"". Movie theatre sound was greatly improved in 1937 when the"
"a Millennium XL, as well as an Aaton 35mm. Singer also used zoom lenses more often than he did in his previous films, while Sigel used a Frazier lens specifically for dramatic moments. The Blackbird was redesigned and increased in virtual size from 60 feet to 85 feet. John Myhre served as the production designer on the first film, but Singer hired Guy Hendrix Dyas for ""X2"", which was his first film as a production designer. For scenes involving Stryker's Alkali Base, Vancouver Film Studios, the largest sound stage in North America, was reserved. Visual effects supervisor Mike Fink was"
"audio equipment, Jarmusch originally planned shooting the movie on analog film; budgetary considerations however forced the use of a digital Arri Alexa Plus with Cooke S4 lenses. Only vinyl (mostly singles) are played and analogue recording is used. The film opens with a view of a ten-course renaissance lute (credited as built by Michael Schreiner of Toronto). Adam receives four guitars in the beginning from Ian: Later, a 1905 Gibson L2 is shown while other guitars, violins and cellos can be seen in Adam's studio. Among Adam's recording equipment is a Premier drum set, a Telefunken and Revox tape recorder,"
"who were hard of hearing, offering a possible alternative to the large ear trumpets then in use as hearing aids. http://www.filmsoundsweden.se/voxbilder/filmhist/tigerstedt_2.jpg is rather electromechanical amplifier Eric Tigerstedt Eric Magnus Campbell Tigerstedt (August 14, 1887 – April 20, 1925) was one of the most significant inventors in Finland at the beginning of the 20th century and has been called the ""Thomas Edison of Finland"". He was a pioneer of sound-on-film technology and made significant improvements to the amplification capacity of the vacuum valve. Having seen a showing of the Lumière brothers' new motion picture technology as a 9-year-old boy in Helsinki"
"tracks. The surrounds were limited > 450 Hz and the booms < 250 Hz. Some Megasound installations added additional speakers; one which a near-future Megasound driven array of subs and horns could possibly fill. ""Apocalypse Now"" (1979) was the first film to officially make use of this new 70mm Split Surround. And required theaters that had 70mm Dolby capability to purchase a then-estimated $4,000 upgrade to their Dolby CP-100 Sound Processors. The upgrade involved replacing their existing Surround Adapter with the newly developed Dolby SA-5. Once the Dolby CP-200 Sound Processor was released, the upgrade to stereo surround was reduced"
"purchased what was reported as several thousand dollars worth of stolen strobe lights at a bargain rate, and their visual equipment soon took up more space than their instruments. Smoke machines were later added. Equally memorable was the band's propensity for projecting a variety of films behind them as they played, beginning with one 16-millimeter projector, before adding others. This set-up allowed them to play a number of overlapping movies at the same time which were often strangely angled, upside down or played in reverse. Combined with the increasing number of strobe lights, the effect created a visually disorienting atmosphere,"
"pressure level, abbreviated dB(SPL). The new low frequency entertainment method helped the film become a box office success. More Sensurround systems were assembled and installed. By 1976 there were almost 300 Sensurround systems leapfrogging through select theaters. Other films to use the effect include the WW II naval battle epic ""Midway"" in 1976 and ""Rollercoaster"" in 1977. Deep bass speakers were once an exotic commodity owned by audiophiles. By the mid-1990s, they were much more popular and widely used, with different sizes and capabilities of sound output. For owners of 33 rpm LPs and 45 singles, loud ""and"" deep bass"
"when Scott Pilgrim and his band, Sex Bob-omb start their amp battle with the Katayanagi twins, the Japanese twins turn their audio speakers up to 11 before creating another shock wave. In the webcomic ""xkcd"", Randall Munroe jokes on how a normal people and engineers react to an amplifier that goes to eleven. The volume control system on the Tesla Model S turns all the way to 11 for maximum volume, one of a series of pop culture references in the car's system. Though Tesla CEO Elon Musk has not publicly commented on the volume knobs, it is generally believed"
"and 11. In order to shoot a dining scene between LaBeouf and Douglas, Shun Lee West closed for 24 hours so the two could film scenes at the restaurant for the entire day of November 10. Brolin and Stone found extras simply by asking workers, at places like RdV, if they would like to be a part of the sequel. The soundtrack to the film was released on September 21, 2010, through Todo Mundo. The album features numerous songs by David Byrne, including several tracks from his 2008 collaboration with Brian Eno, ""Everything That Happens Will Happen Today"". The film"
"Similarly, the expression ""turning it up to eleven"" refers to the act of taking something to an extreme. In 2002 the phrase entered the ""Shorter Oxford English Dictionary"" with the definition ""up to maximum volume"". The phrase was coined in a scene from the 1984 mockumentary/rockumentary ""This Is Spinal Tap"" by the character Nigel Tufnel, played by Christopher Guest. In this scene Nigel gives the rockumentary's director, Marty DiBergi, played by Rob Reiner, a tour of his stage equipment. While Nigel is showing Marty his Marshall guitar amplifiers, he points out a selection whose control knobs all have a highest"
"capable of generating 3300 Watts RMS, and was transported to each venue in a 14 ft. bed truck. Played at 100 dbA in evening and midnight performances, the sound track had to be mixed by a sound engineer based on the number of people in the audience in order to achieve optimal clarity. Sound engineers accompanied the road show presentations. The film was played in limited road show engagements during which advertising was stopped (want ads were used after the first two markets) because the word of mouth for the film increased attendance every day throughout the run. Limited engagements"
"into the spring of 2015, pickup shots and effects work on the film continued until the final EP tracks had returned from mastering - again with Joe Lambert at the helm. Johannes and Price then pulled the individual instrumentation from each song and re-orchestrated the pieces into entirely new soundscapes for the scoring of the film. Ché and Urquhart rejoined the production in April to record voiceovers for the now significantly more robust ""11:11"", which now drew from the format of The Who's ""Quadrophenia"" as a film presenting an album of music, and from the filmic collaborations of U2 and"
"launched an endoscopic vessel cutting/sealing device in 2010 called the Gen 11; the users, mostly doctors and nurses, can select a maximum power setting of 11 on the touch screen. Further, every one of the accessories for the product also carry ""11"" in their catalog numbers. Google Home will accept and fulfill the command ""OK Google, set the volume to 11"". In the video game ""Pokémon Battle Revolution"", sometimes when a battle is becoming intense, the narrator will say that ""the energy level of the fans has been turned up to eleven"". In the movie ""Scott Pilgrim vs. the World"","
"fact that the high-ups at Western Electric were anti-Semitic. Sam, though, was able to convince the high-ups to sign with the studio after his wife Lina wore a gold cross at a dinner he attended with Western Electric brass. After this, Harry signed a partnership agreement with Western Electric to use Bell Laboratories to test the sound-on-film process. After the agreement was signed, Vitaphone was established and Sam and Jack decided to take a big step forward and make ""Don Juan"". Warner then hired the New York Philharmonic Orchestra to provide the film's background. The film began with eight Vitaphone"
"Kalee model 522 valve amplifier. This equipment was used at the re-opening of the cinema on 29 November 1981. Kalee 20s and Peerless carbon arcs were installed replacing the Kalee Dragons. The projectors came from the Odeon Cinema in Clacton in Essex and the Peerless carbon arcs came from the Regal Cinema in Stowmarket, Suffolk. The Kalee valve amplifier was replaced by a DIY stereo sound system that consisted of two mono Dolby A cinema systems (Dolby 364 with E2 equaliser) which came from the ABC Cinema in Ipswich Suffolk, together with Quad 606 amplifiers and Celestion SR1/SR2 loudspeakers. With"
"film. After a rising wall revealed the ""secret"" entrance to the sixty-foot-tall altar chamber of the goddess Durga, riders were seated on the 77-seat gondola divided into three stadium-seating rows. The ride (synchronized to an original soundtrack by Rob Pottorf with sound effects from The Bakery and voice-overs from Angelina Jolie and other members of the film's cast) then lifted up to the eyes of a sixty-foot-tall carving of Durga on the forward wall. Her eyes (embedded with automated lights) scanned the car, and fire and ice emblems held in two of her six hands illuminated. The ride then flipped"
"amps and speakers including a subwoofer to bring Dolby surround to the cinema for the first time (Stereo is not commonly used in cinemas, as a central audio channel is required to centralise dialogue for any of the audience sitting off-centre). A red laser sound reader was also installed to future proof the projector for the arrival of cyan sound tracks, and improve the quality of intermediate high magenta sound tracks. The lamphouse and rectifier was also upgraded to handle 3 kW lamps. Due to the cost, new surround speakers were not fitted, and have instead been formed using older"
"strong monsters, which make her more vigorous. In the ""Doctor Who"" episode ""The Lazarus Experiment"", the Doctor uses his Sonic Screwdriver to increase the volume of the pipe organ in the Southwark Cathedral, saying as he does so ""turn this up to eleven"", to beat Lazarus. Series 2 Episode 3 of the BBC series ""The Thick of It"" has Ollie Reeder describe the verbal tirade that is about to be unleashed as ""Mr. Malcolm Tucker, turning it all the way up to eleven, down in the lobby."" The tenth episode of the of the long-running webseries ""Red vs. Blue"" is"
"Inc. The movie provided major publicity and was used to advertise the synthesizer, though no price was given. The film's soundtrack also provided a debut for the Blaster Beam, an electronic instrument long. It was created by musician Craig Huxley, who played a small role in an episode of the original television series. The Blaster had steel wires connected to amplifiers fitted to the main piece of aluminum; the device was played with an artillery shell. Goldsmith heard it and immediately decided to use it for V'Ger's cues. Several state-of-the-art synthesizers were used as musical instruments, notably the Yamaha CS-80,"
"had forty cameras and sixty sound machines, used on its six separate lots, and connected with its own rail line. About 2,700 people ate in the commissary every day. Power was supplied by an in-house electrical plant which could light a town of 25,000. MGM also maintained a police force of fifty officers—larger than that of Culver City itself. ""Anywhere from sixteen to eighteen pictures were being shot at one time"", remembers actress Ann Rutherford. ""They were either shooting or preparing to shoot on every sound stage."" Mayer helped create what is termed the ""star system"". At one point he"