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interviews
DAVE PIRNER · BEHOLD THE BRAVE · TAL WILKENFELD
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TABLE OF CONTENTS
VOLUME 26, ISSUE 4
Soul Asylum
by Benjamin Ricci
18 Cover
Nick Fancher
4. LETTER FROM THE EDITOR 5. VINYL OF THE MONTH: Eureka, California
6. RECORDS THAT CHANGED MY LIFE: Roy Harter
8. QUICK PICKS: The Best in New Music 26. Prevent Hearing Loss on Tour 28. CrucialCustom Changes the Licensing Game For Indies
cover story
RJD2 by Garrett Frierson
30. How to Structure Co-Writing Agreements
32. RECORDING: Analog vs. Digital
22
34. RECORDING: Insure Your Studio Gear 36. GEAR REVIEWS: Mackie, Melodyne, Cakewalk, and more‌
47. MY FAVORITE MICS: Mr. Lif 48. FLASHBACK: Vintage Fender Amp PERFORMER MAGAZINE APRIL 2016 3
LETTER FROM THE EDITOR
Howdy, y’all! This month’s cover artist is an incredibly creative musician who is exactly the type of entrepreneurial spirit we celebrate here at Performer. I first became aware of RJD2 back in 2010 as I was interviewing for the job I have now, in fact. I remember sweating it out in our then “waiting room” (really, a disgusting orange couch of dubious heritage embedded in an equally dubious floor that likely hadn’t seen a mop since the aforementioned couch’s arrival decades earlier)…uh, where was I? Ah yes, gross couch. Job interview. Pile o’ mags. Is the scene properly set? You see, in May of 2010 (the very month I was hired), RJD2 first graced the cover of the mag. Since my future boss was (is) chronically tardy (sorry, Bill), I had ample time to flip through the current issue before one of my final interviews. I loved the article and all that the mag stood for (still do, hence my continued
employment) and I immediately sought out RJ’s music on my phone. Loving what I heard, I was really excited to start work (still hopefully, mind you, the decision had not yet been made to hire me) for a mag that had the power and freedom to feature such an interesting, innovative artist on its cover. Cut to: six years later, I tracked down the original writer of that 2010 interview to catch up with RJD2 as he prepares to release a new album. In this new feature, we learn more about the artist’s business running a small label, the transformation of his entire home into a fully-wired recording dreamhouse, and his collection (and restoration of ) vintage analog synths.
Volume 26, Issue 4 PO BOX 348 Somerville, MA 02143 CONTACT
Phone: 617-627-9200 Fax: 617-627-9930 PUBLISHER
William House Phone: 617-627-9919 bill@performermag.com EDITOR
Benjamin Ricci ben@performermag.com DESIGN & ART DIRECTION
Cristian Iancu
EDITORIAL ASSISTANT
Bob Dobalina editorial@performermag.com
Enjoy. Benjamin Ricci, editor
P.S. – I’m pretty sure that’s a new record for parenthetical asides in one “letter from the editor.” Now where’s my No-Prize, Stan?
CONTRIBUTING WRITERS
Benjamin Hanson, Benjamin Ricci, Brad Hardisty, Chris Devine, Don Miggs, Dr. Navid Taghvaei, Garey Kennebrew, Garrett Frierson, Jaclyn Wing, Jordan Tishler, Michael St. James, Mr. Lif, Rob Tavaglione, Roy Harter, Sabrina Lambros, Shawn M Haney, Taylor Haag, Tony Eubank, Wallace Collins CONTRIBUTING PHOTOGRAPHERS
Amanda Macchia, Jeneen Anderson, Nick Fancher, Shane Lopes, Tony Nelson ADVERTISING SALES
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William House Phone: 617-627-9919 bill@performermag.com © 2016 by Performer Publications, Inc. All rights reserved. No part of this publication may be reproduced by any method whatsoever without the written permission of the publisher. The magazine accepts no responsibility for unsolicited recordings, manuscripts, artwork or photographs and will not return such materials unless requested and accompanied by a SASE.
ABOUT US
CORRECTIONS
Performer Magazine, a nationally distributed musician’s trade publication, focuses on independent musicians, those unsigned and on small labels, and their success in a DIY environment. We’re dedicated to promoting lesser-known talent and being the first to introduce you to artists you should know about.
Did we make a heinous blunder, factual error or just spell your name wrong? Contact editorial@performermag.com and let us know, cuz we’re big enough to say, “Baby, I was wrong.”
MUSIC SUBMISSIONS We listen to everything that comes into the office. We prefer physical CDs, cassettes and vinyl over downloads. If you do not have a physical copy, send download links to editorial@performermag.com.No attachments, please. Send CDs to: Performer Magazine Attn: Reviews PO BOX 348 Somerville, MA 02143
4 APRIL 2016 PERFORMER MAGAZINE
EDITORIAL SUBMISSIONS In the words of our esteemed forefathers at CREEM: “NOBODY WHO WRITES FOR THIS RAG’S GOT ANYTHING YOU AIN’T GOT, at least in the way of credentials. There’s no reason why you shouldn’t be sending us your stuff: reviews, features, photos, recording tips, DIY advice or whatever else you have in mind that might be interesting to our readers: independent and DIY musicians. Who else do ya know who’ll publish you? We really will... ask any of our dozens of satisfied customers. Just bop it along to us to editorial@performermag.com and see what comes back your way. If you have eyes to be in print, this just might be the place. Whaddya got to lose? Whaddya got?”
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REVIEWS
Stacey Piotrowski
E
ureka California is like a shot of adrenaline to the earhole. It’s noisy, it’s filthy, it’s abrasive and oftentimes it’s catchy as all get out. Lead-off track “Eureka California’s Night In” offers up a quick burst that essentially acts as an appetizer for the main course to come.
Eureka California Versus
Athens, GA (HHBTM Records)
Follow on Twitter: @HHBTMrecs
The rest of the LP barrel-rolls out of your speakers at a pretty rapid, punk-approved clip. And then, just for good measure, amidst a sea of buzzy, fuzzy lo-fi punk, an acoustic track in “Everybody Had a Hard Year.” Normally, interrupting the flow of a punk record grinds things to a halt (unless you happen to be Paul Westerberg), but here, the warbly, jangly tune is somehow a non-misfit. Go figure. Props for the translucent green vinyl, and a pretty rad lyric sheet that doubles as a miniposter. It’s these touches that keep indie vinyl vital. And thanks to labels like HHBTM, scenes like the one in Athens and bands like EC, we can expect plenty more wax goodness in the coming year. Highly recommended.
Benjamin Ricci PERFORMER MAGAZINE APRIL 2016 5
REVIEWS
Amon Düül II Yeti (1970) Krautrock has always conjured up images of cold, Teutonic precision, yet this album is about as soulful and heavy as anything Led Zeppelin ever did. However, instead of ripping off American blues-inspired pentatonic riffs, these licks have a much more exotic, eastern European, or even Asian flavor. Definitely one of the most captivating album cover sleeves I own, and along with Britain’s Hawkwind, possibly the greatest psychedelic rock band of all time. The crown jewel of my record collection, and a serious trip. I still can’t figure out if they were a legitimate band or a German hippie cult. Probably both.
R
oy Harter is a New York-based, Emmy award-winning, composer, sound designer and audio mixer, best known for his work in television and film. He is also a multi-instrumentalist for various performing and recording artists. Harter is the founder and owner of the post-production facility SkinnyMan. As comfortable on the stage as he is in the studio, Harter spends his summers performing with various acts on the European music festival circuit. Some of the artists he has performed or recorded with include: Ray Wylie Hubbard, Damien Dempsey, Goldblade, The Membranes, Dan Donnelly, Common, 3 Daft Monkeys, The Fabulous Good Time Party Boys, Men With Ven, The Celtic Social Club, Duke Special, and The Levellers. Roy can now be seen televised every Tuesday night 7-8PM (EST) on The Anthony Cumia Network on The East Side Dave Show, playing Dave’s sidekick and musical director. He lives a surprisingly quiet life in Manhasset, Long Island with this wife, two children, and two dogs.
RECORDS CHANGED
6 APRIL 2016 PERFORMER MAGAZINE
REVIEWS Talk Talk Spirit of Eden (1988)
Jellyfish Spilt Milk (1993)
The Felice Brothers Celebration, Florida (2011)
The perfect culmination of rock, jazz, classical and ambient music. I first became of aware of this album and the arduous process of recording this minimalist masterpiece, after reading engineer Phil Brown’s book, Are We Still Rolling?. It was probably the last time a major label gave a band an open budget and schedule. Talk Talk discarded almost everything that made them recognizable as a band, eschewing programmed synths and predictable song structures, and forged ahead into new, transcendental territory. It is a work for all listeners who want the most from music.
I was born a generation too late to grow up surrounded by the vocal harmonies of Queen, The Beach Boys, The Association, ELO, Supertramp, Badfinger, and the Beatles. Instead I had Jellyfish. Perfectly constructed pop masterpieces fleshed out with harpsichords, organs, banjos, pedal steels, and brass sections whose production has stood the test of time. This album is a college course in musical arranging. Sure, they dressed like bellbottom-wearing hippie clowns, but they still managed to solidify a Big Star-like cult following for anyone who didn’t really understand the Seattle grunge movement.
The Felice Brother’s were the first band to accurately depict the corruption of contemporary America in a rusty, punk, dancehall fashion. I consider them to be the American counterpart to Britain’s Fat White Family. Ironically, it was a UK producer Phil Johnstone (Robert Plant) who first turned me onto this band of brothers from rural upstate New York. I fondly recall sitting in his studio listening to this record, and then returning to the studio the next morning, and found Phil was STILL there listening to it on repeat. Celebration, Florida was a real departure from the rustic folk they had become known for. Everyone expected them to be the next Bob Dylan or The Band, but the brothers were having none of that.
Follow on Twitter @royharter Which records inspired you to become a musician? Let us know and you can be featured in a future column. Email ben@performermag.com for more info.
S THAT D MY LIFE Roy Harter
PERFORMER MAGAZINE APRIL 2016 7
REVIEWS
Adam
Hey
The High
Naubinway Minneapolis, MN (Think Piece Publishing)
Hey Marseilles Seattle, WA (Shanachie Entertainment)
Heroes and Halos (Portland, OR) (Saint Marie Records)
Beautifully orchestrated, Naubinway is Levy’s first solo album following his work with The Honey Dogs. Woven with beautiful melodies, intricate fingerstyle picking and acoustic flair, Levy sings lyrics of great emotional weight, and the songs begin to take off. “Take It As It Comes” opens up the album with a somber, melancholy feel. He then picks up the tempo greatly with the fervent, compelling “Potter’s Field.” His songs are dark at times, others uplifting and altogether triumphant, a powerful eulogy and tribute to his son Daniel who he lost to suicide and a struggle with mental illness. Throughout this 13-track effort, I feel the soothing power of Levy’s art. Remarkable isthe album’s writing, melody (see once more in the piano of “When Your Well Runs Dry”) and production. With hints of Lennon’s early-’70s piano work and McCartney’s melodic touch, you’ll not find this listen disappointing. Follow on Twitter @AdamLevyGanesha Shawn M. Haney
Self-titled LP number three, Hey Marseilles redefines the band and raises the standard for the indie-pop/rock genre. The impeccable lyrics take you on a journey with flushed out viola and violin, which in turn take each song to a chilling level. Every track is strong enough to stand-alone as a single. Self-reflection and looking towards the future seem to be the themes of the album, which embodies the bands journey - and we are passengers. The full, lush sound combined with narrative lyrics elevates the album above it’s indie brethren. The sounds are warm and comforting and while the album is different than their previous efforts, in many ways Hey Marseilles has hit a homerun on their latest effort.
The High Violets hail from the Portland scene, diving into the studio to successfully write, record and produce a hypnotic and immediately fresh new LP, Heroes and Halos. “How I Love (Everything About You)” is a splendid start, brooding with indie dream wave pop and shoegaze sensibilities. The production values are stellar, and the vocals are truly out of this world. Washed in a blaze of lush reverb guitars, with a compelling rhythm section, Heroes and Halos is truly an album one can dream too. Its atmosphere will create a great sense of peace, heartbreak, or take your breath away.
LEVY
8 APRIL 2016 PERFORMER MAGAZINE
MARSEILLES
Follow on Twitter @heymarseilles Jaclyn Wing
VIOLETS
Follow on Twitter @Thehighviolets Shawn M. Haney
Quick
REVIEWS
Hotel For
STRANGERS
Lakou
MIZIK
The Two
TENS
EP Los Angeles, CA (Self-released)
Wa Di Yo Port-au-Prince, Haiti (Cumbancha)
Volume Los Angeles, CA (Ugly Sugar Records)
Hotel For Strangers is a six-piece indie pop band based out of LA. They write hooky, melodic pop hits using classic analog synths with lots of great harmonies. Lead single “Bat Face Girl” (which premiered on performermag.com) is softer, relative to the rest, but is still very danceable with a downright catchy chorus. “Spiritual Cowboy” is a perfect reflection on living in Southern California. Songs “Work” and “Make Me Alive” are a touch more cynical sounding, and show the group’s darker side while still featuring their signature hooks throughout. Overall, a bright debut from a promising band of Moogheads.
With the bursting joy of a triple espresso or the thought of a Caribbean cruise on a February afternoon, Wa Di Yo glides along on good vibrations and positivity. From group vocals, dense percussion and humid croons, the Haitian group’s musical romp is all jubilance. Kicking off with rainforest ambience, no time is wasted before jumping into the swaying benevolence of “Poze” or the bouncing gallop of “Anba Siklon.” Whether it’s the call-and-response choruses or the innate dancing it procures, Wa Di Yo has a warm tone that makes you feel as though you are part of the parade.
The Two Tens’s debut album, Volume, truly demands to be blasted through car speakers with the windows rolled down. Their rebellious, garage punk vibe is reminiscent of classic ’70s punk. This is especially clear in tracks like “Ella Don’t Like My Hat,” with its hooky melodies, upbeat tempo, and repeated, nearly meaningless lyrics. Each song is fast, short, and fun. Songs like “Sweet As Pie” are playful and infectious, while “Dreams” has a darker mood with its rumbling toms and heavy riffs. Distorted vocals and buzzing guitars add to the feel, especially in the final track, “Breathe.” The song begins with a slower, acoustic feel then breaks down into the familiar red-hot blare of guitars. It ends with the grungy crackle of feedback, the cherry on top to this album’s stylistic aesthetic. Volume will become a staple in any punk-lover’s music library.
Follow on Instagram @hotelforstrangers Benjamin Hanson
Follow on Twitter @LakouMizik Taylor Haag
Follow on Twitter @TheTwoTens Sabrina Lambros
Picks
PERFORMER MAGAZINE APRIL 2016 9
SPOTLIGHT 10 APRIL 2016 PERFORMER MAGAZINE
SPOTLIGHT Bass Prodigy Opens Up On Stepping Out of the Shadows and Into the Limelight
Tal Wilkenfeld T
al Wilkenfeld is best known as a go-to bassist ever since her appearances with Jeff Beck at Eric Clapton’s Crossroads Guitar Festival in 2007, as well as the DVD Live At Ronnie Scott’s and being onstage with Jeff Beck and Jimmy Page jamming an instrumental version of “Immigrant Song” during Beck’s solo induction ceremony into the Rock and Roll Hall of Fame. Wilkenfeld originally traveled from her home in Australia to Los Angeles to study guitar at the LA Music Academy. She only pursued bass after other guitarists and instructors mentioned that she should try the instrument, since she was already using bass techniques such as slapping in her guitar style. As a teen, she packed it up and moved out to New York to develop her jazz chops, eventually being invited to sit in with The Allman Brothers Band when they played the Beacon Theater. Drummer Vinnie Colaiuta made the original
Brad Hardisty recommendation to Jeff Beck, which then led to several tours and recording sessions including those with Herbie Hancock, Chick Corea, Macy
Shane Lopes
Early on, Wilkenfeld had the chance to record a jazz album titled Transformation, which she describes: “Yeah, that was different. The whole
On her latest music: “‘‘I just needed to do it the
way that things in my head were doing it.’’” Gray, Steve Lukather, Toto as well as recent stints with Jackson Browne. Browne has even extended an invitation to record in his studio. For those who remember, Browne let Stevie Ray Vaughan record what would be his first release, Texas Flood, at his studio back in the day. Wilkenfeld comments, “I’ve done some stuff at [Jackson Browne’s] studio. Jackson has been really supportive with my music and helpful, so it has been nice.”
record was done in just a couple of days and it’s on an Australian label.” Getting out on the road with so many wellknown players led to working with producer Paul Stacey [Oasis, The Black Crowes, The Finn Brothers] when she decided to step back into the world of the guitar as a songwriter with a very personal lyrical style that lends to her the Amy Lee – Fiona Apple range. The question is: how will the fans react to the big change? PERFORMER MAGAZINE APRIL 2016 11
SPOTLIGHT 12 APRIL 2016 PERFORMER MAGAZINE
SPOTLIGHT
“I have a lot of music that I’d like to share with the world.” Tal ponders, “I guess this record is something different than what anybody is expecting. It’s something on the journey where I just needed to do it the way that things in my head were doing it. Otherwise, how would anybody really know what I would do or that I would be a singer/songwriter, playing guitar or any number of these things?” In addition to her well-known Sadowsky fivestring bass work, utilized several instruments on the new recordings: “I’m using a lot of different instruments; I found a really great 1969 P-Bass on my last trip that’s sort of my favorite instrument at the moment. I’m playing a Harmony bass which I thoroughly enjoy and there is a baritone acoustic guitar that is actually handmade and a Gibson acoustic, that I enjoy, with a cutaway. I’ve got quite a lot of instruments; I play a Sadowsky 5-string strung E to C which the public has heard on that cover of ‘Chelsea Hotel.’” While the new album is in the can, finding the right distributor is taking some time. Tal looks at it this way: “I really hope to do so in the summer [release the new album], perhaps. I have a lot of music that I’d like to share with the world. I’m at the point where I pretty much need to get it mixed and mastered. So, I am hoping to do that and get it out as soon as possible.” As a working musician, Tal was able to exercise control over how things were going. “We are still looking for the right situation to get our music out. I really wanted this to define what I am doing and not have it be something that any corporation would do. You know, straight from my heart. I wanted to do it that way - self-finance it - so it takes time and you have to work and then you have to spend the money on your own thing then you work again and you spend it. It’s not like having a record label do it for you.” Dynamics were a big issue going in; with a wide palette of influences, this was an exercise in melding things together – much like a Joni Mitchell project. Tal relates influences: “I like albums that have that huge dynamic range and stylistic range. You know what I mean? You don’t hear that as much anymore but back in the day that was common, you know? The Beatles did it! Jeff Buckley did it! He went from really hard, heavy-hitting songs to singing ‘Corpus Christi
Carol.’ I just enjoy that. It’s fun and it’s real. It’s kind of what was happening to me.”
to be whatever comes and how I can fit it in, you know, schedule-wise, but I enjoy doing all of it.”
In the meantime, she will be out on the road opening up for The Who and playing selected club gigs, giving Tal the opportunity to road test the new material as a headliner. She is excited, saying, “Actually, believe it or not this is my first tour. I am really excited to do it. I’ve done some scattered touring under other artists, but as myself it’s all pretty new for me.”
Just when you think there is something she hasn’t tried yet, Tal mentions, “I was just in Nashville, probably in August of last year. I recorded on Keith Urban’s [latest] recording which just came out. There is a song called ‘Break On Me’ - it’s a radio song and there is a little bass intro that’s pretty funny. I love Nashville, I love it! It’s the best.”
On the road, she’ll have some flexibility on stage with her new band. “Yeah, I play acoustic while my guitarist plays bass or, you know, I might play bass and he plays guitar. My keyboardist plays lead guitar. We kind of switch it up quite a lot on this run.” If there was any thought she was hanging up her bass chops and going after this full time, she just mentions, “Writing songs is a journey, that’s for sure. And I enjoy playing bass, too. It’s going
Okay, she has done it all.
Follow on Twitter: @talwilkenfeld PERFORMER MAGAZINE APRIL 2016 13
SPOTLIGHT
Behold th On Why Making Friends With Out-of-Town Bands is a Smart Move For Future Tour Dates
14 APRIL 2016 PERFORMER MAGAZINE
SPOTLIGHT
the Brave T. Ali. Eubank
PERFORMER MAGAZINE APRIL 2016 15
SPOTLIGHT
B
ehold the Brave is a band on the rise. The Chattanooga indie outfit recently migrated from the Appalachian foothills of the Scenic City to Nashville after building a stout hometown following. BTB is a band that has formulated a fresh and concise take on the psyche-rock sound, meshing indie fuzz with elements of R&B and the best parts of Southern rock. The band, nearly ten years in the making now, was birthed by Clayton Davis (vocals, guitar) and Zack Randolph (guitar) in high school and later added Jeremiah Thompson (drums) and Joel Parks (bass) during their college years. The group released their debut EP nearly four years ago via indie creative house Regenerate Music Co and proceeded to pay dues in Chattanooga, until moving to Music City after acquiring management last year. “Our manager and some other industry people encouraged us to bounce to Nashville. We love Chattanooga, but the pond is too small. We think that we can build more in Nashville,” Davis explained. Davis continued, saying that since relocating to Nashville they have focused mainly on the studio, self-producing and recording their next self-titled project: “We’re all capable songwriters and write songs on our own. So, we all bring something to the table. We’re all over the place. It’s a blessing and a curse, you know. We got an R&B sounding song and then one that’s heavy as fuck.” He added that when they were recording their first EP, “We were young and didn’t know what the fuck we were doing. It’s hard to hone in on a sound, but we’re getting to the point where we can see the bigger picture.” He went on: “With our EP, we worked with Matt Goldman (Underoath, Copeland, and The Chariot); he was the first real producer that we ever worked with. So, just from doing that we learned a whole lot about the process.
“He opened a door for us and we’ve been running through it ever since, experimenting with different sounds, just little things that you don’t think go into the recording experience.”
stereo, there’s shit all over the place. Like, random shit on the left side or panning things to the far right. Before we recorded with Goldman, we never thought about that kind of stuff.
“You can’t make money off of record sales; that’s not what it’s about anymore.”
“It’s like, we can come up with this crazy ass disgusting sound and just throw it in the far back left over there and it adds a cool texture. It creates a whole other vibe just by doing that. I don’t’ want to make it sound like we’re genius songwriters or anything like that, but we’ve really just grown naturally from just doing it,” Davis added.
It opened our eyes to this other world that we didn’t realize was a part of recording or writing songs in general.
The guys, who recently opened for Blues Traveler at Track 29 in Chattanooga, have opted to do weekend mini-tours and one-
16 APRIL 2016 PERFORMER MAGAZINE
Davis expounded further, “You ever listen to the Beatles or Jimi Hendrix? You know how when you listen to them in
Davis proceeded, saying, “I watched this interview with Billy Corgan, and they were talking about how it’s all going digital and how streaming is the next thing, expecting to make the same shit ton of money they were making before. The music industry is fighting this, instead of writing a whole new business model. They’re still using the same business model from the ’80s and that’s when people were making a fuck ton of money from record sales. You can’t make money off of record sales; that’s not what it’s about anymore,” he added. “We are open to the idea of a label, for sure. It would just have to be the right fit and the right situation for us as we continue to grow,” Davis stressed. Davis also talked about what it’s like to be a band on the come up in Nashville, a place that many people fantasize as a Music Mecca crawling with record execs, scouting bands in dive bars. “The difference from Chattanooga to Nashville is that there so many musicians here that are fucking amazing. Like, I see so many bands come through here, and I’m like, ‘Jeez these people are amazing!’” Davis dug deeper, stating, “There’s a lot more session musicians than you would think. And I feel like that whole country music money train controls all that. You have all these session musicians coming in and that’s who they’re playing for. I’d say Joel, our bass player, is a pretty good session player. But I’d say that’s how musicians are making income [here]. It’s not through their band or their own original music, but through them just being musicians or songwriters for the industry.” off shows, preferring a quality over quantity approach to live performances. “You gotta make friends, you can’t just go and play shows. I’ve realized that if you can just make friends with certain groups of people in each city, it really helps when you go back, because not only do you have these buddies that are going to bring people to your shows, you might have a place to stay. Especially when you’re on our level. We’re not showing up to play huge shows, so we just try to go in with the mindset that we’re going to make some new friends and hopefully they dig our music,” Davis explained. The band, keenly aware of the current state of the music industry, has no plans to shop for
“It’s hard to hone in on a sound, but we’re getting to the point where we can see the bigger picture.”
SPOTLIGHT
a record deal, preferring instead to build with a DIY approach. “The whole music industry is fucked right now, man. I think everyone thinks they know what they’re doing and they think they know how to make money.”
always surprises me. But, we’ve only been here for a year, so I feel like this year might be the year that we really start making a name for ourselves.” Look for Behold the Brave’s upcoming selftitled project early this summer. Their single “Rocky Mountain Strawberry” can be streamed now on Spotify.
Follow on Twitter: @beholdthebrave
Despite the hurdles, Behold the Brave remains optimistic about their art and their growing fan base. Davis explained that they were able to work out a deal with some friends who own a studio and have been recording every week since January. “We’ would love to just find a way to just release our music for people on our own, to just check out. Like, ‘This is our shit we’ve been experimenting with...come check it out,’” Davis explained. He says that the grind has been paying off, though. “Here in Nashville, we’ve been growing slowly but surely, everyone I talk to, when I tell them what band I’m in, they tell me, ‘Oh I’ve heard of you guys for some reason.’ It
BEHOLD THE BRAVE NEW LP TBA SUMMER 2016 STANDOUT SINGLE: “ROCKY MOUNTAIN STRAWBERRY”
PERFORMER MAGAZINE APRIL 2016 17
SPOTLIGHT Benjamin Ricci Jeneen Anderson and Tony Nelson
Dave Pirner on His Songwriting Process, Recording Techniques & Staying Inspired as a Musician
SOUL A
18 APRIL 2016 PERFORMER MAGAZINE
SPOTLIGHT
ASYLUM
PERFORMER MAGAZINE APRIL 2016 19
SPOTLIGHT
L
et’s just get this out of the way now: Soul Asylum frontman Dave Pirner is the best rock n roll songwriter of his generation. Other bands may have had more chart success, more video spins on MTV, and more notoriety during the alterna-craze of the ’90s, but Pirner’s work with Soul Asylum, his own solo projects, and film compositions are far and away the best output of any individual in the rock community since the mid-1980s. After the death of bassist Karl Mueller, a handful of lineup changes, and a few hiatuses, Soul Asylum is back, and let me be the first to say, better than ever. Whatever’s in the water down in New Orleans, let’s hope Pirner keeps drinking it. The band’s new album, Change of Fortune, features a blazing lead single called “Supersonic,” which is perhaps the finest pure rock song of the past decade. So we decided to catch up with Pirner to chat about the new direction of Soul Asylum, analog recording, Chasing Amy and how he stays motivated to hit the road as he enters his 50s.
Let’s talk about Change of Fortune. It’s been a while since the last Soul Asylum record – how did this one come about? We’re excited about having a record that really crystalizes the evolution of the band. There’s a lot of really exciting music [on it], from my point of view, something I think is really special. It doesn’t have a lot of input from third parties, and we’re all at a point in our lives where, for lack of a better expression, we all have producer chops. We know how to make a record. We have skills we’ve honed over the years where we’re back to the whole do-it-yourself thing, except now we actually know how to do it (laughs). When I started, it was DIY, but nobody had any fucking idea what they were doing. So I learned! (laughs). I paid
version of “Funkytown,” which has made my day]. But anyway, he’s a studio rat, a studio animal. And John at one point confronted me at a shopping mall before I even knew him. And he said, ‘I need to get you and Michael Bland [drums] in a studio.’ So me and Michael and John will start a song out, and Winston [Roye, bass] and everyone will add their parts. That was kinda how this record was made. To that effect, it’s a little brain trust between the three of us; we’ll lay the foundations of the track. And let me tell you something, if you don’t have Michael, you’re fucked! (laughs). Do you typically head into the studio with the tracks fully formed, or are you still arranging while you’re working through the recording process? Well…these days I have a studio in New Orleans, in the back yard, and a studio in Minneapolis in my basement. And I’ll demo the songs myself, work on the goddamn thing, unless it’s the other kind of song, where I’m playing acoustic guitar and singing and the band will just join in. So, to that effect it’s interesting and it’s something I actually learned from Andy Wallace, the guy who mixed Nevermind, and fucking Slayer records, a bunch of Soul Asylum records… He said, ‘Sometimes, when you have the spark of an idea and you record it, it never gets any better. Because that’s the freshest it’s ever going to sound.’ So I can spontaneously put down ideas in the studio and John can use them in the final track, but by then the drums are replaced, and maybe he takes a little part of my loop and throws it in there – anyway, my point is that some of it stays intact so that the demo actually evolves into the finished version. Do you think there’s something to be said for
“Sometimes, when you have the spark of an idea and you record it, it never gets any better. Because that’s the freshest it’s ever going to sound.” my dues out on the road, and all that shit, and it’s been a wild ride. That’s how you gotta do it… But, you know, you put out a record these days and it’s hard to get your hopes up that something special is gonna happen and people are gonna notice. Do you still work with a producer to help shape the album, or at this point are you pretty selfsufficient in the studio? Well, yes. There’s a guy that’s worked on the last three records, his name is John Fields. He’s a Minneapolis guy – his uncle did the track “Funkytown” [editor’s note - at this point Pirner launches into an a cappella 20 APRIL 2016 PERFORMER MAGAZINE
overworking a track? Oh, absolutely. And we’re very sensitive about that. The difficult part for me is when people start to overwork it, and I’m like, ‘We’re not gonna polish this shitball any more.’ You know? It’s time to put it aside. You can overwork it into submission so no one even likes it anymore. Knowing when to stop is very important. As far as the studio goes, do you have any musthave gear? Or does that not even matter as much as the energy of the song? (laughs) I just bought another drum set the other day. I fucking love drums. I used to have a ‘fake’ drum set [editor’s note #2 – at this point, Dave imitates a cheap
drum machine and makes my day yet again]. I mean, just getting a room where it sounds good, where you can make some noise, especially for me where I’m a vampire and I do a lot of shit after midnight, that’s the most important thing. The amps that turn out to be the good ones… hopefully by the time you’re older you’ve got to where you have some nice amps. I mean, the rudiments are still the same. It’s really just metal, and wire and wood and talent, really. And sure, we have a zillion effects boxes and I love it. But I don’t have the time and patience to deal with all that stuff. I keep it pretty minimal. To that effect, and I can never remember the exact phrase, but it’s something like, ‘Necessity is the mother of invention.’ And that approach to the studio always works for me. I’m not like, ‘Oh wow, if I don’t get the right compressor I won’t have any good ideas!’ It’s a really slippery slope. I’ve worked with guys who’ll start noodling on a knob for 45 minutes and I’ve lost interest in whatever the idea was we were working on. I know exactly what you mean. I also have no interest in plug-ins and all that stuff. It all seems like a hoax to me. I’m barely supporting the Pro Tools system anymore, because it’s all turning into bullshit like everything else. They want a fucking monthly fee…that’s weak. I’m a luddite and a technophobe and the more this digital divide goes on...it’s bullshit. They’re making bullshit technology that’s designed to make you their bitch so they can manipulate it in a way where you have to keep buying into it. The problem with Pro Tools is you just end up recording everything. The it’s just a lot of shit in
Do you have the urge to go back to analog recording? That’s Jack White’s whole fucking bag…people heard tom-toms on tape again and they flipped out. That’s what happened as far as I’m concerned. That guy’s a purest and there’s nothing wrong with that. Look, I just bought a Studer two-inch tape machine. I can’t wait to use it! But now it’s almost impossible to buy tape that’s not [extremely expensive]. It’s not that I’m lazy...OK, it is that I’m lazy, everybody is lazy. But sure, give me a budget and someone to operate the tape machine and it would be like flies on shit for me. You give me money to buy tape and record on analog again and I’m in. I’ve been trying to get Michael into the studio where we used to record our records in Minneapolis, and get one of the old-school dudes to run one of the tape machines. ‘Michael, we’ve got to record your drums to tape, they just sound way better. The cymbals sound way better, it’s ridiculous.’ So we’ll see… You’re preaching to the choir here. At least guitars haven’t changed much over the years. You’re still using your old Tele? Well, it’s interesting. My first guitar tech invented the Mastery Bridge. Oh, I’ve used that on a Jazzmaster before. Exactly, so in that way there have been some improvements. OK, you got me there. And the Snark? Who doesn’t want more dudes to be in tune? That’s fucking genius. Little things like that happen along the way. [editor’s note #3 – at this point, Dave segues into more innovative things he enjoys, eventually leading us to a long, unrelated conversation on his love and appreciation for hip-hop.] What do you think about keeping the Soul Asylum name alive as opposed to doing the ‘Dave Pirner solo thing’? Especially as lineups have changed? I guess over the years the line has been kind of blurred. I tried making a solo record, and I’m not interested in being a solo artist. I always wanted to be part of a band. It’s what always appealed to me. Now I have a band that’s so goddamned good that if I put out a solo record I’d use the same guys! So – plans to tour, I assume? (sarcastic, sad voice) We’re gonna be out, trying to play anywhere that’ll have us… Oh, stop it. Really, I’m in my element out there. It’s where I’m supposed to be. For instance, we’re playing at an
outdoor hockey game at the end of the month. If it’s fucking 20 below zero, they’re gonna still make Soul Asylum play three songs, because they think it’s amusing. (laughs). But we’re not gonna be thinking, ‘Why are we doing this?’ We’re doing it because it’s a good gig. Whatever – state fairs, festivals, shitty bars…the more adept you get at not caring where you’re playing, the more versatile you become [as a musician]. It doesn’t make any difference [what the venue is]. But you’re right – it comes down to the music. You want to get out there and play. Not complain that the wrong bottle of Evian was in your dressing room. It’s why I moved to New Orleans. It’s beautiful; they just play music on the streets, and in the clubs, and they don’t even need to get paid. They’ve just been doing it forever because they love it. They’ve got the information about music that I need; it’s like trying to learn French in France. One last question that’s unrelated to the new album. One of my favorite pieces of yours is the music you composed for the film Chasing Amy. That never got an official release. Were there ever any plans to put that out, commercially? It’s a funny situation. I love Kevin Smith, and a lot of people do. He’s extremely intelligent and fucking funny as shit. Anyhow, there was - again - a mother of invention thing going on there. Where I was taking instruments off this guy’s garage wall and I was using his tools and shit like that [to make music]. It was really fun. You play it to picture and it sounded really good. And Kevin would come over and listen and say, ‘This is really great. I like this, I like that.’ And as it went more into final production, he would go, ‘Well, I want to take the music out here. Is that OK with you, Dave?’ And I was like, ‘You’re the fucking director. You can do whatever you want!’
there after you made me the music supervisor? [at this point, Dave recounts another story about how a Cornershop song that reflected the culture of the city was replaced - without his consent - over a shot of New York City, with a track by The Mighty Mighty Bosstones. It must be noted that although Pirner’s story differs slightly from Kevin Smith’s story as to the decision not to release a soundtrack (Smith has said it was a timing issue), Bon Jovi’s song did not make the movie, and ‘We 3’ did end up playing over the end credits in the final cut. We now pick up the story, already in progress…]
SPOTLIGHT
a cloud that no one wants anyway. I know no one misses two-inch tape…
So, there was no hard feelings or anything like that. I just didn’t have time for the politics. I didn’t want a soundtrack record out there with a bunch of shit I didn’t choose, you know? As far as where all the music is, I don’t even know. That’s a shame. It’s great music, especially ‘Tube of Wonderful.’ Maybe it’s in a vault somewhere at the Miramax music department. (laughs) Who knows? And with that, it’s time to let Dave go. The new record is fantastic, and tour dates are already lining up for the rest of the year. Let’s hope Pirner finally gets that Studer tape machine up and running in time for the next LP, and that we don’t have to wait another 20 years for him to dive back into the world of film scoring.
Follow on Twitter: @soulasylum
So, it came to a point where, as usual, they’re talking about the soundtrack [in post-production]. And they allowed me to do the job of music supervisor. Which means I get to pick other music and put it in the movie, as well. So I’m putting The Meters in there, and finding out out things like Edgar Winter’s “Frankenstein” costs too much money, so we can’t use that… [editor’s note #4 – apparently some other things went down here, according to Dave. He attempted to get some smaller Minneapolis bands on the soundtrack, and that ended up not working out due to some, let’s say, frustrating circumstances.] Anyway, I’ve got ‘We 3’ as the closing song, and come to find out Jon Bon Jovi has written a song called ‘Chasing Amy’ and they want to use it for the end credits. And at that point I said, ‘I’m done, y’all are on your own.’ And they said, ‘Do you want a soundtrack?’ And I said, ‘No.’ Because I didn’t know what was even going to be on it, you know what I mean? You’re gonna replace my shit, and not let me put my friends on
SOUL ASYLUM CHANGE OF FORTUNE STANDOUT TRACK: “SUPERSONIC”
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SPOTLIGHT 22 APRIL 2016 PERFORMER MAGAZINE
SPOTLIGHT
RJ D2 The Soul in the Machine Garrett Frierson
Nick Fancher
PERFORMER MAGAZINE APRIL 2016 23
SPOTLIGHT
T
he music video for “Descended From Myth” concerns itself with an intricate machine that from a distance resembles the engine of a sports car. Upon closer inspection, its interlocking parts reveal themselves to be made up of horns, keys, drums, and a bass guitar, and the complex contraption springs to life with music. The sounds are of a past era, but rearranged into something powerful and cinematic, brand new yet timeless. This is the music of Ramble Jon Krohn, aka RJD2. He’s readying to release his latest LP Dame Fortune, his tenth album since his 2002 breakout Deadringer. While mainstream hip-hop left the turntable for the laptop and the sampler for the sounds of software, RJD2 has built himself a soulful machine made out of vinyl, analog synthesizers, and a drum set in his basement. RJ is conductor and mechanic, doing all the production and repairs himself while carving an independent path through hip-hop for more than 15 years. He’s beholden to no one, and that’s just the way he likes it. We caught up with the inventive musician six years after his last Performer cover story… From the beginning your music has had a cinematic twist, and this album pulls in orchestral and rock sounds. How do you combine all these disparate influences? Movies and books have a huge influence on how I make records. I may not be shooting for the cinematic thing, but it creeps into your head in terms of the spectrum of what can be done. Look at some of the Morricone scores, they don’t have melodic sense like a pop song but they stick inside you like a pop song; they tell the story without words. Once you absorb that it can change the parameters of what you think you can do. John Carpenter’s scores in the ’80s are hyper-minimal but hyper-effective, and you realize that you can strip music down really far and keep the listener’s attention.
“People may look at my studio and feel ENVIOUS, but they need to realize it represents many hours of soldering, restoration, troubleshooting, and a lot of things that aren’t making music.” 24 APRIL 2016 PERFORMER MAGAZINE
Where do you write and record? Basically everything happens at home. Compositionally it’s impossible to get anything done without being there, because I need to be holding an instrument or in front of a machine that makes sound. I’m still doing dates, but not touring as heavily as when I was younger. So, I’ve got more time to be home and work on writing. I had a son and that was a big part of the change; I just want to be home more and be around for his childhood. You’ve turned your entire house into a recording studio with lines running from instruments in different rooms to a central console. Combined with your legendary collection of vintage synths, your home recording setup is the envy of musicians everywhere. Yeah, I’m living high (chuckles). What’s
One of the fascinating things about analog synths is that there’s a cross talk between the programming of the instrument and the passage you end up writing on it. If you just sit down with a preconceived idea of what passage you’re going to play, it’s easy to scroll through presets and find no patches that sound good. If you can learn to adjust your passage to the sound that you develop, that opens up a whole new world for me. If you play what Vangelis wrote on the CS-80 on any other instrument it wouldn’t have that same effect. If you put Monk on a CS-80 it’s not going to sound
RJ’s FAVORITE SYNTHS: Yamaha CS-80 and ARP 2600
I got heavy into vintage synths, and one of the natural outgrowths of that is that I’ve also gotten into synth restoration, because
“I NEED TO BE HOLDING AN INSTRUMENT OR IN FRONT OF A MACHINE THAT MAKES SOUND.” it’s unsustainable to be into old synths without being able to fix them yourself. The problem then is that you develop an emotional attachment to the machine. After stripping down the board and rebuilding the power supply and finally getting it working perfectly, it’s hard to sell something. Do you have any favorite synths or instruments you like to write with? My two favorite synths of all time have to be the CS-80 and ARP 2600. The CS-80 is an amazing polysynth. The presets are by and large unusable, but the panel section, where you can craft your sounds, is where the magic happens. The 2600 is my favorite monosynth of all time. The panels are laid out in away that really facilitates sound exploration, to reset it to zero just push everything down. I pretty much only use analog, the Jupiter 8 is the end of the synth era I really deal with. It’s not that I dislike digital synths, I just don’t have a lot of experience on them. The sound doesn’t suck me in the same way that vintage synths do. If I was obsessed with early-’90s house or New Order I’d probably love those synths, but I’m obsessed with George Duke.
as good as Vangelis. If you’re not willing to talk about programming the machine you’re leaving meat on the bone.
I would say the average person probably has a much more robust social life than me. The years that led up to me going pro were a time in my life when I was doing ten to fourteen hour days centered around music and honing my craft. During that time, I got habituated to curtailing my social life. I don’t watch much TV and don’t see my friends as much as I would like, but it’s OK because I’m addicted to learning. I don’t do sitting on the couch and tuning out; I always need to be occupied and engaged.
SPOTLIGHT
important to me is reinvesting a percentage of every dollar I make back into the studio and I’ve been doing this professionally for 16 years, so I’ve had time to build up a pretty good stock. People may look at my studio and feel envious, but they need to realize it represents many hours of soldering, restoration, troubleshooting, and a lot of things that aren’t making music.
Do you have advice for upcoming artists? Make sure you’re having fun making music. Everyone has to have some part of their creative sphere that is sacred, off limits in relation to commerce. I see a lot of kids end up not liking music because they’ve made it into a career. What’s the point of doing it if you’re not having fun? Expect there to be some threshold of the job that isn’t fun, but don’t let that threshold be 100%. Much sadder than all the people who didn’t make a career out of it to me are all the people who nuked their passion in pursuit of ‘making it.’ I know guys who are bill collectors by day and rap at night, and those guys are way happier. They may hate their job, but they’re happier because they still have the release through music. When the music goes, what else do you have?
Follow on Twitter: @rjd2
I also find Rhodes easy to write on. They highlight chord voicings in a way other instruments can’t, somehow. Where you play certain voices, octavewise, on a Rhodes can really impact the sound and feeling you get. This record has some of your most political work to date. Why start now? I’d like to think the beginning of any political statement that could be made would first come from a place of speaking honestly about a concern. I’ve spent my career shying away from these things, partially because I felt that if I wasn’t providing a solution, what good was there in even discussing it? Over the last couple years, I’ve realized that addressing an issue is a form of validating that issue and can, hopefully, contribute to us as a society working towards a solution. You’re outputting nearly an album a year while touring and running your own label. How do you keep it up? Where does the energy come from?
RJD2 DAME FORTUNE STANDOUT TRACK: “THE SHEBOYGAN LEFT”
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MUSIC BUSINESS
HOW MUSIC PREVENT HEAR
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usicians have traditionally resisted wearing hearing protection. Their reasons for avoiding it range from not wanting anything to interfere with hearing every nuance of sound to concerns about appearing “nerdy.” What many fail to realize is that lack of hearing safety now translates to hearing loss and tinnitus later - neither of which is conducive to creating or enjoying music. THE RISK OF IRREVERSIBLE NOISEINDUCED HEARING LOSS Noise-induced hearing loss (NIHL) is the result of overexposure to harmful, loud sounds. It can occur due to frequent exposure to noise or being too close to a single, explosive sound. In either case, the high decibel levels damage the tiny, fragile sensory nerve endings of the inner ear (hair cells) responsible for transforming and sending sound 26 APRIL 2016 PERFORMER MAGAZINE
vibrations to the brain. The more of these hair cells destroyed, the fewer sounds you hear. And once they wither away they are gone for good, leaving you with permanent hearing loss. Musicians experience both long-term and impulse sound high decibel (dB) exposure during their careers. What constitutes a high decibel level? According to some experts, 85 dB is the threshold beyond which sound exposure becomes unsafe. Musicians are exposed to roughly 110 dB while playing onstage, and depending on where you’re positioned in relation to an amp or PA speaker, that can increase to 150 dB. The higher the decibel level, the less exposure it takes to cause hearing loss - e.g., at 112 dB, damage begins occurring after just one minute of exposure. Needless to say, the average musician’s
experience with loud sounds goes way beyond that. Add in concussive blasts from special effects like on-stage explosions - think AC/DC’s famous canon blasts during For Those About to Rock (We Salute You) - and you have a near-guarantee of permanent hearing loss, with or without a tinnitus accompaniment. THE TORMENT OF TINNITUS Musicians are 57 percent more likely to experience tinnitus, a condition that causes you to hear sounds that have no external source. These noises are most often described as ringing, buzzing, humming, hissing, or other irritating sound that becomes more noticeable in externally quiet conditions. While audiology has yet to uncover the exact mechanism behind tinnitus, one of the most common triggers is noise damage either caused by a single concussive sound (e.g., a shotgun blast) or
MUSIC BUSINESS
ICIANS CAN ARING DAMAGE cumulative exposure (e.g., a regular schedule of orchestra rehearsals and performances). For some, tinnitus is merely an annoyance that can be ignored most of the time. But for others, it can be constant and cause overwhelming psychological distress. Tinnitus alone does not cause you to lose your hearing. However, it is often an indicator of hearing sensory organ deterioration and future hearing loss, even if an initial diagnosis doesn’t reveal any hearing impairment yet. Some prominent musicians known to have tinnitus include Neil Young, Pete Townshend, and Jeff Beck. WHAT MUSICIANS CAN DO TO AVOID HEARING DAMAGE As discussed at the beginning of this article, many musicians balk at the idea of wearing hearing protection. However, a musician who truly understands the career (not to mention life) consequences of hearing loss should start using protection now. Even if you suspect you’ve already done some damage by playing without hearing protection, it may not be too late to keep your condition from worsening significantly or expanding to include tinnitus. Here are some actions you can take to protect your hearing: 1. Take regular breaks from the music during rehearsals. Go into a quiet room and rest your ears for as long as feasible. 2. Avoid loud noise outside of rehearsals and performances. Don’t pile on additional exposure to high decibels when it’s avoidable. 3. Lower the volume when wearing headphones (or in-ear monitors). Rather than cranking up the sound in order to hear a track you recorded more clearly, invest in higher-quality “cans” that improve clarity without the need to crank sound up to eleven. 4. Wear hearing protection whenever you’re playing. Whether you use simple foam earplugs or advanced hearing protection designed specifically for musicians, this is the single biggest thing you can do to preserve your hearing health.
5. Finally, for those musicians who already have damaged their hearing, hearing aids can restore at least some of what you’ve lost. Hearing aids often significantly or even completely alleviate tinnitus by producing therapeutic sounds to divert your attention from the annoying phantom noise that disrupts your quiet moments. And, as hearing aid technology continues to advance, more options will become available that will allow you to hear sound with the clarity and precision necessary to create and enjoy music again. ABOUT THE AUTHOR Dr. Navid Taghvaei is an Educational Specialist with Sivantos, Inc. He is responsible for conducting very complex individual and group technical training courses and activities involving new and existing developments in the areas of audiology, products, software, and
technology for employees and customers. He demonstrates multi-system products by preparing and conducting clinician training, supports clinical product offerings, and performs in-house clinical trials for the Audiology Department team. He has extensive clinical experience in pediatric and adult hearing instrument and cochlear implant fitting, programming, and rehabilitation. He has served as a practicing Clinical Director of Audiology in multiple multidisciplinary otolaryngology and audiology clinics in the U.S. and internationally. Taghvaei received his doctorate in Audiology and master’s degree in Hearing Science from the University of Louisville School of Medicine and his bachelor’s degree in Cognitive Psychology from Arizona State University. He has also served as a lecturer and Clinical Preceptor at both universities for audiology and psychology courses. PERFORMER MAGAZINE APRIL 2016 27
MUSIC BUSINESS
Indie Champion Cruc Virtual Custom Mu
W
hen an agency, producer, music supervisor, CMO, or even a small business owner needs the perfect music for ads and promos, where do they go? There are a slew of royalty-free stock music sites, but it’s hard to find the exact track to fit. There are the production houses, but often the catalogs are stale, and they mostly focus
on instrumentals. Increasingly, master/sync licenses are the preferred method, but depending on the song needed, it’s time consuming (if not impossible) to search for rights holders, and the cost can be prohibitive. Enter Crucial Music, which has been providing independent artists with an opportunity to compete with the majors in
Master/Sync placements for a decade. With just around 1,000 artists in their catalog, Crucial is known for their high-quality (and picky) catalog. Having been successful with pre-recorded track licensing (mostly for TV and Film), Crucial is breaking into new territory with a custom music platform. I spent some time chatting with one my favorites in the industry, the fantastic Tanvi Patel, CEO and president of Crucial Music, about the new venture CrucialCustom, billed as a “virtual custom music marketplace.” You’ve been in the licensing game for over 15 years; what are some major changes you’ve noticed? For the longest time, Film and TV were dependent on production library music. Productions were stuck with the cost of licensing big songs, or they had to use cold library searches. Around the early 2000s music became essential in new shows like The O.C. and Grey’s Anatomy; there was a need to score moments in shows with reasonably priced, real songs. Crucial Music was able to help independent artists earn very good fees, get noticed, and drive sales. The industry
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And Why This is a Big Deal in the World of Licensing
MUSIC BUSINESS
ucial Music Launches Music Marketplace came to know what we always believed: music by independent artists always has more magic in it compared to library tracks. How did CrucialCustom start? After a long back and forth of pitching catalog tracks that just weren’t the exact 1950s voice and style requested, and only 48 hours before the spot was due, the client said, “Why don’t we try this custom thing?” I only sent project specs to 23 writers, and I got 6 fantastic demos. The client was thrilled, and they ultimately went for it. The result was a national Old Navy spot by Crucial artist David Choi. Why CrucialCustom now? The growth in digital content for advertisers is exponential, but budgets have shrunk while speed is more important than ever. Online campaigns reach almost as many eyes and ears as broadcast, and clients demand tracks that sound like a million for a few thousand. There’s more original programming than ever with Netflix, Hulu, Amazon, and cable networks. Even if budgets are tight, there are many more opportunities. More content means more music! What kind of brands/clients is CrucialCustom targeting? We feel like we have the highest quality of custom music at such a great price point for all types of advertisers - traditional and digital, small to large. We’re focused on everything, from :30s to long-form ads, mobile, industrial, broadcast, consumer markets, and TV. How is technology integrated with CrucialCustom? We’ve built a streamlined system for communication and efficiency, between us and
the client, and also between our writers. Here’s an example: the client can sync music with their video, and see a waveform in front of them. They can then click and timestamp a comment at exactly :25 - “I don’t like the sax here, can you change it to be more staccato?” Work gets done quicker, musicians have clear input, and the clients get exactly what they need. Walk us through the CrucialCustom process. Clients upload video or just detailed specs of project, and music details (Rock, Pop, Artist Style). Our team matches up the criteria with Crucial artists who get an email notification. As demos are uploaded, we review them for the quality, specs, etc. Even if the track won’t work, we can contact the composer to make some changes and fix the track to resubmit. Once we approve the tracks, the client gets demos in their project profile. Clients may get 20 or more demos, and they can select up to 5 that they think work. They can license immediately, or work with the
composers to make the first round of revisions with no charge. What kind of producer/songwriters is CrucialCustom looking for? We’re always looking for great songwriters. But, as you know, a lot of this game is quick-turnaround, often less than 24 hours. So, to be effective, we’re looking for self-contained songwriter/ producers with a home studio, or access to one, and the ability to finish a high-quality track quickly, and of course, write terrific hooks. Visit http://crucialcustom.com and then upload your best track to be considered at crucialmusic.com. ABOUT THE AUTHOR Michael St. James is the founder and creative director of St. James Media, specializing in music licensing, publishing, production and artist development.
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MUSIC BUSINESS
SONGWRITER COLLABORATION AND CO-WRITER AGREEMENTS:
U
WHAT THEY MEAN AND HOW THEY WORK
nder the U.S. copyright law, an author or creator owns a copyright in his or her work the moment it is “fixed in a tangible medium” (i.e. the moment the expression of an idea is written down or recorded in some manner). When it comes to the recorded music business, there are two primary copyrights of interest: one in the musical composition or song, and another in the sound recording of that song. A copyright extends for the life of an author plus 70 years, and in the case of collaborators on a copyright it extends for the life of the last surviving collaborator plus 70 years. This article will focus on the collaboration between and among the co-writers of the musical composition or song which is generally comprised of the music (melody, harmony, chords, rhythm, etc.) and the lyrics. The essence of collaboration is working together to create a single work, regardless of how or what each party contributes. Collaborators
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may work together in the same room at the same time, or not. The creative contribution of each coauthor may be equal in quality or quantity, or not. Both authors may work together on the music and lyrics or one might write just music and the other lyrics. The long history of collaboration has shown that there are endless combinations. Co-authors do not need to have a written agreement concerning their joint work, but it is probably a good idea to do so given the myriad issues that can arise and become a problem under such circumstances. Co-writers can divide copyright ownership in whatever proportion they determine, and that ownership concerns both rights (ownership and control) and revenues (income generated). In the absence of a written agreement, under current case law concerning both copyright and partnership law two or more collaborators are generally deemed to share equally on a pro rata basis. This might be
so even if it is clear that the contributions of the authors were not equal, since the Courts generally prefer not to make decisions about the value of each author’s contribution to a copyright, and simply divide it by the number of authors (and we probably prefer that Courts not be making decisions about whether the hook or chorus lyric has more or less value than the chorus melody, etc.). Therefore, without a written agreement the two songwriters would be deemed to own the song fiftyfifty, three songwriters one-third each, etc. A typical music business guideline for dividing ownership has been to designate the music as 50% and the lyric 50% of the song copyright. Under this scenario, if one person creates the music and two others write the lyrics, they may agree to divide the ownership 50% to the music creator and 25% to each of the lyricists. However, this concept does not have any legal significance, so if there is no written collaboration
MUSIC BUSINESS agreement then under this scenario each author would own one-third of the song’s copyright. Beyond the issue of just dividing the income, there arises the issue of copyright ownership and control (sometimes referred to as the administration right). Many songwriters prefer that there be separate administration among the various writers and their respective publishing companies, if any. In other words, each author retains control over its respective share of the copyright. In this way each writer retains some control over what happens with the song, the scope of the licenses and how much is charged. Under U.S. copyright law, each joint copyright owner can exploit the song and also grant non-exclusive licenses to third parties subject to the duty to account to the co-writers for any money that is generated. Each writer could also transfer some or all of their respective share of the copyright (e.g. to a publishing company) without affecting the ownership interests of the any other co-writer’s share in the copyright (although no one writer can grant an exclusive license nor transfer copyright ownership in the entire song without the written permission of each co-writer). All of these issues can be addressed in a written collaboration agreement. There are endless variations depending on the circumstances. Each
author may retain his or her share of revenues and ownership but grant the administration rights to one party (e.g. the artist/co-writer and/or its label) so that the artist would have the right to record and exploit the song and grant third party licenses. Particularly in the world of synchronization licenses (i.e. using the audio with visual images such as in film, television or video games), it is usually more convenient for one party to have the right to grant licenses and to collect and divide all the income. Licensing can become complicated when a licensee has to seek the approval of, and document permission from, multiple writers and their respective publishers. However, each different scenario and the co-writers involved will need to determine and negotiate what arrangement works best for themselves in that particular situation. A collaboration agreement can be as simple as a pie chart drawing made on a napkin at the diner after the writing session or as complicated as a writer’s publishing company dictates that it be. Over the years there have been many stories of writers agreeing, however reluctantly, to acknowledge a “co-writer” who did not even make a contribution to a song (e.g. featured artists, producers, record executives, band members, etc.). The exact contribution to a song is always a somewhat subjective measurement and if the
price of getting a song on the record of a multiplatinum artist is to share writing credit, then this pressure can be difficult (if not impossible) to resist. However, keep in mind that once a “co-writer” is acknowledged in writing, it can be very difficult to undo. Most successful songwriters rarely, if ever, share credit in this context and every writer should try to follow this practice. At the end of the day, if you believe in yourself and your talents, give yourself the benefit of the doubt, and invest in good legal representation - all the successful songwriters do. Your lawyer can create a fair collaboration agreement for you to use or “translate” the documentation presented to you and explain its terms and then help negotiate more favorable terms for you as appropriate. My advice: never sign anything - other than an autograph - without having your entertainment lawyer review it first. ABOUT THE AUTHOR Wallace Collins is an entertainment lawyer and intellectual property attorney with more than 30 years of experience. He was a recording artist for Epic Records before receiving his law degree from Fordham Law School. For more info, visit www.wallacecollins.com. PERFORMER MAGAZINE APRIL 2016 31
RECORDING
ANALOG VS WHY YOU N
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[Before we get into the meat of this month’s article, I’d like to start responding to readers’ questions. Please email me your questions or topics to be discussed. Recording, editing, mixing, production, management and even music publishing are all fair game. Fire away! info@ digitalbear.com]
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32 APRIL 2016 PERFORMER MAGAZINE
t’s hard for me to believe that in 2016 we’re still having debates or even really thoughts about the value of analog and digital in the recording studio. It seems like old news to me, but then, I’m one who has always embraced new technology while never forgetting the love of old technology. It is easy to imagine landing in either the early adopter camp or being a hold out Luddite. The reality, however, is that neither hard line serves our purposes best. After all, our goal is art, not philosophy.
B.D. – BEFORE DIGITAL I came of age in the music industry at just the time when digital was struggling to be taken seriously. Yeah, I’m that old. Behemoth SSL consoles with 80 channels connected to multiple 24-track 2” machines ruled the day. [Fig 1] Not that I got to record much on any of those, but it was the model that I learned on. Tape definitely had a sound. Of course, at the time, that sound wasn’t sought after; it was to be avoided. The goal was sonic purity, and the tools available were imperfect, leaving their grubby fingerprints all over your carefully arranged audio. Moreover, these tools were hard to use! Aligning a 24-track tape deck was a pain, let alone several. Punching, splicing, flying between decks were complex gymnastics that were frequently called for all-day affairs. When digital came in, so many of those things got so much easier! Flying regions around, copying and pasting, non-destructive recording, oh my! The only problem was the sound. My god, it was terrible. Several things had to happen in short order – young guys like me quickly understood that recording in the digital realm required a different way to do gain staging (red lights = bad). More seasoned engineers, for some reason, had a lot of difficulty with this idea. Additionally, better converters made a rapid emergence, allowing us to realize the benefit of digital. THE DIGITAL EXPLOSION In the end, the result was digital as we know it. I think of it as a blank slate. What you put in is what you get back. That could be the good news, or bad. It’s quite different from tape or really any analog process. Of course, that means if you want something to sound good, it’s got to sound good before the converter. So many studios, like mine, invested heavily in great “front end” gear, like mics and preamps. [Fig 2] This caused a great shift in the design and use of mics and preamps. Where before they were part of a larger signal chain that had plenty of room in it for small, tasty bits of added distortion, now they were the sole sources of these colors. Studios started selecting for gear that helped make great records in digital. Gear with the right kind of “grubby fingerprints” became highly valued.
THE RISE OF THE MACHINES Along the way, computers became powerful commodity items, and gave rise to the plug-in. The first plugins were meh. But they worked. Soon plug-in makers were emulating analog gear. Want a cheap LA-2A? How about 24 of them? [Fig 3] Did they sound good? Did they sound like the real thing? Not so much. How much better are these plug-ins today? Better, but they still don’t sound like a real analog device. If you haven’t pitted a real box against a plugin, you really should. It’s eye (ear) opening. BEST OF BOTH WORLDS There was a point in my career when I had the opportunity to do that sort of real world analog vs. digital testing in my own studio environment. It convinced me that the world couldn’t do without both types of gear. There are just some things you can’t really do in the analog world (look ahead processing, zerophase distortion crossovers, pitch and time correction or alignment, mix-and-match synth modules). Yet, digital has yet to match the beauty and lushness of the distortion that we love about analog. I suspect it never will.
RECORDING
S. DIGITAL: NEED BOTH! right piece of gear for your long-term career. Better yet, work in a real studio so you can pool your resources, learn from pros, and focus on music. Maybe that’s another article… ABOUT THE AUTHOR Award winning mix engineer and producer Jordan Tishler runs Digital Bear Entertainment in Boston. Currently in the process of designing and building a new facility with renowned designer Fran Manzella, DBE will, once again, be the pre-eminent mix/ overdub room in the region. The SSL console and racks upon racks of analogue outboard gear, tape machine, and gazillions of instruments helps Tishler meet the expectations of artists including B Spears, JLo, Iggy A, MOTi, Justin Prime, SIA, and London Grammar. Contact Tishler about producing your next record, or mixing the one you’re working on now! More info at www.digitalbear.com. 3
The best of both worlds involves knowing and loving each world deeply and applying the best tool for the job. If I want tape sound, I use my tape machine. If I want to time align 24-tracks of backing vocals, I use Melodyne (a digital plug-in). Each analog box in all the racks brings its own special sauce to the party (which is why I have each of them). The SSL console lends its own feel and allows me to push levels and create a punchy distortion in a way that no digital device can handle. [Fig 4] So, at the end of this whole debate, we come to realize there is no debate. Analog is wonderful, digital is wonderful. I can’t imagine why I’d want to use only one. HOW TO SPEND YOUR MONEY A side note on spending money: I tell all of my interns not to buy gear. In particular, don’t buy cheap gear or plug-ins as substitutes for gear. In the end, money you spend is gone, and the crappy gear or not-quite-analog sounding plug-ins will leave you flat, broke, and with no re-sale value. Save your shekels and buy the
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PERFORMER MAGAZINE APRIL 2016 33
GEAR
PROTECT YOUR INVES INFO FOR YOUR PR
W
hether we’re talking about our vintage Martin, our one top-shelf condenser mic or that Echoplex we managed to get restored into working order, often times about the only really nice things we have in this world are our beloved tools of the trade. Such seemingly spiritual value is indeed inspiring and often the catalyst to creativity, but the thought of losing such sentimental belongings is downright depressing … hence the need for at least the monetary comforts of insurance. I recently realized my “most coveted” (I hope I’m not sounding like Hannibal Lecter here) belongings were not really insured at all, and I set out to find an affordable solution. 34 APRIL 2016 PERFORMER MAGAZINE
WHAT DOES YOUR EXISTING POLICY COVER? Most of us can wrap a particular instrument into our homeowner’s or renter’s insurance policies without much difficulty. But musical instruments (and valuable electronics) are typically covered only up to a certain moderate value and particularly valuable pieces require itemization … such costs are not terribly attractive (and can easily cost as much as the rest of the entire policy). Sometimes our property coverage extends in part to our cars and vehicles, but an oddly named (and typically expensive) “inland marine policy” is needed for complete coverage while belongings are in-transit or away from home. Most importantly, homeowner’s
or renter’s property coverage does not cover business property or professional usage. GETTING GEAR-SPECIFIC COVERAGE I’m not touring anymore, so my personal concerns were about the insurance of my project studio, but the issue is the same … home owner’s/renter’s coverage either does not cover small business at all, or caps coverage at a low $2,500 (and that often requires a special clause and fee). I’ve heard and made some of the excuses myself … “it’s not a true business, I don’t make any money at it”, or “it’s only a hobby, just buddies and beer”, or “I do this in my home, so I shouldn’t need a separate policy” … but insurers are wise to such
covered gear and instruments, although some required itemizing of instruments valued over $5k. Some insurers wanted exacting lists of items, serial numbers, their replacement value and insisted on covering the value of the entire collection (no partial coverage). Some insurers offered liability and property together, while others allowed one or the other. Only a few rare instrument policies covered flooding, which is a completely separate issue (typically) in the world of insurance. CRUNCHING THE NUMBERS I’ll pass along some numbers here to help illustrate how affordable the choices I found were. Of course, your costs will vary, and I will not publish the exact quotes by any of the providers and I am not encouraging any specific purchase, or providing legal advice… [editor’s note – that should cover our asses, right?]
excuses and have an easy tool to disprove these claims: the Internet. We’ve all heard of clever cops finding the bad guy via their stupid social media postings and it’s parallel for the modern claim adjuster; a quick Google of your name, identify your business/band name, ten minutes of searching Facebook/Twitter/Instagram and there’s ample proof that what you’re doing is much more than a hobby … and simply not covered.
You can get a low-cost low-coverage renter’s policy for a home or apartment for as little $175 a year, but that wouldn’t provide any actual coverage for a professional musician or home studio. I had such coverage and also itemized coverage for about $30k of high-cost studio pieces (in hindsight … to make myself feel protected even if I really wasn’t) which took it up to about $350 a year. My new studio policy covers nearly $100k worth of equipment, $1M of liability, covers a number of “breakage and/or loss of use” issues and even includes a minimal inland-marine policy (seriously, what a bizarre name) all for about $700 per year.
A once sparse field of insurers has grown considerably and I now found ample insurance choices for studios of all sizes, including equipment property coverage, actual property coverage and liability coverage. Most policies
I found numerous policies from other underwriters that were either only slightly more expensive, presented a different mix of coverages, or both. Overall, I was pleased to find enough choice, enough affordability and enough
GEAR
ESTMENT: INSURANCE PROJECT STUDIO
flexibility to finally take on proper insurance for my small business … and it has motivated me to tell others about it, in hopes that my fellow artists, project studio owners and technicians can protect those things most valuable to us … well, at least those valuable things that do not have a heartbeat. PARTIAL LIST OF PROVIDERS Clarion Insurance www.clarionins.com 1-800-VIVALDI CSI Special Event Insurance www.csicoverage.com/Other/RecordingStudio.aspx Emery and Webb w w w.m u s i c i n s u red .co m /m u s i c - b u s i n ess/ recording-studios 1-800-942-5818 Music Pro Insurance www.musicproinsurance.com 1-800-628-0250 The Society of Professional Audio Recording Services www.spars.com 888-869-3535 (Ext. 6807) Trusted Choice w w w.t r u s t e d c h o i c e .c o m /s m a l l - b u s i n e s s insurance/arts-entertainment/recording-studio 1-844-499-7576 ABOUT THE AUTHOR Rob Tavaglione has owned and operated Catalyst Recording in Charlotte NC since 1992. For more info, visit www.catalystrecording.com.
PERFORMER MAGAZINE APRIL 2016 35
GEAR REVIEWS
OPTION KNOB VKnob Electric Guitar Volume Controller - $12.95
O
ne of the best effects devices is already built into a guitar: the volume knob. A simple, slight change in it can radically change an entire sound. Option Knob’s VKnob accessory makes volume changes, from radical to minimal, as easy as strumming. It’s basically a “wing” or lever that slides on the pot of an instrument. Simply pop off the stock knob, and slide this on. Placement will depend upon the player’s preference, meaning the best way to be able to manipulate it. It slides on and off with ease, so taking the time and finding the optimal position isn’t an issue, nor is it a problem if the guitar has split shaft or solid shaft pots. The wing has a scalloped notch that can give the finger of the picking hand something to grip, and the leverage to push or pull it in the direction desired. It really makes quick, on-the-fly volume adjustments as natural as picking or strumming. Pedal steel-like volume swells are super easy, and it’s not in the way during normal playing styles. For players who like to run their amp wide open, and back down the guitar’s volume control for rhythm, and turn it up full blast for leads, this makes finding those sweet spots easy. 36 APRIL 2016 PERFORMER MAGAZINE
Kinda makes you wonder why no one thought of it before. A great application for this would be using it to adjust a control knob of an on-board guitar effect, such as delay or chorus. The only downside to it, doesn’t come from the VKnob. Depending upon the sweep of the volume pot, it might not have the desired effect; however, if the volume pot drops evenly and gradually across its range, it should be no problem. At a $12.95 street price, it won’t break the bank, and with a little practice, it could render a volume pedal obsolete. Chris Devine
PROS
Works on split shaft or solid pots, great for pedal steelesque swells. CONS
Depending upon range of volume pot, might not do all that much.
Ergonomic Design, works on pretty much ANY software. CONS
Might take some time breaking the habit of not using it.
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CONTOUR ShuttlePRO v2 - $99
t’s not often a computer accessory works great across multiple applications, and does each function well. Contour has released v2 of their ShuttlePRO controller, which goes beyond mere accessory to an indispensable tool for your home studio.
With 15 buttons surrounding a spring-loaded shuttle wheel, which in itself contains a rotating selector, the ergonomic design works well for both right and left handed users. Placing the palm on the “tail” area, all the buttons are well within reach of fingers and thumb. Each button seems to fall into an intuitive place, easy to press.
GEAR REVIEWS
PROS
So what can it do? After downloading a driver, each button can be assigned to do a specific keystroke or command, depending upon the software being used. For example, in your DAW software, set a key for SAVE, another for Cut, or Paste, or any command that has a keystroke. Your transport is now easily under your fingertips. It frees up the non-mouse hand from shifting to enter commands on a keyboard, or having to use a mouse to click through menus and tabs. The shuttle wheel works great for sliding over a track to get to a specific point. After a little use it can become second nature. Going beyond normal keystrokes and commands, it can execute macro commands, bringing multiple commands and control sequences to a single button. Amazing for repeated commands commonly used during tracking and mixing. It works with a variety of software programs, anything from Pro Tools to GarageBand, Photoshop to MS Paint, iTunes to Microsoft Office. If it’s a common piece of software, it will work with the ShuttlePRO. Trying to find software that it didn’t support was impossible. Other than the specific software drivers, it can work on a Mac or PC with ease. The bottlenecks are going through and assigning commands to buttons, thinking of the particular commands, and arranging them across the control surface. A good suggestion is to assign a few commands to the buttons that fall exactly at your fingertips, and add a new command to a new button as you get more comfortable using it. It makes the user re-think work flow patterns to make common, repetitive actions become more familiar. You may also find that using the ShuttlePRO instead of the keyboard and mouse becomes a problem when using a computer without it! Overall it can really do a lot, and it’s really up to the user to program it to their specific needs. After a short period of time, the biggest problem will be trying to get by without it. Trust us, if you do even the most modest recordings, this’ll be your new best friend in the studio. Chris Devine PERFORMER MAGAZINE APRIL 2016 37
GEAR REVIEWS PROS
Simple, easy to make great sounding cables, no soldering. CONS
None.
N
ot long ago, a lot of players went back to pedalboards to avoid the complexity of rack systems. Now pedalboard systems can be as complex as a rack of effects! With all the unique configurations that come up, it’s no surprise that using off-the-shelf cables can limit the layout of a pedalboard. George L’s has a kit that makes custom cables easy, without soldering. The kit comes with 10 feet of their .155 cable, which is a bit thinner compared to a standard 1/4 TRS cable. Ten right angle jack cable ends
FEATURES
› Low capacitance co-ax cable › Ten feet of cable › 10 solderless plugs › Black cable with nickel-plated plugs › High-end plugs with lifetime warranty 38 APRIL 2016 PERFORMER MAGAZINE
GEORGE L’S Effects Cable Kit - $99 and rubber caps are also included. Making a custom cable is super easy - figure out what length is needed, and cut the cable to length. Slip the cable into the metal cable end, and bend it through the slot, then thread on the cap screw. The rubber end cap keeps the threaded cap screw from moving, and is a nice touch. A good idea for figuring out a cable length is to route the cable from both pedals, following the path desired, then add about 1.5”. Don’t have a ruler handy? Use two thumb widths. Slightly longer is always better. Short cable lengths are
super easy, and can make placing pedals super close, side-by-side, a snap. For players who still like rack systems, there’s a great application of this kit, too. Keeping cable lengths short and concise enables easy troubleshooting, without having a spaghetti-like mess of wires to move around. Shorter cables are better for the overall tone, as well: the less cable means less signal loss and degradation - plus the thin cable bends easily without kinking. A nice bonus. If the need arises for more ends or cable, George L’s sells the ends individually, and additional cable is available by the foot, or even in reels, making this an easily expandable system. For a simple or complicated pedalboard, this can make a player’s (or tech’s) life a lot easier. Chris Devine
T
PROS
Plenty of shapes and sizes, super stiff. CONS
Slightly pricey.
he standard 351 style Fender pick has been around for decades, and while there are plenty of other options in shape and size these days, Gravity’s acrylic picks really take things up a notch. There are 8 styles: Razer, Sunrise, Stealth, Striker, Tripp, Axis, Edge and Classic. Thickness ranges from 1.5mm to a massive 6mm – these aren’t your father’s Stubbies! There’s even a Rob Chapman (of Chapman Guitars fame) signature version. For players that like a super thick, stiff pick, look no further! The thicker versions sport a nice beveled edge, and the 4mm version can give players plenty of surgically-accurate attack. Pick scrapes are ultra-pronounced, as well – great for recording. For players who like metal picks, but who are tired of shredding strings, Gravity
GEAR REVIEWS
GRAVITY GUITAR PICKS price varies – about $5/each
provides great options for a pick with a stiff, positive response. Bass players who use picks would certainly appreciate the size and stiffness, as well. And in fact, we found our assortment of sample picks even more suited for rapid bass attacks than single-note six string runs. The brightly colored versions really stick out, even on a dark stage, while the blue and smoke grey Chapman versions might get lost if dropped. These are not cheap either, starting at $4.99 each; however, they do offer variety packs that contain 8 picks for $35. Not a bad deal if you want to try a sampling. For players looking for that ultra-stiff, hyper-accurate pick, these are calling your name. Chris Devine PERFORMER MAGAZINE APRIL 2016 39
GEAR REVIEWS
IK MULTIMEDIA iRig Keys 37 PRO MIDI Controller - $99
S
o let’s start with the good. The new iRig Keys 37 Pro MIDI Controller is hella easy to use, and makes controlling software synths and virtual instruments a breeze. Simply plug it into your computer via USB, fire up your favorite DAW, and open your VI’s. We were simultaneously testing out the new Rapture Session suite from Cakewalk, and the controller responded perfectly to the array of synthesizers, pianos, percussion and string sounds available. We also love the portability here – it’s buspowered, and pretty compact, so tossing it in the tour van while on the road is easy as pie. Demoing tracks on-the-go and coming up with new layers for existing tracks is an ideal application. The layout will also make it easy to use if you’ve never entered the world of MIDI before – the simple keybed and pitch/mod wheel layout will feel great under your fingers, and we’ve never seen a MIDI controller with FULL SIZE keys in this small of a form factor. Jumping octaves is easy with the simple touch buttons atop the controller, and you can even save frequently used configurations › Mac/PC compatible › Sustain pedal input (optional)
FEATURES
› Volume/Data knob (assignable) › 4 configurable setups › Octave up/down buttons › Program up/down buttons › Pitch bend and mod wheels › 37 velocity-sensitive keys › 3 full octaves 40 APRIL 2016 PERFORMER MAGAZINE
with a push of a button. Did we mention it’s crazy affordable, too? Now for the downside. And it’s a big one. On the model we tested at NAMM, as well as the demo model we were ultimately sent for review, the USB port can become problematic over time. Several instances while we were attempting to capture MIDI data from a live performance, the USB cable was jostled loose from the unit after pretty routine pitch-bends and dips on the mod wheel; the port itself seems to be the weak link in the chain, construction-wise. Our recommendation to IK Multimedia is to either re-design or beef up that problem area on the board, which mars what’s otherwise a fantastic piece of hardware for the price. Ultimately, though, it fell just short of a new go-to piece of gear for us. When it worked, it was great, but having a MIDI connection drop out mid-performance is just too big a risk for us to give this our seal of approval. We await version 2.0 with a better USB implementation. Benjamin Ricci
PROS
Easy-touse MIDI controller, 3-octave range and simple control layout are nice touches.
CONS
USB port/ connection should be more solid.
I
K Multimedia’s iRig Pro Duo works with iOS and Android mobile devices as well as laptops/PCs, making this a this a true mobile device with plenty of flexibility. With only two audio inputs it may not be the interface to record all of the band’s next EP, but it can handle two channels at a time – enough for a singer/songwriter to get ideas down.
PROS
Works on iOS, Android and computer, plenty of great apps, portable, great sound quality.
CONS
Plastic casing, 9v power supply not included.
› Computer Connectivity: USB › Simultaneous I/O: 2 x 2
FEATURES
› A/D Resolution: 24-bit/44.1-48kHz › Analog Inputs: 2 x XLR-1/4” Combo › Analog Outputs: 2 x 1/4” TRS, 1 x Headphone › Number of Preamps: 2 › Phantom Power: Yes › Data I/O: USB On-the-go › MIDI I/O: TRS to MIDI cable included › Bus Powered: USB powered, 2 x AA battery
GEAR REVIEWS
IK MULTIMEDIA iRig Pro Duo USB Audio Interface – $199
That said, a band on the road could track actual demos using this, no problem. Vocals, guitars, bass, and keyboards (via MIDI) can go down easily without a lot of hassle or learning curve. It can reduce time in doing demos or making the base tracks for actual studio production. MIDI inputs and outputs are also available, via two converter cables. Phantom power is also available for your high-end condenser mics. Size-wise, it’s not that much bigger than an iPhone, so it doesn’t take up a lot of space, even in a gig bag. Sound quality is great. The preamps are super quiet, even at high gain settings, and work in 24-bit for excellent overall clarity. IK also has a plethora of free apps that are included. Included VI apps give bonus sounds for both Sample Tank and iGrand Piano, so getting a nice soft synth sound with a MIDI controller or even a full grand is a snap. The only downsides are slight; the casing is plastic, but that may contribute to the $199 street price, which is pretty reasonable for an ultra-portable interface that works so well. The other is while it runs on AA batteries, the 9V power supply is not included. But it can work with a 9V power supply - the usual standard for most guitar pedals. A great, and perhaps non-traditional application of this device is to use it as a guitar amp/rig. For a player who finds themselves without an amp at a gig (amp failure, theft, etc.) connect the unit to a mobile device with a guitar amp/rig app, and dial in a sound, plug in a guitar, and use the monitor or headphone outs to connect to a mixer or PA. It may not be ideal, but can certainly work well in a pinch, and the only question the audience will have is: “Where’s the amp?” For a musician on the go, it is truly a portable interface that doesn’t have any compromises. And being bus-powered is a true win when inspiration strikes in the tour van. Chris Devine PERFORMER MAGAZINE APRIL 2016 41
GEAR REVIEWS
MACKIE Reach Portable PA System - $999
42 APRIL 2016 PERFORMER MAGAZINE
GEAR REVIEWS
M
ackie has been in the PA business for years, and while their systems have been getting smaller, they seem to get better at the same time. The Reach system is under three feet tall, and has two 6.5” drivers on the top and bottom, and two 4” drivers located below, and are angled out, across 150 degrees, allowing the audience as well as the performer to hear themselves, without the need for separate monitor systems. With 4 TRS/XLR inputs, and the 1/4” Aux input, it should handle most small band or performer’s needs. There is a headphone out that makes it a great silent mixer, for playing along with backing tracks and such, or checking a mix before it goes live. Connect a footswitch and it can act as a master FX mute switch. For DJs or bands looking to use a computer for backing tracks, it can connect to your tunes via Bluetooth, and stream audio with plenty of clarity and no special adapters or connectors.
PROS
Plenty of volume, works with android and iOS devices, excellent sizeto-features ratio!
A simple control system is located on the side, which for users that like to “set and forget” makes setting up easy. But to really unlock its features there is a dedicated Reach app, which is available for iOS and Android formats. With the app, there is extensive control of the overall mixes, effects and outputs, without a lot of parameters and editing capabilities. It connects via Bluetooth, and responded very quickly in our tests. A tablet works best, due to the larger size, but smartphone users should have no problems. The ability to walk the room and tune the Reach’s mix for the venue is key.
CONS
None.
For sound shaping there are 16 digital effects, a 3-band EQ, as well as a feedback suppressor. With EQ presets tailored for DJ, voice, solo singer/songwriter or flat responses, it can make tuning the Reach for any format ridiculously easy. There’s also the ability to save settings for different venues, so the levels and effects can be recalled for the coffee shop or your regular club gig, and then when playing that large function hall, settings can be called up for that, as well. If there is a need for more than the 720 watts this puts out, a second Reach can be connected for more power and sound delivery.
› Power Configuration: Bi-amped + Full range side fills › LF Driver Size: 2 x 6.5” (LF), 2 x 4” (Full range)
FEATURES
Reach is a pretty simple choice. Considering it could fit in the trunk of a Fiat 500, and have plenty of room left over, it means you don’t need that sound guy/ friend with the van/pickup truck anymore. Performers looking to have an expandable, portable PA system with all the bells and whistles should look no further! Chris Devine
› Powered: Yes
› HF Driver Size: 3 x 1” dome compression drivers, radial curve design › Total Power: 720W Peak › Inputs: 4 x XLR-1/4” combo, 1 x 1/4” (Link in), 1 x 1/8” (Aux in), Bluetooth › Outputs: 1 x 1/4” (Link Out), 1 x 1/4” (headphone), 1 x 1/4” (footswitch) › Maximum Peak SPL: 126dB › Weight: 30.8 lbs. PERFORMER MAGAZINE APRIL 2016 43
GEAR REVIEWS
CELEMONY MELODYNE 4 Studio - $699
PROS
Surgical precision and control over your sound. CONS
None.
44 APRIL 2016 PERFORMER MAGAZINE
GEAR REVIEWS
WHAT IS MELODYNE? In the simplest of terms, Melodyne is a powerful, visual music editor. This Pro Audio Mac and Windows application in stand-alone and in audio plug-in formats is far from simple. Melodyne is constructed around (4) algorithms; Melodic, Polyphonic, Percussive and Universal. The application can perform automatic and user-controlled analysis on any audio signal and can display the results as notes or blobs on the computer screen. Each individual audio blob is easily identified with pitch, amplitude, length (duration) and timeline relative to the identified tempo. Beyond identification, every parameter can be altered to a masterful degree. For example, Melodyne’s algorithms are capable of identifying and separating the individual pitches of a guitar chord (or any polyphonic instrument or vocal) contained within a stereo (2-track) recording. Melodyne can then separate the individual notes of the recorded guitar chord and allow the application’s user to edit the individual notes by pitch, amplitude and timing. The algorithms are then capable of converting the detected audio blobs to MIDI. INTERFACE The interface of Melodyne is visually appealing, very intuitive and is much easier to use than it is to describe. Melodyne is a multitrack audio mixer/editor, an audio spectral analyzer, a sound designer, a harmonic engineer/reengineer and a time and tempo manager/conductor. INTEGRATION As a stand-a lone application you simply drag and drop audio onto its main screen and a llow the auto a lgorithm to process your audio. You can a lso override Melodyne’s a lgorithm and choose the a lgorithm you would like to process the audio. When using a DAW such as Logic Pro X or Ableton Live, the plug-in mode is used to transfer the audio from the DAW into Melodyne. Multiple tracks can be transferred simultaneously. I am a Logic Pro X user and when I transfer audio tracks to Melodyne I have to use the Melodyne plugin as the first audio effect in the signa l chain (if I am using more than one effect on the track) and I have to click “transfer” in the Melodyne window and push play in the DAW to actua lly transfer or record the audio from Logic to Melodyne. Other DAW’s may handle this transfer process differently.
Polyphonic Pitch Correction – The audio blobs from poly phonic or monophonic tra nsfers ca n be thoroughly reconstructed, re-tuned, copied a nd reha rmonized, slipped a head of or behind the beat… oh! …a nd deleted. In other words, you ca n completely have your way with your audio f iles. Amplitude – Each blob can also be altered in terms of relative volume and believe it or not -- you can alter the speed and intensity of vibrato on a vocal. Timing – Melodyne’s analysis and controls include the ability to easily re-time entire multiple tracks of musical phrases including gradual tempo slowing or ramping - ritardandos and accelerandos.
Synthesis & Sound Design – The Harmonics, EQ and Synth section of Melodyne allow you to make drastic or subtle alterations to any or all of the audio blobs. Sound designers and mix engineers should visit celemony.com for the details on these powerful controls. Pitch to MIDI – Melodyne facilitates an audio to MIDI conversion/export, as well. SUMMARY Yes, the best of today’s DAWs can re-pitch audio and perform audio to MIDI conversions –– but I know of no other professional audio application capable of Melodyne’s level of surgical precision and control. Highly recommended to all audio engineers. Garey Kennebrew
The magic begins once audio is transferred into Melodyne. PERFORMER MAGAZINE APRIL 2016 45
GEAR REVIEWS
CAKEWALK Rapture Session - $29.99
C
akewalks’s new Rapture Session is a slimmed-down version of their fullyloaded Rapture Pro virtual instrument suite. And basically, for those looking to spend a tiny amount of cash for a huge library of sounds, you’re in for a treat. You get tons of synth sounds using the Rapture Pro engine, and hundreds of (usable!) presets to thumb through. For us, whenever evaluating a soft synth, we have to go to our good-ol’ Moog and Arp sounds as a baseline. So we plugged in our iRig Keys 37 PRO MIDI controller, fired up a few DAWs, and set to work. Rapture Session is available in VST, AU and AAX, so Pro Tools users are now in luck. And of course, as it’s a Cakewalk product, it’s a seamless integration for SONAR. Since we are using a Mac desktop in our project studio, we tested things out first in Logic and GarageBand, and then Boot Camped it up to launch our sounds in SONAR. Everything was smooth all around, no set up issues at all. In fact, the Cakewalk Command Center makes installation of the software stupid simple, even if you’ve never ventured into the world of software synths before. Getting back to our Moog/Arp tests, we were pleasantly surprised by the sound quality of the available patches across the board. Launching the browser window, you’re given the choice of 11 different categories, anything from standard pianos, lead patches, bass synths (excellent EDM possibilities in there, btw), organs, percussion, etc. For those without a controller, your DAW should allow you to map notes to your keyboard, or use the onscreen keyboard in the Rapture bowser window to start testing tones. 46 APRIL 2016 PERFORMER MAGAZINE
What’s nice is you can also search sounds easily, tag them as favorites for easy recall in the left-hand navigation, and expand things later on if you wish (expansion packs are available, or you can upgrade to the ridiculously feature-rich Rapture Pro if this weren’t enough for you). With almost 5 GB of sounds, though, there’s not a lot missing. And for under $30, we see this as a onestop solution for producers and guitar players looking to beef up demo tracks and scratch sessions if real instrument equivalents aren’t easily available. Perhaps keyboard enthusiasts would want a more robust solution, but for guys like me, this covers all my bases. Luckily, editing sounds in Rapture Session is pretty darn easy. Sure, the knobs and faders are digital, but at least their labeling makes sense, and they’re laid out in a way that honing in on your preferred settings from the analog world is actually intuitive. We’ve seen plenty of virtual
PROS
Huge library, quality sounds, good search functionality, inexpensive, PC & Mac compatible.
CONS
No standalone Mac version.
instrument packs that claim to have easy editing, and we’re eventually forced to head to a forum somewhere to ask for help. I hate forums, and I hate big-ass PDF guides when things should be self-explanatory and simple to figure out. After a few weeks with Rapture Session, we were sold. For adding textures and new sonics to your recording projects, it’s a no brainer. We tracked alongside real instruments through our interface and were able to quickly and easily find the patches we wanted, arm tracks to record our MIDI data, and launch into music-making without the software getting in the way. The Rapture browser will likely be your new best friend for adding bass lines, strings and wailing Rick Wakeman solos, regardless of which DAW you prefer. Highly recommended.
Benjamin Ricci
LIF
Boston born and raised, Mr. Lif is one of the original members of the indie hiphop movement known as Definitive Jux (2000-2007). He’s the vocalist for Thievery Corporation (2010-present) and a spellbinding lyricist raising the bar on rap’s poetic form.
MY FAVORITE MICS
with Mr.
MAKE & MODEL
Lawson L47 Custom & Shure SM7b WHAT THEY MEAN TO YOU
The custom Lawson L47 was the first mic I ever had built for me. The SM7b...I never leave home without. It records clearly without picking up room noise. Hotel rooms are vocal booths to me because of this mic. WHAT THEY SOUND LIKE
The Lawson L47 custom sounds clinical and precise. Equivalent to a scalpel for surgery. The Shure? Nothing flashy. Just professional, rounded, and real. CUSTOM MODS
The LifMod. CAN BE HEARD ON
My new album Don’t Look Down features both of these mics. The custom Lawson L47 can be heard on the lead single “Whizdom” and the Shure SM7b was used to record myself and Del the Funky Homosapien on the song “World Renown.” LISTEN NOW at www.therealmrlif.com.
Follow on Twitter: @therealmrlif
Got a favorite instrument you’d like to share? Email us at editorial@performermag.com
Amanda Macchia PERFORMER MAGAZINE APRIL 2016 47
FLASHBACK
BACKGROUND
1964 FENDER
PRINCETON REVERB (BLACKFACE)
Made between 1947 and 1979, the “Woody” (as it was called for its uncovered wood cabinet) was originally a lower-line Fender amplifier with no controls and only 3-watts of power. In 1961, the amp received an overhaul of features and capabilities and became a much-coveted recording tool. HOW IT WAS USED
Lawrence Katz (Mighty Mighty Bosstones guitarist) says, “There is something about the way it breaks up while retaining a chime. It never gets too mushy.” It is said that the Princeton is the MOST recorded amp. Adds Katz, “It’s got the grit of a Deluxe but the chime of a Twin.” INTERESTING FEATURES
Its Tremolo and Reverb are much sought after. People say that having the reverb/tremolo circuit gives the amp a certain “special thing” whether engaged or not. PROMINENT USERS
Ryan Adams loves it enough that it’s become a stage prop. And Mike Campbell from Tom Petty & The Heartbreakers’ sound was arguably designed from this amp. MODERN EQUIVALENT
Fender has revived the line, so that tells you something about its popularity over the years. LESSON LEARNED
Small amps pack a big punch. ABOUT THE AUTHOR
Don Miggs is a singer/songwriter/producer and fronts the band miggs (Elm City/Capitol Records). His love affair with vintage instruments and gear only presents a problem when he’s awake. Find out more at miggsmusic. com, lalamansion.com, or his FM radio show, @miggsandswig. 48 APRIL 2016 PERFORMER MAGAZINE
“Mixcraft Pro Studio 7 is a surprisingly advanced DAW at a very attractive price.”
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— Computer Music Magazine
THE MUSICIAN’S DAW For Microsoft Windows
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