text:
CONCERTO FOR GROUP AND ORCHESTRA
Proto-Prog
3.21 | 292 ratings | 26 reviews | 23% 5 stars
Buy DEEP PURPLE Music
Live, released in 1969
1. First Movement: Moderato - Allegro (19:21)
2. Second Movement: Andante (19:11)
3. Third Movement: Vivace - Presto (13:08)
Additional tracks on CD release (placed before the Concerto)
4. Wring That Neck (13:12)
5. Child In Time (12:02)
In 2002 this record was released as a two cd set with the following track listing:
Disc 1 (band only):
1. Intro (radio clips) (3:27)
2. Hush (4:40)
Disc 2: Concerto:
4. Encore: Third Movement: Vivace - Presto (part) (5:52)
- Ritchie Blackmore / lead guitar
- Ian Gillan / lead vocals
- Jon Lord / organ, keyboards, backing vocals, [string/woodwind arrangements]
- Ian Paice / drums, percussions
- Roger Glover / bass, backing vocals
Deep Purple recorded live at the Royal Albert Hall with the Royal Philharmonic
Orchestra. The LP was released by Harvest (UK)Tetragrammaton (USA) in 1969.
EMI promo vinyl PSR-325 released in 1970 has edited highlights from the concert.
Thanks to momomo for the addition
and to easy livin for the last updates
Buy DEEP PURPLE Concerto for Group and Orchestra Music
Deep Purple: Concerto for Group and Orchestra (2-CD Set)
Emi Import 2002 $13.22
Concerto For Group & Orchestra (2002 Remix)
Box set · Remastered
Wea Int'L 2014 $50.63
Concerto For Group & Orchestra
EMI Import 1998 $11.98 (used)
Concerto For Group & Orchestra - 1st - EX
Harvest $99.72 (used)
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DEEP PURPLE Concerto for Group and Orchestra ratings distribution
Essential: a masterpiece of rock music(23%)
Excellent addition to any rock music collection(36%)
DEEP PURPLE Concerto for Group and Orchestra reviews
Review by Zitro
One of the best album of the progressive phase of Deep Purple, and one I recommend for a progressive rock collection.
This album contains 5 songs ... all exceed 10 minutes and 4 are symphonic epics (3 containing an orchestra). Wring that neck is from the previous album "Book of Taliesyn", but this version is much better and more virtuosic ... you hear all the musicians shine, especially Jon Lord on the hammond organ. Child In Time is from 'In Rock' album but this album is released earlier, so this is the original version of the song. The arrangements are extremely simple, but the song's buildup is nevertheless amazing and very powerful. Those growing screams are the essence of the song. The extended guitar solo is excellent too, a masterpiece (but I prefer the studio version since the sound mix and quality is better on it). The last three songs are all good symphonic epics with strong classical influences:
First Movement begins with string arrangement and eventually leads into a hard rock territory in which the whole band participates. IT is instrumental.
Second Movement follows the vein of the first movement. This one is somewhat mellower in parts and more experimental, It is somewhat flawed and parts lose my interest like If I am hearing Tales of Topographic Oceans.
Third Movement is very good because it is the most dynamic of the pieces and the band and orchestra blend well (yet, don't expect it to bend as well as magnification-Yes and Journey to The Center of The Earth). Instrumental.
While they are quite good, I feel like the rock instruments and the orchestra don't bend that well together.
1. First Movement: Moderato - Allegro (7/10) 2. Second Movement: Andante (5/10) 3. Third Movement: Vivace - Presto (6.5/10) 4. Wring That Neck (8/10) 5. Child In Time (10/10
My Grade : C/D
Posted Saturday, September 17, 2005 | Review this album | Report (Review #46939)
Review by Sean Trane
SPECIAL COLLABORATOR Prog Folk
I think this review will get some heat among progheads , but we have here a disaster at hand! Actually I was never fond of those groups seeking recognition of higher arts by playing to an orchestra as if rock was to gain nobility from this fact.
The Nice had already done this , and IMHO , they were never convincing! When The Moody Blues tried it on Days Of Future Past , they were actually fairly succesful (but hardly entirely either)! When Procol and Caravan will try it themselves , they will have more success of it (but Caravan's New Symphonia sounds cruelly under-rehearsed), mostly because they reworked their songs to include the Orchestra, so the task was quite different.
Actually what baffled me most is that the liner notes on the inside gatefold sleeves gives all the reasons why this record was a failure. And truely the writing job was insufficient , consisting of the band answering to the orchestra (or was it fighting!!). If John Lord had done a tremendous job of writing the centerpiece of the April suite in the previous album, writing for a full orchestra is something completely different, having so many musicians to write for. Obviously , the cooperation was not full and some orchestra members had contempt treating Purple as "Third Rate Beatles".
Hardly worth the investigation , but yet another piece in favor of the proto-prog or not debate! As for the two bonus tracks presented above , I have never heard them under that particular version.
Posted Wednesday, September 21, 2005 | Review this album | Report (Review #47653)
Review by Eetu Pellonpaa
I liked this musical production very much! It's the most artistic musical effort that DEEP PURPLE ever did, so if one should promote this band on this kind of progressive website, this is the album to be promoted. The musical texture and melodies of the classical parts resemble lot's of the music done by young JEAN SIBELIUS, so if you like this music, check out the "Concerto for violin and orchestra in d-minor" by J.S., I believe you would like it. Here the classic and rock music segments emerge first separately, and they slowly fuse then together. There's not very much singed parts, which is sad as the second calm part with IAN GILLAN is the best part of the music. I would also note, that if you are going to buy "Concerto for Group and Orchestra", consider carefully which version you do want to get. There's so many versions moving around, with tracks which the band played before the main feature, with the classic concerto by the conductor, and as a DVD with a film capture from the concert.
Posted Saturday, October 1, 2005 | Review this album | Report (Review #49615)
Review by Chicapah
As an aspiring rock guitarist in the late 60s I had such high hopes when I found this in the record bin and couldn't wait to be floored when I got it onto the turntable at home. For years I had yearned to hear a collaboration between rock and symphonic/orchestral music and this was the first attempt I had come across. Another reviewer has pointed out that the Nice had already breached this particular chasm but I wasn't aware of that band at that time.
Unfortunately, it was a bomb. The true mix of genres didn't happen at all. It was like someone was saying "Okay, now the band plays" and then "Okay, now the orchestra takes a turn" and back and forth like that throughout the LP. It was a dreadful disappointment even to my naiive and idealistic ears. There seemed to be no attempt to meld or adapt either medium, just musicians playing what they were told to play.
But the good news was that they tried and for that I give them an E for effort. It took some serious cajones to even attempt this project live on stage and in the Royal Albert Hall, at that. And maybe this was one of the many reasons the wonderful, earthquaking, restriction- shattering Mellotron was developed. And we all know what that did for Progressive rock.
More of a curious footnote to the developing grand scheme of things at the end of that glorious decade of musical experimentation than any kind of a true classic, it still has to be judged on its own merits and, in that regard, I have to give it a low grade.
Posted Friday, February 17, 2006 | Review this album | Report (Review #69717)
Review by ZowieZiggy
I received this album under its cassette version somewhere in June 72. At that time it was the basic version which featured the three movements only. Each one contains a solo work from Paice, Lord and Blackmore. Those were the only moments I could cope with this record. My experience with the Purple in those days was chronologially the single "Black Night" and their albums "Fireball" and "Machine Head". I spinned the last one quite extensively for a few weeks before hearing this classical / rock combination work from Jon Lord which I could never, ever enter into. So, these classic numbers were quite a shock and cannot be compared with a standard Purple album. It is the first album of the Mark II era, and the first to chart in the UK (Nr. 26).
The remastered and extended version provides a bonus CD with "Hush"," Wring That Neck" and "Child In Time". Gilan and Glover have just joined the band. Their live performances in these early times of Mark II era will still be influenced by some Mark I tracks and will be quite expanded ("Wring That Neck" and "Mandrake Root"). The highlight on this bonus CD is of course "Child In Time". It must be one of their earliest live version for it and Gilan is really fanstastic in the vocals. This version is by far superioir to the one on "Made In Japan". Ritchie outrageous guitar solo is also one of the greatest hard rock experience you can expect. Fabulous. The "Hush" version also shows that Gilan is from another caliber than Rod Evans. You should only buy this one if you can get hold on the double CD version unless you can stand classical music which is not my case. For the very good bonus CD, I will rate this one three stars (only one star for the original vinyl album).
Posted Monday, January 1, 2007 | Review this album | Report (Review #105146)
Review by Seyo
Although on the surface "Concerto..." sounds like the most progressive rock album by DEEP PURPLE, things are not quite good.
After three interesting but comercially flawed early proto-prog/psychedelic albums, they (or rather: Jon Lord as the leader at the time) decided to go symphonic. And, as it usually happens in similar cases of mere ambition, they failed simply because this "symphonic rock" is not what we all know by that term as a sub-genre of Prog (GENESIS, YES...). You don't make rock progress by simply adding the Royal Philharmonic or any other orchestra for that matter. Progressive rock is not necessarily the inclusion of the influnces and musical ideas borrowed from Classical symphonic music of the XIX century. Or not only that. Otherwise it becomes a pathetically indulgent piece of work where the rockers are urged to show their musicianship and composing skills in a rather bombastic and pompose way.
The performance of "Concerto" is quite fair and decent, but what's the point? Orchestral parts and all that "movement" structure is pretty boring, Blackmore's and Paice's solo parts save the material a bit and remind you that this is after all a rock band. Jon Lord probably wanted to present himself as a "serious" composer and arranger in front of the academically trained musicians but he did not succeed.
After this album, the band changed direction and got a fame as a premier hard rock/heavy metal act which was to influence hordes of headbangers to come, so this effort with orchestra remains largely of interest for the historians of early prog rock and for devoted fans of DEEP PURPLE who must own everything that bears the band's name.
Posted Sunday, June 10, 2007 | Review this album | Report (Review #125304)
Review by clarke2001
Two concerti: one for group, one for orchestra.
Both are patchworks. The question is how successful (from the artistic point of view) these patchworks are.
Okay, the title is completely wrong. Concerto is a piece composed for a soloing instrument and orchestra. This is only my cynical intention to draw attention to the fact that both band and orchestra were not actually working well and homogeneous together. It was more like playing on turns. "Wring That Neck" and "Child In Time" are not a concerto by no means - however they are absolutely out of place here. The first one is an average Purple's bluesy tune, certainly not on a level of (intended) majestic atmosphere of a concerto. "Child In Time" is alright, but far from the best live version. If we take into the consideration the over-discussed fact about plagiarism of another band, then these two rock tunes are certainly just a patchwork of ideas that was suitable enough to fill the fourth vinyl side in.
As far as the Concerto goes, it's not a real concerto neither, since concerti are written for one soloing instrument (rarely two) and orchestra; we can talk about rock band as an one-piece entity (and a very versatile instrument too) but this happened only in traces. Lord respected the traditional structures and forms (three movements), and his writing skills are sometimes lovely, sometimes interesting, sometimes ingenious, sometimes plain boring.
To know why this Concerto was recorded at first place we should probably enter into the Lord's head and see what was he thinking at the time: he introduced new members of the band, wanted more advanced approach to the music, and was inclining towards classical repertoire. It was 1969 and rock music was music was moving towards the symphonic sphere rapidly - but even in the right moment, the record was not really a coherent statement, more a semi-failure and historical curiosity rather than a staple. Some critics were labeling DEEP PURPLE as the "traitors of the rock 'n' roll" after the premiere, however nobody characterised THE NICE in that way. Or other bands at the time: KING CRIMSON, THE MOODY BLUES and PROCOL HARUM.
Why? I guess because it is inconsistent. On a plain surface, some moments in Concerto are brilliant, Lord were using not only major and minor scales, the main theme in the first movement is both catchy and intelligent, second movement is dramatic, third one is furious. I think I've found traces of Stravinsky somewhere there, but that's not the problem.
The bands sounds too dry on a recording; that's not a problem with orchestra of course, but lacking the "beef" in the sound of the rock band, the record in its entirety already lost half of the possible appeal. The other thing is, they were playing on turns: eight bars of orchestra - eight bars of the band. Lord's songwriting saw light of a day too soon; it certainly lacks a lot of polishing. Raw drumming is out of place, Blackmore's anxiety too. Gillan's voice on Second Movement is sweet, and the lyrics are intentionally neutral - they can be interpreted both from a lenses of love as well as religion; that part was fine, although a bit tacky. Lord's Hammond is not on the same level as orchestral parts - it's majestic, expressive, powerful, but not both complex and beautiful as orchestrations. Since the whole Concerto was his baby, we can only wonder whether it is due to his technical inability as a organist, or his intention while writing a piece to emphasize the contrast between a rock band and classical orchestra. If the first one is the case, we will forgive him. If it's the second case, then that's a pure arrogance and nothing else. Arrogance and self-indulgence shouldn't be here - and here's why:
Nobody expected Emerson or Wakeman on Hammond here, they would be both out of place (in my opinion), on the other hand Ken Hensley (because of his raw power) would be out of place too. The only organist that fits here is Lord himself - with his amount of classical influence and furious rock approach - but he simply doesn't fit perfectly. Which means that the whole peace should have been rewritten - or to put it simply - it's weak.
Too bad. This record could have been a masterpiece if only a) Lord had polished his piece long enough b) waited for another parameters to happen, and for audience's preferences to become more inclined towards progressiveness and c) if he had written Concertino For Group and Orchestra.
Posted Friday, July 13, 2007 | Review this album | Report (Review #128332)
Review by Easy Livin
SPECIAL COLLABORATOR Honorary Collaborator / Retired Admin
Concerto for group OR orchestra
Contrary to many people's perception, the first album released by the classic mark 2 line up of Deep Purple was not "In Rock", but this live recording. Very much a Jon Lord project, this was one of several attempts around this time (1969) to bring together a rock group and an orchestra. The bands concerned went about it in different ways, with Procol Harum simply orchestrating existing material, the Moody Blues creating essentially a symphonic pop album while The Nice made a rock album with orchestral support.
Lord decided to attempt to write something which was essentially classical, but with digressions into rock from time to time. He had been working on the project for many years, an indication of the way he was thinking coming on the final track "April" on the band's third (self titled) album. When Lord finally managed to get the go ahead, he had just three months to compose the score ready for the planned event at the Royal Albert Hall (RAH) in London. Incidentally, the score was subsequently lost, being painstakingly re-created by a fan many years later, but that's another story.
The gig at the RAH took place on 24th September 1969. The first part of the performance was a recital by the orchestra alone of a symphony written by their conductor Malcolm Arnold. There then followed a band performance of three of their songs, with the concerto occupying the latter part of the evening. Only the actual concerto appeared on the original LP release. This was partially rectified on the 1990 CD version, when two of the three band tracks were added to the start of the CD. These are a 13 minute version of "Wring that neck", a song originally recorded by the mark 1 line up prior to the arrival of Gillan and Glover, and "Child in time" which had then yet to appear on a studio album. The other song was "Hush" by the way.
"Wring that neck" is effectively a vehicle to allow the band to loosen up through a guitar and organ based jam. The version of "Child in time" here lacks the refinement of the subsequent studio recording, but in some ways that is what makes it alluring. That said, this is pretty much the finished product here.
The Concerto is divided into 3 lengthy parts running to just under an hour, with the titles of the "Movements" using classical terms such as Allegro, Andante and Vivace-presto to emphasise the ambitions of the composition. Overall, it is a powerful piece, which tends to fall into the trap which catches many aspiring rock/classical composers of relying to heavily on the percussion, especially timpani.
The second section is the most accessible and the softest. The strings are the most dominant overall in this movement, while Gillan adds some regal vocals. The final section is marred by an unnecessary drum solo which completely destroys the "Concerto" notion. This part of the movement is an indulgence pure and simple and should never have made it into the composition. Thankfully, the rest of the band and orchestra are soon back from their comfort break, and things continue as before.
The main criticism which can be levelled at the concerto is that it largely fails in its objective. Group and orchestra do not really work together at all, with one or the other taking centre stage at any given time. This leads to rather jarring contrasts between the two styles, which in turn makes for a rather disjointed feel. I have seen it said that this was deliberate on the part of Lord, who wanted to demonstrate through the three movements how the two opposites (band and orchestra) start off apart, but move together as the piece progresses. While the intention is undoubtedly noble, whether it works is open to debate.
All that aside though, this album is further evidence of the prog credentials of this fine band.
Posted Wednesday, October 17, 2007 | Review this album | Report (Review #145221)
Review by Gatot
When I first listened to this album long time ago in the 70s, I could not believe that Deep Purple played this kind of music that was hard to understand. First of all, I was not quite familiar with classical music. Secondly, I could not understand Deep Purple played it this way. But with the familiarization of Rick Wakeman's "Six Wives of Henry VIII" finally I got attuned with this "rock meets classic" marriage and I started to really enjoy it. The toughest parts for me were the segments where the music is so silent and I could not bear with it. But the more I played it, the more I got used to it.
This album was the representation of Deep Purple music when they were not so sure about their music direction. It was Jon Lord who drove this project and made it for an album for Deep Purple. It has always good when I say a particular band tries the new music horizon they never been before because by doing so, it can be seen how the individual member of the band contributes the music skills.
Overall, this is quite enjoyable for those of you who have been familiar with classical music. This can also be good for those who enjoy "Pictures at an Exhibition" by Emerson, Lake and Palmer.
Peace on earth and mercy mild - GW
Posted Friday, December 7, 2007 | Review this album | Report (Review #154574)
Review by tarkus1980
Enter lead vocalist Ian Gillan and bassist Roger Glover ... who are basically wasted on this album. Though this technically is the debut album of Mk. 2, it feels more like the worst possible culmination of Mk. 1. The thing is, I actually really like well-done classical music; I'm not as familiar with its nooks and crannies as I am with some genres of rock, but I've accumulated a good amount from a number of composers (favorites are Beethoven, Bartok and Stravinsky), and there are several classical pieces I absolutely love. But I don't think of this as classical; it's just prog rock with a heavier dose than normal of "pure" orchestration. Kinda like "April," but stretched out and made as crappy as possible.
The Concerto itself, which makes up the last two thirds of the album, is ridiculous. The "classical" portions are mediocre movie soundtrack quality at best; I guess the same thing could be said about the orchestrations on Days of Future Passed, an album I love, but those orchestrations existed to augment the moods of the actual songs and provide segues. The orchestrations here are meant to be treated as crucial portions of large-scale composition, and they're just not interesting enough to work that way. Parts go loud, parts go soft, and above all parts go nowhere. And the portions where the band joins in, gah ... There's an ok song buried inside the second movement (though the thought of Ian Gillan being forced to sing pretentious, meaningless prog lyrics is one I find bothersome; aren't lyrics like this anathema to Ian's purpose of existence?), but the rest is a bunch of alarmingly uninteresting group jamming interspersed with what sounds like Blackmore playing warmups. No thanks.
Oh, and did I mention that the central feature of the third movement is a drum solo? Did I also mention that the "encore" involves the band and orchestra going through the section with the drum solo a second time? Sheesh ...
The thing that redeems this album, at least slightly, is that the expanded version includes the band's opening set, sans orchestra, which is actually pretty decent. The opening performance of "Hush" is flat out great, with Gillan putting more gusto into his vocals than Evans did, and the band is super tight. "Wring that Neck" and "Child in Time" aren't done at their very best, as the band doesn't yet have the telepathic chemistry that would make the band so amazing within a couple of years, but they're decent enough, at least if your wank- tolerance is at a reasonable level.
Still, that's not a ringing endorsement, is it. That ** is awfully close a *, and should be regarded accordingly. At least the band didn't make this sort of thing its primary focus in the future ...
Review by Guillermo
I recently read an interview done with DEEP PURPLE`s original bassist Nick Simper. He says in that interview that shortly before his and Rod Evans`s departure from the band they knew that there were plans to play in concert with an orchestra and to record it for a new album. Simper says that he really did not like the band`s previous Classical Music arrangements done to some songs from their first three studio albums, and that he really never liked the mixture of Classical Music arrangements with Rock in those albums. So, he was not happy with the idea to record a full album with that musical mixture, which was a project mainly planned and created by Jon Lord with the support from the management and from Ritchie Blackmore and Ian Paice. So, Simper and Evans left the band. Lord said in other interviews that Blackmore was always the main "instigator" in the changes in the line-up of the band when he was in the band, and that he was supported by Lord and Paice. So, with Simper and Evans out of the band the new line-up which included Ian Gillan and Roger Glover first recorded a single called "Hallelujah", and later they went to record this "Concerto for Group and Orchestra" album with Conductor Malcom Arnold and the Royal Philarmonic Orchestra, an Orchestra which also was going to work with the Dutch band EKSEPTION in their "00.04" album from 1971.
The concert for this album was also filmed, and I also could watch it on the web.
This album has some of the last Prog Rock attempts done by the band to mix Classical Music arrangements with Rock, a thing that they did several times in their first three albums. Those musical ideas were more influenced by Jon Lord thanks to his previous Classical Music trainning. Those ideas sometimes worked well and sometimes they did not work well in those albums. Anyway, the band tried again with a more ambitious musical piece consiting of three Movements, with music composed by Lord, with the Second Movement having lyrics written and sung by Gillan. Maybe it was more of a fad then to try to do a mixture of both musical styles, as several other artists have done it in some of their albums (PROCOL HARUM, THE NICE, THE MOODY BLUES, EKSEPTION...). In the case of DEEP PURPLE the results are not very satisfactory, but as a "musical experiment" it was a good idea, before going with this new line-up to record more heavy albums playing Hard Rock and Heavy Metal music, both styles of music which were more proper for this band, I think.
Those years (from the late sixties to mid seventies) were a very creative period. So, several Rock bands tried several "experiments" and projects to try to give Rock music a more "serious" and respected role in popular music. This album was one of them. The album sounds more like a separated "musical dialogue" between the orchestra and the band, not really mixing their roles very often. The orchestral parts are very good in most parts, and some of the music which the band plays is sometimes heavy. The best parts in this album for me are the Second Movement on which Gillan sings very well but also briefly, and the Third Movement which includes a very good drums solo by Ian Paice, showing that from his early twenties he really was a very good drummer. As a whole, the album sounds as a good project on which Jon Lord took the lead role more prominently. Unfortunately, the album really shows that it was recorded during an era of "musical experiments" which sometimes worked well and sometimes not.
Posted Saturday, August 30, 2014 | Review this album | Report (Review #1265130)
Review by Progfan97402
Jon Lord must've had a monster-sized ego to come up with orchestra and rock group concept. Not that they would be the first (the Moody Blues were the first with Days of Future Passed) nor the last (Procol Harum, Rick Wakeman, The Nice, ELP, even Eloy, if you're wondering what that Eloy album was, it was Dawn) had all tried rock with orchestra concepts with varying degrees of success. Lord had a background in classical so I guess he was familiar with the music. I'm sure at fire Malcolm Arnold, the conductor had his reservations, but then it resulted in him being pleasantly surprised to see a rock and roll musician try classical and had an understanding in classical composition. Ritchie Blackmore thought it was a bad idea and felt the orchestra was rather condescending (the usual rift between classical and rock). This album was the first with the Mark II lineup (Roger Glover and Ian Gillan as the newcomers, as you probably already knew that) and a rather strange way to get started. I was resistant in buying the album because of the mixed reaction, but since I found a used LP for cheap (second American pressing on Warner) I gave it a shot and wasn't all that bad. Certainly there are big glaring obvious flaws that there isn't too much band/orchestra interaction. Usually it seems one of the band members will participate with the orchestra but rarely the whole band, and when the whole band performed, as in the killer jam they do on "First Movement" the orchestra remains silent. "Second Movement" is actually two parts (because of the time constraint of the LP). Ian Gillan does everything to sound like his predecessor Rod Evans, you'd almost think Evans was still a member of the band. He never uses his trademark high pitch screams (a big influence on the likes of Rob Halford, Bruce Dickinson, Ronnie James Dio and many other heavy metal singers). The second half of the "Second Movement" has some bluesy passages from the band, while "Third Movement" is most notable for the extended Ian Paice drum solo, like they were taking after the likes of "Toad", "In-a-Gadda-da-Vida" or even "Moby Dick" (but bear in mind this was recorded in September 24, 1969, LZII was released a month later). The '70s was often considered a decade of excess, and this album is the epitome of '70s excess, even if it was released in December 1969 (originally in the US on Bill Cosby's Tetragrammaton label, yes THAT Bill Cosby, although that pressing is hard to find give the label quickly went belly up shortly after this album's release and no wonder Warner gave that album a second life when the band moved to that label in the States, since it didn't have much a chance on Tetragrammaton).
I have to say it wasn't entirely a success. There could have been more band and orchestra interaction. The Moody Blues's Days of Future Passed wasn't entirely a successful combination of rock band and orchestra, it too suffered problems of lack of band/orchestra interaction (either the band plays or the orchestra), it was a big commercial success, and even a critical success, because at least there the orchestra frequently played themes that the band would often play too, although (I'm not the only one) many had criticized Peter Knight's orchestral style as it veered too close to lite classical (but then to be fair, it seemed lite classical was a big influence on the Moodies). Deep Purple it sounded like the orchestra did not relate to the band, and neither did the band relate to the orchestra, aside from Jon Lord.
It can be easily thought of in many different ways: Rubbish, a rock band/orchestra experiment that failed, 70s excess at its worst, or actually a great example of proto-prog. I am a bit torn about this album, but to my ears it isn't too bad, but this isn't exactly In Rock or Machine Head, and I obviously didn't expect that. There are some brilliant ideas, but there areas either the band or the orchestra loses focus. So I guess three stars it is, because I enjoyed it despite obvious flaws.
Posted Wednesday, June 1, 2016 | Review this album | Report (Review #1573529)
Review by GruvanDahlman
COLLABORATOR Heavy Prog Team
(I am only reviewing the original "Concerto for group and orchestra" album, not later editions containing "Wring that neck", "Child in time" etc.)
I have found that through the years this album been an alluring one. The cover is strikingly simple with its photo depicting the interior of Royal Albert Hall and the group is at first really not visible but there they are, slouched in the seats of the great theatre. It has become quite an iconic cover and it has been the very thing that drew and draws me in to this album. And yet, I find it a difficult piece of Music but not in the sense one might imagine..
The marriage of classical music and rock is one that is made in heaven. The pompousness of classical music merges so well with the over the top view of progressive rock. Unfortunately it doesn't always turn out as great as it could have done. Ekseption and ELP are but a few of the prog rock groups that managed to pull it off in the most glorious of fashions. Jon Lord, as brilliant a man as he was, dreamt of making the perfect blend of the two genres and actually got the go ahead quite a few times in his career. The first attempt was "Concerto for group and orchestra" and the idea was born half a century ago. When released in 1969 it was really not the barnstormer he had hoped for. For the marriage to succeed classical music (in this case a symphonic orchestra) has to cooperate with rock music (the group). When that is the case I love it, as in the case of the brilliant "VIctor" by Rigoni & Schoenherz. In the case of "Concerto..." you get a scizophrenic experience since the two genres for the most part seem seperated from each other. You get the orchestra playing without the group for 8-10 minutes and then the band plays for a while before handing over the microphone (or whatever) to the orchestra. This is the case, in general, on "Concerto...". Only rarely do they interact with each other. I get a bit uninterested in the long classical bits, which is a shame, just waiting for the group to come crashing out of the speakers.
The parts where Deep Purple actually plays are generally good and interesting. I wish Gillan sang a bit more but there you go. The rock pieces are not very complex but energetic and shows, if nothing else, something new as opposed to the albums recorded by the Mark I setting. I find that interesting. To make matters worse, sorry to say, there is a lengthy drum solo in the third section that should have been shorter, in my opinion.
The musicianship is as always spectacular and the sound of the group is quite raw and rough, which I like. The thing I like the most about the album is actually the organ played so brilliantly by Mr. Lord. It may be it's not his most technically challenging playing but the sound and how he handles the keys is enough to give me goosebumps. As for the vocals, as previously mentioned, Gillan should have been given more space and really show his talent since he by then had been given the role as lead singer, now that Evans was out of the picture. He gets only a fraction of room to show his talents and that's a pity.
So, while this could have been a defining moment in the progress of progressive rock music it falls pretty flat in comparison to other excursions in the same genre made by other bands. I think Lord, however proud of the achievement he was, should have given the execution of it all another thought. Had he merged the two genres into one pompous cohesive body of work this would really have been something extraordinary. The opening of side A should not have consisted of eight minutes of classical music. It would have suited the album better had the classical music started the album with, say, three minutes and then let the band enter it would have been a completely different matter. When you get to know the album properly it all works fine, you just live with it, but it makes the album sort of a hard listen. You just sit there, waiting for the rock parts to dive head into the pool of orchestrated music. It really never happens. While it is all very competent and quite bold it does not reach the heights I hoped and still hope for. Nevertheless I hold a great love for this album. It's something endearing with it but at the same time the flaws and inadequacy of the end result is there and no matter how much I want it to be different, there it is. Warts'n'all.
Posted Thursday, October 25, 2018 | Review this album | Report (Review #2047638)
This is a special album. It deserves respect! By 1969, no rock band could play at the Royal Albert Hall. Deep Purple was the hand opening the door. Furthermore, many members of the orchestra were not into "non-classic music". Malcolm Arnold was an open-minded influence to all. Ok, but, what ab ... (read more)
Report this review (#882794) | Posted by H. Siedler | Thursday, December 27, 2012 | Review Permanlink
I had listened to this record in my teenage years, but never payed it much intention. Lately, I found a vinyl copy of this record with only the three movements on it. In the main while I became influenced for several years by progressive influences and became more open- minded to classical musi ... (read more)
Report this review (#753448) | Posted by the philosopher | Tuesday, May 15, 2012 | Review Permanlink
This is a fabulously interesting examp0le of progressive rock for a couple of reasons. 1. No one knew it was progressive rock. 2. No one knew if it was orchestral (classical) or rock. PO fans didn't care and rock fans were there. Lucky beggars. Rock is (I think) music of youth, freedom from r ... (read more)
Report this review (#558218) | Posted by uduwudu | Friday, October 28, 2011 | Review Permanlink
What's the point of marrying classic music with rock ? ELP, The Nice and other symphonic prog bands has married classic music and rock with great success. But they all did it on their own terms. What Deep Purple has done, read John Lord, is to try marrying fire with water on this album. Besi ... (read more)
Report this review (#295587) | Posted by toroddfuglesteg | Saturday, August 21, 2010 | Review Permanlink
Concerto for Group after Orchestra. I liked this album from the start and my opinion hasn't changed. Even after all this years I find the music on this record quite entertaining. The only point of critique I can make - and which has been voiced by other reviewers here - is the fact that group ... (read more)
Report this review (#165839) | Posted by strayfromatlantis | Sunday, April 6, 2008 | Review Permanlink
This Deep Purple release is horrifing, it is fruit of Jon Lord's great desire to write music for an orchestra, and to mix classical music with Deep Purple sound: and the result is simply an awful alternation of deep purple improvs and classical pieces without a logical sense in it; the worst asp ... (read more)
Report this review (#138241) | Posted by Malve87 | Friday, September 14, 2007 | Review Permanlink
Spinal Tap could not have come up with a more ridiculous sounding project and the results is mostly as you would expect ridiculous. I remember well when this record was new, I bought it home full of eager anticipation for the "progressive music" it most certainly must contain. Well it was disa ... (read more)
Report this review (#96454) | Posted by burgersoft777 | Wednesday, November 1, 2006 | Review Permanlink
ROCK MUSIC IS MANIFESTLY IN THE WRONG ZONE WHEN SET BESIDE A SYMPHONY ORCHESTRA --Frank ZappaAlthough the quotation above is undoubtedly true, it didn't stop Zappa from meeting the challenges that arise when one tries to integrate amplified rock music with an acoustic orchestra. Many have t ... (read more)
Report this review (#88141) | Posted by The Mentalist | Thursday, August 24, 2006 | Review Permanlink
3.9 ACTUALLY this might be called "deep purple plays Jon lord's ideas" as all the orchestral tracks were composed by him, with collaboration of Ian Gillan's lyrics on second movement. this is not the bes combination of classical music and rock. but it's a nice attempt. the songs are pleasa ... (read more)
Report this review (#79193) | Posted by Progressive! | Wednesday, May 24, 2006 | Review Permanlink
Reviewing such thing as a concert, somehow preserved for future listeners with the technology available under the circumstances, is more or less a no-no. But let us stick to the music. In the beginning there was the concerto grosso. Then came the solo concert.We have double concertos, and t ... (read more)
Report this review (#50716) | Posted by | Saturday, October 8, 2005 | Review Permanlink
I've always had a soft spot for Deep Purple's Concerto since it was the first rock vinyl LP I owned. When I listen to it nowadays it always brings back memories of studying for my Physics Higher Grade exam when I was in Secondary school. I listened to it a lot back then. This may not mean a lot ... (read more)
Report this review (#49725) | Posted by jimpetrie2000 | Sunday, October 2, 2005 | Review Permanlink
Composed and scored by the genius of Jon Lord I think this is one of the best results of cooperation beween a rock band and an orchestra. According with the intention of Jon Lord, while in the first movement there is not a really amalgam betwen the group and the orchestra and it's possible to h ... (read more)
Report this review (#48395) | Posted by | Sunday, September 25, 2005 | Review Permanlink
I wasn't that impressed with this album. It marks the arrival of lead singer Ian Gillan (the Screamer) and Roger Glover. This is more of Jon's experiment of blending classical with heavy metal rock. Not the best combination. The only highlight worth listening to is the Third Movement with ... (read more)
Report this review (#46718) | Posted by uriah561 | Thursday, September 15, 2005 | Review Permanlink
Post a review of DEEP PURPLE "Concerto for Group and Orchestra"


Brownall tops the leader board for getting people off benefits at the monthly managers' meeting. Trish is more interested in Greg, a manager from the nearby Nechells Job Centre branch. Angela and Natalie go on tour attending a work conference in London with Angela giving a talk to fellow colleagues.
If you join BCG Pro Gold, you can see script development & associate producer credits for this episode.


text:
@implementation ImageResult
@end

@implementation ImageCropPicker

RCT_EXPORT_MODULE();

@synthesize bridge = _bridge;

- (instancetype)init
{
    if (self = [super init]) {
        self.defaultOptions = @{
                                @"multiple": @NO,
                                @"cropping": @NO,
                                @"cropperCircleOverlay": @NO,
                                @"includeBase64": @NO,
                                @"compressVideo": @YES,
                                @"minFiles": @1,
                                @"maxFiles": @5,
                                @"width": @200,
                                @"waitAnimationEnd": @YES,
                                @"height": @200,
                                @"useFrontCamera": @NO,
                                @"compressImageQuality": @1,
                                @"compressVideoPreset": @"MediumQuality",
                                @"loadingLabelText": @"Processing assets...",
                                @"mediaType": @"any",
                                @"showsSelectedCount": @YES
                                };
        self.compression = [[Compression alloc] init];
    }

    return self;
}

- (void (^ __nullable)(void))waitAnimationEnd:(void (^ __nullable)(void))completion {
    if ([[self.options objectForKey:@"waitAnimationEnd"] boolValue]) {
        return completion;
    }

    if (completion != nil) {
        completion();
    }

    return nil;
}

- (void)checkCameraPermissions:(void(^)(BOOL granted))callback
{
    AVAuthorizationStatus status = [AVCaptureDevice authorizationStatusForMediaType:AVMediaTypeVideo];
    if (status == AVAuthorizationStatusAuthorized) {
        callback(YES);
        return;
    } else if (status == AVAuthorizationStatusNotDetermined){
        [AVCaptureDevice requestAccessForMediaType:AVMediaTypeVideo completionHandler:^(BOOL granted) {
            callback(granted);
            return;
        }];
    } else {
        callback(NO);
    }
}

- (void) setConfiguration:(NSDictionary *)options
                 resolver:(RCTPromiseResolveBlock)resolve
                 rejecter:(RCTPromiseRejectBlock)reject {

    self.resolve = resolve;
    self.reject = reject;
    self.options = [NSMutableDictionary dictionaryWithDictionary:self.defaultOptions];
    for (NSString *key in options.keyEnumerator) {
        [self.options setValue:options[key] forKey:key];
    }
}

- (UIViewController*) getRootVC {
    UIViewController *root = [[[[UIApplication sharedApplication] delegate] window] rootViewController];
    while (root.presentedViewController != nil) {
        root = root.presentedViewController;
    }

    return root;
}

RCT_EXPORT_METHOD(openCamera:(NSDictionary *)options
                  resolver:(RCTPromiseResolveBlock)resolve
                  rejecter:(RCTPromiseRejectBlock)reject) {

    [self setConfiguration:options resolver:resolve rejecter:reject];
    self.cropOnly = NO;

#if TARGET_IPHONE_SIMULATOR
    self.reject(ERROR_PICKER_CANNOT_RUN_CAMERA_ON_SIMULATOR_KEY, ERROR_PICKER_CANNOT_RUN_CAMERA_ON_SIMULATOR_MSG, nil);
    return;
#else
    [self checkCameraPermissions:^(BOOL granted) {
        if (!granted) {
            self.reject(ERROR_PICKER_NO_CAMERA_PERMISSION_KEY, ERROR_PICKER_NO_CAMERA_PERMISSION_MSG, nil);
            return;
        }

        UIImagePickerController *picker = [[UIImagePickerController alloc] init];
        picker.delegate = self;
        picker.allowsEditing = NO;
        picker.sourceType = UIImagePickerControllerSourceTypeCamera;
        if ([[self.options objectForKey:@"useFrontCamera"] boolValue]) {
            picker.cameraDevice = UIImagePickerControllerCameraDeviceFront;
        }

        dispatch_async(dispatch_get_main_queue(), ^{
            [[self getRootVC] presentViewController:picker animated:YES completion:nil];
        });
    }];
#endif
}

- (void)imagePickerController:(UIImagePickerController *)picker didFinishPickingMediaWithInfo:(NSDictionary *)info {
    UIImage *chosenImage = [info objectForKey:UIImagePickerControllerOriginalImage];
    UIImage *chosenImageT = [chosenImage fixOrientation];

    [self processSingleImagePick:chosenImageT withViewController:picker withSourceURL:self.croppingFile[@"sourceURL"] withLocalIdentifier:self.croppingFile[@"localIdentifier"] withFilename:self.croppingFile[@"filename"]];
}

- (void)imagePickerControllerDidCancel:(UIImagePickerController *)picker {
    [picker dismissViewControllerAnimated:YES completion:[self waitAnimationEnd:^{
        self.reject(ERROR_PICKER_CANCEL_KEY, ERROR_PICKER_CANCEL_MSG, nil);
    }]];
}

- (NSString*) getTmpDirectory {
    NSString *TMP_DIRECTORY = @"react-native-image-crop-picker/";
    NSString *tmpFullPath = [NSTemporaryDirectory() stringByAppendingString:TMP_DIRECTORY];

    BOOL isDir;
    BOOL exists = [[NSFileManager defaultManager] fileExistsAtPath:tmpFullPath isDirectory:&isDir];
    if (!exists) {
        [[NSFileManager defaultManager] createDirectoryAtPath: tmpFullPath
                                  withIntermediateDirectories:YES attributes:nil error:nil];
    }

    return tmpFullPath;
}

- (BOOL)cleanTmpDirectory {
    NSString* tmpDirectoryPath = [self getTmpDirectory];
    NSArray* tmpDirectory = [[NSFileManager defaultManager] contentsOfDirectoryAtPath:tmpDirectoryPath error:NULL];

    for (NSString *file in tmpDirectory) {
        BOOL deleted = [[NSFileManager defaultManager] removeItemAtPath:[NSString stringWithFormat:@"%@%@", tmpDirectoryPath, file] error:NULL];

        if (!deleted) {
            return NO;
        }
    }

    return YES;
}

RCT_EXPORT_METHOD(cleanSingle:(NSString *) path
                  resolver:(RCTPromiseResolveBlock)resolve
                  rejecter:(RCTPromiseRejectBlock)reject) {

    BOOL deleted = [[NSFileManager defaultManager] removeItemAtPath:path error:NULL];

    if (!deleted) {
        reject(ERROR_CLEANUP_ERROR_KEY, ERROR_CLEANUP_ERROR_MSG, nil);
    } else {
        resolve(nil);
    }
}

RCT_REMAP_METHOD(clean, resolver:(RCTPromiseResolveBlock)resolve
                 rejecter:(RCTPromiseRejectBlock)reject) {
    if (![self cleanTmpDirectory]) {
        reject(ERROR_CLEANUP_ERROR_KEY, ERROR_CLEANUP_ERROR_MSG, nil);
    } else {
        resolve(nil);
    }
}

RCT_EXPORT_METHOD(openPicker:(NSDictionary *)options
                  resolver:(RCTPromiseResolveBlock)resolve
                  rejecter:(RCTPromiseRejectBlock)reject) {

    [self setConfiguration:options resolver:resolve rejecter:reject];
    self.cropOnly = NO;

    [PHPhotoLibrary requestAuthorization:^(PHAuthorizationStatus status) {
        if (status != PHAuthorizationStatusAuthorized) {
            self.reject(ERROR_PICKER_UNAUTHORIZED_KEY, ERROR_PICKER_UNAUTHORIZED_MSG, nil);
            return;
        }

        dispatch_async(dispatch_get_main_queue(), ^{
            // init picker
            QBImagePickerController *imagePickerController =
            [QBImagePickerController new];
            imagePickerController.delegate = self;
            imagePickerController.allowsMultipleSelection = [[self.options objectForKey:@"multiple"] boolValue];
            imagePickerController.minimumNumberOfSelection = abs([[self.options objectForKey:@"minFiles"] intValue]);
            imagePickerController.maximumNumberOfSelection = abs([[self.options objectForKey:@"maxFiles"] intValue]);
            imagePickerController.showsNumberOfSelectedAssets = [[self.options objectForKey:@"showsSelectedCount"] boolValue];

            if ([self.options objectForKey:@"smartAlbums"] != nil) {
                NSDictionary *smartAlbums = @{
                                          @"UserLibrary" : @(PHAssetCollectionSubtypeSmartAlbumUserLibrary),
                                          @"PhotoStream" : @(PHAssetCollectionSubtypeAlbumMyPhotoStream),
                                          @"Panoramas" : @(PHAssetCollectionSubtypeSmartAlbumPanoramas),
                                          @"Videos" : @(PHAssetCollectionSubtypeSmartAlbumVideos),
                                          @"Bursts" : @(PHAssetCollectionSubtypeSmartAlbumBursts),
                                          };
                NSMutableArray *albumsToShow = [NSMutableArray arrayWithCapacity:5];
                for (NSString* album in [self.options objectForKey:@"smartAlbums"]) {
                    if ([smartAlbums objectForKey:album] != nil) {
                        [albumsToShow addObject:[smartAlbums objectForKey:album]];
                    }
                }
                imagePickerController.assetCollectionSubtypes = albumsToShow;
            }

            if ([[self.options objectForKey:@"cropping"] boolValue]) {
                imagePickerController.mediaType = QBImagePickerMediaTypeImage;
            } else {
                NSString *mediaType = [self.options objectForKey:@"mediaType"];

                if ([mediaType isEqualToString:@"any"]) {
                    imagePickerController.mediaType = QBImagePickerMediaTypeAny;
                } else if ([mediaType isEqualToString:@"photo"]) {
                    imagePickerController.mediaType = QBImagePickerMediaTypeImage;
                } else {
                    imagePickerController.mediaType = QBImagePickerMediaTypeVideo;
                }

            }

            [[self getRootVC] presentViewController:imagePickerController animated:YES completion:nil];
        });
    }];
}

RCT_EXPORT_METHOD(openCropper:(NSDictionary *)options
                  resolver:(RCTPromiseResolveBlock)resolve
                  rejecter:(RCTPromiseRejectBlock)reject) {

    [self setConfiguration:options resolver:resolve rejecter:reject];
    self.cropOnly = YES;

    NSString *path = [options objectForKey:@"path"];

    [self.bridge.imageLoader loadImageWithURLRequest:[RCTConvert NSURLRequest:path] callback:^(NSError *error, UIImage *image) {
        if (error) {
            self.reject(ERROR_CROPPER_IMAGE_NOT_FOUND_KEY, ERROR_CROPPER_IMAGE_NOT_FOUND_MSG, nil);
        } else {
            [self startCropping:image];
        }
    }];
}

- (void)startCropping:(UIImage *)image {
    RSKImageCropViewController *imageCropVC = [[RSKImageCropViewController alloc] initWithImage:image];
    if ([[[self options] objectForKey:@"cropperCircleOverlay"] boolValue]) {
        imageCropVC.cropMode = RSKImageCropModeCircle;
    } else {
        imageCropVC.cropMode = RSKImageCropModeCustom;
    }
    imageCropVC.avoidEmptySpaceAroundImage = YES;
    imageCropVC.dataSource = self;
    imageCropVC.delegate = self;
    [imageCropVC setModalPresentationStyle:UIModalPresentationCustom];
    [imageCropVC setModalTransitionStyle:UIModalTransitionStyleCrossDissolve];

    dispatch_async(dispatch_get_main_queue(), ^{
        [[self getRootVC] presentViewController:imageCropVC animated:YES completion:nil];
    });
}

- (void)showActivityIndicator:(void (^)(UIActivityIndicatorView*, UIView*))handler {
    dispatch_async(dispatch_get_main_queue(), ^{
        UIView *mainView = [[self getRootVC] view];

        // create overlay
        UIView *loadingView = [[UIView alloc] initWithFrame:[UIScreen mainScreen].bounds];
        loadingView.backgroundColor = [UIColor colorWithRed:0 green:0 blue:0 alpha:0.5];
        loadingView.clipsToBounds = YES;

        // create loading spinner
        UIActivityIndicatorView *activityView = [[UIActivityIndicatorView alloc] initWithActivityIndicatorStyle:UIActivityIndicatorViewStyleWhiteLarge];
        activityView.frame = CGRectMake(65, 40, activityView.bounds.size.width, activityView.bounds.size.height);
        activityView.center = loadingView.center;
        [loadingView addSubview:activityView];

        // create message
        UILabel *loadingLabel = [[UILabel alloc] initWithFrame:CGRectMake(20, 115, 130, 22)];
        loadingLabel.backgroundColor = [UIColor clearColor];
        loadingLabel.textColor = [UIColor whiteColor];
        loadingLabel.adjustsFontSizeToFitWidth = YES;
        CGPoint loadingLabelLocation = loadingView.center;
        loadingLabelLocation.y += [activityView bounds].size.height;
        loadingLabel.center = loadingLabelLocation;
        loadingLabel.textAlignment = UITextAlignmentCenter;
        loadingLabel.text = [self.options objectForKey:@"loadingLabelText"];
        [loadingLabel setFont:[UIFont boldSystemFontOfSize:18]];
        [loadingView addSubview:loadingLabel];

        // show all
        [mainView addSubview:loadingView];
        [activityView startAnimating];

        handler(activityView, loadingView);
    });
}

- (void) getVideoAsset:(PHAsset*)forAsset completion:(void (^)(NSDictionary* image))completion {
    PHImageManager *manager = [PHImageManager defaultManager];
    PHVideoRequestOptions *options = [[PHVideoRequestOptions alloc] init];
    options.version = PHVideoRequestOptionsVersionOriginal;

    [manager
     requestAVAssetForVideo:forAsset
     options:options
     resultHandler:^(AVAsset * asset, AVAudioMix * audioMix,
                     NSDictionary *info) {
         NSURL *sourceURL = [(AVURLAsset *)asset URL];

         // create temp file
         NSString *tmpDirFullPath = [self getTmpDirectory];
         NSString *filePath = [tmpDirFullPath stringByAppendingString:[[NSUUID UUID] UUIDString]];
         filePath = [filePath stringByAppendingString:@".mp4"];
         NSURL *outputURL = [NSURL fileURLWithPath:filePath];

         [self.compression compressVideo:sourceURL outputURL:outputURL withOptions:self.options handler:^(AVAssetExportSession *exportSession) {
             if (exportSession.status == AVAssetExportSessionStatusCompleted) {
                 AVAsset *compressedAsset = [AVAsset assetWithURL:outputURL];
                 AVAssetTrack *track = [[compressedAsset tracksWithMediaType:AVMediaTypeVideo] firstObject];

                 NSNumber *fileSizeValue = nil;
                 [outputURL getResourceValue:&fileSizeValue
                                      forKey:NSURLFileSizeKey
                                       error:nil];

                 completion([self createAttachmentResponse:[outputURL absoluteString]
                                             withSourceURL:[sourceURL absoluteString]
                                                 withLocalIdentifier: forAsset.localIdentifier
                                             withFilename:[forAsset valueForKey:@"filename"]
                                                 withWidth:[NSNumber numberWithFloat:track.naturalSize.width]
                                                withHeight:[NSNumber numberWithFloat:track.naturalSize.height]
                                                  withMime:@"video/mp4"
                                                  withSize:fileSizeValue
                                                  withData:[NSNull null]]);
             } else {
                 completion(nil);
             }
         }];
     }];
}

- (NSDictionary*) createAttachmentResponse:(NSString*)filePath withSourceURL:(NSString*)sourceURL withLocalIdentifier:(NSString*)localIdentifier withFilename:(NSString*)filename withWidth:(NSNumber*)width withHeight:(NSNumber*)height withMime:(NSString*)mime withSize:(NSNumber*)size withData:(NSString*)data {
    return @{
             @"path": filePath,
             @"sourceURL": (sourceURL) ? sourceURL : @"",
             @"localIdentifier": (localIdentifier) ? localIdentifier : @"",
             @"filename": (filename) ? filename : @"",
             @"width": width,
             @"height": height,
             @"mime": mime,
             @"size": size,
             @"data": data,
             };
}

- (void)qb_imagePickerController:
(QBImagePickerController *)imagePickerController
          didFinishPickingAssets:(NSArray *)assets {

    PHImageManager *manager = [PHImageManager defaultManager];
    PHImageRequestOptions* options = [[PHImageRequestOptions alloc] init];
    options.synchronous = NO;
    options.networkAccessAllowed = YES;

    if ([[[self options] objectForKey:@"multiple"] boolValue]) {
        NSMutableArray *selections = [[NSMutableArray alloc] init];

        [self showActivityIndicator:^(UIActivityIndicatorView *indicatorView, UIView *overlayView) {
            NSLock *lock = [[NSLock alloc] init];
            __block int processed = 0;

            for (PHAsset *phAsset in assets) {

                if (phAsset.mediaType == PHAssetMediaTypeVideo) {
                    [self getVideoAsset:phAsset completion:^(NSDictionary* video) {
                        dispatch_async(dispatch_get_main_queue(), ^{
                            [lock lock];

                            if (video == nil) {
                                [indicatorView stopAnimating];
                                [overlayView removeFromSuperview];
                                [imagePickerController dismissViewControllerAnimated:YES completion:[self waitAnimationEnd:^{
                                    self.reject(ERROR_CANNOT_PROCESS_VIDEO_KEY, ERROR_CANNOT_PROCESS_VIDEO_MSG, nil);
                                }]];
                                return;
                            }

                            [selections addObject:video];
                            processed++;
                            [lock unlock];

                            if (processed == [assets count]) {
                                [indicatorView stopAnimating];
                                [overlayView removeFromSuperview];
                                [imagePickerController dismissViewControllerAnimated:YES completion:[self waitAnimationEnd:^{
                                    self.resolve(selections);
                                }]];
                                return;
                            }
                        });
                    }];
                } else {
                    [manager
                     requestImageDataForAsset:phAsset
                     options:options
                     resultHandler:^(NSData *imageData, NSString *dataUTI, UIImageOrientation orientation, NSDictionary *info) {

                         NSURL *sourceURL = [info objectForKey:@"PHImageFileURLKey"];

                         dispatch_async(dispatch_get_main_queue(), ^{
                             [lock lock];
                             @autoreleasepool {
                                 UIImage *imgT = [UIImage imageWithData:imageData];
                                 UIImage *imageT = [imgT fixOrientation];

                                 ImageResult *imageResult = [self.compression compressImage:imageT withOptions:self.options];
                                 NSString *filePath = [self persistFile:imageResult.data];

                                 if (filePath == nil) {
                                     [indicatorView stopAnimating];
                                     [overlayView removeFromSuperview];
                                     [imagePickerController dismissViewControllerAnimated:YES completion:[self waitAnimationEnd:^{
                                         self.reject(ERROR_CANNOT_SAVE_IMAGE_KEY, ERROR_CANNOT_SAVE_IMAGE_MSG, nil);
                                     }]];
                                     return;
                                 }

                                 [selections addObject:[self createAttachmentResponse:filePath
                                                                            withSourceURL:[sourceURL absoluteString]
                                                                  withLocalIdentifier: phAsset.localIdentifier
                                                                         withFilename: [phAsset valueForKey:@"filename"]
                                                                            withWidth:imageResult.width
                                                                           withHeight:imageResult.height
                                                                             withMime:imageResult.mime
                                                                             withSize:[NSNumber numberWithUnsignedInteger:imageResult.data.length]
                                                                             withData:[[self.options objectForKey:@"includeBase64"] boolValue] ? [imageResult.data base64EncodedStringWithOptions:0] : [NSNull null]
                                                        ]];
                             }
                             processed++;
                             [lock unlock];

                             if (processed == [assets count]) {

                                 [indicatorView stopAnimating];
                                 [overlayView removeFromSuperview];
                                 [imagePickerController dismissViewControllerAnimated:YES completion:[self waitAnimationEnd:^{
                                     self.resolve(selections);
                                 }]];
                                 return;
                             }
                         });
                     }];
                }
            }
        }];
    } else {
        PHAsset *phAsset = [assets objectAtIndex:0];

        [self showActivityIndicator:^(UIActivityIndicatorView *indicatorView, UIView *overlayView) {
            if (phAsset.mediaType == PHAssetMediaTypeVideo) {
                [self getVideoAsset:phAsset completion:^(NSDictionary* video) {
                    dispatch_async(dispatch_get_main_queue(), ^{
                        [indicatorView stopAnimating];
                        [overlayView removeFromSuperview];
                        [imagePickerController dismissViewControllerAnimated:YES completion:[self waitAnimationEnd:^{
                            if (video != nil) {
                                self.resolve(video);
                            } else {
                                self.reject(ERROR_CANNOT_PROCESS_VIDEO_KEY, ERROR_CANNOT_PROCESS_VIDEO_MSG, nil);
                            }
                        }]];
                    });
                }];
            } else {
                [manager
                 requestImageDataForAsset:phAsset
                 options:options
                 resultHandler:^(NSData *imageData, NSString *dataUTI,
                                 UIImageOrientation orientation,
                                 NSDictionary *info) {
                     NSURL *sourceURL = [info objectForKey:@"PHImageFileURLKey"];
                     dispatch_async(dispatch_get_main_queue(), ^{
                         [indicatorView stopAnimating];
                         [overlayView removeFromSuperview];
                         [self processSingleImagePick:[UIImage imageWithData:imageData] withViewController:imagePickerController withSourceURL:[sourceURL absoluteString] withLocalIdentifier:phAsset.localIdentifier withFilename:[phAsset valueForKey:@"filename"]];
                     });
                 }];
            }
        }];
    }
}

- (void)qb_imagePickerControllerDidCancel:(QBImagePickerController *)imagePickerController {
    [imagePickerController dismissViewControllerAnimated:YES completion:[self waitAnimationEnd:^{
        self.reject(ERROR_PICKER_CANCEL_KEY, ERROR_PICKER_CANCEL_MSG, nil);
    }]];
}

// when user selected single image, with camera or from photo gallery,
// this method will take care of attaching image metadata, and sending image to cropping controller
// or to user directly
- (void) processSingleImagePick:(UIImage*)image withViewController:(UIViewController*)viewController withSourceURL:(NSString*)sourceURL withLocalIdentifier:(NSString*)localIdentifier withFilename:(NSString*)filename {

    if (image == nil) {
        [viewController dismissViewControllerAnimated:YES completion:[self waitAnimationEnd:^{
            self.reject(ERROR_PICKER_NO_DATA_KEY, ERROR_PICKER_NO_DATA_MSG, nil);
        }]];
        return;
    }

    NSLog(@"id: %@ filename: %@", localIdentifier, filename);

    if ([[[self options] objectForKey:@"cropping"] boolValue]) {
        self.croppingFile = [[NSMutableDictionary alloc] init];
        self.croppingFile[@"sourceURL"] = sourceURL;
        self.croppingFile[@"localIdentifier"] = localIdentifier;
        self.croppingFile[@"filename"] = filename;
        NSLog(@"CroppingFile %@", self.croppingFile);

        [self startCropping:image];
    } else {
        ImageResult *imageResult = [self.compression compressImage:image withOptions:self.options];
        NSString *filePath = [self persistFile:imageResult.data];
        if (filePath == nil) {
            [viewController dismissViewControllerAnimated:YES completion:[self waitAnimationEnd:^{
                self.reject(ERROR_CANNOT_SAVE_IMAGE_KEY, ERROR_CANNOT_SAVE_IMAGE_MSG, nil);
            }]];
            return;
        }

        // Wait for viewController to dismiss before resolving, or we lose the ability to display
        // Alert.alert in the .then() handler.
        [viewController dismissViewControllerAnimated:YES completion:[self waitAnimationEnd:^{
            self.resolve([self createAttachmentResponse:filePath
                                          withSourceURL:sourceURL
                                    withLocalIdentifier:localIdentifier
                                           withFilename:filename
                                              withWidth:imageResult.width
                                             withHeight:imageResult.height
                                               withMime:imageResult.mime
                                               withSize:[NSNumber numberWithUnsignedInteger:imageResult.data.length]
                                               withData:[[self.options objectForKey:@"includeBase64"] boolValue] ? [imageResult.data base64EncodedStringWithOptions:0] : [NSNull null]]);
        }]];
    }
}

#pragma mark - CustomCropModeDelegates

// Returns a custom rect for the mask.
- (CGRect)imageCropViewControllerCustomMaskRect:
(RSKImageCropViewController *)controller {
    CGSize maskSize = CGSizeMake(
                                 [[self.options objectForKey:@"width"] intValue],
                                 [[self.options objectForKey:@"height"] intValue]);

    CGFloat viewWidth = CGRectGetWidth(controller.view.frame);
    CGFloat viewHeight = CGRectGetHeight(controller.view.frame);

    CGRect maskRect = CGRectMake((viewWidth - maskSize.width) * 0.5f,
                                 (viewHeight - maskSize.height) * 0.5f,
                                 maskSize.width, maskSize.height);

    return maskRect;
}

// if provided width or height is bigger than screen w/h,
// then we should scale draw area
- (CGRect) scaleRect:(RSKImageCropViewController *)controller {
    CGRect rect = controller.maskRect;
    CGFloat viewWidth = CGRectGetWidth(controller.view.frame);
    CGFloat viewHeight = CGRectGetHeight(controller.view.frame);

    double scaleFactor = fmin(viewWidth / rect.size.width, viewHeight / rect.size.height);
    rect.size.width *= scaleFactor;
    rect.size.height *= scaleFactor;
    rect.origin.x = (viewWidth - rect.size.width) / 2;
    rect.origin.y = (viewHeight - rect.size.height) / 2;

    return rect;
}

// Returns a custom path for the mask.
- (UIBezierPath *)imageCropViewControllerCustomMaskPath:
(RSKImageCropViewController *)controller {
    CGRect rect = [self scaleRect:controller];
    UIBezierPath *path = [UIBezierPath bezierPathWithRoundedRect:rect
                                               byRoundingCorners:UIRectCornerAllCorners
                                                     cornerRadii:CGSizeMake(0, 0)];
    return path;
}

// Returns a custom rect in which the image can be moved.
- (CGRect)imageCropViewControllerCustomMovementRect:
(RSKImageCropViewController *)controller {
    return [self scaleRect:controller];
}

#pragma mark - CropFinishDelegate

// Crop image has been canceled.
- (void)imageCropViewControllerDidCancelCrop:
(RSKImageCropViewController *)controller {
    [self dismissCropper:controller dismissAll: NO completion:[self waitAnimationEnd:^{
        if (self.cropOnly) {
            self.reject(ERROR_PICKER_CANCEL_KEY, ERROR_PICKER_CANCEL_MSG, nil);
        }
    }]];
}

- (void) dismissCropper:(RSKImageCropViewController*) controller dismissAll: (BOOL) dissmissAll completion:(void (^)())completion {
    //We've presented the cropper on top of the image picker as to not have a double modal animation.
    //Thus, we need to dismiss the image picker view controller to dismiss the whole stack.
    if (!self.cropOnly) {
        if (dissmissAll) {
            UIViewController *topViewController = controller.presentingViewController.presentingViewController;
            [topViewController dismissViewControllerAnimated:YES completion:completion];
        } else {
            UIViewController *topViewController = controller.presentingViewController;
            [topViewController dismissViewControllerAnimated:YES completion:completion];
        }
    } else {
        [controller dismissViewControllerAnimated:YES completion:completion];
    }
}

// The original image has been cropped.
- (void)imageCropViewController:(RSKImageCropViewController *)controller
                   didCropImage:(UIImage *)croppedImage
                  usingCropRect:(CGRect)cropRect {

    // we have correct rect, but not correct dimensions
    // so resize image
    CGSize resizedImageSize = CGSizeMake([[[self options] objectForKey:@"width"] intValue], [[[self options] objectForKey:@"height"] intValue]);
    UIImage *resizedImage = [croppedImage resizedImageToFitInSize:resizedImageSize scaleIfSmaller:YES];
    ImageResult *imageResult = [self.compression compressImage:resizedImage withOptions:self.options];

    NSString *filePath = [self persistFile:imageResult.data];
    if (filePath == nil) {
        [self dismissCropper:controller dismissAll: YES completion:[self waitAnimationEnd:^{
            self.reject(ERROR_CANNOT_SAVE_IMAGE_KEY, ERROR_CANNOT_SAVE_IMAGE_MSG, nil);
        }]];
        return;
    }

    [self dismissCropper:controller dismissAll: YES completion:[self waitAnimationEnd:^{
        self.resolve([self createAttachmentResponse:filePath
                                      withSourceURL: self.croppingFile[@"sourceURL"]
                                          withLocalIdentifier: self.croppingFile[@"localIdentifier"]
                                          withFilename: self.croppingFile[@"filename"]
                                          withWidth:imageResult.width
                                         withHeight:imageResult.height
                                           withMime:imageResult.mime
                                           withSize:[NSNumber numberWithUnsignedInteger:imageResult.data.length]
                                           withData:[[self.options objectForKey:@"includeBase64"] boolValue] ? [imageResult.data base64EncodedStringWithOptions:0] : [NSNull null]]);
    }]];
}

// at the moment it is not possible to upload image by reading PHAsset
// we are saving image and saving it to the tmp location where we are allowed to access image later
- (NSString*) persistFile:(NSData*)data {
    // create temp file
    NSString *tmpDirFullPath = [self getTmpDirectory];
    NSString *filePath = [tmpDirFullPath stringByAppendingString:[[NSUUID UUID] UUIDString]];
    filePath = [filePath stringByAppendingString:@".jpg"];

    // save cropped file
    BOOL status = [data writeToFile:filePath atomically:YES];
    if (!status) {
        return nil;
    }

    return filePath;
}

// The original image has been cropped. Additionally provides a rotation angle
// used to produce image.
- (void)imageCropViewController:(RSKImageCropViewController *)controller
                   didCropImage:(UIImage *)croppedImage
                  usingCropRect:(CGRect)cropRect
                  rotationAngle:(CGFloat)rotationAngle {
    [self imageCropViewController:controller didCropImage:croppedImage usingCropRect:cropRect];
}

@end

redpajama_set_name: RedPajamaGithub


text:
You are at:Home»News»Passenger Experience»VistaJet launches mobile app
VistaJet launches mobile app
By Helen Norman on	 2nd March 2016 Passenger Experience, Technology
VistaJet, a private jet booking company, has launched a mobile app aimed at simplifying the flight booking experience. Customers can request a flight, add multiple legs, amend bookings and review itineraries with real-time notifications.
The app also offers a curated selection of menus including catering from local restaurants in the user's departure city. Customers can also stay up-to-date with the latest news from VistaJet and discover lifestyle trends via Voyager, VistaJet's custom inflight entertainment app.
Thomas Flohr, founder and chairman of VistaJet, said, "We're always looking for new opportunities to enhance the VistaJet experience. The mobile app is a tool to simplify communication and personalize customer schedules. By providing the ability to request a flight or select menus from your phone, we're enabling customers to personalize their own needs in their own time.
"With the largest single service area in the industry, VistaJet flies regularly to over 80% of the globe including China and the USA. The new mobile app ensures our customers can get in touch, confirm or amend flights, and manage their account wherever and whenever."
Previous ArticleA place in paradise
Next Article VistaJet announces double-digit flight traffic and passenger number growth in 2015
Helen Norman
Helen has worked for UKi Media & Events for nearly a decade. She joined the company as assistant editor on Passenger Terminal World and since progressed to become editor of five publications, covering everything from aviation, logistics and e-commerce to meteorology. She has a love for travel and property and has redeveloped three houses in three years. When she's not editing magazines, she's running around after her two boys and their partner in crime, Pete the pug.
Vertis Aviation app ramps up usage and adds new JetClass routes
Is this the future of landing?
JetSuiteX to become first fully certified autism-inclusive air carrier
Qatar Executive Gulfstream G650ER breaks world circumnavigation speed record

redpajama_set_name: RedPajamaCommonCrawl


During the day, all features of a house are easy to see. At night, those features can't be seen. Landscape lighting can help to accent those parts of your yard through a specially designed system of illumination. Not only does accent lighting help to show your home, it also helps keep your home more secure and your yard safer.
Hutcheson Horticultural company will design a system of lighting in your yard that will use soft LED lights in key places in your yard. If you desire more illumination, they can also install lighted fountains and statues as well.
One aspect of Landscape lighting is to accent key parts of your home. However, this isn't as simple as just putting lights in various parts of your yard. Hutcheson uses strategic placement of the lights to provide balance and warmth to the yard's illumination.
It's a well known fact that well lit homes are a deterrent to intruders. However, most security lighting is very harsh and bright and only placed in certain spots on the property. The eye doesn't adjust as well to shadows that would provide hiding spaces. Landscape lighting utilizes the eye's ability to adjust faster from dim lighting, and the amount and placement of lighting gives less darkened space for anyone to hide in.
Aside from being secure, landscape lighting makes a yard safer to walk through, It emphasizes hazards like pools, steps and uneven ground, or things in your yard that it would be easy to trip over. The strategic lighting also comes into play because brighter lights can make some hazards more difficult to see.
Hutcheson Horticultural will provide, along with their other landscaping services, a custom lighting system to illuminate your yard and make it feel like home.


text:
Accident Lawyesr
Have you been injured in a ride sharing accident, we're here to help.
Ridesharing, Uber or Lyft Accident Lawyer in Hamilton
Ridesharing programs such as Uber and Lyft have made transportation easier and more reliable, which is especially true in areas such as Hamilton, Burlington, St. Catharines, Ancaster Dundas, Stoney Creek, where the distances between any two points can be significant, public transportation is not always easily accessible and where few can afford to take taxis on a regular basis.
Unfortunately, despite the convenience that ridesharing programs offer, there are many, many problems and accidents that follow. With Uber alone, there are 49 recorded deaths related to alleged Uber driver negligence – and thousands more have been injured, the extent of which is totally and completely unknown.
Are you a concerned parent? You should be if you teen is riding with Uber. What is most common and the most written about if the dangers of their employee onboarding. The process is questionable. No one really knows who is driving your child around. The concerns that critics have written about is that although Uber employees now personally meets their drivers to verify them in person at one of their Greenhubs, the criminal and driver checks that Uber employees do on the drivers are territorial. A driving record is Ontario based. Criminal checks can't confirm whether a person has a violent history or is a dangerous offender in another Country. Many Uber drivers have been charged with causing major accidents, speeding, deaths, assaults, sexual assaults, kidnappings, and driving while impaired.
Uber, Lyft and Rideshare Accidents and Wrongful Death Accidents are on the rise.
There is no doubt Uber and Lyft Accidents are on the rise. Over the several years two years there have been several related Uber and other rideshare program deaths that have been widely reported. For example, in 2016 a wrongful death accident took the life of a woman in North Philadelphia. An Uber driver caused a wrongful death pedestrian accident in Connecticut. A motorcyclist was killed in Miami, a Manhattan Uber driver struck and killed a pedestrian, another passenger was killed by a Lyft driver in 2014 – and these are just among the many, many reported list of accidents involving Uber and Lyft across North America. Tragically, just last year, an autonomous self-driving SUV struck and killed a pedestrian walking her bicycle across the street. Although Uber suspended its program and fleet of self-driving vehicles after the crash, incidents continue to happen.
Have you been hurt in a rideshare program or by a Uber or Lyft vehicle?
You may be entitled to compensation if you have been involved in a rideshare program accident such as:
Being hit by an Uber driver or Uber car;
Being hit by an Lyft driver or Lyft car;
Being a passenger in an Uber or Lyft car or truck;
Being a bicyclist hit by an Uber or Lyft car or truck;
Being a Pedestrian hit by an Uber or Lyft car or truck;
If a loved one was killed by an Uber or Lyft car or truck;
Being involved in any type or motor vehicle accident, car accident, truck accident or motorcycle accident
Our Hamilton Uber Accident Lawyers are a leading lawyers when it comes to handling ridesharing accidents caused by the negligence of companies like Uber and Lyft and their drivers. We know and understand the insurance issues involved with Uber and Lyft cars and trucks . Don't trust your case to a regular personal injury lawyer who will treat your case like a run-of-the-mill car accident. Hire Uber or Lyft Hamilton Accident Injury Lawyers that knows how to get proper accident investigation reports, employment law files from Uber or Lyft, better research the history of a ride-share driver, obtain and investigate a driver's cellphone records, find the loopholes, and litigate against any ridesharing company.
Experienced Hamilton Ridesharing Lawyers Ready To Fight For You
Ontario Rideshare Accidents can cause some of the most devastating injuries to passengers or bystanders. As with other types of automobile accidents – passengers, bicyclists, pedestrians or motorcyclists are especially susceptible to injuries, such as:
Serious brain Injuries
Broken bones or fractures
Torn or ruptured ligaments
Burning, lacerations or and scarring
Hip injury
Joint fractures
Disc herniation and back injuries
Lawyers who specialize in ridesharing programs and Uber accidents
If you have been hurt in a Lyft or Uber accident, Our Hamilton Personal Injury Lawyers have the have the legal skill and experience to pursue these companies for the compensation that you deserve. If you have suffered serious life changing permanent injuries, Lalande Personal Injury Lawyers can no doubt obtain significant compensation for Uber and Lyft accident victims dealing with a host of life changing injuries. Whether you are a driver injured in an accident where an Uber or Lyft driver was at fault; a passenger in a car or truck that was hurt where a ride-sharing driver was at fault; a motorcyclist that was hit by an Uber driver, a cyclist that was hit by an Uber driver, a pedestrian hurt by a rides-haring driver or, in fact the opposite, an Uber or Lyft driver that was hurt in an accident where another driver is at fault – you may be entitled to compensation for such things as (but not limited to):
Pain and suffering;
Loss of past wages;
Loss of future wages;
Loss of the capacity to properly take care of your home;
Out of pocket expenses;
Rehabilitation costs that you are out of pocket for;
The requirement of full time care to assist with managing your life;
The accommodation or renovation of your home or transportation;
Loss of care, guidance of companionship from loved ones;
If a wrongful death happened – dependency losses that the deceaed's share of income would have been paid into the family;
Funeral costs, and;
much more if reasonable, necessary and approved for claim.
Contact a Hamilton Uber or Lyft Accident Lawyer Today — We serve all of Ontario
Our Hamilton Personal Injury Lawyers serve clients all over Ontario. Over the past 15 years, Matt Lalande has recovered millions of dollars for accident victims who have been injured due to the fault, reckless driving or negligence of others. We understand the unique legal issues involved in Uber or Lyft accidents.
We have handled cases involving cars, trucks, wheelchairs, motorcycles, ATV's, dirt bikes, transport trucks, courier vehicles, bicycles, and pedestrian accident cases – including cases against taxi, vans, buses and rideshare operators. Contact us today by calling 905-333-8888, by filling out a contact form or by chatting with our live operator 24/7, who will assist in setting up a free no obligation consultation.
Speeding/Racing Accidents


text:
AccelerComm secures £5.8m Series A funding from IQ Capital, Bloc Ventures and IP Group to Supercharge 5G Communications
University of Southampton spinout to use funding to scale IP technology business that significantly reduces latency and increases spectral efficiency
(businesspress24) - Southampton, 21st September 2020: AccelerComm - The Southampton University spinout supercharging 5G, satellite and other wireless communications with IP which increases spectrum efficiency and reduces latency - has raised £5.8m in Series A funding in a round led by IQ Capital alongside existing investors Bloc Ventures and the IP Group. The funding will be used to expand the current team, drive US and global expansion, and develop the technology further as demand for the company's cutting-edge digital signal processing IP grows among mobile operators, telecoms equipment vendors, satellite operators and connected device manufacturers.
Low latency and high spectrum efficiency are crucial in protecting cellular and other radio networks from insufficient capacity, low data rates, sparse coverage and poor quality-of-service. Despite the roll-out of early 5G networks these factors remain an issue that risk stifling new revenue opportunities for operators from services such as gaming or VR, industrial IoT, autonomous vehicles or drone control.
AccelerComm's cutting-edge channel coding IP is used to correct transmission errors in mobile, small cell and satellite communications caused by noise, interference and poor signal strength. This technology is optimised for the specific needs of cellular and satellite communications to provide market leading performance and efficiency. The product suite includes a complete channel coding IP solution that delivers reduced latency and power consumption for the most critical component of a 5G system, whilst meeting all the throughput and error correction targets. The AccelerComm IP packages can be quickly integrated and flexibly delivered for use in custom silicon (ASIC), programmable hardware (FPGA) or as software solutions, covering all use cases within the current standards.
Founded by Professor Rob Maunder at the University of Southampton in 2016, AccelerComm has established itself as a leader in the field of channel coding, also known as forward error correction, and is already working with Intel, Xilinx and National Instruments. Driven by a leadership team comprising executives and senior talent from ARM, Qualcomm and Ericsson, the company was recently named in the EE Times Silicon 100: Emerging Startups to Watch and continues to push the state-of-the-art in channel coding technology.
Tom Cronk, CEO of AccelerComm said: "From gaming and VR to automated robotic manufacturing lines and telemedicine, the use cases on the road to 5G appear almost limitless. But a critical roadblock remains – latency. For more than 15 years a research team led by Prof. Maunder, first at the University of Southampton and now at AccelerComm, has been working to solve the challenge to deliver on the 5G promise of a low latency, high throughput experience. We are delighted to have closed our Series A funding round, which will help us further develop and deploy our already market leading technology to help improve the efficiency of networks for many years to come."
Max Bautin, Managing Partner at IQ Capital commented "We are very excited that we have been able to partner with AccelerComm in this round of funding. Squeezing ever more data into limited radio spectrum at faster and faster speeds is a huge challenge facing the telecoms industry. Improving the efficiency and reliability of data transfer has become critical to many industries – not just in cellular networks and IoT but also satellites, drones, fixed wireless internet and anything else that uses radio waves. AccelerComm's track record of selling to globally very sophisticated blue-chip customers and deep IP are very impressive. The amazing founding team combining cutting edge academic and industry knowledge with ex ARM DNA gives AccelerComm incredible growth potential."
David Leftley, CTO and co-founder of Bloc Ventures and Lee Thornton, Investment Director at IP Group said "Bloc and IP Group are delighted to be partnering with Max and the IQ Capital team on taking AccelerComm to the next level of scale. We believe we have the makings of something very special in AccelerComm, something we have not seen in the UK since the early days of ARM".
AccelerComm were advised through the funding process by Acuity Advisors, UK.
http://https://www.realwire.com/releases/AccelerComm-secures-58m-Series-A-funding-from-IQ-Capital-Bloc-Ventures
accelercomm, iq-capital, bloc-ventures, ip-group, series-a, funding,
About AccelerComm
AccelerComm is the company supercharging 5G with Optimisation and Latency Reduction IP. It provides LDPC, polar and turbo FEC solutions which enable optimal performance of communication systems and solves the challenges that would otherwise limit the speed of 5G, namely the error correction decoding that is required to overcome the effects of noise, interference and poor signal strength. For more information please visit: www.accelercomm.com
About IQ Capital
IQ Capital is a venture capital firm, based in Cambridge and London. With £300m assets under management, it invests in 'deep-tech' across sectors including machine learning, AI, robotics, and advanced engineering and materials, and data-focused propositions based on disruptive algorithms. All of the firm's portfolio companies are capable of dominating their respective markets on a global scale. Initial investments range from £300k to £5m, with capacity for follow-on investment up to £30m.
The IQ Capital team has achieved over 20 exits to date, to companies including Oracle, Google, Apple, Huawei, and Facebook, and several IPOs. IQ Capital has led 28 investments over the last three years. The firm is currently investing at seed and Series A stage from its third venture fund.
For more information, please visit: www.iqcapital.vc
About Bloc Ventures
Bloc Ventures is a permanent venture capital company providing expert-led funding of European deep technology. The Bloc team has a tight complementary mix of technology, commercialisation and finance expertise borne out of extensive careers in the technology industry, including many years in corporate venture capital and M&A at Vodafone and ARM. They apply a hands-on collaborative approach with portfolio companies to scale them rapidly post- investment. Bloc serves as the catalyst for its portfolio companies, moving them from early-stage to growth businesses and driving substantial value-creation.
For more information, please visit: www.blocventures.com
About IP Group
IP Group is a leading intellectual property commercialisation company which focuses on evolving great ideas, mainly from its partner universities, into world-changing businesses. The Group has pioneered a unique approach to developing these ideas and the resulting businesses by providing access to business building expertise, capital (through its 100%-owned FCA-authorised subsidiaries IP Capital and Parkwalk Advisors), networks, recruitment and business support. IP Group has a strong track record of success and its portfolio comprises holdings in early-stage to mature businesses across life sciences and technology. IP Group is listed on the Main Market of the London Stock Exchange under the code IPO.
For more information, please visit: www.ipgroupplc.com
Ed Howson – Temono
Ed.howson(at)temono.com
Character count: 4526
Meldungsart: Finanzinformation
More PressReleases in Telecommunication
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Alex Blowers appointed as new chair of INCA
- The body representing the challenger internet network providers also welcomes CityFibre back into membership London, UK, 15 January – INCA's board has appointed CityFibre's head of regulation to be the association's new Chair. Alex Blowers is one of ...
SatADSL bridges Brazilian connectivity market with Telespazio Brazil partnership
Brussels Belgium and Rio de Janeiro, Brazil, 14 January 2021 - A new path to accessing Brazil's connectivity market has been laid out for satellite service providers with the announcement of a partnership between SatADSL and Telespazio. Telespazio Bra ...
Small Cell Forum and European seaports collaborate to scope sector requirements and improve cellular connectivity
London, UK 14th January 2021 – Small Cell Forum (SCF) today released the first in a series of requirements reports that will inform the development of technical blueprints to speed the delivery of robust cellular connectivity for seaports. The document ...
Amagi Selects GTT's Network to Support Its Cloud Managed Broadcast Services for TV and OTT
MCLEAN, Va., January 13, 2021 — GTT Communications, Inc. (NYSE: GTT), a leading global cloud networking provider to multinational clients, announced today that Amagi, a global SaaS leader in broadcast and streaming TV technology, has selected GTT's networ ...


text:
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#### Original name
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text:
Students Write
Marshall County Tribune
Stories from Monday, April 1, 2013
"Mr. Hockey: The Gordie Howe Story" (Professional Sports ~ 04/01/13)
"Mr. Hockey: The Gordie Howe Story" Hallmark Channel Original Movie U.S. Television Premiere Saturday May 4 (9 p.m. ET/PT, 8C) Starring: Michael Shanks, Kathleen Robertson, Andrew Herr, Dylan Playfair The world knows him as "Mr. Hockey," Gordie Howe, and gave him that unique distinction because of his unprecedented accomplishments he achieved as the only player to have ever competed in the NHL in five different decades. Gordie is arguably one of the greatest all around hockey players in history, and a true inspiration for his incredible courage, determination and passion to the sport. Now, his legacy will be reignited in the U.S. Television Premiere of the Hallmark Channel Original Movie "Mr. Hockey: The Gordie Howe Story," premiering Saturday, May 4th at 9pm ET/PT 8amC.
© 2020 Marshall County Tribune · Lewisburg, Tennessee


text:
Q: Binomial coefficients $\sum_{k=1}^{n+1}(-1)^{k+1}{n+1\choose k}=1$ I need help solving this problem in my mind so if anyone had a similar problem it would help me a lot.
The problem is:
$$\sum_{k=1}^{n+1}(-1)^{k+1}{n+1\choose k}=1$$
Can someone explain to me how this equals 1?
Thanks in advance !
Best regards!

A: By the Binomial theorem,
$$
0 = \sum_{k=0}^{n+1} (-1)^{k + 1} \binom{n + 1}{k}
$$
Rearranging the first term gives you the desired equality.

A: An approach that is usually fruitful when trying to prove stuff about sums of binomial coefficients is to use induction. In this case, simple induction on $n$, together with the property that $\binom{n}{k}+\binom{n}{k+1} = \binom{n+1}{k+1}$ should do the trick.

A: Another method
$$(x+y)^n = \sum_{k=0}^n \binom{n}{k} (-1)^k y^{n-k}$$
Substitute $x = -1$ and $y = 1$ to observe
$$0 = 1 + \sum_{k=1}^n (-1)^k \binom{n}{k} \stackrel{\text{multiply by (-1)}}{\implies} 1 = \sum_{k=1}^n (-1)^{k+1} \binom{n}{k}.$$

A: Note that by the Binomial Theorem (https://en.wikipedia.org/wiki/Binomial_theorem)
$$[1+(-1)]^{n+1} = \displaystyle\sum_{k=0}^{n+1}\binom{n+1}{k}(1)^{n+1-k}(-1)^k$$
We observe that the first term of the expression on the left hand side is 1, therefore
$$0 = 1 + \displaystyle\sum_{k=1}^{n+1}\binom{n+1}{k}(1)^{n+1-k}(-1)^k$$
Since $1^{n+1-k} = 1, \forall k \in \{1,\cdots,n+1\}$
$$0 = 1 + \displaystyle\sum_{k=1}^{n+1}\binom{n+1}{k}(-1)^k$$
Move the second term to the left,
$$-\displaystyle\sum_{k=1}^{n+1}\binom{n+1}{k}(-1)^k = 1$$
$$\displaystyle\sum_{k=1}^{n+1}(-1)^{k+1}\binom{n+1}{k} = 1 $$
We obtain the desired result.

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