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Wolf Stephenson stands in what is left of the legendary Malaco Records.
Severe storms and a series of tornadoes has plagued the Midwest and Southern states throughout April. One of the casualties of the violent weather is the legendary blues and soul label Malaco Records in Jackson, Mississippi. It was crushed by a tornado on April 15.
keep reading on dangerousminds.net
The Malaco Records story aired on WAPT in Jackson, Mississippi in 1999.
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How about a quality valve amp that sounds great, with neither bells nor whistles, at an affordable price for everyday musicians?
Founded in 2009 in Seattle, Washington, that’s exactly what Jet City is all about. The company is headed up by ex-Loud Technologies/Blackheart colleagues Dan Gallagher and Doug White, plus, wait for it… Mike Soldano. Now you’re listening.
“This ain’t an amp for players who like to program a bunch of different sounds and then select them with several footswitches.”
Soldano, of course, is a legend in guitar amplification. His were the hand-built, no-compromise heads that stood behind Clapton, Knopfler, Lukather, Gary Moore and countless other heroes in the eighties and nineties: he still makes them and they still cost limbs. Now, however, his design nous is available to all via Jet City, so just how do you compromise on no-compromise?
You start by designing your amps in the US and building them under strict quality control in China. Jet City makes much of the fact that the three key parties – Gallagher, White and Soldano – are free of penny-pinching corporate pressure, and that Soldano has carte blanche with design.
Nevertheless, offshore build is essential if you want to hit these price points. “We chose our contract manufacturers carefully and we’re really happy with the processes of development,” comments Gallagher.
Read more on musicradar.com
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This is by no means an authoritative list of online booking tools. In fact, it may be missing a few players in the field. Duncan Freeman, the founder of Band Metrics and Indie Music Tech, published this list over the weekend. It’s a great overview of the many sites available though. I’m left to assume that there’s a demand for these tools and that some artists are finding them useful. Otherwise, a new tool wouldn’t be created every other day.
10 Resources That May Help Artists Book More Gigs:
- GigMasters (booking platform for artists and talent buyers)
- GigMaven (free and easy-to-use booking website for musicians; currently available in NY, Los Angeles, San Francisco, Chicago, Boston, Philadelphia, DC, Austin, Phoenix and Ohio)
- Gigwish (influence venues, promoters and booking agents by enabling an artist’s fans and their local music scene to vote for them)
- G2.fm (an online booking community where bands and musicians connect with venues by sharing their music)
- Live Music Machine (get booked anywhere for any type of live music event, as well as getting booked directly from MySpace)
Red the next five on hypebot.com
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by Hit Songwriter and Record Producer Steve Kipner
1. It has to ring true. If the writer doesn’t believe it, the audience won’t.
2. Edit out the extraneous bits. Don’t ramble on, or people will lose interest.
3. Be different. It’s better to follow your own drum and have your songs rejected than to just have nice, acceptable songs that are boring.
4. Don’t copy what’s on the radio now because by the time your song would come out, it’s already yesterday’s news.
5. If the demo sounds like a hit, the easier it will be for the A&R person to believe it’s a hit.
[via http://record.apogeedigital.com]
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The next version of iOS – the operating system for the iPhone, iPad and iPod touch – will have an unexpected surprise for musicians: real MIDI support.
Apple’s iOS 4.2 update, due in November, includes some interesting new features that didn’t make Steve Job’s official announcement.
According to a report in AppleInsider, beta testers have found that iOS 4.2 adds support for the CoreMIDI framework to the operating system’s application program interfaces.
CoreMIDI could be huge for iOS music apps, because it provides standardized MIDI support. It is a built-in system that supports MIDI devices and how they communicate with other applications.
MIDI support means that the iPad could be a touchscreen control surface for any MIDI device; developers will be able to create multi-touch sequencers that control MIDI hardware; and you should be able to plug your MIDI keyboard into an iPhone, iPod touch or iPad and play your iOS software synths.
CoreMIDI on iOS 4.2
more on www.synthtopia.com
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The 40th anniversary of the Minimoog hits this year: that’s four decades since the original reshaped the very notion of what a synthesizer looks like. Moog Music has answered with a real beast. It returns the core of the Minimoog Model D, but with the Voyager’s stable oscillators, patch storage, signature X/Y touch surface, pot mapping, and MIDI control – all while retaining a 100% analog signal path, if you’re a purist. Just like the Voyager, that means some analog-ically good sound, without sacrificing modern convenience. (Yes, even the Minimoog’s original creators recall that working without patch memory was a huge pain.)
And then it gets, well … a lot bigger. There are 61 keys instead of the original 44, plus a touch-sensitive ribbon controller, so you get more octaves and control. (I’ve long loved having ribbons on a keyboard since I first tried one on a Kurzweil.) And in an unexpected departure, the all-in-one keyboard design is coupled with patching right on the front panel, a feature we haven’t seen in a major instrument since 1970s keyboards from the likes of England’s EMS.
With raw voltage to patch in or out, the XL allows new sound customization, and unique opportunities to integrate it with other analog gear. To route out to other gear, you get 20 CV outputs, covering the keyboard, wheels, LFOs, ribbon, and more, 3 gate outputs, and 3 4-way mults. You also get inputs: 10 CV ins for the oscillators, of course, but also mod, sample & hold, LFO rate, and more, plus 4 gate inputs for envelope, LFO, and S&H gate.
In short, Control Voltage is back. At US$4995, a lot of people won’t be able to afford the XL, but that’s little matter. The instrument we’ll be gawking at in centerfolds, that boys and girls will paste on their ceiling and dream about as they go to bed at night, will be analog. Sorry, digital.
Find our more on createdigitalmusic.com
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london-based japanese designer yuri suzuki is known for his interactive sound installations.
his recent experimentation has looked at the act of buying CDs which has become increasingly
more obsolete as downloading music files has gained popularity. suzuki wanted to bring value back
to the compact disc so he explored the idea of producing a CD record hybrid, first through his
series ’physical value of sound’.
then, suzuki proposed the idea of the disc to DJ jeff mills for his new music project ‘the occurence’.
the result is a disc with a vinyl press-on on one side and a CD mix on the other, merging analog
and digital music formats into one. the disc has been produced by AXIS records and manufactured
by german company optimal media production. mills’ digital-analog album is finally on the market
in a limited edition.
[via www.designboom.com]
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Music streaming service Spotify says it won’t be launching a lossless audio stream because it fears Britain’s creaking broadband network isn’t capable of delivering the service properly.
Spotify already streams at 320Kbits/sec, which the company says is almost indiscernible from the lossless quality of CDs. But serious audiophiles always want the highest quality possible and the company is concerned that higher bit-rate streaming could lead to stuttering in streams.
Read more: UK broadband rules out lossless Spotify service | News | PC Pro
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At yesterday’s TechCrunch Disrupt conference, MySpace co-presidents Jason Hirschhorn and Mike Jones were interviewed about the future of the struggling social networker.
On falling numbers -“We have 120 million unique visitors worldwide. US numbers have been fairly flat. Page views are down… substantially by design. MySpace used to have processes that took 10 page views that should have taken 1.”
How important is music? “It’s incredibly important. The pedigree of MySpace is around musicians. Free streaming access from record labels. We’re building out all sorts of tools for musicians. Dashboards, presence management.”
read more on hypebot.com
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The statistical highlights courtesy of BPI:
- Total UK recorded music trade income rises 1.4% overall to £928.8m
- Trade revenues from physical formats down 6.1% to £739.9m
- Digital income now a fifth of total recorded music revenues – up 47.8% to £188.9m
What does this mix report mean for the future? According to Forrester analyst Mark Mulligan, the glass half empty perspective is appropriate. “The UK recorded music market has lost close to 40% of its value since 2003. Though this isn’t necessarily a dead cat bounce, it is going to take a lot more than 1.4% annual growth to turn things around”.
[via hypebot.com ]
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