Rumble or Rumbling may refer to:
A rumble is a continuous deep, resonant sound, such as the sound made by heavy vehicles or thunder. In the context of audio reproduction rumble refers to a low frequency sound from the bearings inside a turntable. This is most noticeable in low quality turntables with ball bearings. Higher quality turntables use slide bearings, minimizing rumble.
Some phono pre-amplifiers implement a rumble filter, in an attempt to remove the noise. A heavier platter can also help dampen this.
Rumble measurement is carried out on turntables (for vinyl recordings) which tend to generate very low frequency noise originating from the centre bearing and from drive pulleys or belts, as well as from irregularities in the record disc itself.
It can be heard as low-frequency noise and becomes a serious problem when playing records on audio systems with a good low-frequency response. Even when not audible, rumble can cause intermodulation, modulating of the amplitude of other frequencies. The ‘unweighted’ response curve is intended for use in assessing the level of inaudible rumble with such intermodulation in mind.
"Rumble" is an instrumental by Link Wray & His Ray Men. Originally released in April 1958 as a single with "The Swag" as a B-side and recorded in 1954, "Rumble" utilized the techniques of distortion and feedback, then largely unexplored in rock and roll. The piece is one of very few instrumental singles banned from the radio airwaves. It is also one of the first tunes to use the power chord, the "major modus operandi of [the] modern rock guitarist".
At a live gig in Fredericksburg, Virginia, attempting to work up a backing for The Diamonds' "The Stroll," Link Wray & His Ray Men came up with the stately, powerful instrumental "Rumble," which they originally called "Oddball." The instrumental was an instant hit with the live audience, which demanded four repeats that night.
Eventually the instrumental came to the attention of record producer Archie Bleyer of Cadence Records, who hated it, particularly after Wray poked holes in his amplifier's speakers to make the recording sound more like the live version; however, Bleyer's stepdaughter loved it and it was released despite his protest. Phil Everly heard it and suggested the title "Rumble", as it had a rough sound and said it sounded like a street fight.
Absolom was a Belgian dance project produced by Christophe Chantzis and DJ Jimmy Goldschmitz. The group was popular in Europe by the end of the 1990s. For remixer and main-producer Chantzis the project was his first major effort in the Belgian dance scene. Vocals were done by Pascale Feront who gained some attention by entering the final of The Soundmix Show. A live-act was put together, consisting of singer Pascal Feront, two professional female dancers (Cindy and Ellen) and Christophe Chantzis on keyboard. He also supplied the additional vocals on some singles.
Christophe Chantzis produced several remixes under the Absolom project name for artists like Tiësto, Fiocco, Zohra, Praga Khan, DJ Visage, Future Breez and Ace Of Base.
The debut single “Secret” was Absolom’s most successful single. The B-side, the more trance-based track “Baby Boomers”, was also very popular. The 12” release of “Secret” topped the Belgian and Spanish Dance Charts by the end of 1997. A few weeks later the cd-single reached the top 10 in both countries. Several other countries followed in 1998 and Absolom was signed in France, Italy, UK, Germany, Australia, Switzerland, Scandinavia, Israel and South-Africa. “Secret” was later on remixed by famous DJ’s as Quicksilver and Vincent De Moor. In Belgium they were signed by Antler Subway, the record label with other (inter)national Eurodance acts like Milk Inc, Fiocco, Jessy, 2 Fabiola, Lasgo and Ian Van Dahl. At the same time Christophe Chantzis became involved with Astroline, another Belgian dance project.
Absolom is both a surname and a given name. Notable people with the name include:
Absolom is a Belgian dance music group.
Absolom may also refer to: