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Monday, August 25, 2008
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The Musicians First Aid Kit
Gigging is probably one of the most enjoyable activities a musician can experience. There is always something special about performing in front of a live audience. The sound of a crowds appreciation when you have just ripped up the stage with a great performance of your best tunes. There is just nothing like it. But what happens when things dont go exactly as planed? And what happens when things fail miserably? If you have ever gigged I am sure you are familiar with Murphy law: If things can go wrong, they probably will. I have had experiences like: amps blowing up, guitar strings breaking, stolen fuses in my amp, bad cords, out of tune guitars, ect... These things happen to all bands and what makes the difference between a professional and an amateur is how you deal with these problems. You need to do some preplanning and put together a a Musicians First Aid Kit. When a problem does occur, you will be prepared to quickly fix the problem and get on with your show.
Guitar/Bass Strings
Get at least one extra set for each guitar or bass you have at the gig. If you pop a string you will be prepared to replace it. Remember this golden rule for guitars and basses: Never step on stage without a properly tuned backup guitar or bass. If you have any problems with your main ax all you have to do is pick up your backup and fix the problem on your next break.
Cords
Get a complete second set of cords. This includes patch cords and mike cables.
Batteries
Go through all of your gear and make a note of all of the batteries you use. Get backups for everything and make sure the backups dont sit and go dead before you replace them. Consider some type of preventative maintenance schedule so you can keep track how long batteries are in use and when they need replacement. Dont forget about the guitar tuner!
Fuses
Again go through all of your gear and make a note of all the proper sizes of your fuses. Get some type of small segregated box and label the top with the current ratings for the fuses (1A, 5A ect...). Never put a fuse that has a higher current rating in your amp or gear. There is a reason the manufacture put that size fuse in your system. Never, Never wrap a fuse with tin foil to bypass it! If your fuses keeps blowing, you have a short in this gear and by putting a larger fuse or bypassing it all together you may completely blow it up which will will cost you plenty to repair. Also I should mention that by bypassing your fuse you run the risk of electrocuting yourself! Never under any circumstanceses bypass your fuses!
Drummers
Get a spare snare drum. If your snares let go just replace the whole drum with the spare and repair your main snare at break. Bring many extra sticks. I played with a drummer once that didnt bring enough sticks to a gig one night. He had to play the last half of our set with a screwdriver! Needless to say he had to replace all of his drum heads after this gig! Bring some spare hardware and also get another kick drum pedal. Some spare drum heads are always a good idea and make sure to bring a set of tools.
Keyboard Players
What would happen if your main synth went out? Maybe you could program your second synth with similar sounds. I know it wont be perfect but it will get you through the gig.
Singers
Do you have a spare mic? If not you should pick one up. I recommend a Sure 58. They are not very expensive and are reliable for a great backup if not a main mic.
Horn Players
Since I dont play horns I cant comment too much however I can recommend that you think about what could go wrong with your instrument. What could you do if it failed during a gig? Again a backup might be a good idea.
Amps
If you use an amp in your performance and it fails what could you do? A small spare is a good idea. Guitar players can use a guitar processor as a backup amp and it can be plugged directly into the PA. Again I know this wont sound perfect but it will get you through the gig. Bass players have it easy if their amps go out. Plug directly into the PA. If you play bass you may want to consider buying a direct box specifically for that purpose. Same goes for keyboard players, plug directly into the PA with a DI box
All Bands
Always have plenty of duct tape! This stuff can get you out of some major jams!
I have not covered everything that can go wrong with your gear at a show but hopefully this will spark some ideas of the things that you can do if your gear fails. Put together your Musicians First Aid Kit in some sort of tool box or fishing tackle box. If you are prepared when things go wrong at your gigs (and believe me they will) it is no big deal. If you are not prepared you will look like an amateur and remember you never know who is out in the audience watching. Good luck and happy gigging!
Steve Veloudos is the owner of http://www.zebramusic.com
Steve is devoted to helping musicians and bands further their careers in the music industry. Stop by his web site and subscribe to the free Musicians Tip Sheet. The Tip Sheet includes industry contacts, and many other items designed to advance a musicians musical career. Subscribe to the newsletter by going to: http://www.zebramusic.com
80s dance musicDownload Street Kings Full Movie
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latin music lyricsThe Boz is Still Boss - "Hope You Never End This Song"
I was lucky enough to procure a ticket for the second night of a performance by Boz Scaggs at the Las Vegas Hilton Theater, a longtime veteran of the musical world whose whose music, although very popular, is difficult to define. The closest definition to Mr. Scaggs unique voice is silky, smooth, utterly romantic. The last I had heard Mr. Scaggs, the circumstances were nowhere near the current gestalt of what his talent offers. Apparently after a concert at the House of Blues a few years back, in Atlantic City, New Jersey, there was a bit of a tirade after Boz could take no more heckling from the audience in insistent on hearing his big disco hit from the 70s "Lido Shuffle."
One can only imagine this jazz inspired talented singer and musician having to put up with the bad manners of those whose memories of prowling the disco floor was the only connection they had to his wonderful music. A few days later, he appeared at the Las Vegas House of Blues, apparently still seething from the previous concert in Atlantic City. As he and his band came out, and took up their instruments, without hesitation they played "Lido Shuffle" apparently to shut those people up who he anticipated would cause the same heckling at the previous concert. The audience however, was quite shocked at this, as the song is usually the last number played. He then began to play many of his current cuts that showed the sophistication of the cross-currents of jazz and the lifelong musical education that Mr. Scaggs gained from the roads of his life and the evolvement from the many years of performing. The audience, over the shock, then gave him the attention he deserved and he might have been a bit embarrassed by his over-reaction as he has always been a humble man, at least on stage.
This was not to be tonight, this was a night for celebration. The audience was primed and ready for the master of mellow to dig his heels in and as he always does builds, and builds, and builds his music to a fever pitch bringing the audience along on an emotional delightful ride that only Boz can deliver. He opened with "Lowdown" and then made his way to all his familiar hits stifling somewhat, the cries for "Lido Shuffle." Unfortunately as my prime seats eight rows back gave me a full view and put me right into the band's interplay, two younger girls directly behind me talked incessantly throughout the concert. It was obvious by their conversation that they were the band's "little groupies" and had seen the show numerous times. They knew every word, every line, every song but they were so young there would have been no way for them to have been alive during the years they were popular. As Boz was using younger musicians (himself approaching 70), I can only assume the cute little girls were given complementary seats assigned for the band to use. I just wish they would've shut up and even after numerous people hollered at them to do so they didn't.
One of the highlights of the evening was "Street Life" an old Crusaders song made popular in 1979, and it was brought to a extremely high-pitched level of excitement by the scatting of Ms. Monique, one of two very talented black backup vocalists, that filled every nuance and emotion of Mr. Scagg's classic repertoire. His new young guitarist had it all down carefully reproducing every timbre of the past superlatively for each song. He took over many of the solos Boz himself would have played in the past and his execution was right on the money, as Boz looked over in a fatherly way smiling at him for each well-played solo. Of course, the highlight of the evening was "Love, Look What You've Done To Me." There's not much to say about this song other than it's one of the most soulful, personal renditions of a man's complete surrender in falling in love again. Shortly after the song ended, a young woman from the center of the crowd yelled "I love you Boz" as the many women in the audience buzzed about with the same emotion. Boz Scaggs is an American institution, one that won't be around forever as we are all getting older and ultimately become more irrelevant to the generations of today.
And then of course the ultimate dance song for those who have spent their money just to hear Lido Shuffle began and a rush to the stage ensued. As a matter of fact, the first girl down there I was sure was the same girl who rushed the stage at the last Boz Scagg's concert two years ago at the House of Blues and probably was. Suffice it to say that now everyone was loose, screaming, rocking and rolling, and having a jolly good time as it seemed Boz was as well, a good sign, one that seemed to me that he had made peace with his past and wasn't going to let the popularity of his own making, interfere with the audience's enjoyment of his art. After the song, they waved to the crowd and walked off the stage surprisingly, as the show had not even come in at 70 minutes. After a rousing from the crowd they returned on que and went into the classic "Somebody Loan Me A Dime" (I've got to call my same old used-to-be) and again Ms. Monique stole the show capturing the full essence of the blues and the pain that the title implies. The dynamics of this very simple blues song are the key that make it emotionally charged. Beginning with a basic blues riff the song ends up eventually with the guitar player flailing double time at the highest range of chords he can play on his guitar and the rest of the band leaving it all on the field. The crowd responded with a roar as Boz went into "Breakdown Straight Ahead," and got everybody dancing.
This sweet sounding balladeer and rock 'n roll artist has written some of the most romantic lyrics and combined them with a perfect timbre and chords to create songs that will last lifetimes. His art is of a high order his keys and changes far from typical, brand him with the unique silky smooth sound that will endure for the generations. As he took his bows, he thanked the audience for allowing him to be there on the stage for them. Yes, he was now at peace with his craft and his attitude was all positive and humble. It is hard for a great artist to be content with what they have done. The drive that makes them great, makes them want to do new and different things. He has done more than enough for a lifetime. I hope his songs will never end. Boz, look what you've done to me.
Nick Oliva (O-lee-va') has been a musician, composer, photographer, an audio engineer, an Entertainment Director and Technical Director for over twenty-five years and is a successful self-made money manager. Website: View my blog and buy my latest book at http://www.onlymomentsbook.com
latin downloadThe Roots Of Multimedia - The Modern Debate About Color And Sound
A number of classical and modern composers have believed in a direct correlation between notes of the musical scale and colors. Classical and modern composers fond of relating colors to their music include Liszt, Beethoven, Schubert and Rimsky-Korsakoff. Liszt described his dramatic intentions for his music with decorative phrases: "More pink here;" "This is too black;" "I want it all azure". Beethoven is reported to have referred to B minor as the black key. Schubert is said to have compared the E minor key to "a maiden robed in white and with a rose-red bow on her breast". And Rimsky-Korsakoff associated the color of sunlight with the key of C major and a strawberry red with the note F sharp.
A. Wallace Rimington (1854-1918) was a prominent instrument inventor, writer and artist in the nineteenth and early twentieth centuries. Rimington wrote extensively on the analogy between color and sound in his book Colour-Music: The Art of Mobile Color, published in 1911. Rimington, like a number of other theorists, constructed a scale of direct color-music analogies. Most importantly, Rimington set forth and thoroughly discussed what he considered to be the major points of resemblance between color and music.
In the first place, Rimington begins, both color and sound are produced by vibrations that act upon the eye and ear respectively. Secondly, both color and music are limited to particular ranges of visible or audible vibrations. Third, both create their effects through changeable levels of harmony and discord. Fourth, both tints and notes give pleasure or distress to the audience through a variety of combinations and sequences. Fifth, both color and music can also be combined with other art forms for a heightened experience. Sixth, rhythm can be used to add interest in both artistic and musical compositions.
Finally, changes in dynamics can be created in color through increases in the strength of the hue. This is similar to the potential for increasing tone strength through volume changes in music. Many of Rimington's ideas were not new, as these were probably some of the very issues pondered by the Greeks in ancient days as well as by alchemists, mystics and philosophers throughout history.
Kathleen Karlsen, MA is a professional artist, a freelance writer and design consultant residing in Bozeman, Montana. Her unique artwork and gifts for flower lovers can be found at http://www.livingartsoriginals.com . For an illustrated article on flower symbolism, see http://www.livingartsoriginals.com/infoflowersymbolism.htm . More about flower meanings are at http://www.livingartsoriginals.com/infoflowermeaning.htm .
latin music downloadAdvertainment is Sneaking Into Music, Movies, TV and More
The very name "advertainment" sends thrilling vibrations up the spine of anyone with marketing in their blood or communication in their genes. And it produces a strong shiver of disgust from many of my colleagues in the music industry.
"I don't want my songs to be involved in advertising," they say, forgetting entirely that by wearing branded running shoes, a t-shirt hawking Fender guitars and a baseball cap emblazoned with the Peavey logo, their very lives are involved in advertising. Plus, if they attend an awards show, they happily state the brand and designer names of everything they're wearing.
They further ignore the fact that radio itself is a form of advertainment. What gets played has little to do with musical accomplishment or artistic merit, but is directly related to the backing of large corporate distributors. I have been told to budget anywhere from a quarter of a million dollars to $350,000 in promotional costs to obtain national radio play on (the appropriately-named) commercial radio stations. Is it any wonder that corporations are seeking ways to build a little brand awareness into the songs?
Turn on any rap, urban or hip hop station and you can start counting the product mentions in the lyrics, some paid-for, some just happenstance. In the electronic-pop field, I have done it myself. On my "Electro Bop" album are songs such as "Paranormal Radio" (which begins as a documentary about American Technology Corporation's HyperSonic Sound system), "Sheena Sez" (about talk radio host Sheena Metal), and "Check the Tech" (about the joys of watching the TechTV channel).
Has this advertainment hurt acceptance of the album? Not that I've noticed. Many e-mails from around the world cite "Paranormal Radio" as their favorite track. Not one person has complained about the ad messages, I assume because the audience for my dance-oriented music is pleased to receive information about technology and a far-out rock-talk jock such as Ms. Metal.
Ads and entertainment go hand-in-wallet in many other ways, some pretty strange. In music alone, we have all wondered about Bob Dylan's "Love Sick" in Victoria's Secret commercials (not to mention Mr. D himself smirking between shots of the lovely bodies wearing the lingerie). But don't overlook Keith Richards in the "Cover Girl" ad while "Honky Tonk Women" plays, or Willie Nelson's "Red Headed Stranger" in the Herbal Essence spot, or Iggy Pop's liquor/drug/sex-soaked "Lust for Life" blasting throughout the Royal Caribbean commercials. (Love to work with the Account Executive who was able to sell that concept!) By contrast, Sting crooning from the back seat of a Jaguar seems a very model of demographic compatibility.
And that's the point: ads and public relations are routinely dismissed as silly, annoying, intrusive or a waste of time right up to the moment when they are delivering facts the reader or listener wants. Then, suddenly, the sponsored message is viewed as helpful and instructive. Therefore, the trick is to achieve the right match between audience and message.
One problem is choosing your media. Just listing advertising outlets can be daunting: TV, radio, outdoor, newspapers, magazines, transit, direct mail, Internet banner. Many of these have subsets: paid inserts (advertorial) in newspapers and magazines, sponsored "newsbreaks" and infomercials on broadcast media, static or animated announcements at stadia, those dreaded 'Net pop-ups, brand names on sports uniforms and equipment (can you say NASCAR?), etc.
One of the most enjoyable categories for producers of both music and advertising is viral 'Net marketing, which has had some notable success stories such as BMW Films, the Seinfeld AmEx campaign, and of course, Burger King's Subservient Chicken.
We haven't even considered cooperative advertising, which can be anything from myriad logos at the bottom of an event poster to the branded music tones and flashing-light Intel trademark that ends every other commercial for someone else's computer products.
But it extends further. Consider: Magazines that sell cover stories; product placement in movies and TV (and yes, live theater); branded clothing; bumper stickers; even fliers stuck on parked cars. There are ad messages on private automobiles (and those anti-humanistic trucks that some insist are called SUVs). Pull up behind a vehicle in traffic and you can read an ad for the car dealership on the license plate frame, plus another piece of public relations for the state on the plate itself. (Come on, you don't think it's hype to put "Land of enchantment" on every vehicle licensed in the state of New Mexico?)
You might think that this plethora of options makes it easier for firms to get their messages across to their targeted demographics, but a good case can be made for the opposite view. TV audiences are turning to Tivo and pay-per-view. Radio audiences are discovering XM and Sirius Satellite Radio. Newspaper readership is becoming an oxymoron. Motion picture audiences can be heard groaning, mocking or booing the pre-feature commercials.
This means there are a lot of people working on new ways to get the product benefits into the brains of the consumers. I do it with humorous radio scripts and subliminally seductive music, but there are going to be some innovations in our industry, and at the risk of appearing foolish, I'm going to make a few predictions. Within the next few years, we'll see:
* Debit card scanners in TV sets, so you can order during a commercial with the flick of your remote.
* Barcodes in songs, so you can download from iTunes by swiping your XM or Sirius player with your Visa or MasterCard.
* Credit cards built into wristwatches, so your "plastic money" is always close at hand.
* Links to product sites in every scene of DVD movies or computer games. Do you want the shoes in the Tony Hawk Pro Skater game? Click-click-click and they're on their way to you via FedEx (note product placement for the big competitor to United Parcel Service).
* Broadcasts of infotainment and advertainment will pop up everywhere: in public restrooms, at the Starbucks, at traffic signals, at the gas pump, on your mailbox, in the packages you purchase, in the parcels that arrive at your door, etc.
* Captive broadcasts. Just as you can preview the music on packaged CDs (available in EU now, but coming soon to the USA), the product benefits, price points and warranty information will play as soon as you lift up a product in the store.
* Digitized logo placement in the rebroadcasts of syndicated TV shows ("Hey, we can sell the product placement another three times!")
* Branded ingredient lists on menus.
* Corporate artwork that takes you on a virtual tour of the company.
* Interactive ads, where you get to play Jerry Seinfeld and/or Superman (or the driver of the BMW) in a five-minute escape from reality (and from reality TV).
* Holographic projections of commercials from postage stamps, car and house keys, magazine covers and ad pages, etc.
And these are just the changes we'll be seeing in the next few years. We're not even discussing the opportunities for advertainment once we move beyond traditional broadcast methodology; when microchips are embedded under your skin, YOU will be the receiver for TV, radio, satellite, telephone, and global positioning system signals. And at that point, the possibilities for marketing communication via advertainment are going to become truly mind-boggling.
Are these prospects exciting, frightening, or both? My view is positive. After all, a lot of these new forms of communication are going to need my scripts and my music.
# # #
Scott G is president of G-Man Music & Radical Radio. His music is on commercials for Verizon Wireless, Goodrich, Monaco Motor Coaches, BAE Systems and more. A creative director of the National Association of Record Industry Professionals (NARIP) and a member of The Recording Academy (NARAS), he writes about music for MusicDish.com and the Immedia Wire Service. The G-Man's albums are released by Delvian Records and are on Apple's iTunes. He can be reached via http://www.gmanmusic.com.
dance music 2007Ten Best Venues to Host a Salsa - Tango Night
Salsa is a form of social get together of the people which celebrates dance, music and culture. It is considered to be a faction of Latin rhythmic types which contains the clave beats. Mambo, Son, Rumba, Cha Cha Cha, Guaracha, Merengue, Songo, Timba and few others are some of the most recognized form of salsa. Salsa is the only among Latin genres to have come back and inclined West African tune.
Salsa has become gaining more and more recognition now. A lot of institutions have been opened to teach this form of dance. In fact, few marriages in NYC demands a salsa dance by the newly wedded couple. Many events are organized every year to host salsa in New York. The salsa festival is generally organized in the spirit of friendship and fun and the affection of dancing. In order to make the salsa festival a grand one, you should always look for a perfect venue to host the event. Some of the superb venues for salsa of tango event in New York are:
The Burgess Hall: It is the premier venue in Cambridgeshire. It has a sufficient free car parking area and is completely air-conditioned. It has a great semi-spung dance floor and other facilities.
Rush: 579 6th Avenue, New York City. It is a huge event ground that organizes brilliant events like salsa and tango. The entry fee is kept low.
Columbus 72: 246 Columbus Avenue in NYC. This venue is very famous and is among the best place to host a salsa or tango night. The place is completely air-conditioned. It offers brilliant services and facilities to the organizers and to the people.
Plumm: This venue was basically made to host salsa events. It has huge dancing floor with live music and great DJs.
A lot of fantastic salsa event venues have come up in last few years. Some of them are LQs, Gonzalez y Gonzalez, Club Iguana, The Red Lounge, Vudu Lounge and SOB's.
Salsa is a very beautiful form of dance. The slow motion dance touches your soul when you see others performing. The feeling you get is, excellent!
Mario Stewart has a passion to write about New York City and the bars, restaurants and salsa in the city. He is internationally popular for providing the most apt reviews about the salsa in New York City You may visit one of his websites about salsa in NYC to find more details.
music on so you think you can dance