Download Cobra Music UPDATED
Eleanore Bansmer
Your family is invited to become a member of the Bishop Grimes Jr./Sr. High School Cobra Music Association. This organization is open to all Bishop Grimes families interested in promoting school spirit and helping our Bishop Grimes musicians and thespians thrive and flourish!
I've been following Josh on Youtube and Facebook for months now - he's simply incredible. It's not just the music, it's his style... his smoking... his attitude to love (somewhat tempered since he got a girlfriend)... his forced to go to job corp/kicked out of job corp saga... his home-made cobra-based religion... his homemade drinks...
Just giving a shoutout to Leo Birenberg and Zach Robinson for their amazing work with the music of Cobra Kai. I love how well the music matches up with the fight scenes, especially in S3 E10 during the brawl. The way the music changes when Tory and Sam come face to face gives me chills every single time. Has anyone else geeked out about the music?
Cobra is an unpublished[1] but recorded and frequently performed musical composition by John Zorn. Cobra was conceived as a system with very detailed rules but with no pre-conceived sequence of events (a "game piece") for a group of musical improvisors and a prompter.[2][3][4] Zorn completed Cobra on October 9, 1984. The composition consists of a set of cues notated on cards, and rules corresponding to the cues that direct the players what to do in response to the cards. The number of players, instrumentation, and length of the piece is indeterminate, but a "prompter" is essential to the piece, holding the cards at his or her discretion and issuing other cues. Because there is no traditional musical notation and the players improvise, the piece may sound radically different from performance to performance. The title was inspired by a table-top war game published by TSR.[5]
As was commented upon in some length in a 2004 interview, Zorn has, with his own words, "deliberately chosen not to publish (or even write down) the rules" to his game pieces, being concerned with the importance of personal instruction.[6] Despite this, photocopies circulate among musicians internationally, and there is even a clean printing of all the cue categories in a CD booklet (see recordings). A card marked "XP", for example, orders the musicians to "sub crossfade" (i.e., those who are playing must stop, while those who were not playing must begin).[7] Other cards can order players to form sub-groupings, to mimic or elaborate on what another musician was improvising, and so forth. Players can make requests of the prompter via hand gestures or wearing headgear, including forming "guerrilla units" that are temporarily allowed to ignore the prompter and have options unavailable to other musicians (e.g., forming an "Ivesiean Trio" that plays in recognizable genres that overlap and contrast in the style of composer Charles Ives).[7] The BBC documentary series On the Edge: Improvisation in Music (1992) includes a short segment of Zorn explaining and conducting two versions of Cobra.[8] His goal with Cobra, Zorn said, was to "harness" the creative developments in improvisation and extended techniques by New York City's downtown scene musicians in a semi-structured way, but "without hindering" their performances; he was interested in telling the musicians when to play, and with whom, but without telling them what to play. Plus-Minus (1963, 1974) by German composer Karlheinz Stockhausen was a key inspiration for Zorn, inspiring him to develop methods play with or against each other and in response to his cues but without dictating specific notes, sounds, or other formal structures. Though Cobra can be performed by any number of musicians plus a prompter who handles the cards, Zorn has stated that at least ten musicians are ideal, with care taken in selecting the musicians based on their improvisational skills and personalities.[7]
Being a hotbed of international travel, of course Panama's music is as diverse as its population. Throughout the '60s and '70s, it wasn't uncommon to hear intricate mixtures of calypso, jazz and cumbia throughout the isthmus.
It would have been easy for the music of this time and place to become lost, but a new compilation from Soundway Records, Panama! 3, gives these tracks some long-awaited international exposure. Panama! 3 unearths numerous gems and rarities, but the entire release is dedicated to one man: Lord Cobra.
SMPTE (pronounced "simpty") is a way to shoot your fireworks show synchronized to music by sending an audio feed from your sound system to the COBRA 18R2 without using a COBRA Audio Box. You can also send the same audio feed to other systems (such as DMX and lighting) to synchronize them together with your COBRA system. If you are brand new to SMPTE, don't worry, we have explained everything below and you can also contact us with any questions.
In order to use SMPTE, your 18R2 must be configured to support a SMPTE input. You can upgrade your existing 18R2 using the 18R2 SMPTE Upgrade Kit. Your COBRA hardware also needs to be on firmware version 5.1 or higher.
COBRA SMPTE User Guide
18R2 SMPTE Upgrade Kit
Firing a Pyromusical using Show Creator and SMPTE
SMPTE (pronounced "simpty") is an audio feed that contains timing information called "time code". You can configure your 18R2 to accept a SMPTE time code feed (using an RCA audio port) so that it starts and maintains a script in perfect synchronization to an audio feed that also contains music. For example, you can configure your audio feed to send the music on the left channel and SMPTE on the right channel. By sending your left channel to an audio system and your right channel to the 18R2, the audio will play in sync along with your 18R2 firing the script. SMPTE is an alternative to the COBRA Audio Box for synchronizing music for pyromusicals.
SMPTE is audio timing content, also known as "timecode", that resides in the audio file that could be WAV, MP3, or any other audio format. The SMPTE audio file, when played, does not sound like music. Instead, SMPTE sounds like a squealing noise that is unrecognizable to the human ear. However, to the COBRA 18R2 or other systems receiving the SMPTE audio feed, it contains valuable timing information. The SMPTE is basically an audio file "stopwatch". For example, at 0 seconds, the SMPTE audio is sending 0 seconds and at 10 seconds, the SMPTE audio is sending 10 seconds. If you were to slide the playbar on your audio player and stop at a defined time, the output signal would contain an audio representation of the time you are currently playing at. As the audio file plays, it's sending new timing information continuously. The system who is receiving this audio timing feed will interpret the data and execute its own internal systems at the same time as the audio timing values it's receiving. You can download a sample 90 minute SMPTE time code MP3 file. This file can be used for any shows up to 90 minutes long.
You may ask yourself, how do I use this with COBRA to execute a pyromusical? Well, we have a few options that include the use of COBRA Show Creator and also a General Audio Source that we explain below in summary, and also and offer detailed step-by-step instructions in the COBRA SMPTE user guide. You can also contact us as we are happy to help.
The COBRA Show Creator software offers a fast and easy way to execute a perfectly synced pyromusical. The 18R2 SMPTE Upgrade Kit includes the proper USB sound card, audio cable, and hardware for the 18R2 to accept a SMPTE timecode input feed.
SMPTE is also used to synchronize not only COBRA, but also other 3rd party technology applications that accept SMPTE time code such as DMX and lighting applications. This allows you to design effects using other technology and integrate the timing with music and COBRA at the same time. When integrating 3rd party systems, you split the SMPTE audio output to multiple systems that accept and sync to the SMPTE time code at the same time.
I write about music from around the world; covering everything from Latin to K-pop, Afrobeat to Arab pop, and the artists buzzing throughout Africa, Asia, the Americas and anywhere else. My work has appeared in the New York Times, Billboard, Rolling Stone, NPR, Teen Vogue, BuzzFeed and beyond with my expertise called up by CNN, The Washington Post, Good Morning America, USA Today, ABC News, MTV and more. I'm a freelance writer based in New York City, with my work bringing me to South Korea, Japan, England and around the world. I'm always listening for something that sounds good and always looking to discuss what gets a listener excited.
I am a music journalist based in New York City. My byline has appeared in The Huffington Post, Billboard, Mashable, Noisey, The Hollywood Reporter, MTV, Fuse, and dozens of other magazines and blogs around the world. I love following charts and the biggest and most successful names in the industry, and I'm always interested in highlighting incredible feats and discovering what's next.
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