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Why Should You Buy An Electronic Keyboard?

Many people will buy a battery run toy keyboard rather than an electronic keyboard. More often than not the reason is safety and price. Obviously a toy version is much cheaper than an electronic version but if you are really into keyboards then electronic is something you should consider. Here we will discuss the very special sound technicalities that you can produce while using these particular types of instruments.

Generally a keyboard of the electronic type has the following qualities. There is something called a touch response along with an after touch effect. The touch response is actually a touch sensitivity that these keyboards express when played hard or soft.

This quality enables the player to produce prolonged and short, deep and mild sounds on the same note. It all depends on the pressure and the duration for which you are holding a particular key. The after touch is also of a similar type where you can modulate the sound depending on the pressure applied on any single key.

Then there is the polyphony, denoting the total number of sounds that you can play at any one time. Usually, the lower priced children’s keyboards play only one single note at a time while on the more expensive professional types you can play many tones at the same time. A maximum of ten notes can be played at one time in any high end electronic keyboard.

After this we come to multi timbre, rhythm, tempo and the split point. The multi timbre feature allows you to play many types of instruments at the same time. For example, you can play the piano, violin and the harmonium all at the same time, this is multi timbre. When using the tempo control, you just decide which rhythm you want and what speed you need, it’s simple.

You can slow down as well as quicken with a touch of a button. With the split point however, you can actually split your keys into two different sections where each section plays a different instrument from the other. Say twelve keys play the piano while the rest play the mandolin. This is possible only with an electronic keyboard and you might find you can buy one for about the same price as a toy piano.

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Yamaha YPG 635 Electronic Keyboard Demo

Lux KP100 Digital Keypad Timer, White $14.30 LUX Minute Minder Digital Keypad Timer goes anywhere and is easy to operate. Ideal for: monitoring classes, test and quizzes, experiments, project work, study periods, presentations and reports, physical education, reminder of appointments and all types of cooking….

Christmas $6.19 Depending on your point of view, Christmas is either a quaint sonic time capsule extracted from the mid-1980s or a timeless holiday classic. The first in what has become an ongoing series of Mannheim Steamroller Christmas recordings, this CD has sold millions, which seems to indicate that it is everything its advertising claims it to be: “America’s favorite Christmas music.” The powerfully success…

Miles Electric – A Different Kind of Blue $9.19 MILES ELECTRIC:DIFFERENT KIND OF B – DVD Movie…

Moog $10.97 A man who genuinely revolutionized late-20th Century music gets his due with Moog, writer-director Hans Fjellestad’s absorbing documentary about Robert Moog, inventor of the synthesizer that bears his name. In his seventies when this 2004 film was made, Moog began working with electronic music in the late 1940s, when he designed and built theremins (the source of the wavy sci-fi sound heard on the…

Don Slepian’s Video Dreamland Video dreamland is a safe and effective sleep aid. Features the instrumental keyboard artistry of New Age artist Don Slepian with a slowly changing colorful display of computer graphic animation….

Mel Bay’s Learn To Play Rock/Blues Electronic Keyboard VHS Learn-to-Play…

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Silverhill 20 Piece Tool Kit for Apple Products $9.99 New from Silverhill Tools is a useful kit that helps with doing many of the routine tasks associated with Mac ownership, including accessing memory slots or opening housings. Includes 5 screwdrivers: Pentalobe size 1, Pentalobe size 5, flat, phillips, and Triwing. Includes 9 L keys: 3 hex keys and 6 star keys. 2 Spudgers. Sim adapter kit for reducing your SIM to a microsim, including SIM ejec…

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Lux TX9100E 7 Day Universal Programmable Thermostat $39.97 Compatible with almost any heating or cooling system–including heat pumps–the Lux TX9100E Smart Temp Programmable Thermostat features a user-friendly, energy-saving design. Because it’s programmable, the TX9100E uses energy only when it’s needed most, helping save money on your utility bills and protect the environment. For safety and additional benefits, this thermostat is entirely free of mer…

$3.98 shipped–75g Pack Cyber Clean-Catch Dirt and Kill Germs $3.98 Clearly enhances the performance of you keyboard and other devices.

$35.06 shipped–49 Keys Flexible Soft Roll Up Electronic Keyboard Piano $35.06 This 49 controller combines all the production power and performance you need to get the most from your music software and MIDI gear.

$49.39 shipped–61 MIDI Soft Keyboard Piano (Black) $49.39 Has been masde under very high standards with a focus on meticulous design and production quality control. You can connect headphones. good for quiet practice (headphone not included).

$60.41 shipped–COOLM9630 Quad-band FM Dual Sim Standby Cell Phone (Red) $60.41 Except the basic functions of mobile phones. the cell phone supports MP3. MP4. Bluetooth. FM function and electronic books.

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06:21:03:11 Up Evil $11.99 The first of two releases for Front 242 in 1993, 06:21:03:11 Up Evil (aka F*ck Up Evil) found the foursome rebounding from the somewhat sterile Tyranny (For You) with a varied, vicious assault. Incorporating guitar noise more readily than ever before, but most often chopped up and heavily treated for the band’s own particular purposes, 06:21:03:11 Up Evil contains some of the band’s most virulent, explosive songs. All titles are one-word long, simple, and straightforward, with names like “Flag,” “Mutilate,” and “Crapage.” There’s almost a straight-up rock feel to a number of tracks as well, as the drumming on “Waste” and the quite anthemic “Melt” shows. It’s hardly Front 242′s grunge move, though — Jean-Luc de Meyer and the generally little-heard Richard 23 may have a more openly emotional rasp and rage in their voices, especially de Meyer, but the relentless beat of industrial/electronic body music lives on. Leadoff single “Religion” continues the group’s winning vein on that front, feedback roars and a huge beat setting an edgy pace before a body slam of a chorus kicks in, de Meyer raging over the top, “Let me burn you down!” The winning secret of the album is that a fair number of songs also demonstrate a careful subtlety, as with the sly mood-setting of “Skin,” with its chopped-up electro/hip-hop beats providing the propulsion behind desperate whispers and ominous synth buzzes. The immediately following “Motion” provides an even more upfront blend of styles, with a quiet start and gentle singing suddenly shifting into a pounding call-to-arms percussion attack, all while de Meyer chants, “progress, progress!” again and again. Other successes in this vein include the strange prettiness of “Stratoscape,” featuring a low, purring bassline and crisp beats offset against soft keyboard sparkles and chimes, and “Fuel,” which includes minimal ambient buzz, more upfront dance/beat chaos, and varying combinations of the two. ~ Ned Raggett, Rovi

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Planet Waves Humidipak Automatic Humidity Control System (for guitar) $13.65 Planet Waves, in collaboration with Humidipak, brings you the first two-way humidity control that maintains a constant 45% relative humidity level. The patented Planet Waves Humidipak completely eliminates all the guesswork and anxiety of maintaining your instrument’s proper humidity level. No more guessing if or when to refill the humidifier and worrying about drips or mess. Unlike all refillable…

Wilton Guitar Cake Pan $7.75 Novelty Cake Pan: Guitar. The leader in cake decorating tools Wilton doesn’t mess around with anything but the best! Their bake ware is the choice of serious bakers for wedding cakes and other special occasions. Features: thick durable construction, pure aluminum for consistent and professional results. Constructed of Aluminum for rust resistance and easy washing. Package takes any two-layer cake …

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Ghost On The Canvas $8.60 During his 50 years in show business, Campbell has sold 45 million records with hits like “Witchita Lineman, ” “Gentle On My Mind, ” “Rhinestone Cowboy, ” and tons more. Ghost On The Canvas is his “farewell album, ” a deep, meaningful look back at his career/life with contributions by the artists he continues to inspire. We re proud to be an integral part of the legendary Glen Campbell s final stu…

Parachutes $5.97 Music doesn’t come more touching than this. With their debut single alone, the emotion-fortified “Shiver,” Coldplay prove they can shift between elated and crushed in a breath, as singer Chris Martin pours out music’s oldest chestnut (unconditional yet unrequited love) with the shakiest of voices and a backdrop of epic guitars. For 10 tracks on Parachutes, he adds newfound meaning to the most tire…

Heritage $9.54 Following the success of their last 4 shows the new Celtic Thunder show Heritage accentuates the musical culture of Ireland. The CD features 12 new recordings including: An Irish Blessing, A Place In The Choir and Whiskey In The Jar. In 2011 March PBS pledge will feature Celtic Thunder’s Heritage airing the program over 1,000 times. In the fall of 2011 Celtic Thunder Heritage will be on tour. Over…

Flame Flamenco and Romance – An Evening of Romantic Guitar with Esteban [VHS] $3.93 …

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#1 Smooth Jazz Radio Hits $18.98 The title is self-explanatory: guitarist Chuck Loeb has scored no less than a dozen number one hits on radio charts for smooth jazz. He’s also played on literally hundreds of records, making him the Tommy Tedesco of the genre. None of that matters very much to his fans, and this collection is clearly assembled for them. While fans of smooth jazz (and what is in the 21st century now called “contemporary jazz”) will have enjoyed Loeb’s music and may even be familiar with it, it’s not so much the individual tracks that matter as the consistent sound and vibe. Early on, Loeb embraced the feel of smooth jazz and became one of its great ambassadors, displaying a knack for writing and producing music custom-tailored to the radio format that was so successful in the 1980s and 1990s (and continues in mutated form in the 2000s). His name has become synonymous with the genre, and the most memorable of his hits have their own timeless quality: “Blue Kiss,” “Sarao,” “Just Us,” and of course, “The Music Inside.” Other tracks will be not be especially well known by name but are easily identifiable by sound, including “Tropical,” “High Five,”and “Cruzin’ South.” The slippery, silky backbeat funk Loeb employs as a canvas in his tunes comes across as immediately welcoming and accessible; his guitar lines are always fluid; and his soloing is cut into short, tight pockets. Many of his collaborators are well known in the world of jazz at large as well: John Pattitucci, Jason Miles, Jim Beard, Will Lee, and Nestor Torres are all here, as well as many more. This set is a welcome addition to Loeb’s catalog and will likely deeply satisfy any listener who enjoys smooth jazz. ~ Thom Jurek, Rovi

#3 [Bonus Tracks] $12.99 Like Beck in his ’90s prime, Suburban Kids with Biblical Names have no respect for musical boundaries. If they think a mixture of African-styled highlife-guitars, electronic beats, and ukuleles is a good idea for an indie pop song, they won’t hesitate to put it on record. The result? Wonderful. #3 includes former EP A-side “Funeral Face,” and just listen to the opening of “Peter’s Dream”: within mere seconds they combine Kraftwerk-styled percussion with a guitar that sounds exactly like Hank Marvin anno 1960, and it could hardly have sounded more right. On “Seems to Be on My Mind,” the distorted vocals and shuffly beat almost make them sound classic rock cool, before it breaks into a singalong chorus echoing the kind of pop like they used to make between the world wars. And so it goes on and on, genres and styles meet and ultimately converge through the unusually strong pop songwriting that always lies at the core of the album. No song gets boring, ever. Suburban Kids with Biblical Names sure do possess the geeky charm so beloved in indie and lo-fi circles. Classic one-liners like “there’s a Falcon Crest side to everything” and “I wanna turn all their dancefloors into a burning inferno of ba ba ba” are the stuff dreams are made of for any indie pop aficionado. But don’t let the spectacles and the wit fool you. There’s nothing amateurish about the kids’ performance at any point; in fact, the instrumental performances and the creative and crystal clear production are among the most impressive things about this album. Seldom do debut albums come as truly wonderful as this one. [The U.S. edition of the album adds two extra tracks: Love Will" and "Trumpets and Violins".] ~ Anders Kaasen, Rovi

‘Round Midnight $11.99 Criminally unsung pianist and singer Andy Bey had the most visible career after he and his sisters Salome and Geraldine Bey broke up their performing trio after an 11-year run in 1967, but this family singing ensemble was far more than just the act that launched Andy, and he wasn’t really the focus of the group. All three siblings were highlighted equally in the trio, and their harmonies together were the ethereal kind that can only happen in a family where all involved have grown up hearing each other’s voices and phrasing every single day. The Bey trio recorded very little together, unfortunately, just a single album for RCA in 1961 and two albums for Prestige, Now! Hear!, released in 1964, and this one, ‘Round Midnight, from 1965. Part gospel, part muted R&B, part stylized blues, the Bey trio was also very much a jazz outfit, due in no small part to Andy’s underappreciated piano playing and the presence of bop veterans like Milt Hinton on bass, Osie Johnson on drums, and Kenny Burrell (who appears on about half of the tracks here) on guitar. In essence, the Bey trio sounded like a thinned-out and more jazzy, gauzy version of the Staple Singers. Highlights from this reissue, which is quite short (only around 33 minutes) by modern CD standards, are a wonderfully balanced version of Ray Charles’ “Hallelujah, I Love Her So,” a stirring take on Billie Holiday’s “God Bless the Child,” the ever expanding and ascending “Feeling Good,” and a fine rendition of the title track, Thelonious Monk’s “‘Round Midnight,” which has never been the easiest song in the world to sing effectively, but the trio nails it here in what might have been deemed a definitive version if it had actually been heard by more than a handful of people. Prestige released Andy Bey & the Bey Sisters in 2000, which includes both the trio’s albums for the label on one disc, and that is definitely the way to go, although this short set does do a decent job showing off the range and talents of thi…

‘Til Shiloh [Expanded] $11.99 1993′s Voice of Jamaica was a stellar set, an aural collage of the island, with its swirl of diverse styles, sounds and themes. Bringing dancehall to the wider world, that album was a revelation, and to attempt to better it would have been futile. And so, Buju Banton didn’t try, instead he moved in a new direction. After the completion of Voice of Jamaica, two of the Banton’s friends were killed; their murders prompting him to re-evaluate his own life, leading to his conversion to Rastafarianism, and bringing to an end his glorification of the gun. These life-changing events are reflected throughout much of ‘Til Shiloh, which proves a much more introspective set than anything heard from Banton before. This is most evident on the haunting sufferer’s song “Untold Stories,” as Banton reflects on the world around him, beautifully accompanied by a gentle rhythm and Glen Browne’s evocative acoustic guitar. But Jah now sustains him, prompting the artist to open the album with the brief a cappella psalm, “Shiloh,” then launching into “Til I’m Laid to Rest,” which revisits the sufferer’s theme, but intertwines it with an homage to Africa and his faith in the promised land. Still, Banton has not yet found peace, and his inner turmoil is at its rawest on “Murderer.” Written in the aftermath of the aforementioned killings, the Banton struggles with his grief and fierce desire for vengeance; all else pales before this most emotionally powerful of songs. It’s “Not an Easy Road,” as Banton vividly relates on that song, and he has been left vulnerable. Still, he opens his soul on “Wanna Be Loved,” and exposes his loneliness on “What Ya Gonna Do” joined by Wayne Wonder. “Complaint” has Banton toasting over this fabulous Garnett Silk number, praising Jah and scattering the heathens before him. “Chuck It So” takes a similar stance, as Banton takes on a Big Man, with the 2 Friends Crew sweetening his ferocious assault. It’s a heavy-hitting album, with only “Hush …

…And Don’t the Kids Just Love It $16.98 The first full album by Television Personalities, recorded after a four-year series of often brilliant D.I.Y. singles recorded under a variety of names, including the O-Level and the Teenage Filmstars, is probably the purest expression of Daniel Treacy’s sweet-and-sour worldview. The songs, performed by Treacy, Ed Ball, and Mark Sheppard, predict both the C-86 aesthetic of simple songs played with a minimum of elaboration but a maximum of enthusiasm and earnestness and the later lo-fi aesthetic. The echoey, hissy production makes the songs sound as if the band were playing at the bottom of an empty swimming pool, recorded by a single microphone located two houses away, yet somehow that adds to the homemade charm of the record. Treacy’s vocals are tremulous and shy, and his lyrics run from the playful “Jackanory Stories” to several rather dark songs that foreshadow the depressive cast of many of his later albums. “Diary of a Young Man,” which consists of several spoken diary entries over a haunting, moody twang-guitar melody, is downright scary in its aura of helplessness and inertia. The mood is lightened a bit by some of the peppier songs, like the smashing “World of Pauline Lewis” and the “David Watts” rewrite “Geoffrey Ingram,” and the re-recorded version of the earlier single “I Know Where Syd Barrett Lives,” complete with deliberately intrusive prerecorded bird sounds, is one of the most charming things Television Personalities ever did. This album must have sounded hopelessly amateurish and cheaply ramshackle at the time of its 1981 release, but in retrospect, it’s clearly a remarkably influential album that holds up extremely well. ~ Stewart Mason, Rovi

…And They Have Escaped the Weight of Darkness $16.98 They must be putting something in the water over there in Iceland that makes musicians work in unexpected ways. Their biggest pop and rock exports — Bj? rk and Sig? r Ros, respectively — have borne very little relation to what the rest of the world thinks of as pop and rock, so why should their most promising young neo-classical composer be any different? At an age when most young men are still trying to decide between grad school and the night shift at Denny’s, Olafur Arnalds has already made a name for himself as a musical maverick who skirts the edges of the classical, rock, electronic, and avant-garde worlds with enthusiastic ease, a Nico Muhly with a higher tolerance for cold weather, if you will. On his second full-length release, Arnalds moves further away from electronics to embrace a more acoustically oriented approach centered on piano and strings. Electronics do play a supporting role — they’re simply used to enhance the atmosphere here and there, but in the main, Arnalds is creating 21st century chamber music here, as the piano makes simple, elegant statements whose harmonic possibilities are further fleshed out by the strings. And Arnalds may be a modernist in terms of pushing stylistic boundaries, but he still has some old-school, downright romantic notions about melodic movement — you won’t find any polytonality or serial music among these tracks. Arnalds prefers instead to repurpose old-school harmonic conventions in a new context, offering the listener a readily accessible emotional connection but still breaking new ground. And on the few strategic spots in the album where Arnalds drops in drums and/or electric guitar and repetitive motifs, the effect is not dissimilar to the headier moments of the aforementioned Sig? r Ros, or perhaps early-? 70s Pink Floyd at their most ethereal, showing the rock crowd that they too have a point of entry into this music. ~ J. Allen, Rovi

01011001 $19.98 With Ayreon, Dutch multi-instrumentalist Arjen Anthony Lucassen has built a career around massive prog metal opuses with hordes of guest vocalists. Basically, anybody in metal who can hold a tune has sung for Ayreon at some point. 01011001 features Anneke Van Giersbergen (ex-the Gathering), Jonas Renkse (Katatonia), Floor Jansen (After Forever), Tom Englund (Evergrey), Hansi K? rsch (Blind Guardian), Simone Simons (Epica), Ty Tabor (King’s X), and Daniel Gildenlow (Pain of Salvation), among many others. These singers are the focal points of their bands, but in Ayreon, they’re merely characters in Lucassen’s rock operas. 01011001 is a sprawling two-disc set that one critic called “the longest CD ever made.” Indeed, the album spans 100 minutes, and feels like 100 years. It’s a perfect fit for the Inside/Out label — pristine production, byzantine songs that feel like full albums, hi-tech synths that wish they were guitars. Lucassen really, really likes his synths; in “Waking Dreams,” he entirely forgoes bass in favor of a percolating ostinato that suggests a beefier Kraftwerk. Electronics also pervade the percussion; “Beneath the Waves” is as if Alan Parsons covered the Beastie Boys’ “So What’cha Want.” Ray gun synths, operatic vocals, fake and real strings, and even Celtic melodies adorn this sonic mansion. Its ambition would be laughable if the record didn’t actually fulfill it often. Admittedly, such fulfillment was purchased at Guitar Center (or its Dutch equivalent); the record is most touching when it strips down to acoustic guitar on the gorgeously compact “Web of Lies.” These two discs, subtitled Planet Y and Earth, are about humanity’s disconnect with itself and destruction of the planet. But that’s really not important. Music this over the top almost defies criticism. Reviewing it is like reviewing the world’s tallest building. It doesn’t care; it just goes on and on. ~ Cosmo Lee, Rovi

01011001 [CD/DVD] $29.98 With Ayreon, Dutch multi-instrumentalist Arjen Anthony Lucassen has built a career around massive prog metal opuses with hordes of guest vocalists. Basically, anybody in metal who can hold a tune has sung for Ayreon at some point. 01011001 features Anneke Van Giersbergen (ex-the Gathering), Jonas Renkse (Katatonia), Floor Jansen (After Forever), Tom Englund (Evergrey), Hansi K? rsch (Blind Guardian), Simone Simons (Epica), Ty Tabor (King’s X), and Daniel Gildenlow (Pain of Salvation), among many others. These singers are the focal points of their bands, but in Ayreon, they’re merely characters in Lucassen’s rock operas. 01011001 is a sprawling two-disc set that one critic called “the longest CD ever made.” Indeed, the album spans 100 minutes, and feels like 100 years. It’s a perfect fit for the Inside/Out label — pristine production, byzantine songs that feel like full albums, hi-tech synths that wish they were guitars. Lucassen really, really likes his synths; in “Waking Dreams,” he entirely forgoes bass in favor of a percolating ostinato that suggests a beefier Kraftwerk. Electronics also pervade the percussion; “Beneath the Waves” is as if Alan Parsons covered the Beastie Boys’ “So What’cha Want.” Ray gun synths, operatic vocals, fake and real strings, and even Celtic melodies adorn this sonic mansion. Its ambition would be laughable if the record didn’t actually fulfill it often. Admittedly, such fulfillment was purchased at Guitar Center (or its Dutch equivalent); the record is most touching when it strips down to acoustic guitar on the gorgeously compact “Web of Lies.” These two discs, subtitled Planet Y and Earth, are about humanity’s disconnect with itself and destruction of the planet. But that’s really not important. Music this over the top almost defies criticism. Reviewing it is like reviewing the world’s tallest building. It doesn’t care; it just goes on and on. [This edition of 01011001 includes a bonus DVD.] ~ Cosmo Lee, Rovi

100 Days, 100 Nights [Promo Version] $19.98 Sharon Jones, the big-voiced lead singer of the Dap-Kings — a band that recently began making its name known outside those enthusiasts of the Daptone label and the reaches of the soul community thanks to appearances with Amy Winehouse and work for Mark Ronson, including a version of Dylan’s “Most Likely You Go Your Way (And I’ll Go Mine)” — is no music-world neophyte. 100 Days, 100 Nights is just her third full-length with the Dap-Kings, but Jones has been singing on and off since the 1970s, without much of a break until she began working with her current label. Meaning, she’s certainly paid her dues, and she has enough life experience behind her voice to make the words she sings sound that much truer. Because soul music — and this isn’t neo-soul, or contemporary R&B, but straight-up Stax and Motown brassy soul — is so much more than the actual lyrics themselves; it’s about the inflection and emotion that the vocalist is able to exude, and Jones proves herself to be master of that, moving from coy to romantic to defiant easily and believably. The album is much smoother, even gentler, than her previous releases, and though the Dap-Kings still power their way through the ten songs with bright horn licks, inspired drumming, and staccato guitar lines, there’s a deeper, bluesier edge to the record, heard in “Let Them Knock” or the slower “Humble Me.” “Don’t let me forget who I am,” Jones croons in the latter, her voice rising to a sweet falsetto at the end of the phrase. It’s a very clean record, not over-produced but well produced, with a lot of great pop moments tucked in between the brassier, funkier bits. The title track relies on a sultry organ and a minor vamp to make its point, while “Something’s Changed” uses strings and punctuated sax and bass as the singer drops a bit of her lungs out, bringing a kind of immediacy to her words, as if the actuality of the situation around her hasn’t quite set in enough for her to wail about it, as if she’s just …

1000 Kilometers $16.98 Throughout their long existence, Oregon have consistently performed music that is difficult to categorize. Some of their acoustic ventures, particularly in the group’s earlier days, could be considered “world jazz” or “folk-jazz” due to the unusual instrumentation, avoidance of conventional blue notes, and original pieces. On 1000 Kilometers, there are times when the group actually sounds close to Weather Report in the 1970s, particularly when electronics and Paul McCandless’ soprano are utilized. But there are also performances that sound far from Weather Report, focusing on Ralph Towner’s acoustic guitar, McCandless’ other instruments, and the rhythm team of bassist Glen Moore and drummer Mark Walker. The music constantly keeps one guessing, and although McCandless is generally the lead voice in the ensembles, all four musicians make strong contributions. 1000 Kilometers is a fine effort from a unique band. The improvisation by Paul McCandless on the title track was nominated for a Grammy award in 2007 for Best Jazz Instrumental Solo, and Mark Walker’s “Deep Six” was nominated for Best Instrumental Composition. ~ Scott Yanow, Rovi

Sing Songs and Make Music Videos Online for Free

Among the coolest new things happening on the internet, the site www.singbre.com features as a prominent entry. It is a website that allows you to sing online and share it with other people. The idea is very simple but it is very smart. You just plug in the regular microphone you use for chatting onto your computer and use it for singing and recording songs online.

You can then share it with family, friends and the people on your Facebook friend list and even with the strangers. The site allows you that. You could also use your webcam to shoot videos as you sing and make music videos online. There is also a multitude of other things that the site allows you to do – like singing karaoke online or creating parodies of any song or even editing lyrics. And the best part is that all these come absolutely free.

Singbre.com provides a place to anybody who is musically inclined to express himself or herself online. The site is the brainchild of two friends who began to work together while they were still students. The scope of the project is vast. It allows the user to record his or her voice online and thus is good news for any budding musician since he or she gets a space from which they can make themselves heard. The user is also allowed the option of recording music videos online and the link to YouTube included within the main page permits the user to upload his video on Singbre from YouTube with just one click.

Alternatively, one can just spend time on the net having fun. Singbre has a full-screen possibility suited to play karaoke on bimer or big TV placed in the living room. It therefore provides a mode of entertainment for the complete family. He/she can also consider changing lyrics of popular songs and adapting them to his or her liking for fun. Making parodies is also another fun thing that one can do. And once people begin sharing these things with their friends, they get to play an entertainer within their social circles. And if not these, then the user can just practice free singing online simply for the sake of it.

Singbre.com is definitely going to be an internet phenomenon in the coming years. The range and scope of the website and the activities that are available for the users are so vast that it has the potential of keeping people hooked for hours. It offers you a facility of embedding content in your website as it allow adding singbre player in your website. The user is bound to get attracted to this website as the site is so engrossing. Also, unbelievably the site gives free access and does not charge the user anything for using the facilities. Websites that are designed so perfectly are found rarely and when these are found, it doesn’t get any better than singbre.com.

About the Author

Sing songs online for free using your microphone. Make karaoke online using your webcam. Over our instrumental music you will be able to sing and record karaoke videos of yourself online. For more information please visit: sing online

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Hamilton Beach 51101B Personal Blender with Travel Lid, Black $21.99 Hamilton Beach Single Serve Blenders feature durable stainless steel blades that blend your favorite drinks in seconds. Use the travel cup to blend drinks to go anytime, or fill the whole jar with fresh ingredients for family and friends. Cleanup couldn’t be simpler place the cup or blending jar right in the dishwasher.Manufacturer: Hamilton Beach Brands, IncManufacturer Part Number: …

Sunbeam 5891 2-Pound Programmable Breadmaker, White $86.05 Save yourself a trip to the store or bakery and make your own bread at home. The Express Bake bread maker lets you enjoy a loaf in under an hour! Choose from 12 cooking functions or set your timer to delay your bread to be ready up to 13 hours later. It’s ready when you step in the door, wake up or whenever you wish. Comes complete with instructions and recipes for making a multitude of 2-lb. loav…

Cuisinart CPB-300 SmartPower 15-Piece Compact Portable Blending/Chopping System Meet the Cuisinart SmartPower Compact Portable Blender – the compact powerhouse that does it all! Use the streamline blending cup to make smoothies in a flash! Mince herbs in the chopper cup and whip up custom drinks right in the “To-Go” cups – we’ve included four of them so everyone can have their favorite! Designed of fit anywhere, the Compact Portable Blender delivers big blender performance wi…

Making Mirrors $7.99 …

Making Mirrors $9.92 Belgian-Aussie artist Gotye (Wally de Backer) delivers a great art-pop album in the form of Making Mirrors. If you like your music original, interesting, with killer hooks and an arty slant then this is for you. Standout track, Someone That I Used to Know has just become the biggest selling Australian record since Savage Garden’s Truly Madly Deeply in 1995. You won’t regret this album, you’ll wear…

We Found Love $0.99 …

Men In Black $9.99 …

The Little Mermaid (Fully Restored Special Edition) [VHS] $16.13 From the moment that Prince Eric’s ship emerged from the fog in the opening credits it was apparent that Disney had somehow, suddenly recaptured that “magic” that had been dormant for thirty years. In the tale of a headstrong young mermaid who yearns to “spend a day, warm on the sand,” Ariel trades her voice to Ursula, the Sea Witch (classically voiced by Pat Carroll), for a pair of legs. Ariel ca…

The Lion King [VHS] $4.60 Anybody who struts around with Simba’s hard-won authority deserves this royal DVD read-along from Disney. Kids can recoil at Uncle Scar’s dastardly deeds en español and discover that “hakuna matata” sounds pretty much the same in Spanish, French, Italian, or German. And should the dynamic storytelling fail to thrill your 4- to 12-year-old fan, a flurry of other interactive options await. Tog…

Hunter 44360 Set and Save 7-Day Programmable Thermostat $31.89 Create the ideal indoor climate for a particular household’s daily needs while conserving energy with this Energy Star-compliant programmable thermostat from Hunter. Users program for each day of the week, enabling the thermostat to automatically heat up at dawn on a cold morning or to run the air conditioner for longer hours over a summer weekend. By adjusting the thermostat to operate primarily …

#1 Girl $10 In a matter of months, this four-member boy group, assembled by producers Vincent Herbert (Lady Gaga) and Walter Millsap (Alicia Keys), went from opening for Janet Jackson to shutting down malls and headlining their own tour. ? My Girl,? a peppy pop-R&B single released in February 2011, provided the group with all the momentum it needed, and it only helped that they were filling a void with clean content targeted at tween and teen girls. Like ? My Girl,? much of #1 Girl involves songwriting input from Millsap, Candice Nelson (co-author of Timbaland? s ? The Way I Are? ), and Lakeisha Gamble; those three, along with several other writers, craft an album full of age-appropriate pop-R&B that doesn? t get much more suggestive than ? We ? bout to get acquainted now.? It? s all decent, high gloss material that, sonically, fits into mainstream R&B/rap radio playlists circa 2011 without making parents shudder. ~ Andy Kellman, Rovi

#1 Hits Explosion $15.98 If the Apples in Stereo had only made Fun Trick Noisemaker and then quit, their legacy as a legendary pop group would have been secure. In 1995, nobody else was making records as giddy or as full of wonder as the Apples, and definitely no one was making records as exquisitely arranged and magical on a shoestring budget. The release of Fun Trick was a defining moment in indie rock that came pretty close to being a lo-fi pop masterpiece, and still sounds just as amazing. That the Apples couldn’t top it is no cause for shame on their part; that they kept trying and ended up creating a catalog as rich in great songs and records is cause for celebration. The cheekily titled #1 Hits Explosion is just the kind of career-summing package the band deserves and it makes clear just how wonderful a band it is. Gathering songs in roughly equal numbers from all six of their studio albums (and adding the infectious rocker “Signal in the Sky [Let's Go]” that they recorded for The Powerpuff Girls’ Heroes & Villains soundtrack), the collection focuses mostly on the ultra-hooky, power pop-influenced side of the band. Starting with the booming rocker “Energy” from their most recent record, New Magnetic Wonder, the songs fly past like gooey sticks of bubblegum, glowing and shimmering like the finest pop music of the ’60s and ’70s. “The Rainbow,” “Go,” “Shine a Light,” and “Ruby” (just to pick four) could have easily been hits in 1967 given the right circumstances, “Shine a Light” sounds like a low-budget ELO, and there’s absolutely no reason “Signal in the Sky” wasn’t topping the charts in 2000. Only “Strawberry Fire” and “20 Cases Suggestive Of…” hint at the trippy, hazily psychedelic side of the group, but even then the hooks in the choruses are strong enough that you could hang a cement overcoat from them with no problem. The possible flaw with the collection is that — as is the case with any such album — one of your favorite tracks might be missing (“Gloww…

#1 Smooth Jazz Radio Hits $18.98 The title is self-explanatory: guitarist Chuck Loeb has scored no less than a dozen number one hits on radio charts for smooth jazz. He’s also played on literally hundreds of records, making him the Tommy Tedesco of the genre. None of that matters very much to his fans, and this collection is clearly assembled for them. While fans of smooth jazz (and what is in the 21st century now called “contemporary jazz”) will have enjoyed Loeb’s music and may even be familiar with it, it’s not so much the individual tracks that matter as the consistent sound and vibe. Early on, Loeb embraced the feel of smooth jazz and became one of its great ambassadors, displaying a knack for writing and producing music custom-tailored to the radio format that was so successful in the 1980s and 1990s (and continues in mutated form in the 2000s). His name has become synonymous with the genre, and the most memorable of his hits have their own timeless quality: “Blue Kiss,” “Sarao,” “Just Us,” and of course, “The Music Inside.” Other tracks will be not be especially well known by name but are easily identifiable by sound, including “Tropical,” “High Five,”and “Cruzin’ South.” The slippery, silky backbeat funk Loeb employs as a canvas in his tunes comes across as immediately welcoming and accessible; his guitar lines are always fluid; and his soloing is cut into short, tight pockets. Many of his collaborators are well known in the world of jazz at large as well: John Pattitucci, Jason Miles, Jim Beard, Will Lee, and Nestor Torres are all here, as well as many more. This set is a welcome addition to Loeb’s catalog and will likely deeply satisfy any listener who enjoys smooth jazz. ~ Thom Jurek, Rovi

$O$ $10.99 Representing the Lady Gaga Era? s dark underbelly, South Africa? s Die Antwoord are the real ? Little Monsters? of their time, brought to fame by a series of videos that looked like David Cronenberg and Keith Haring were co-directing. On their debut album, $O$, the music is just as phantasmagoric, unsettling, and bursting with the same sick humor as their videos, but there? s also the same amount of care put into the product. Even as these incredibly busy hip-hop-meets-rave productions rocket toward the brink of chaos, the listener is harnessed in by layers of hooks and plenty of cheeky musical ideas. First, there? s the setup: a duo of South African? s trashiest trailer kids, including a lead male rapper, Ninja, who is obsessed with his namesake plus a albino kewpie doll, pixie-voiced back-up singer, Yo-Landi Vi$$er, who often channels her inner sex goddess even when she? s traditionally unsexy. A third, shadow member, DJ Hi-Tek, supplies much of the music, making wonderfully outlandish decisions like sampling Smile.dk? s sugary hit ? Butterfly? for the massive ? Enter the Ninja,? a hypnotic motivational track that should pump up any given mutant before they enter the ring. When ? Scopie? – this album is chock-full of NSFW South African slang — samples ? Short Dick Man,? it? s clever, and borrowing from the Bronski Beat for the epic sex track ? Beat Boy? is just one example of the album? s fascinating love of old synth music, from new wave to gabba hardcore with a little love thrown dubstep? s way. Jamaican dancehall is referenced on ? Evil Boy,? which turns Little Red Riding Hood into a story of phallic bragging, as is dancehall? s iffy relationship with the ? batty boy? , because Die Antwoord are hardly politically correct. Elsewhere, your mom? s private parts end up in a ? Fish Paste? jar as an insult, and Ninja? s idea of a sexual encounter always requires post-coital mops and buckets. If it matters, none of this is re…

(MIA): The Complete Anthology $13.96 Another hot punk nostalgia artifact. When this L.A. quartet’s lone LP, the Joan Jett-produced (GI), was released in 1979, no one could conceive a Germs anthology, but history has proven the vitality of the maligned West Coast late-’70s punk explosion. “Copying the English” was the putdown du jour, but after similar retrospectives on the Weirdos, Dils, Avengers, Zeros, Crime, and so on, (MIA) answers that fraud again. On their first two singles (one the very first Slash record!), these crazy, inept juveniles had no clue. But when “No God” (with its anti-Yes “Roundabout” intro) and (GI)’s vicious, scorching “What Do We Do Is Secret” crash in, the effect is still startling. These heretofore churlish, charming vagrants and louts had suddenly lassoed the beast. Darby Crash snarls like the Screamers’ Tomato Du Plenty over Pat Smear’s lashing guitar and Don Bolles’ hyper power-drums — his voice is primal, raw, and animalistic grunting, yet the lyrics reveal a brutal social critic hiding amid the total mess, chaos, drugs, and 1980 suicide-at-22 that characterized his “too fast, too soon” life. No “beat on the brat” here. “Communist Eyes,” “Land of Treason,” and “Media Blitz” are testaments to disaffection, wild desire, and disdain in words and sound, desperate calls to arms that still resonate years later. And (MIA) — which tacks on other rare tracks, including some from the long-lost Cruising film soundtrack, making this CD 30 songs in all! — has no “cool” pose. They were just having fun, but they were the real thing, and it burns. ~ Jack Rabid, Rovi

(m)orning [Advance] $13.99 Although often lumped into the emo category, Mae has rarely adhered to that genre’s conventions, and (m)orning is perhaps the furthest the bandmates have ever sounded from their Warped Tour brethren. This eight-song EP is the band’s first release since losing its contract with Capitol Records, and the disc sounds more like an album than anything else, with songs that bleed together and several tracks that top the seven-minute mark. While EPs often serve as receptacles for an artist’s discarded B-sides, (m)orning is its own entity, and the songs are crafted appropriately. “The Fisherman Song (We All Need Love)” builds steadily, adding layer upon layer of guitar before exploding into a cathartic bridge, while “The House That Fire Built” marries challenging time signatures with an epic, open-armed chorus. Several minutes later, “Boomerang” gives way to “Two Birds” with a flurry of guitar arpeggios and piano riffs, making for a fairly gorgeous transition. All of this will be little interest to outsiders, perhaps, but fans should enjoy (m)orning’s mix of experimentation and accessibility. [An advance copy was also released.] ~ Andrew Leahey, Rovi

…And Justus for All $15.98 So how is it that the usually closely watched Little Brother can sneak out an album without much fanfare? It’s not so much the departure of member 9th Wonder or the group’s split from major label Atlantic, but the fact that And Justus for All is really a fringe release, a repackaged re-release of the 2007 mixtape that shares its title and was “presented” by Mick Boogie. That explains the transitions from track to track and why the overall flow of the album is ragged. Member Big Pooh has rightfully claimed that the group’s mixtapes are very close to being albums themselves, but out of all of them, Boogie’s Justus had so many interludes concerning the mixtape game — including the legal battles mixtape man DJ Drama fought — that the transition is difficult and the solid theme is lost. Still, this is prime material dating from the time between The Minstrel Show and Get Back, with plenty of that Little Brother wit. Only 40 seconds in and you’re graced with “Yo, give the drummer some/Pipe down, give the plumber some,” and less than a minute later they’re dissing folks who “got their hands out like the Allstate sign.” In between those lines are deep, serious thoughts about how comfortable people aren’t mad enough at the injustices of the world, making “Can’t Stop Us” a prime example of the yin-yang power of the duo, but there’s more than a handful of these highlights with B+ material as filler. Dropped from the original release are some tracks with samples that would have been expensive to clear and in their place are five new cuts, including the standout slice-of-life “Too Late for Us.” The free-to-experiment spirit of Phonte’s Foreign Exchange project is a heavy influence on a number of cuts and respected producers like DJ Babu, DJ Spinna, Nottz, and Rjd2 supply the beats. The underground original beats this release by a length, but with extra material and all tracks now stripped of Boogie’s weird “Commissioner!” drop, hardcore fans will need both editio…

…And the Horse You Rode in On $16.98 The Scotland Yard Gospel Choir seem to have been making an effort to rough up their sweet, twee pop sound over the course of the past few years, and they? ve only turned up the edginess on their third album, 2009? s …And the Horse You Rode In On. Nowhere is it more evident than on …And the Horse? s second track, ? Stop!,? which boasts the comically bilious first line, ? I hope that you catch syphilis and die alone.? It? s the kind of thing worthy of a vaudevillian, cabaret-style band like the Tigerlillies; unfortunately, the Scotland Yard Gospel Choir are not the Tigerlillies. Up until now at least, they’ve been a sweet indie pop act, something like the Pocketbooks, or maybe even the Math and Physics Club, only with a little more bite; so the black humor and vulgarity that riddles this album is a little confusing, to say the least. It seems like the Choir are striving to make heavily narrative indie pop that? s tender, tough, and funny, something along the lines of Belle and Sebastian.Unfortunately, there? s very little real tenderness here, the toughness often comes off as mean-spirited (or, at times, just plain awkward), and none of it is very funny. Part of the problem has to do with …And the Horse? s narrative, which revolves around a recently jilted young guy; whether it? s weak writing or vocalist Elia Einhorn? s rough-edged delivery, the main character often comes across as too melodramatic to be likeable. The other problem is that there are a few moments where the Choir? s dark-yet-sugary approach actually works, and these moments only serve to underscore the album? s shortcomings. ? Sixteen Is Too Young? and ? Something? s Happening? offer an example of …And the Horse at its bittersweet best ? they? re a good balance of sweet vocals, quaint instrumentation, and gently biting lyrics. Sadly, moments like this aren? t enough to make the Scotland Yard Gospel Choir? s third album much more than passable. Newcomers would be…

…In Shallow Seas We Sail $13.99 After flirting with synthesizers and smoother textures on 2007′s I’m Only a Man, Emery returned to a harder sound with While Broken Hearts Prevail, a seven-song EP that attempted to placate anyone who balked at the previous album’s content. Released one year later, …In Shallow Seas We Sail continues the progress that Broken Hearts made, allowing some melodic moments to flourish but largely emphasizing the band’s hardcore foundation. The result is a fairly competent screamo album, with the band making all the usual stops between hushed melancholia and guttural, scream-filled catharsis. As demonstrated by leadoff track “Cutthroat Courage,” Emery’s dual frontmen have learned to play off each other’s strengths, and their use of overlapping, echoing melodies makes for some of the most melodically poignant moments here. While the band has yet to progress as rapidly on the lyrical front, returning fans will likely champion this as Emery’s finest work. ~ Andrew Leahey, Rovi

…That’s Who! The Complete Chrysalis Recordings (1973-1980) $34.98 Scottish whiskey-voiced vocalist Frankie Miller never made much of a splash in the States, despite, or perhaps because of, his fixation on American soul and R&B. Yanks have never been terribly appreciative of the music that originated in their homeland, which might have been a contributing factor to Miller’s marginal popularity in the U.S. He was a fairly major star in the U.K., though, big enough for EMI to remaster, repackage, and reissue his catalog (at least for the titles on their Chrysalis imprint) into this generous four-disc box. They even include a few rare singles and, more importantly, the original mix of his second effort, High Life, along with the previously released one, expanding this set’s total to eight albums from 1973 through 1980. Because he has recorded just a handful of platters since, and only one after his debilitating brain hemorrhage in 1994, this covers the bulk of his output and all of his best-known songs. The playing time of each runs over 75 minutes, yet there are songs missing that were included as extras reissued on the individually expanded editions by Eagle/Repertoire in 1994. Not including those cuts, most of them as good and some even better than the ones on the albums they were appended to, is a major miss for a compilation that implies completeness. Regardless, the spiffed-up audio is crisp and warm, and while some of the material is spotty, Miller’s performance is consistently energized and enthusiastic. From the gritty pub rock of his Brinsley Schwarz-backed debut to the raw soul of the Allen Toussaint-assisted High Life to the harder-edged rock of The Rock and the somewhat slick Easy Money, there is a plethora of terrific material here. Miller is as impressive singing ballads as tough, Faces-styled rockers, which makes each release reverberate with an ebb and flow making even some of the filler — and make no mistake, there is a good-sized helping of that — worth hearing. Well-arranged horns and occasional strings help, …