CVWW February 2015 by CV WorldWide Magazine

FEBRUARY 2014

THE Lifestyle Magazine for Custom Vehicle & Music Enthusiasts

ALWAYS FREE

John Barry

The NAMM SHOW

CYANIDE

In this issue, we begin our annual coverage of the biggest music equipment, innovation, and instrument event in the world. This month it’s an introduction and product highlights, as well as “through the eyes” perspectives. p. 12

You seen them...well, everywhere around Vegas, one of the biggest and best of Sin City graces our pages. Frontman Rob Hussey takes time from his anthem of sex drugs & rock-n-roll to talk seriously about their journey. p. 4

Off the Beaten Path with HANG MASSIVE: Leaders of a social revolution through music a movement of social change and human empowerment… p. 24

Contents... CYANIDE CD Release!

NAMM NAMM Product:: AirTurn PED

NAMM Product:: BC Rich Mockingbird Guitars

NAMM Product: DUBS Acoustic Filters

News You Can Use - Cars: Warm Up the Dang Car!

Order in the Chaos: Brien DeChristopher’s Music Blog

Gear the Pros Use: Marc Andrews of CYANIDE

News You Can Use - Motorcycle: Insane Things...

Gear the Pros Use: Ryan Gillan of CYANIDE

Tattoo Gallery...Motorcycle Tattoos

Jamie Paullus Jamie Paullus and his NAMM meanderings; going walkabout through the convention floor, we see things through his lens - also, Wayne Static memorial Show at the Whiskey. Page 32

Sherry Keith Mystic Photography, out and about as always, shoots a double barreled collage of shows: Vegas with KIX & Vixen. Page 18

CV WorldWide Magazine

Locally Owned / Nationally Known

CV WORLDWIDE MAGAZINE © 2012-14 is published monthly and NO reproduction of content is permitted without Publisher’s prior approval. Publisher assumes no financial responsibility for the errors in ads beyond the cost of space occupied by error. Publi sher is not liable for: any slandering of an individual, or group as we mean no malice or individual criticism at any time; nor are we responsible for the opinions or comments of our columnists; and promises, coupons, or lack of fulfillment from advertisers who are solely responsible for the content of their ads. Publisher is also to be held harmless from: failure to produce any issue as scheduled due to reasons beyond control; all suits, claims or loss of expenses; this includes but is not limited to, suits for libel, plagiarism, copyright infringement and unauthorized use of a person’s name or photograph.

Cyanide is here to bring back the glory days of heavy metal...to party like it's 1987, for fans of Motley Crue, Van Halen, Def Leppard, Kiss, Ratt and Guns 'N Roses, among other legendary heavyweights. Their 11 song debut album “Lethal Dose” is full of high octane, sex, drugs and rock 'n roll fueled tracks. From the up tempo opener „Bitches to Blame‟ to sleazy album-closer „Whole 'Lotta Trouble‟ (dedicated to the legendary Sherri's Ranch in Pahrump, Nevada), this album brings back the spirit and attitude of classics like „Too Fast for Love‟, „High 'N Dry‟, „Out of the Cellar‟ and „Appetite for Destruction‟. Vocalist Rob Hussey, Guitarist Marc Andrews, Bassist David Karr, Drummer Ryan Gillan, and on live backup vocals Miranda Trenholm, have created a timeless hard rock album that has been sorely missing in this world of computerized auto tune drivel. Tracks like „Drinkin'„, „Pump it to Me‟ (featuring John Zito of Count's 77 on slide guitar), „Lookin' for a Good Time‟, first single „What Comes Around Goes Around‟ and the classic power ballad „It's a Long Road‟ prove this band has what it takes to take 80's hard rock into the next generation. Cyanide has wowed audiences with its original songs as well as spot on covers while opening for such legends as Skid Row, Stephen Pearcy of RATT, Bulletboys, Black 'N Blue, Tuff, Femme Fatale, Cheap Thrill and more. Now with the release of “Lethal Dose”, the band is poised to take the next stop from local phenom to national sensation. Like Cyanide on Facebook at www.facebook.com/cyanidelv and visit their official site at www.cyanideband.com to download the first single, What Comes Around Goes Around free! Lethal Dose was released worldwide on January 27th and Cyanide held a CD release party bash at Count's Vamp'd in Las Vegas, Saturday January 31st, 2015.

Loud. Raw. In your face. Definitely NOT subtle, with pounding drums, body shaking bass, and screaming guitars...only slightly dangerous… CYANIDE has been rocking venues in Vegas for years - first with a solid set of near perfect cover songs - now with a full length album of originals designed to bring back the days of yore, the 80’s attitude of partying rock n roll. It’s a vice you can’t quit, that salacious itch you just HAVE to scratch. Frontman Rob Hussey, always up for a good conversation about music, beer, beautiful women, and rock-n-roll, spends some quality time with the Pres; I’m just a little dirtier for it, but that’s a good thing... (CVWW) Who is in the band and what are their roles? Rob Hussey - Vocals, Marc Andrews - Guitar David Karr - Bass Ryan Gillan - Drums Miranda Trenholm - Live Backing Vocals

find the right members. We had 3 other drummers, 1 other bass player, at one time we had 2 lead guitarists, and there was also a different backup vocalist. Finding the right drummer was tough. I grew up playing drums and I tend to be a perfectionist when it comes to that. Ryan had a few other musical projects going on, (CVWW) Talk about the coming so getting him on board took a together of Cyanide. What sort while. We were lucky he became of journey did you undertake to available and joined us full time. assemble this team of musiDavid was the first guy we tried cians…? out after our first bassist left, and <Rob Hussey> This team came he has been a blessing as well. together after a long struggle to They both stepped right in and

allowed us to keep going without losing momentum. Miranda helped us big time when we were in need of backing vocals and we were in a tight spot. All 3 of their transitions were really seamless. But we do need to thank original bassist Michael ―Animal‖ Fennichia, guitarist Leonard Davila, original drummer Mike Mitlyng and subsequent drummers Sandro Brasi and Tony Kula. Those guys helped us start this, and Sandro and Tony helped to keep it going, as we searched for the lineup with the right chemistry. I also want to thank our old backup vocalist

Cameren Marie, who was a big help when she was with us.

(CVWW) What do you think it is about the group that works so well? <Rob> We‘re all committed and hell bent on succeeding in this band. We get along great as friends. There is zero drama in this band. Everyone does their job and focuses on Cyanide as a unit, rather than individual accolades. We have fun together and we all put Cyanide ahead of our other musical interests.

(CVWW) Did you have any particular goals when you started this band? <Rob> Funny thing is, Marc and I had an Iron Maiden tribute called ―Children of the Damned.‖ We had no plans to play original music. We were at his house working on Maiden tunes, and we ended showing each other songs each of us had written. And they just seemed destined to go together. So with little thought we started recording an album, just for us, with no intention of it being a band. It was coming out so good; we thought it will be a crime if we do not play this live. Marc was playing guitars and bass, I was singing and playing drums, and we just recorded that way until we decided it needs to be a band. From there the goal was really to get out there and have fun. With the kind of music we are making, we had no idea people were going to dig it so much. It was just for our own enjoyment.

(CVWW) Is there any exceptional story behind the name?

<Rob> I thought of the name Cyanide back in 1986. No band I was in was ever interested in using it. I was always a drummer with very little input in the bands I was in, for the most part. When Marc and I started recording, I suggested Cyanide and he liked it, so it stuck.

you were younger?

<Rob> I used to spin my dad‘s Beatles records at the age of 3. KISS changed my life at the age of 6. In 1982-83, when Crue, Leppard, Maiden and Priest exploded big time in the states, metal completely took over my life and never left. I have been playing drums since the age of 7. I always want(CVWW) When you started, did ed to sing, but for some reason I you primarily do covers? What was afraid to sing. In 2010, after I led to the decision to put out orig- graduated from college I went for it and started the Maiden tribute, inal music? ―Children of the Damned,‖ and <Rob> Our early shows were, maybe 11 covers and 3 originals. now Cyanide is my full time focus. We still play ―Children of It was not long before we were the Damned‖ a few times a year. doing 90 minute shows, 11 coSo there has never been anything vers, and 7 originals. Then an even split. Now that the album is else besides Heavy Metal that interested me. coming out we are doing all 11 originals and as many covers as (CVWW) You were there in othwe have time for, depending on set length. The audience dictated er bands in Vegas, right? What was your experience with them? adding more originals. Usually people go outside when you play How did it help in your current songs they don‘t know. We were performance? getting great reaction to the origi- <Rob> When it comes to pernals, so we kept adding more. forming, I look at my heroes; Bruce Dickinson, Todd La Torre, (CVWW) Have you always who has become a huge influence wanted to play music, or did you after seeing him on the recent Queensryche tour, Steven Tyler, have any other interests when

Alicia Dupuy

Klaus Meine and Dee Snider, singers who really bring it live and never disappoint with their vocals. There are certain techniques for good performance. They are do not drink or smoke before a show. Stay hydrated (water I mean!), rest leading up to a show, don‘t talk too much before the show. Have hot, decaffeinated tea with honey and lemon. These things can really help you sing a lot better.

(CVWW) Who do you count as your musical influences?

is it about Cyanide that helps you land these sweet gigs? <Rob> I think the quality of music and songwriting is on a level playing field with bands we have opened for like Skid Row, Stephen Pearcy, Black ‗N Blue, Bullet Boys and others. I think the audience appreciates that and that is why we always have a nice crowd when we open for our heroes.

(CVWW) What other bands have you played in over the years?

<Rob> Kiss, Motley Crue, Iron Maiden, Queensryche, Judas Priest, AC/DC, Black Sabbath, Van Halen, Def Leppard, Anthrax, Metallica, Pantera, Scorpions, Ratt, Vicious Rumors, Static X, Testament, Annihilator, Savatage, Lita Ford, Warlock, W.A.S.P., White/Rob Zombie, The Black Crowes etc… Oh! This list can go on for days!

<Rob> Dirty McNasty, D‘Toxx, Angel Park, Bloodshot, Aces High, Outta the Black, Children of the Damned Iron Maiden tribute, which is still active. Marc was in Roadies Nightmare, First Offense and Inn of Chaos back in Cleveland, as well as a few Journey tribute bands, and a Def Leppard tribute band. David was in Shine Ola. Ryan still jams with his AC/DC (CVWW) You have played with production show, High Voltage. some heavy hitters, right? What Miranda sings in Mr. Scary.

Len Czyzniejewski

(CVWW) What all things have you learned on the course of time? <Rob> We learned how to get along, treat people with respect, and to consider each member as a part of the process. I think it is important to find the right lineup and stay together for the long haul. Besides that we have learned how to interact with other bands. In this field there is a lot of backstabbing. I do not waste my time with all this. If all the bands help each other‘s by liking others posts on FaceBook and sharing each other‘s events, we can go a lot further.

(CVWW) What lesson or advice would you give to a younger version of yourself ?

Len Czyzniejewski

<Rob> I would go back and force myself to sing from the beginning. That was what I really wanted to do and I did not do it. And I would not join any bands that do not have my music tastes. I compromised a lot. I never got any results out of these sacrifices until I started doing what I truly

the corporate music world.

(CVWW) Do you find too many “external distractions” pull people away from the quality music in the city?

upturn in tourist crowd and there are 3 or 4 stages down there with bands rocking for the out-of-town people and some locals. So in that world it goes hand in hand. And when the band is great, the crowd stays and rocks with them, so you have to be good at what you are doing. That is why you have to play the most popular covers. But at a rock club away from the strip, you might have a crowd that wants to hear original music and more obscure covers.

<Rob> I think the true music fans always have a way of finding what they like and going out and experiencing it. For some folks music will not be very important or valuable. Also, on any given night in Vegas, there might be 10 awesome bands playing different venues at the same time. So the (CVWW) What do you hope to choice must be tough for music accomplish with your music, lovers.

(CVWW) Is there any additional “pressure” to pack them in, to take attention away from the tourist scene? What is your opinion?

what message do you try to convey?

<Rob> The Cyanide album was created to party in 1987. It has Sex, Booze and Heavy Metal for Trish Kerr fans of Crue, Kiss, Leppard, VH, believe in. <Rob> There will be pressure if Ratt and more. Like Nikki Sixx nobody comes to see your band once said, ―We are intellectuals (CVWW) Can you tell about the and you will not be playing in on a crotch level‖. We are not music scene in Vegas? I have trying to change the world, or that venue very long. I think heard that there are a lot of tal- there are two different scenes. So complain about the government. ented bands, how does competi- I do not think the pressure is nec- We are trying to have a few cocktails, get naked and play some tion for local shows mesh with essarily to take attention away from the tourist scene. For exam- Heavy Metal. As far as accomthe tourist industry there? plishing something, I love this ple on Fremont St.; there is an <Rob> If you are looking to be involved in the tourist industry side of Vegas like casinos, Fremont St. Experience etc. then you have to play all covers and the most well-known popular songs. There is a ton of great bands here doing that, like Arena, and having great success with it. The competition is fierce. What we are doing is different from that world. There is a long list of great bands waiting for those spots to open up. So while we were waiting, we made this album. Who knows, maybe it will blow up and change what bands are allowed to do in John Barry

icant other and let the good times happen. ―Drinkin‘‖ is about a night of boozin‘ that starts at 5pm with a trip to the liquor store and ends at 10am the next morning sneaking out of some strange girl‘s house. This is not deep stuff but it means a lot to me.

(CVWW) Do you have a favorite place to play? <Rob> Count‘s Vamp‘d. Our home away from home. The place to be every Friday and Saturday night. The best rock club we have ever had in Las Vegas. John Barry Can‘t thank Danny and Korie because it put Heavy Metal back made it new again. Of course you Koker, Danny Gentile and the in the mainstream. Like a ―Too hear the influences in there. That entire Vamp‘d staff enough for Fast for Love, an Out of the Cel- is not something that I am going having us and supporting us. This whole album is really dedicated lar, and an Appetite for Destruc- to try to hide from. We are not to Count‘s Vamp‘d, all the good tion…‖ Metal before the suits got claiming that we invented the times and shows we have had involved and watered everything wheel. We just built a new verthere. ―The Sunset Strip of the down. No pink clothes, ever. sion. 80‘s‖ lives on today at Count‘s (CVWW) Do any of your songs Vamp‘d. (CVWW) What can fans expect

from your show? <Rob> Great original music. Killer covers like ―Queen of the Ryche, 10 Seconds to Love, Mean Street, All We Are, Freewheel Burning, and Run to the Hills.‖ A night of heavy metal. Leather and spikes. Breasts. Killer singing. Great musicianship. No tracks.

speak to you on a deep personal level?

<Rob> ―What comes around goes around‖ is the classic story of someone leaving you for something better. Then they realize they were wrong. Then you tell them you wish you still cared. ―It is a Long Road‖ is about how long of a road it is when two people are in love and they just can‘t seem to get on the same page. (CVWW) What is it about your The devastation of knowing it is music that you feel appeals to gone and you cannot change it. fans? ―Pump it to Me‖ is the new na<Rob> For me, it takes me back tional anthem for the Exotic to a time when I was fascinated Dancers association of America, with the newness of Heavy Met- which is very dear to me. ―Whole al. Albums like ―High ‗N Dry‖, ‗Lotta Trouble‖ is about a few ―Shout at the Devil‖, the first weekends spent at the legendary W.A.S.P. album were all the Sherri‘s Ranch in Pahrump, NV, rage. I think we have really cap- many years ago. ―Groovin‘‖ is tured the essence and vibe of this one of those tunes you just lay sound without ripping it off and there listening to with your signif-

(CVWW) Tell us about a memorable show, what made it great for you? <Rob> Opening for Stephen Pearcy. Vinnie Paul was in the crowd. Mr. Pearcy walked off the stage and complimented me on our original tunes. Then Vinnie Paul and his Hell Yeah! Bandmates go out of their way to tell me they enjoyed the show and could not wait to hear our album. 2 of my heroes just watched our band and liked it and said ―they feel that they do not have to say anything‖. I will never forget that.

(CVWW) Have you ever had an to change the important things in hard it is to sell CD‘s. A lot of incident that made you think “is the first place. ―AC/DC‖ to me people out there are proud of the is a great example of never disap- fact that they steal all their music. this really all worth it”? We are all trying to figure this out together. How this music business is going to evolve. It could eventually just go away altogether. When there are no bands making new albums anymore, that would be a sad day for me. I love going to the record (CVWW) “Lethal Dose” just store on release day and buying a came out. What are your thoughts about today’s music dis- new Motley Crue album, a new (CVWW) What motivates the Maiden or Priest album and a guys to keep improving, to keep tribution? Are platforms like new KISS album. When that is expanding your horizons as mu- iTunes and other better or worse no longer happening I am gonna for music? sicians and a band? be one bummed out guy. <Rob> So many other bands that <Rob> There are pros and cons to the whole music business in have made a great first album (CVWW) Tell us about the progeneral today. It was always like and then struggled to make ancess of recording and mixing a that and always will be. The realother one just as good. But I full album. Was it harder or easthink we are aware of the sound ity of today is how hard it is for a ier than you expected? How has we have created. Other bands try new band to get noticed. How <Rob> Going through the lineup changes in the beginning. Having to keep waiting for new members to learn the songs. Almost having my marriage end during the recording of the album. The neverending search for the right drummer. All these were tough.

pointing the fans. Give them what they want. The sound you created has made them love you. So the motivation will be to make a second album as great as the old one that sounds like Cyanide.

it changed over the years for you ing when to stop and say, this alas a musician? <Rob> Marc and I recorded these tracks at our houses using Cubase. Life got in the way and it took a long time. David came in when he joined and redid the bass parts. By the time Ryan joined, I had laid down the drum tracks a long time ago and there was no time or money to redo them. I am definitely looking forward to Ryan‘s drumming on the second album because he is a monster drummer. Jason Constantine mixed and mastered the album at Constantine Studios. He also saved the album cover photo session from ruin and did all the graphic art in the CD booklet. He made the album sound monstrous, like Bob Rock had produced it. The best part of recording this way was being able to do things until they were right without worrying about the clock. The hard part was know-

bum is done! If you know what you are doing and have talented friends it is cheaper to make an album than it used to be.

(CVWW) What is your impresLen Czyzniejewski sion about Social Media? Is it a worthwhile effort, KISS came out, John Denver was necessary evil, or wasteful disthe #1 act in the world. When Motley Crue came out, The traction? <Rob> I love everything about social media except the negativity. But I just ignore that. I do not argue with people on the internet or bash other bands or any of that stuff. I like to keep it classy. It is a worthwhile effort because it definitely increases the awareness of your band. Interacting with people who like your band and getting instant feedback feels pretty good too.

(CVWW) What are your thoughts about the music industry as a whole? Can good old fashioned rock survive in the world of Bieber, Cyrus, One (auto tuned) Direction, and others?

Trish Kerr

<Rob> The music business will always exist in some form, even if it is just corporations pushing out electronic music made by computers…wait…that is already happening…Rock will always be there as long as there are parents exposing their kids to rock music. It might remain underground. It can come back in a big way too. All it takes is one band to blow the doors off of everything. When

Knack was all the rage. One band, one album, can change everything. God bless the kids out there who are listening to and supporting Heavy Metal.

(CVWW) Where do you see the band in 3-5 years? <Rob> Headlining stadiums with Tuff, with 3 multi-platinum albums on the wall and another on the way. Abusing substances. Fighting with each other. Looking for a drummer… Bwhahahahaha just kidding. I just hope this same team is together, having fun, playing amazing shows and making new music.

(CVWW) What other bands do you guys listen to during downtime and relaxation, what is there on your music player? <Rob> I do still buy CD‘s. Then I put them in my iPod. I like to have the physical copy. In recent times I have worn out Crue‘s ―SOLA‖ album, ―Redeemer of Souls‖ by Priest, ―ADKOT‖ by Van Halen, Steel Panther‘s ―Balls Out‖ and ―All You Can Eat‖,

in Las Vegas.

(CVWW) Anything else exciting coming down the pike in 2015? <Rob> With any luck, a Cyanide ‗Lethal Dose‘ tour. More music videos from the album. Hopefully at least one of our members will inadvertently release a sex tape. Writing new songs for the 2nd album. We have got the Doro gig in March and a pretty big event coming up in June.

(CVWW) Any final words you would like to convey to your fans? <Rob> Words can‘t express how much we appreciate all of you who have helped and supported Cyanide. We look forward to making several kickass Heavy Metal albums for your enjoyment in the coming years. Alicia Dupuy

Anthrax‘ ―Worship Music‖ was great, ―Hail to the King‖ by Avenged Sevenfold. I play a lot of music on my device like, ―Monster‖ by KISS (I don‘t understand the negativity on that one, great KISS album to me). Loved ―Infestation‖ by Ratt. The new AC/DC has been getting my attention. ―Blind Rage‖ by Accept was killer. Stryper ―No More Hell to Pay‖ was amazing. And of course I still regularly listen to the entire catalogs of Maiden, Crue, Ratt, Leppard, Priest and all of the other bands I mentioned above. There is one weird thing that I do, I still listen to ―Music from The Elder‖ by Kiss fairly regularly. And one of my favorite albums of all time is the ―Motley Crue‖ ‘94 album with John Corabi. That is an amazing album.

(CVWW) Okay, "Lethal Dose" has been released. What are your plans to support the album? Local, regional or national? <Rob> We have just completed 3 promo videos which are available on the Cyanide You Tube page. We are going to make probably 4 or 5 more music videos to support the album. We will continue to play every show that comes our way. We will be opening for Doro Pesch on March 17th in Las Vegas. If the opportunity to tour and play festivals presents itself, we will definitely take advantage of that. We will be advertising and promoting the album on MetalSludge.tv and appearing on the KOMP 92.3 Homegrown Show live in studio on January 25th. The CD release party is on January 31st at Count‘s Vamp‘d

CYANIDE! CYANIDE FB WATCH US!

Alicia Dupuy

COVER STORY

THE 2015 NAMM SHOW AT THE ANAHEIM CONVENTION CENTER An Annual Global Gathering of the Music Products Industry THE NAMM SHOW â&#x20AC;&#x201C; The National Association of Music Merchants (NAMM) presents the NAMM Show, an industry-only global music product trade show annually drawing nearly 100,000 music industry leaders to Anaheim. The NAMM Show is the world's largest trade-only event for the music products industry. The show features 5,000+ music instrument, product and technology brands, including guitars, drums, pianos, synthesizers, band and orchestra instruments, pro audio equipment, DJ gear and more. Additional visual and reporting opportunities include day and evening concerts, interactive demos, artist appearances and onsite interview opportunities with industry leaders, speaking to industry trends and new products. NAMM is a trade-only business show catering to domestic and international dealers and distributors. The product exhibits are an integral part of the show, allowing the dealers and distributors to see what's new, negotiate deals and plan their purchasing for the next 6 to 12 months: since its inception, NAMM has evolved from a national retail association into an international association whose members now include commercial companies, distributors, affiliates and manufacturers. About NAMM Foundation The NAMM Foundation is a non-profit supported in part by the National Association of Music Merchants and its 9,200 members around the world. The NAMM Foundation works to advance active participation in music making across the lifespan by supporting scientific research, philanthropic giving and public service programs.

NAMM GEAR

AirTurn Introduces the AirTurn PED™ for Bluetooth Smart Devices AirTurn, the manufacturer of wireless, hands-free controllers for Bluetooth equipped tablets and computers, announced the AirTurn PED™, a low-profile foot-controlled page turner for music reading, set lists, scrolling lyrics or guitar tabs among many other applications. AirTurn PED may also be used for hands-free teleprompting, slide presentations, instrument effects or media control. Configurations are also available for assistive technologies and common desktop document or presentations applications. Pressing the right foot switch of the AirTurn PED will turn pages forward and a press on the left switch will turn pages backward. PED is ideal for users who need to keep both hands free while reading or controlling applications on their Bluetooth SMART READY devices including: · iPAD 3 and above · iPhone 5 and above · Most recent Samsung devices · Most PCs and Macs equipped with Bluetooth 4.0 AirTurn also can provide Bluetooth USB connectors to convert older PCs to Bluetooth 4.0. “AirTurn designed the PED controller to be the most compact, easy to use, transport and connect to Bluetooth wireless devices,” said Dave Tamkin, a Chicago and now Boulder, Colorado acoustic singer/songwriter. “It can fit in my pocket and connect to my mobile devices in seconds,” he added. “Artists and other technology users are going to love how it simplifies their ability to play, present and perform.” AirTurn PED features include:  Membrane touch switches for fast and quiet response  Mode Switch to change profiles for different uses.  Anti skid control on the base  Second spare battery included in battery compartment  Lithium ion battery lasting 6-12 months depending on usage  Signal lights to indicate low battery and Bluetooth connection status  Keyboard Switch for virtual keyboard access for some iOS applications

Founded in 2008 in Boulder, CO, AirTurn, Inc. develops tools to enhance presentation and performance. Musicians world-wide use AirTurn products to manage effects, back tracks, metronomes, and turn digital sheet music pages hands -free.

COVER STORY

The New B.C. Rich Mockingbird is A Marvel to Behold Today B.C. Rich unveils the new Mockingbird Contour and Contour X production models. For years, one of the most in demand guitars from the B.C. Rich handcrafted shop has been the arch top Mockingbirds. In the past, the ability to duplicate the sleek and sultry details of the custom shop have been hard to reproduce on a factory floor but new technology and production methods bring the Contour to fruition. Although it is not the first production Mockingbird to have an arched top, it is the first to come anywhere close to what was being done in the handcrafted shop. Dubbed by insiders as the “sharp arch mock,” the steep contoured top creates a seductive appeal when combined with the even thinner and lighter body of the production pieces. The Mockingbird Contour features a mahogany body with either a gloss black or gold top finish. Complementing the 25 5/8” mahogany set-neck is a 24 fret rosewood fretboard with a 12” radius, classic cloud inlays and the traditional B.C. Rich three on three headstock. The long-set neck design features a contoured all access neck joint normally only seen on neckthru designs. Highlighting the new Contours are the new Hot-Hex B.C. Rich pickups. Sonically matched to the new design, the humbuckers are teamed up with neck and bridge volume controls, a master tone control and a 3-way pickup selector for sonic versatility. The stop tail piece, bridge, control knobs, strap buttons, and tuners are all finished in chrome. The Contour X includes all the features of the Contour but adds a quilted maple top. Available in either a gloss natural or translucent red, the transparent finished combined with figured top create an elegant energy. Originally released in 1976, the B.C. Rich Mockingbird is ranked “The Coolest Guitar of All Time” as voted by the readers of Guitar World magazine.

NAMM GEAR

Quietly Disruptive: DUBS Acoustic Filters Use Acoustical Physics to Redefine the Ear Plug Doppler Labs, the New York City-based hearables technology company, brought its first audio innovation, DUBS Acoustic Filters™, to the show floor of the National Association of Music Merchants (NAMM) Conference. DUBS Acoustic Filters are stylish, high-design earplugs that utilize advanced acoustical physics to reinvent hearing protection. By leveraging the way the ear processes sound, the DUBS accomplish two goals simultaneously: lowering sound by roughly 12 dB, and preserving audio fidelity. With the DUBS, every participant in the music industry – including DJs, musicians, sound mixers, producers, roadies, security and fans – can hear with crystal clarity while minimizing the damaging impact of high-decibel noise. "The DUBS achieve sonic fidelity through applying advanced acoustical physics to a small, discreet product," explained Doppler Labs co-founder Dan Wiggins. "We engineered the DUBS for optimal listening, using low- and high-pass filter paths to account for different frequencies so that the listeners hear crystal clear sound that maintains the original audio balance. We wanted the acoustical experience of the DUBS to be like turning down the volume knob on a stereo system instead of the muffling experience created by normal ear plugs." "Until now, when you went to a show, either to perform or watch, you were forced to make a choice: do I want to hear clearly while I am there, or damage my ears and risk not hearing clearly in the weeks and months to follow? With the DUBS, you preserve the sound you want to hear while also preserving your hearing – it's a win-win," said Noah Kraft, CEO and Co-Founder, Doppler Labs. "While there are countless use cases, music was the catalyzing spark that fueled us to create a better earplug with the DUBS."

How DUBS Acoustic Filters Work For DUBS Acoustic Filters, Doppler Labs developed a proprietary technology that effectively leveraged the way the ear's sensitivity to sound changes in response to different decibel levels. DUBS Acoustic Filters use both a "low pass path" and a "high pass path" for audio. As sound makes its way through the low pass via two of the DUBS chambers, the sound enters a small, final diameter tube where it exits inside the ear. The large expansion areas cut off high frequencies, so users only hear lower frequencies through this combination. The high pass path consists of a single small diameter tube, connecting the outside world to the user's ear. As sound enters the tube, low frequency sounds are "bled off" by a controlled leak, and high frequency sounds continue through to the ear. The result is a controlled acoustic experience that produces a distinct audio curve, which is quite unlike anything in the earplug space, which has traditionally offered low-tech foam inserts. The DUBS Acoustic Filters were developed to be as much a sleek accessory as a hearing protection device – aesthetics and acoustics are both primary concerns for Doppler Labs. The DUBS now come in four colors: teal, blue, pink and white. They are available through www.getDUBS.com and at Best Buy and Amazon.

Yes, Warm Up Your Dang Car if it’s COLD! By Jason Torchinsky

Facebook, taken as a whole, is like having some pushy friend who has to give you advice on everything, then show you stacks of pictures of his lunches. And lately, I‘ve seen that pushy friend telling you not to bother warming up your car in winter, and posting many articles explaining why. Should you believe him? Or look at his lunch pictures? First, f**k the lunch pictures. You know what a hot dog or soup looks like. And as far as the car warming up goes, it seems that most of these anti-warming up articles are missing some huge points, and could be giving a potentially damaging message to most people, especially the vast majority that don't spend every waking moment thinking about

cars and trying not to touch themselves. I'll explain. The main thrust of most of these articles saying there's no need to warm up your car is that it's wasteful of fuel, creates needless pollution, and modern, fuelinjected cars just don't need to be warmed up to run well like old carbureted cars did. And, generally, these statements are all true modern cars engine control computers are vastly better at managing the engine to run well even when cold, and, sure, if you idle the car for 20 minutes, you're not really accomplishing anything beyond turning gas into pollution. But that's only a part of what's going on with your car when it's really cold. Even though these articles headlines

proclaim there's no need to warm up your car, in the stories you can usually find that they say a short warm up of 30 seconds or so is okay. I'll go further — when it's really cold out, you'd be crazy not to warm up your engine for, say, at least a minute or two. The reason has nothing to do with fuel or my latent desire to pollute your driveways — it has to do with oil. When your car has been sitting out overnight, all the lubricating oil that's coating all of the crucial, moving bits of the car has settled down to the bottom of the oil pan. When the temperatures are really cold, not only is that oil not near the areas it needs to be, its viscosity — ability to flow — has been severely impaired by the cold. You've seen how differently, say, refrigerated maple syrup flows compared to hot syrup — the oil is the same way. So, when you start that cold engine, it's essentially running without lubrication. If you start up and immediately put a load on the engine, things could get damaged. It's just not ready to go. Take a minute or two to get that oil pumping around before putting any load on the engine, and your pistons and camshafts and turbos and other spinning, moving bits will be much, much happier.

Now, you don't need to idle for a half hour, but a few minutes just to get the fluids a bit thawed out is not a bad idea at all. Have a stick shift? Have you ever felt how sluggish the stick feels on a really cold morning? Think about all the components inside that housing, and how

they're doing. Let the car have a moment to wake up and spread some warmth and fluids around. Plus, while all those little explosions in the cylinders are making heat, that heat is being transferred to the coolant, which is then being piped through the heater core, which then can be blown into the passenger compartment so your lovely ass doesn't shatter like an ice sculpture shoved by a drunk bridesmaid. The heater's not magic â&#x20AC;&#x201D; you have to make heat to get it blown onto your frozen face. And, as far as the pollution and fuel waste goes, let's think about this on a larger, systemslevel. Sure, if you idle for, say, three minutes, you're burning more fuel and polluting more. But if that three minutes heats up your oil and transmission fluid and prevents wear to your

drivetrain, maybe your car will last, oh, 10,000 miles longer, which means more time to be used, which means less demand on the systems to make new parts or entire cars, less energy used, less fuel used in shipping, marketing, selling, etc. Keeping your car working well keeps it more efficient and less polluting as well. So, I think the three minutes of idle is at least a wash. You and your machine are partners in the solemn task of getting your ass to work every cold, miserable morning. If you treat your car well, and give it a few minutes to get some heat into the system, get that oil splashing around, it'll treat you well, too. Don't believe everything you see posted on Facebook. Except if you see this oneâ&#x20AC;Ś (from JALOPNIK .com, with permission)

Order in the Chaos Helpful Band Tip #48 - Being Prepared for the Studio As musicians, one thing remains inherently constant... our severe desire to immortalize our music in recorded form. This still remains true. We can spend YEARS writing one song. And when we feel it is ready, we record it and share it, and hope that others recognize our efforts and dig what we've done as much or more than we do. But, studio time can be a fearful experience for some, or an event that just plain ELUDES others. But, regardless of when you go into the studio one thing remains honest, and that is that if you are not prepared mentally, physically, technically, and musically, it will reveal itself in the final product. And sometimes it can be a really good thing ... or a really BAD thing. Whenever I go into the studio, I always try to make certain I am prepared in every way that can be affected by the time there. I check my amp (s), restring my guitars, check all my cables, mics, pedals, etc. And most importantly, I check that I am 100% satisfied with my parts (even though I embellish those parts substantially during tracking). Because one of the worst things you can do is show up unprepared. And, one thing that completely drives me nuts is to spend time and money on the studio only to learn somebody ELSE is unprepared. My advice is to spend as much time with your band-mates as possible and work out every section of every song you intend to record from top to bottom. Study the tracks, tear them apart, work them out, and sometimes you may even have rewrite or re-structure some parts. That is totally nor-

mal. I like to write a song, get it tight with my band, and then start tearing it apart and fix it. Then, get it tight again. But, often, in my mind a song is not 100% complete until it is tracked. But I refuse to go in without a clear and concise idea of what it is I intend to achieve. I have even been referred to as a one-pass-tracker because I am so prepared that I can track my rhythm guitars in one take. That is not to say I do not have to go back and replace a phrase or a small section to remove fret-buzz or a missed timing structure...it happens. But, more often than not, I can lay them down quickly and solidly. And, not everyone can do that. The thing is, the studio is expensive. And, the less time you spend proving to everyone else that you don't know your parts properly can save you a lot more than money if you don't have to look or another band.

That all being said, Let me give a piece of advice ... make certain each member knows their parts. That is what rehearsal time is for. You should never use studio time to write your parts unless that is the Producer's desire ... and if you are Korn. If you have only one member who uses that time to write their parts, they are wasting your money, and your time. Not to mention, it really should concern you in just WHAT they have been doing during rehearsal if not toning-up their parts and writing them into at least a close-to-final form. Additionally, all that time rehearsing will also sure up your inter-band relationships enough to soften the impact of the emotions that most certainly WILL come out during the tracking process. Because recording isn't easy ... it involves impeccable timing, surety in your parts, and consistency you never thought about before. So, make sure your beats are solid, your rhythm section is true and in the pocket, your guitar parts are squared away, and your lyrics and melodies are WRITTEN. Tailoring the parts and double-tracking can come later. But, the main shell of the song should be DONE and ready to go before you even step into the control room.

Brien DeChristopher is the guitarist and primary songwriter for Seattle Seale-based hard rock band "Agents Of Chaos". He has logged countless hours on stage in live performance, and studio recording time. You can see this and other Pearls of Wisdom at http://www.blogster.com/briendechristopher/

hang massive Leading a social revolution through music - a movement of social change and human empowerment. Through the empowerment of their music, we can all recognize our innate strengths, gifts and talents and with precision we see how these can be mobilized in profound and powerful activities that can be of benefit to all.

<CV WorldWide> Tell us who is in the band, and their role… Hang Massive is Danny Cudd and Markus Offbeat. Both share the roles of composing, playing and managing to different degrees. If you see Hang Massive like a ship and on a ship there will only be one captain steering the ship and the rest of the crew supporting the captain with their strengths and talents. The captain of Hang Massive is Danny Cudd.

styles of playing matched and we just applied the same attitude towards the two hangs as soon as we could. Through busking (performing) in the streets for many hours daily Hang Massive started to shape into what it is today and it continues to expand powerfully.

the case if there is no management or record label involved.

<CV WW> Did you guys play in any other "traditional" bands over the years? Markus: No. Danny: Not really, I played in some fairly unconventional bands with my didgeridoo and percus<CV WW> Have you always want- sion. ed to play music, or were there other interests when you were <CV WW> Of course, we have to younger? ask why the Hang Drum? It's a Markus: I always liked to play very new instrument, having only been around since about 2000… music but never imagined I <CV WW> What are your backwould do it to the degree that I Markus: For me it was not a degrounds in music, what have you am today. cision. Due to the rarity of the studied? Danny: I have always enjoyed instrument, it just kind of fell into Markus: I grew up in a musical playing music and it is something my lap, so to speak. family. My father is a great musi- that I have always done. Along- Danny: As soon as I first met cian and he has really inspired side that I have also enjoyed to somebody with a Hang, which me and taught me a great basis run my own small businesses was at a juggling convention in from where I see clearly that I from a young age. These two pas- Europe I was captivated and set have the ability to express myself sions came together perfectly on getting one. It took me a year through the hang. with Hang Massive as there is a to get the cash together and find Danny: I also grew up playing certain business aspect that is in- out where and how to get one music in school from a young volved with running a successful and then I made the journey to age. I started with the clarinet music project. This is especially Switzerland to make it happen. and saxophone and loved the coming together that was created by being involved in musical projects. After leaving school and starting to travel I began to explore many world instruments such as didgeridoo and percussion. This led me onto the hang as soon as I discovered it. <CV WW> Talk about the coming together – how did you guys find each other, the decision to play together, and of course, these types of instruments… <HM> We met in Goa, in India, while participating in a Balanced View training together. And at one point we started to jam with one Hang that was owned by Danny and one djembe. Our

ing of Hang, we just play. :) <CV WW> On the instrument itself, what creates the different sounds/tones? Do they sound different if they are on your lap or on a box, for instance? <HM> The whole instrument is tuned to perfection. There are eight or nine tone fields that create different notes and in turn the whole instrument resonates! The Hang is designed to be played in lap and the situation of the legs does affect the sound to some degree.

<CV WW> Did you have any particular goals when you started this band? <HM> To reach the whole world with our music through the use of the internet and social media – now is merely the unfolding of the vision. :)

<CV WW> Any exceptional story behind the name? <HM> Massive is a term that was used in Dance Culture in the UK and also in other cultures before that to refer to a group of people. For example ―The London Massive― would refer to a <CV WW> Do you write your own group of people from London or songs for the most part? Can you ―Jungle Massive― would refer to "cover" a song with those instrua group of people that loved Jun<CV WW> It’s a fascinating instruments? gle music and went to big Jungle ment, how long does it take to <HM> Yes, we write all of our Dance music parties. Hang Maslearn? own songs. It is tricky to cover sive therefore refer to us as a <HM> We have been playing songs as there is only a selection group of people playing and lovtogether for around four years of notes available. Some people ing Hang. It was also especially and in this time we have played have done that in the past. We suited as we both love electronic thousands of hours together. It is may make some covers in our Dance music and our music is endless as with any instrument new project where we will work totally influenced by that. and one can always continue to with some other people, instruimprove. In Indian Classical mu- ments and production. <CV WW> Who do you guys sic they say that after ten years you please yourself, after twenty <CV WW> You call your music years you please the crowd, after "world music" - what does that thirty years you please your mean to you? teacher and after forty years you <HM> We are both travellers of please God! Still plenty of time to the world for many years. We go! have taken influence from all over and this informs our music. <CV WW> Do you make them yourselves, or do you know now <CV WW> How much practice do how to provide guidance when you guys do each day to play such they are being made so you can an instrument? achieve a certain tone? <HM> For the first years we <HM> The original Hang was played a lot in the street together. made in Berne in Switzerland by During this time we played a Felix Rohner and Sabina countless number of hours. We Schärer. It was a huge process do this a bit less these days but perfected over many, many years still play most days and also have of research of experimentation. periods of more intensive practice We are not involved in the mak- from time to time.

connect as a human race in all these ways and share information so freely. “ ” - People, group, collective (Jamaican) When, as a worldwide community, we learn to use it for the benefit of all, it will serve so many in ways that currently cant be comcount as your musical influences? love, sharing and empowerment. prehended. Markus: My Father and I lisCombine that with some groovy beats and you‘re onto a winner! <CV WW> What are your tened to all kinds of music. All artists past, present and future are thoughts about the music industry <CV WW> Tell us about a memo- as a whole – you are definitely non my influences. rable show, what made it great for -traditional, where do you see your Danny: I have been inspired by place in the music family? many artists and musical genres. you? I have loved the various electron- Markus: In Goa last year…Half Markus: We are pioneers of not ic music genres that have evolved of the crowd were asleep and I just a new instrument but also in really appreciated that people felt during the past twenty years in our way of sharing our music and the UK and many of these have comfortable to relax I took the vibe. Our attitude of gratitude microphone and shared that most will and has truly impressed and influenced our music. musicians would be offended but inspired so many already and will for me it is a great sign that what definitely continue to do so. <CV WW> What is it about your music that you feel appeals to fans? I feel to communicate through Danny: The music industry has the music is getting through. Markus: For me it is clear that changed so much, as has the way what inspires and appeals to our that people want to receive mu<CV WW> What is your impreslisteners is the vibe that we have sic. People want to have access to trained up through the Balanced sion of Social Media – worthwhile all music, easily at the point of effort, necessary evil, or wasteful View training. release and not dependent on distraction? Danny: I agree totally, we bring a their ability to pay. The internet <HM> It is amazing how we can vibe of relaxation, generosity, has revolutionized this totally and it is so important to be responsive to this. We allow all of our music to be downloaded freely from our site regardless of the ability to pay. There is an option to donate for those that can. In this way our music spreads all around the world and can be enjoyed by so many.

URBAN DICTIONARY

massive

“All de massive dem love reggae music.”

<CV WW> Then again, in this diverse music world, with over 10 MILLION views on YouTube, can we finally call you a sensation? <HM> Yes. <CV WW> Where do you see the band in 3-5 years? Markus: If it continues as it has up until now, more massive will be my only expression of how

ers. We want to share a vibe of empowerment and relaxation for the world and will see how that spontaneously unfolds. <CV WW> What other bands do you guys listen to during downtime and relaxation, whatâ&#x20AC;&#x2122;s on YOUR music player? Markus: Tipper, Cian Finn, De La Soul, Bob Marley, The Many Rivers Ensemble Feat Hang Massive, Syster Sol, Buju Banton, Blackalicious. Danny: Aphex Twin, Sza, The Staves, Rene Aubry, Rising ApStefan Lundaahl Foto palachia, Xavier Rudd, Fat Freddys Drop. Markus: For me it means we can continue to do all things in our that will look and I cannot even <CV WW> You started a campaign own way to expand and reach on Pledge Music for fundraising to out with our vibe far and vide. start to paint a picture of how record a new album - last we that will look. checked, you well exceeded your <CV WW> Tell us about the colDanny: We are collaborating goal (Congratulations!) - what does laboration with Victoria & Craig with more and more people to join our talents with those of oth- this sort of support mean to you? on the new album - what do you

people discover their innate strengths, gifts and talents, train them up and find ways to contribute them to the world in ways that will be of benefit to all beings. It is this recognition of each person‘s total uniqueness, amazingness and power that I would love to support through our music and demonstration.

produced with that as the sole aim.

<CV WW> Anything else exciting coming down the pike in 2015? Danny: HEAPS!!! We will be releasing a five track EP called ―Marine Migration― featuring Victoria Grebezs in the next month or so. The EP features two original songs of ours and some <CV WW> You talk about your awesome remixes. We will re"vibe" - What do you hope to aclease the full length album of complish with your music, what ―The Many Rivers Ensemble message do you try to convey? feat. Hang Massive― at the end of think they'll bring to your sound, Markus: The only reason for do- February. We also have an outrahow will they add that little extra? ing whatever I am doing is to geous album called ―Celestial Markus: They already add their share the teachings and support Colour― that we made over the not little, but Massive extra. system of Balanced View. Every- past two years in collaboration Their contribution of strengths, thing about me is sourced in the with a great friend and producer gifts and talents will naturally ex- four mainstays of Balanced View, in the UK called ―J Rokka―. The plode and what comes out on the clear and simple. album is a journey through many other end will be pure magic. Danny: We want to convey an genres of electronic music, all attitude of gratitude, of open fused with the sounds and vibes <CV WW> Let's talk about hearted love connection, interof Hang Massive. It is a totally "Balanced View"...how do you see connectivity with all beings and incredible album. We will also be your music contributing to social total human empowerment. We working on a new album with change? are all involved with a show Craig and Victoria that we fundMarkus: I have been involved in called Massive Vibe which is a ed through the Pledge Music this training for the last 5 years Balanced View production and campaign. That is set to be reand I have seen what it has given this whole show is specifically leased in the early autumn. to me and to so many others. I see so powerfully how the training from Balanced View is my key for harmonious relating and the core structure of how Hang Massive continues to flourish. When I see this change in myself I see it is possible for the world as a whole. www.balancedview.org is where you can see for yourself what it‘s all about. <CV WW> When you say "human empowerment", what does that mean to you? What do you hope you "empower" in your listeners? Danny: Human empowerment is the process through which all

Of course, loads of gigs, new videos, live stream concerts and a new and upgraded website! We will also be performing with ―Massive Vibe― which is a music show produced by Candice O Denver and Balanced View. We have gigs getting lined up all around the world for that! How does that sound for 2015? <CV WW> That sounds to us like … success. We are honored to have spoken to you in our Magazine. Any final words you would like to convey to your fans?

http://www.balancedview.org/ <HM> All is well.

Getty Images

“…crushing riffs with balls to the walls vocals. Listening to this reminds me of the good ‘ol days when you had solid vocals and galloping riffs. Good to see it’s still out there”

– Billy Boldt, Thrash Zone

Gear the Pros Use! Overall I have always been a Marshall guy. The first time I heard Iron Maiden Killers album all I could say is “THAT is the tone I want”. Marshalls can be finicky though, especially in the JMP and JCM800 days, you would never know if you got a “good” one or not until you plugged it in and cranked it. They say variety is the spice of life and when it comes to amplifiers, I agree. I have old, new, stock, modified, mint, and road worn Marshalls. Hey, as long as it says “Marshall”, I am in! My current main rig is a Marshall jvm410h and, of course the Marshall 1960 a/b cabinets. Those that see me live note that I use a boss gt100 effects pedal; however this is only for effects like echo, chorus, flange, wah and channel switching. ALL the tone comes from the head. For guitars, I started off as a Gibson guy and played nothing but them for almost 15 years until a friend of mine, Hawkeye from „Mr. Hyde‟, turned me onto Jacksons. Now Jacksons (USA made of course) are my 100% main guitar (although I still use a zebra striped Gibson explorer for special tunings). I guess the Gibson Explorer that I have had since 18 rubbed off on me because my favorite Jackson is the Kelly.

Guitars 3 Jackson Kellys (Blue, Purple, custom graphic) 1 Jackson RR 2 SL2H soloists 1 custom built Strat (I bought body and neck wood off of eBay and some dude turned it into an awesome guitar) 2 Gibson Explorers

Main Rig Marshall JVM410H with Marshall 1960 a and b cabinets. Heads Marshall Marshall Marshall Marshall

TSL100 Artist 3150 JMP 2204 JCM800

Cabinets 4 Marshall slant cabinets (misc jcm900, jcm800, 1960 etc.) 4 Marshall straight cabinets (misc jcm900, jcm800, 1960 etc.) 2 other old beat up Marshall cabinets loaded with celestion v30s Two mini stacks, only 3 feet tall but look cool!

Effects Boss GT 100s for live and practice, plus a ton of pedals for goofing around

PureSin @ NAMM

4 Insane Things Nobody Tells You About Riding a Motorcycle (pt 1)

By Robert Brockway

I've been gone a few weeks, but I can explain: I just bought a motorcycle. Which means that I've pretty much spent the last fortnight on a motorcycle, thinking about a motorcycle, fixing a motorcycle, almost crashing a motorcycle, gazing longingly at a motorcycle and pushing a dead motorcycle around a parking garage looking for a jump. I could try to give you some useful advice here, like "Don't take the Motorcycle Safety Course with a fever," or "When the floaty elf tells you to 'ramp that s**t,' don't listen -that's just the fever talking." But that stuff is probably pretty apparent to most of you, and if it's not, try listening to the elf a few times; some lessons you can only learn from mistakes. So instead, I'm going to tell you about a few very obvious fundamentals that, honestly, any idiot could figure out -- but that nobody ever seemed to mention to this particular idiot before he got himself into this mess. #4 - We Go Way Too Fast A few motorcyclists just read that heading and thought something like "F**k yeah, we go too fast! We're daredevils, bro. You suckers can keep your cages, we're free." (Yes, some bikers re-

fer to cars as "cages," because literally everything has its embarrassing elitist jerks.) But I'm not talking about the reckless velocity of dudes without enough brain cells to comprehend mortality. I meant exactly what I said: "We all go way too fast." First, let me say this: I'm not a wizened old hand at this motorcycling business (for example, I refer to it as "motorcycling business"), and so far I spend most of my bike time wobbling to a terrified stop after every pothole. But my limited experience atop a motorcycle has taught me a valuable lesson already, and it is this: All of us -- every human being alive today -- are traveling way, way faster than we have any right to. And I don't mean "We're in too much of a rush," like it's some symptom of our modern world; I'm saying that, since the advent of the engine, humanity has always flitted about at a ridiculously incomprehensible speed. It's just that we're removed from

it in our cars: They're aerodynamic and sound-proof and shock absorbing and sealed off from all external stimuli to make commuting an isolated and relaxing experience. But on a motorcycle, you sit right down on top of an engine with wheels, and the second you start moving, you realize that even our posted speed limits are still three to eight times faster than our species was ever meant to go. Our stupid eyeballs and ears and brains simply cannot reconcile our established rate of travel without all the buffers of a car around us, because our instincts understand that this should not be possible. But on a motorcycle, suddenly you comprehend the wrongness of speed. You feel every tiny bump in the road as you hurtle over them at a sacrilegious pace, the wind screaming in your ears, because that's what happens when you try to outrace the very air itself, objects flying by too quickly for

your eyes to fully register. "We are running way too f**king fast!" your primal brain screams. "How did this even happen?! ARE WE FALLING?" And then your rational brain glances in the rear view mirror and says "Speed up, man, this is a school zone: You have to do at least 20 mph." That's not just me being a pussy about the whole thing (I mean, it is totally that, but there are other factors, too). When the automobile first started seeing major usage, the U.K. passed the Motor Car Act in 1903 to dictate proper road speeds. Here's the debate lawmakers had about the matter. There were some passionate responses to the matter on both sides, with some advocating reduced limits, while others argued for the limits being abolished entirely. A fairly typical argument went like this: "[Mr. Nussey] wished to protest against the great speed at which motor-cars were driven. He thought the danger would be increased and not decreased when motor-cars came more generally into use, and he urged the right hon. Gentleman to meet this danger in time. It had been suggested that there should be a sphere of danger and another sphere of comparative safety, but he thought those in the danger sphere would have a very bad time indeed. It was no use being able to recognise the number of a motor-car after they had been nearly killed." Man, is this when they lowered the speed limits to 55? How fast were they going that they wanted to designate special "danger spheres" for suicidal mo-

torists? Why does a speed limit debate read like panicked religious zealots reading the Book of Revelations? And while we're at it, what is a Danger Sphere, and can I have one? For answers to (most of) those questions, here's the rest of the quote: "... and the only effective way to deal with the question was to make cars illegal which ran at more than about 15 or 20

open to the air, bumpy, windy, loud, careening minimalist carriages that made you pay for every mile with an ounce of oldtimey fear urine. But nobody ever tells you that before you go out and buy a motorcycle. There's no helpful FAQ out there that says "Caution: We've all been defying the laws of nature this whole time, and you're about to realize it."

miles an hour, or whatever speed was fixed as reasonable. He hoped something of this kind would be done, otherwise what was now a great nuisance might become a great danger." That's right: This bitter debate regarding the crazy, irresponsible, blasphemous highway speeds at the time was about raising the speed limit ... from 14 to 20 mph. That's ridiculous now, seeing those numbers. They're talking about speeds lower than our absolute bare minimums like the devil himself was hurtling by their houses every night leaving little Back to the Future flame tracks in his wake. But if you want to understand why, just hop onto a motorcycle. Early cars were built somewhat similarly to modern bikes: They were small,

#3 - Other Drivers Hate You You've probably heard that phrase before, or something like it: "Drive like they're all out to get you," your drunken, paranoid uncle might have told you, right before he took you out for "driving lessons" that always seemed to start at one bar and end at his house. But I mean it literally here: If you ride a bike, every other driver on the road despises you. As soon as you set ass to motorized cycle, you become Unclean. I don't know if it's something in the perceived image that mounting a slightly narrower than normal vehicle makes you more of a man, or a tough guy, or a reckless daredevil, but traffic hates motorcycles. Not only hates them, but

4 Insane Things Nobody Tells You About Riding a Motorcycle (pt 1 - cont) possesses a rage so intense that murder is the only solution. Other drivers will tailgate the crap out of you, regardless of your speed, and that's kind of a bigger deal when, y'know, you don't have a tail or a gate. So there's a several-ton steel box traveling more than fast enough to crush you to death in a nanosecond, and its operator has decided that his safe stopping distance is "up your asshole." And there's no way to make him back off, either. He's comfortable there, inside your asshole; he shows no signs of moving. He's going to make a life up in your colon -- hell, he's already planting a garden and having his mail forwarded there, so you better get used to him. Drivers will also pass you in-lane -- just flying by on the right in a one-lane street -- because a bike is smaller, so there's technically enough space to slip by. Technically there's enough space to fit your Prius in a school gymnasium, too, but shockingly, it's still generally frowned upon when you mow down a dodge ball

game. And if you think I'm embellishing, or that this behavior is exclusive to me and how I ride (which, for the record, is a bit timid, all adorably knock-kneed and shaky-legged like a newborn deer), check out this study by the California Office of Traffic Safety. The survey was conducted to find out whether Californians knew that lane-sharing was legal for motorcycles (that's when you drive in the space between lanes to cut through traffic). Most did not, but that's not the interesting part: The interesting part was exactly how many of them -- 7 percent -- freely admitted to the survey conductor that they "tried to prevent lane sharing." That dry, objective phrasing makes it sound like no big deal, but the only way you can "try to prevent lane sharing" is to abruptly block a lane with your car when you see a bike coming (i.e., ramming a motorcycle off the road). That is a shocking piece of information to volunteer to anybody at any time, and 7 percent

By Robert Brockway

of people freely admitted it to a total stranger. Find any other scenario where nearly one out of ten passerby will casually, almost happily cop to attempted murder on a regular basis: "Excuse me, sir; were you aware that commercial fishing within two miles of the coastline is legal in California?" "Why, no, random stranger, I was not! And in fact, I regularly hurl knives and flaming bottles of kerosene at boats when I see them fishing too close to the beach! Hahaha, joke's on me, I guess! Welp, see you later, I'm off to stab pedestrians crossing at intersections without crosswalks -have a good one!"

Next Monthâ&#x20AC;Ś#â&#x20AC;&#x2122;s 1 & 2!

Gear the Pros Use! Ryan Gillan is a drummer who has developed his innovative, self-taught style over the course of 25 years. His career began in 1990 in Providence, Rhode Island. Ryan is a drummer who plays with authority, showmanship, and enthusiasm. His abilities take drumming to the next level. He has performed many genres of music such as Blues, Funk, Rock, Hard Rock and Metal throughout the Northeast and the Southwestern United States. Ryan executes playing with confidence and style. His main influence is Phil Rudd, the power hitter and driving force of AC/DC. Ryan also credits Independent Drummer Joey Pafumi from Massachusetts, for his chops and his flair. Other influences include: Frankie Banali, Charlie Benante, Vinny Appice, John Bonham and Tommy Lee. Drums: 1990 Pearl Export (9ply Birch/Mahogany) Double Bass Kit Piano Black 10x12 tom 11X13 tom 16x16 floor tom 16x22 bass drum x 2 Pork Pie Big Brass Snare 6.5 x 14 Cymbals: Zildjian A Custom Zildjian A Custom Zildjian A Custom Zildjian A Custom Zildjian A Custom Wuhan China 20”

Mastersound Hi Hats 15” Ping Ride 22” Medium: 18” Crash Medium: 19” Crash x 2 Medium: 20” Crash

Percussion: LP Rock Ridge Rider Cowbell

Gary England

Heads: Aquarian Superkick 10 Clear Bass Drum Heads Aquarian Force 10 Coated Tom Heads Aquarian Hi Energy Snare Heads Evans Resonant EQ3/EC Heads Sticks: Regal Tip Quantum 1000 Wood Tip Accessories: Aquarian Cymbal Springs Kickport Bass Drum Enhancement System Moongel Damper Pads Puresound Blasters Series 20-Strand Snare Wire Hardware: Pearl 900 Series hardware, stands, mounts Tama Iron Cobra Power Glide Double Bass Pedal Tama Iron Cobra Hi Hat Stand