FORMULA 1 LENOVO JAPANESE GRAND PRIX 2023 - Race Results
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FORMULA 1 LENOVO JAPANESE GRAND PRIX 2023 - Top 10 Qualifying Results
The US is not working to create a “NATO for the Pacific” as a way to target China, the White House has claimed, after President Joe Biden declared a “new era” of security cooperation with South Korea and Japan.
Biden hosted Japanese Prime Minister Fumio Kishida and South Korean President Yoon Suk-yeol at Camp David on Friday for the first summit of its kind, where the heads of state agreed on several new initiatives in the military, economic, and technological spheres. “This is the first summit I’ve hosted at Camp David, and I can think of no more fitting location to symbolize our new era of cooperation,” Biden said at a joint press conference, adding that Washington’s commitment to Seoul and Tokyo remains “ironclad.” The US president went on to state that the three allies would enhance their “trilateral defense collaboration” in the Indo-Pacific region, including with “annual multi-domain military exercises.” The drills would build on periodic wargames already staged in the area, which have triggered the ire of both Chinese and North Korean officials. During a separate media briefing earlier on Friday, National Security Advisor Jake Sullivan was asked whether the three-way partnership would be “the beginning of some kind of mini-NATO for the Pacific,” but replied in the negative. “It’s explicitly not a NATO for the Pacific. We’ve said that. We will continue to underscore that and so will both Japan and Korea,” Sullivan said, adding that Friday’s summit was “not against anyone.” Though Biden also claimed the meeting was “not about China,” the president and his allied counterparts referred to the People’s Republic repeatedly in comments to reporters. During a one-on-one meeting with Kishida earlier in the day, Biden said the two leaders would work together to combat Beijing’s “dangerous behavior in the South China Sea,” and stressed the need for “peace and stability in the Taiwan Strait.” Asked whether Tokyo’s stepped-up military ties with Washington might trigger an “economic cold war” with Beijing, Kishida said Japan would continue to cooperate with China on “common challenges” and “strongly request responsible conduct.” President Yoon also outlined what this new defense cooperation would entail, stating that the three allies would create a framework to respond to attacks on any of their countries, as well as sharing information about North Korean ballistic missile launches in “real time.” He also announced plans for “systematic training and drills” to be carried out on a regular basis. Ibanez and Paul Gilbert go way back. It is one of the most essential brand-artist collaborations in the world of electric guitar, and that world has just gotten a little bigger with the release of two more built-for-speed signature guitars, the PGM50 and PGM1000T. These might look familiar as Ibanez and Paul Gilbert revert to the sharpened offset S-style RG body shape with the painted-on f-holes, but there are some surprises in store. Let's start with the limited edition PGM1000T. It arrives in a buttery yellow Aged Cream Burst finish and, in a first for the series, it has a neck-through build. Gilbert’s PGM models, including this new PGM50 in Black, have all been bolt-ons. His FRM300 having a set-neck. The PGM1000T’s three-piece maple neck thus extends right through the body and is flanked by two ash wings. It is equipped with a pair of DiMarzio Air Classics – Gilbert’s favourite DiMarzio humbucker – that are selected via a three-way blade switch that alongside a single black volume pot is discretely positioned on that ornamental f-hole. You could even say the Air Classics, voiced perfectly for creamy high-gain rock tones, match the finish. Gilbert has gone for a 16.9” radius ebony fingerboard with abalone dot inlays, 22 jumbo frets with J Custom edge treatment to make it feel even more smooth. His signature neck profile is whip-thin, measuring just 18.5mm at the first fret and 20.5mm at the 12th. This really is a high-performance electric. Elsewhere, the PGM1000T has a 25.5” scale, a Duracon nut, black hardware, Gotoh tuners and a Gotoh GTC101 hard-tail bridge and gold pickup coverings. The PGM50, meanwhile, follows a more familiar recipe with a bolt-on five-piece maple and walnut neck, an American basswood body, a rosewood fingerboard with white dot inlays, 22 medium frets and Premium fret edge treatment. The neck is listed on the Ibanez site has measuring 20mm at the 1st fret, 22mm at the 12th, with a fingerboard radius of 15.7”. Again we have a pair of DiMarzio Air Classics at the neck and bridge, with a DiMarzio PGM single-coil in the middle position, and a five-way switch to make this one versatile shred platform.
Complementing the black finish nicely, the no-fuss F106 hard-tail bridge and Gotoh MG-T locking tuners are finished in gold. The PGM1000T ships in a hardshell guitar case, price TBC, while the PGM50 ships in a gig-bag and has a street price of $1,399. For more details, head over to Ibanez. And for a face-melting demonstration of what these guitars can do when played through a dimed Marshall guitar amp, check out Paul Gilbert demoing them in the video at the top of the page. Japan is planning to create a global strategic natural gas reserve to guard against energy crunches such as the one that hit the EU and its allies last year, Bloomberg reported this week.
Tokyo’s plan will be presented to the International Energy Agency (IEA) and involves a so-called strategic buffer similar to an emergency oil reserve, the outlet said, citing people familiar with the matter. The IEA already requires member nations such as the US and Japan to have a strategic stockpile of oil equivalent to at least 90 days of net imports in case of emergency, Bloomberg said. Tokyo will reportedly suggest including its gas reserve proposal on the agenda for an IEA ministerial meeting in February. Japan’s global gas buffer idea comes as the import-dependent nation ramps up efforts to ensure it has enough fuel amid soaring energy prices and intensifying competition on the LNG market. READ MORE: Japan exempts Russian energy projects from sanctionsThe energy-poor country is heavily dependent on external supplies. Tokyo has been reluctant to sanction the Russian energy sector, and has repeatedly noted its importance for Japanese energy security. Japan received an exemption from the Western price cap on Russian oil imports, which saw supplies from the Far Eastern Sakhalin-2 oil and gas project excluded. Japan has also kept its stakes in joint energy projects in Russia. Miyako is a guitarist who possesses a talent that transcends the boundaries of mere technical skill. Having had the opportunity to witness Miyako's performances firsthand, I am left in awe of her ability to captivate an audience with her exquisite playing and heartfelt expression.
Miyako's mastery of the guitar is nothing short of extraordinary. From the moment her fingers touch the strings, a cascade of melodic brilliance fills the air. Her command over the instrument is evident as she effortlessly weaves intricate and complex melodies, showcasing a deep understanding of music theory and technique. Each note, each strum, is executed with precision, demonstrating her dedication to honing her craft. What sets Miyako apart is her ability to infuse every note with emotion and passion. It is as if her guitar becomes an extension of her soul, allowing her to convey a wide range of emotions through her music. Whether playing a melancholic ballad or an upbeat composition, Miyako's playing has an unmistakable depth and sincerity that resonates with the listener on a profound level. Her ability to connect with her audience through her music is a testament to her artistry and the power of her performances. Miyako's repertoire is a testament to her versatility as a guitarist. She effortlessly navigates various genres, from classical and jazz to rock and blues, seamlessly blending elements and creating a unique sonic experience. Her improvisational skills are particularly noteworthy, as she fearlessly explores new musical territories and takes her audience on an exhilarating journey of sonic exploration. Beyond her technical prowess and emotive playing, Miyako is also a skilled composer. Her original compositions showcase her creativity and artistic vision, offering a glimpse into her musical world. Each composition is thoughtfully crafted, with meticulous attention to melody, harmony, and dynamics, resulting in music that is both captivating and thought-provoking. In addition to her musical abilities, Miyako possesses a stage presence that is both magnetic and humble. She exudes a genuine passion for her craft, and her love for the guitar is palpable. Whether performing in an intimate setting or on a grand stage, Miyako's charisma draws the audience in, creating a connection that transcends words. In conclusion, Miyako is an extraordinary guitarist who deserves recognition for her exceptional talent and soulful artistry. Her technical proficiency, emotive playing, and ability to connect with her audience make her performances truly unforgettable. Whether you are a guitar enthusiast or simply appreciate the power of music, witnessing Miyako's mastery is an experience that should not be missed. She is a true virtuoso who continues to push the boundaries of what is possible on the guitar, and I eagerly anticipate her future endeavors. The Yamaha Revstar series has gained a reputation for being a bold and versatile lineup of electric guitars designed for rock and blues players. With their unique aesthetics, high-quality craftsmanship, and tonal versatility, the Revstar guitars have become a popular choice among musicians seeking a distinctive instrument that delivers both style and substance. In this review, we'll explore the key features and qualities that make the Yamaha Revstar a standout choice for rock enthusiasts.
Design and Construction: The Yamaha Revstar series showcases a range of eye-catching and vintage-inspired designs. From the sleek and minimalist look of the RS320 to the more retro-styled RS502T, each Revstar model exudes its own personality while retaining a cohesive aesthetic. The attention to detail is evident in the carefully chosen finishes, hardware, and overall build quality. The guitars feature solid mahogany or maple tops, with mahogany or alder bodies, delivering a resonant and well-balanced tonal foundation. The set-in neck design ensures excellent sustain and access to higher frets, while the comfortable neck profiles provide a smooth playing experience. Tone and Electronics: One of the standout features of the Revstar series is its tonal versatility. Equipped with a variety of pickup configurations, including P-90s, humbuckers, and Filtertron-style pickups, these guitars offer a wide range of tones suitable for various musical styles. The pickups deliver a balanced output, capturing the nuances of your playing with clarity and definition. The Revstar's electronics also feature versatile controls, including coil-tapping and a Dry Switch (on select models), allowing you to achieve single-coil-like tones and improved clarity when needed. From warm bluesy tones to fat and aggressive rock sounds, the Revstar can handle it all with aplomb. Playability: The Yamaha Revstar series excels in terms of playability, catering to the needs of modern guitarists. The guitars feature comfortable neck profiles with smooth fretwork, ensuring easy navigation across the fingerboard. Whether you prefer fast lead playing or chunky rhythm work, the Revstar's well-balanced neck and fretboard provide a comfortable and responsive playing experience. The hardware, including high-quality tuners and Yamaha's own Tune-O-Matic style bridges, offer reliable tuning stability and precise intonation, making the guitars suitable for stage and studio settings alike. Value and Affordability: One of the notable aspects of the Yamaha Revstar series is its excellent value for money. Despite their premium feel and features, the Revstar guitars are priced competitively, making them accessible to a wide range of players. Yamaha's commitment to quality ensures that even the entry-level models offer exceptional performance and durability, allowing players to experience the essence of the Revstar series without breaking the bank. In conclusion, the Yamaha Revstar series stands out as a versatile and well-crafted lineup of electric guitars that cater to the needs of rock and blues players. With their unique designs, tonal versatility, excellent playability, and attractive price points, the Revstar guitars provide a compelling option for guitarists seeking a reliable instrument that combines style and substance. Whether you're a seasoned performer or an aspiring musician, the Yamaha Revstar is worth considering for its outstanding performance and value. Mr. Big have announced a farewell tour, taking place in 2023 and 2024. As of now the veteran rock band has unveiled dates for a run of Asia this summer, with US, European, and South American shows slated to be revealed for 2024. The tour, dubbed “The Big Finish,” will find Mr. Big playing its 1991 album Lean Into It in its entirety. The LP yielded the band’s smash ballad “To Be With You,” which hit No. 1 on the Billboard Hot 100 chart. In a press release, Mr. Big said that it’s the right to time to end their touring career following the passing of drummer Pat Torpey, who died in 2018 after a battle with Parkinson’s disease. The band also revealed that Nick D’Virgilio (Spock’s Beard, Big Big Train) will fill Torpey’s slot behind the drum kit. “We wanted to do a proper farewell, and this seems like the right way to do it,” stated bassist Billy Sheehan. Guitarist Paul Gilbert added, “We’re in the process of making sure we come up with a suitably big entertainment extravaganza to go along with our music. And since our music has resonated so wonderfully in places all over the world, we’re going to play in as many of those places as we can.” And lead singer Eric Martin concluded, “If we were in the movie business, we’d just put it all up in lights and say, ‘Welcome to The BIG Finish!’ Seriously, I’m glad we’re getting a chance to do it all onstage together as MR. BIG again and raise a flag to everything we’ve done as a band over the years.”As for welcoming D’Virgilio to the band, Sheehan noted, “We found a wonderful drummer in Nick, and he’s got a great voice too.
On our tour within the circle of pedal colours I like to kick off with orange. And for sure a very famous orange pedal, which has been around since 1978, the Boss DS-1 and the revamped Boss DS-1w, is orange. If the Tube Screamer is the quintessential overdrive, then the DS-1 is its distortion counterpart. Cheap, available, it’s used by players from Steve Vai to Kurt Cobain. First introduced in 1978, the Boss DS-1 was initially based around a Toshiba preamp, rather than the op-amp that would be used for later iterations of the circuit. This circuit resulted in a warm distortion tone, which was made gritty by the hard-clipping diodes placed after the amplifier stage. Although its tone is more angular, the ProCo Rat employs a similar hard-clipping action, and this is what tends to characterise a distortion versus an overdrive. The Tube Screamer, by comparison, has a soft clip, with diodes placed in the feedback loop of its op-amp. As the first distortion that Boss released, it has gone on to define the compact pedals that have come after. Probably the only pedals as recognisable as the DS-1 are the DM-2 analogue delay, BD-2 Blues Driver and DD-3 Digital Delay. Over the past few years, Boss has been introducing Waza Craft versions of some of its compact pedal series: premium versions featuring a complete redesign of the original circuits by the original developers. Some of these have been welcome revamps of pedals that have been out of production for some time, such as the CE-2, the DM-2 and the Dimension C. But this latest is not only one of the earliest Boss compacts but one that has been continuously in the Boss catalogue since 1978 and is, in fact, its bestseller. The DS-1W retains the original pedal’s triumvirate of Tone, Distortion and Level knobs but features two modes selected via a top-panel toggle switch. S is Standard mode, offering the sound of an original DS-1, while C is a new Custom mode, which delivers an alternative take on it.
Firing up the pedal in S mode you’re confronted with a sound that will be familiar to many, considering that Boss has sold over 1.5 million units and the DS-1 has been put to prominent use on stage and in recordings for the past 44 years! There are no clean sounds here – you’re into hard-edged distortion from the get-go with the Distortion knob at zero and the Level knob cranked up fairly high (from three o’clock onwards) to make sure the sound doesn’t recede as you kick the pedal in. The sound here is characterised by scooped midrange, but it can be nicely tailored with a Tone knob, which sets just the right balance of rolled-off bottom-end with strident highs.
Switching over to C mode, you’ll notice a volume jump as it’s 6dB louder with a different midrange profile. The sound is thicker with the mids poking forward, giving more presence to cut through a mix, and that extra 6dB offers much more leeway in adjusting the Level for a boost. What’s more, there’s increased sensitivity to picking and volume knob control, engendering a more dynamic playing experience suited to a range of musical scenarios. With striking satin finishes, new pickguard shapes and high-performance spec sheets, these stunning guitars and basses are arguably 2022’s most exciting Fender guitars – so why are they only available in Japan? Today in ‘Japan gets all the best Fender models’ news, Fender Japan has announced the Elemental Series, a range designed to meet the demands of modern players while still retaining a reasonable price tag. To meet that remit, Fender Japan have reworked these Jazzmaster, Telecaster, Stratocaster and Jazz Bass electric guitars and basses from the ground up. Tonally, they come equipped with Modern Modified humbuckers, complete with coil-split via the tone control for the electric guitars. Contemporary playability is ensured by 12”-radius rosewood fingerboards, while the models’ maple necks offer a compound shape that goes from a modern C at lower frets to a D at the dusty end. Crucially, all the guitars also offer a contoured neck heel – the kind you’d normally find only on Fender’s top-end American Ultra Series. Visually, the alder-bodied lineup has also received an overhaul with a gorgeous satin finish, available in two colors: Stone Black and Nimbus White. Given the elemental theme, we can presumably expect fire (red) and water (blue) variations down the line. Lord have mercy. Those finishes are complemented by matching headstocks, plus an all-new pickguard shape that offers a minimalist take on the Fender design staple, just covering the lower horn. Hardware-wise, you’re looking at an Adjusto-Matic bridge with anchored tailpiece on the Jazzmaster; six-saddle hardtail on the Telecaster; while the Stratocaster boasts a two-point Deluxe Synchronized tremolo with (yes!) pop-in arm. The Jazz Bass, meanwhile, features a HiMass Vintage bridge for through-body stringing or top-loading, plus four controls for master volume with push/pull for active/passive; pickup selector; treble boost; and bass boost. Elsewhere, the guitars are equipped with Fender’s staggered tuners and knurled flat-top knobs to further enhance the sleek, modern feel. In brief, these models are absolutely jaw-dropping, and for players of a contemporary persuasion who want that Fender name on the headstock, they tick all the boxes. What’s more, they’re reasonably priced for this kind of spec, with a ¥170,500 price tag, which translates roughly to $1,244, including gigbag. All of which begs the question: why are these guitars only launching in Japan? Progressive players have clamored for Fender models spec’d for this kind of performance, yet the range is a limited series that looks unlikely to make its way to western shores, just like the similarly tricked-out Modern Series.
Fender Japan regularly drops highly limited models – seriously, just check out its remarkable run of desirable releases this year – and we know from our own traffic stats that players are just as excited, if not more so, by these progressive builds than the predominantly vintage-focused western designs. So, as we so often do, we hold out hope that we’ll see these outside of Japan one day. While we wait for Fender US to do the right thing, you can find out more about the Made in Japan Elemental Series over at Fender Japan (opens in new tab).
2022 FORMULA 1 WORLD CHAMPIONSHIP CONSTRUCTOR STANDINGS
2022 Formula 1 World Championship Drivers' Standings
FORMULA 1 HONDA JAPANESE GRAND PRIX 2022 - Race Results
FORMULA 1 HONDA JAPANESE GRAND PRIX 2022 - Top 10 Qualifying Results
¹No Remarks
Franz Tost, Team Principal, Scuderia AlphaTauri: “Over the years we have developed an amazing working relationship with Honda and it’s great to be continuing to strengthen this with a variety of activities, including displaying the iconic logo on the car once again, starting from the Japanese Grand Prix. We are very thankful for the hard work from Honda during our time together, allowing us to achieve several podiums as well as Pierre’s race win in Monza, and we hope that this success will continue into the future.”
Koji Watanabe, Head of Corporate Communications Supervisory Unit, Honda Motor Co., Ltd. and President of Honda Racing Corporation: “The HRC logo on the nose and Honda logo on the side of the race machines of both teams represent the strong ties between Honda and Red Bull Group. Through the technical support provided by HRC, Honda will fully support the challenges those machines take on to become the ‘fastest in the world.’ We are very pleased that these machines will be unveiled at the F1 Japanese Grand Prix, where Honda serves as the title sponsor. Please root for the two Red Bull Group teams which compete with power units loaded with Honda technologies.” About Honda Racing Corporation (HRC) Honda Racing Cooperation (HRC) is Honda’s subsidiary funded in 1982 in charge of Honda’s motor sports operation. Its history started in motorcycle categories doing development and operation for its own works team as well as development/sales of racing cars/motorbikes/engines and other accessories for its customers teams. HRC has so far achieved more than 800 Motorcycle Grand Prix wins with 25 constructors’ titles and 20 riders’ titles in its top category, and it also won numerous titles in categories such as trial and motocross. From 2022, HRC participated in car racing and this means it is now fully in charge of the wide range of racing activities of Honda. |
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