512unes by LASA Ezine

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ACROSS 3. The capital city of Texas 4. The nutty spread that Elvis enjoyed with bananas 6. The _____ Avenue Bat Bridge 9. Live music festival held in mid March 11. A violin has strings, but a ____ has straaaangs

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DOWN 1. British music group; “Here Comes The Sun” 2. Austin’s old telephone area code 5. Live music festival held in late September and early October 7. Music streaming service with a green logo 8. 20th century predecessor of CDs 10. They will, they will, rock you, rock you

Spinning It Old School Why are record stores important to Austin, and how can we support them? by Ivy Sernovitz

The Background Music How do struggles that musicians face play a part in the music they create? by Sophia Dawson

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Meet The Editors The deepest and darkest secrets of team 5 1 2UNES are revealed in this scathing expose of our editors’ pasts

Quotes and Ads Memories of a great semester

Tuning In The Best Device To Listen To Music With by Ivy Concert Basics What should I bring to a concert? by Sophia Behind The Scenes Of A Speaker What parts make up a speaker? by Rachit At The Crossroads How do food and music intersect in culture? by Tessa

Producing In The Shadows Understanding Austin-based producers and their jobs through the by Rachit Kakkar

Turning It Back Up The road to recovery for Austin’s musicians after a devastating pandemic by Tessa Cook 5 1 2UNES | 5

From Left to Right: Sophia Dawson, Ivy Sernovitz, Tessa Cook, Rachit Kakkar. The writters and editors of 512unes all pose for their first group photo, 5/6/22.

EDITORS PICK: ALBUMs OF THE MONTH SOPHIA

IVY Bad Blood By: Bastille

Best of Simon and Garfunkel

Landmark By: Hippo Campus

TESSA 5 1 2UNES | 6

Louder Than Bombs By: The Smith

RACHIT

MEET Meet THE TEAM TeaM IVY SERNOVITZ

Ivy Sernovitz is a 34th grader here at LASA. She plans on attending preschool after high school and enjoys many hobbies. When she’s not committing tax fraud, she enjoys photography, fashion, bank robbing, and even pottery. A fun fact is that she had purple hair in the sixth grade and makes strange noises when in distress, like a parakeet. For our magazine, Ivy wrote about local record stores and their impact on the community, while also doing food reviews on the taste of different CDs.

TESSA COOK

Tessa Elizabeth Edith Elbow Ankle Ann Cook-Me is a student based in Austin, Texas - and she attends LASA High School. Her dream after she graduates is to ride llamas in Mongolia with her friends. She then plans to return to civilization, get a degree, and work in government as a local politician or in an administration role. In her free time, she likes to disconnect from civilization and run on busy roads - as well as play the violin (which she believes is vastly superior to the loud and unfashionable band instruments). She is currently working on gracing the world with her sweater, made from socks with holes in them.

RACHIT KAKKAR

On June 11th, 2007, a miracle was brought upon us. 14 years later, Rachit Kakkar - or, as he prefers to go by, His Royal Highness Sir Rachit - is at LASA, where he intends on researching and further exploring the advancements of mortals in technological fields, which everyone knows are just fruitless efforts to get on the level of holy and divine beings such as himself. He also enjoys pastimes that typically are reserved for middle-aged men at the height of their midlife crisis, such as investing and trading in the stock market.

SOPHIA DAWSON Sophia Dawson is a 15 month old stuck here in Austin, Texas that attends the Literal Arcs and Sines Academy. She forced her way into our magazine with her story about musicians’ lives. In her free time, she loves reading any and all books which are included but not limited to teen novels, educational non-fiction, and the occasional IKEA instruction manual. Sometimes, when she’s really bored, she reads the dictionary for fun. Dancing to embarrassing pop songs and listening to indie music are other things Sophia enjoys. After high school, she hopes to go to college and move to New York in order to replace the Statue of Liberty.

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Spinning it old school

Why Record Stores are Important to Austin and How to Support Them By Ivy Sernovitz

hile vinyl records may sound like an outdated way to listen to music, the record industry is actually booming. According to a study by Billboard, over 41.72 million vinyl albums were sold in 2021 in the United States alone. This was a large increase from only 326.2 million, the number of albums sold in 2010 (information from NPR). For many people, record stores are more than just a place to buy music. Instead, they are meeting places for people to hang out, discuss music, and be part of the local music community. They are also places for people to discover new music and learn more about the music they already love. Austin is lucky to house over a dozen record stores, one of which being Waterloo Records. John Kunz has owned the store for over 4 decades, which offers an incredible variety of vinyls. The physical location stores around 100,000 vinyls and another 500,000 are offered online. It’s considered by many people to be one of the best record stores in the country due to its atmosphere, wide selection, and the precedent it has set for other

“It’s just a great place to meet people and learn about music. It’s a special place for me for sure.”

-Eve Monsees

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local stores, such as Antone’s Record Shop and Breakaway Records. Antone’s Record Store was founded 35 years ago by Clifford Antone after also founding the popular Antone’s nightclub a few years prior in 1975. Antone’s Records is famous for its wide selection of music and for being one of the earliest record stores in the Austin music scene. Although Austin has many well-established vinyl stores, it also has some newer ones. In 2008, Gabriel Vaughn founded Breakaway Records, located on East 5th St in East Austin. Since then, the co-owner has changed, and the business moved to the North Loop. Although Breakaway sells all kinds of music, it specializes in soul music and hip hop. “It’s a clubhouse for all of the people who love music,” Gabe Vaughn, owner of Breakaway Records said. “And it doesn’t matter if you’re a musician or just a music appreciator or both. It’s a place to explore,” To this day, many people still believe that vinyls are the best way to listen to music. One appeal of records is that they are tangible items that you can hold, touch, and collect. For some people, having a hands-on listening experience can be more enjoyable. Others advocate that records simply sound better, with their warm, crackly sound and the slight imperfections that make them unique. “It’s analog music as opposed to digital music. And I think whether we know it or not, our body knows the difference.” John Kunz, owner of Waterloo Records said. Although listening to records was very popular for decades, the release of new listening formats such as CDs caused record sales to drop exponentially. However, in recent years, records have made a comeback and are becoming increasingly popular again. Lots of current artists such as Billie Eilish and Ariana have begun to release their music in both digital and physical formats.

Rows of vinyls at Breakaway Records. Photo credit to Breakaway Records.

“I think the wave that we’ve seen in vinyl sales specifically over the last 10, 15 years, really has to do with the popularity of the digital formats and people wanting to find an experience that’s different from that,” Gabe explained. There is often conflict between people who prefer records and people who prefer modern streaming services, but the popularity of one does not necessarily have to take away from the popularity of the other. They can coexist with each other and be valuable in their own right. “I think they’re apples and oranges, and I think they’re both great in their own ways. It doesn’t necessarily have to be a competition,” Gabe said. For record store owners, being located in Austin, often dubbed “the live music capital of the world,” may give them certain advantages due to Austin’s unique and diverse local music scene. The music-lovers of the city help create an environment where a record store can thrive. “Austin is very fortunate in the sense that it has a lot of respect and appreciation for

music built into the foundation here,” Gabe said. To support the city, it is also vital to shop local and support local businesses. A study compared Waterloo records, a local business, to a national record store chain. It showed that when $100 was spent at Waterloo, three and a half times more money stayed in Austin compared to when the same amount was spent at a larger national corporation. When asked the best way to support local businesses, Eve Monsees, local singer and owner of Antone’s Records, said, “I mean, for us, it’s just, come through the doors and dig through the bins and find something you like. Maybe talk to people that are working there, get some recommendations.” Buying from local record stores can do more than just support the store and city. Many of these stores are starting points for new, local artists to release and sell their music. Before many stores were temporarily shut down due to the pandemic, Waterloo held launch parties for new artists. For a customer, records may be more expensive than streaming, but buying a record often gives more money directly to the 5 1 2UNES | 9

Breakaway Records’ vibrant storefront at 211 North Loop. Photo credit to Breakaway Records.

artist.

“If somebody listens to a song on Spotify, that person gets 3/1000 of a penny. So if a bunch of people listen to it 3000 times, that person gets one penny,” John explained. “If somebody buys a ten-dollar CD in my store, that person could be getting anywhere from a dollar to four dollars, depending on different situations.” While the conversation of supporting local businesses often centers around the customer, it is also important that the businesses themselves work together. In Austin, Record Store Day is an opportunity for businesses to do just that. On those days, a customer can purchase a record from one store and show the receipt at another store for a discount. This shows cooperation between the stores by encouraging customers to support the music scene in general, not just one specific store. “We’re not teeth-gnashing competitors going at each other’s throats,” John said. “We’re all record stores in Austin that are friends and 5 1 2UNES | 10

cooperating with one another because the music scene here is more important than one of us trying to get ahead on the backs of the other.” Throughout the last couple of years, the Covid-19 pandemic has impacted local businesses everywhere. Many stores had to close their doors for months at a time, and some were never able to reopen them. “In the 14 years of doing business, the last two years have been by far the most challenging and affected,” Gabe said. Among other things, one major challenge that the pandemic initiated was supply chain issues. Record production in particular has struggled to keep up with the rapidly increasing demand. Much of the machinery used to make records is outdated and was melted down when record sales declined. “Because of the major demand for vinyl and the fact that there’s all kinds of supply chain issues, everything from buying a car to a couch, that’s affected the record industry

a lot as well,” Eve said. “There’s a lot of new releases that are getting delayed, which has caused a lot of frustration. Although there were many downsides to the pandemic, there were also some positives. More and more people became interested in records while they were quarantined at home. In fact, Waterloo Records experienced more business than they had for the first time in a while. For some, the pandemic offered a fresh perspective on how they run their business. “It really gave us a good opportunity to kind of learn how to reevaluate everything,” Eve said. Now more than ever, it’s important to treat small business owners with respect and realize how much work they put in to keep their businesses going. “A lot of people put a lot of their love and their energy into businesses around this town, and it’s important to honor them and to respect them and kind of know who they are because they are the people who shape your community,” Gabe said. 512

Records are a vital part of Austin’s music scene and can be an interesting way to collect and listen to all types of music. If you can, go to your nearest record store, and see for yourself.

“It’s really great having everybody push in the same direction and trying to forget about keeping Austin weird. Just keep Austin Austin.”

-John Kunz

At Breakaway, a customer rifles through the vast selection of vinyls. Photo credit to Breakaway Records.

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Tuning in

Finding The Best Device to Listen to Music With These days, there are many options and devices available to listen to music with. Some people may prefer specific methods due to sound quality, convenience, and overall listening experience. On this page you can find the pros and cons of records, CDs, Spotify, live music, and the radio, which can be helpful for people to decide which ones they should use. Below is a chart that shows the results of a poll among students at LASA High School. The poll shows that out of the options, almost everyone prefers Spotify. -Ivy Sernovitz

Other

Live music

Radio

Records

Spotify

Number of votes

0 “ Most music isn’t tangible. You can’t touch it. It lives in Spotify

or lives on iTunes or YouTube or whatever, and you don’t have a physical product. And so I think the wave that we’ve seen in vinyl sales specifically over the last 10, 15 years, really has to do with the popularity of the digital formats and people wanting to find an experience that’s different from that. “

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Pros • • • • •

good sound quality vintage physical trendy interesting artwork on jackets or inserts

Cons • • • • •

Pros • • • •

often comes with cars can find new music can help with communication during emergency events portable

album artwork high sound quality collectable can make custom portable

• less choice in music • poorer sound quality • unreliable in more rural areas • long advertisements

• •

unique experience can see and meet the musicians involves all senses can make great memories

• • • •

• • •

convenient lots of options and choice very portable can be free can be on many devices

harder to find due to current demand decrease needs a CD player fragile takes up more space

Cons • • • •

Pros • •

Radio

Cons

Pros • •

Records

Cons

Pros • • • • •

expensive impractical breakable harder to find specific albums needs a record player

much more expensive than other items have to go to the venue can be very loud less choice in music

LIve Music

Cons • • • •

less money to the artists ads if you aren’t paying lower sound quality less interactive

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THE BACKGROUND MUSIC By: Sophia Dawson

How the struggles local artists face play a part in the music they create Music lovers around the world are always in search of shows to see and artists to support. Music brings people together and unites communities in ways that few other forms of communication, art, or entertainment can. However, behind every form of art is an artist and this comes into play in important and diverse ways throughout the music world and industry. When songwriters, composers, or singers sit down to talk about the piece they want to produce, oftentimes the true emotions of their own life comes out. Those emotions are what makes a song feel authentic and lets the audience connect to the music. What exactly is it that artists commonly experience in their day to day lives? What connects the local artists of Austin? There are many different

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ups, downs, opportunities, and struggles that local artists experience, and that is what makes the Austin music scene so unique. What goes on behind the stage is where the real magic begins and where the human lies beneath the surface of the musical notes.

John Mickan is a production manager at Stubb’s Amphitheater and works with ACL Live. As a production manager, he handles everything from planning the days artists spend playing at his venues, to handling contract agreements with the artists’ managers or companies.

One of the most common struggles of being a local musician is lacking the ability to actually share and spread the music that artists work so hard to create. Finding venues to play at and earn from can be difficult if the artist or band is not yet extremely known. Fortunately, Austin allows for music to be spread all around the city. It’s a challenge to walk downtown without seeing or hearing at least some form of musical art.

“Once [the contract is] signed they hand it over to me and I take it from there,” John said. The contract goes from a manager to someone called a talent buyer to the production manager and then back to the artist. In the event the artist isn’t signed with a company, this process becomes even more complicated for everyone to figure out. This all goes to show the amount of people, time, and work it takes to even have a basic plan of getting a band on stage.

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That isn’t all that goes into getting an artist on stage. Mickan says that “the biggest challenge for me as a production manager is mother nature.”. Working with outdoor venues is always a potential gamble. You never know when it might rain or have harsh weather conditions which cause a show to be canceled. Shows being canceled are not only a problem for the artist but also the team which was responsible for the production., “Every show that we lose is money lost,” Mickan added. Luckily, sharing music in the digital age doesn’t always have to be in person. Streaming platforms, such as Spotify, SoundCloud, and Pandora, that allow for artists to upload recordings of their produced songs. Sounds easy enough! Unless the artist doesn’t have access to a recording studio. Or technology to mix their backing tracks. Or the money to hire an audio engineer. Many aspects of producing and distributing music costs money, and according to ZipRecruiter, the average salary for local Austin musicians starts at $15k a year. Between the costs of actually dispersing music, artists have to pay for their basic life necessities as well. Jamie Bahr is the lead vocalist of the Austin band, Danger*Cakes, as well as an Executive Director for a local non-profit, Girls Rock Austin. She spoke about her experience using HAAM, the Health Alliance for Austin Musicians, and how programs such as HAAM have helped her in her career. “Having HAAM allowed me to afford all of the appointments and medications I needed to get back to being 5 1 2UNES | 16

in fighting shape for the stage,” Bahr shared. And this is the case with many musicians. Healthcare can be difficult to access for musicians, but with the help of certain programs, these necessities are allowing for more accessible treatment plans in physical and mental health. The Health Alliance for Austin Musicians was founded on the idea of helping low-income musicians have basic necessities such as insurance. Many musicians are self employed and oftentimes do not get the typical benefits of certain employer based jobs. The income of musicians can fluctuate month to month depending on the activeness of their performance opportunities and the popularity of their music on streaming platforms. To have the ability to continue to perform and create music, necessities must be met. Some self employed health insurance plans will take coverage of check-ups to avert emergencies in which artists can’t continue with their job. Mental health crises are another large problem facing local musicians, and can be a bigger problem to tackle. Anxiety and depression are a commonly reported problem from musicians around the industry everywhere,particularly in current trying times. ssion. The music industry plays a large factor in this statistic by reinforcing things such as lack of sleep, extreme touring schedules, low incomes, access to drugs, and many things more commonly found amongst musicians which negatively impact their wellbeing and mental health. The fierce competitiveness of the local music scene also contributes

to the anxieties and stress of musicians. With Austin being one of the most populated areas for the music world, getting publicity and action can be difficult with all the other performers in the city. There are worlds of possibilities when it comes to popularity or availability. Simply having connections in the area or even globally can be an advancement in the careers of musicians everywhere. Knowing someone such as a producer or mixer can be extremely beneficial in the long run to a musicians career. All of these things together combine for musicians to reach their personal goals for themselves, their teams, and their music. All of these factors can make it difficult to continue to create and produce but can also spark inspiration for creativity which is the fuel which musicians run off. The city’s music industry will continue to ebb and flow just as the life of a typical Austinite does. The challenges of playing gigs, producing music, healthcare, competitiveness, mental health, and more continue to be pressing concerns for the population which makes Austin the live music capital of the world. Luckily there are organizations such as HAAM, Housing Works, Backline, and many more that work in an act to keep the spirit and originality of Austin music alive.

Photo taken outside of ACL showing details of the event. Photo courtesy of Tome Baginski.

Photo of local music festival as crowds gather to share a concert. Photo courtesy of Collin Lloyd.

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CONCERT BASICS Everything you should pack for your next concert!

You’ve bought your ticket, planned out the evening, assorted your ride, but wait! You need to pack. Concerts can be one of the most fun events to go to and hear your favorite artists and bands live. As fun as it is, it can be easily ruined if you forget something crucial. So what exactly should you make sure and have? Well first things first, you need to get in. Without a (1) ticket, you might risk not being able to actually see the show! Make sure to have either a physical or digital copy. Next up, concerts often have lots of opportunities to spend money. Maybe its merch, consessions, or even an entrance fee you might not have known about (eek!), it’s always a smart idea to cary around some (2) cash. Not only will it help buy some fun souveniers, it can also be used in emergencies. The last but certainly not least thing to remember is (3) water. If the venue allows for you to bring your own bottle of water, go for it! Concerts can be exhausting and its especially important to hydrate if your show is outdoors.

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Honorable Mentions While you may not need these things, they might be nice to have!

Say Cheese! Cameras are a great way to capture memories you will never want to forget! Make sure and check out whether or not your venue allows for cameras at the show.

Safety First!

Mini first aid kits are producced by many companies and may be worth your investment for your next concert. Things such a band aids and gauze can always come in handy if needed.

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PRODUCING IN THE SHADOWS Understanding Austin-based producers by Rachit Kakkar

Picture of recording studio mixer. Photo by Marc Fanelli-Isla.

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Picture of Austin-based producer Mark Hallman sitting by his equipment. Photo courtesy of The Congress House Studio.

weat forms on your face. You stare in the light of the computer screen, carefully weaving sounds and recordings to form a musical masterpiece. You are totally in the zone, a state of meditative focus, layering multiple tracks and adding effects to give your client your best work. Everyone enjoys listening to all kinds of music, but few are aware of the producers behind the works we all enjoy, and the technology they use. They are even less aware of the processes and experiences of Austin based producers. Music production is an art form that is often underappreciated, but boasts a rich history and technical evolution, and also leaves a lot of room for unique expression and expertise. In most cases, producers don’t enter their role overnight--instead they often come from another role in the music industry, such

as Jason Richard, the Austinbased producer that runs Clockright studio and has over 20 years of experience, who was originally a songwriter. “I always had bands that were touring and needed records to sell and I was not always pleased with the product I was paying for. I felt like the dedication to perfection was always a little short sighted of what I wanted, or what I needed”, Richard said. “Rather than taking the money to go make the record somewhere else, I said, Give me the money. And I’ll buy gear, and I’ll make a record.” Mark Hallman, another Central Texas-based producer who has been producing since 1979 and runs The Congress House Studio, got started as a musician and multiinstrumentalist in a band hired by Carole King, a popular artist in the 70s. She asked me to move to Austin and produce her 5 1 2UNES | 21

“I felt like the dedication to perfection was always a little short sighted of what I wanted, or what I needed.” here in Austin, Texas. We were working out of Los Angeles at the time,” Hallman explained. “[In] 1979, I did the first record, and then I’ve been producing records ever since.” A background in music is incredibly helpful when entering the world of producing, but there are other unique traits that make a good producer. “When I started to work in the studio, a lot of people liked my ideas,” Hallman said. “That’s pretty much what makes up a producer, somebody who’s got the knowledge and the respect to be able to lead a session or lead a recorder, you know, as more like a director of a movie,” Hallman continued. “You’re leading, and you’re having a certain responsibility that’s kind of special.” Leadership isn’t the only important quality a good producer needs, workflow matters a great deal as well. They also need an intricate knowledge and connection with technology. “There’s never dead time in the studio…In fact, sometimes it may move too fast and it goes right over people’s heads, they can’t 5 1 2UNES | 22

believe what happened,” Richard added. “When you can finally become one with your computer, and you can actually drive it like a racecar, then I think you’re kind of rolling in the technology aspect”. Of course, the technology producers use has remained far from static. In fact, technology has evolved significantly over the past few decades. Early on, music production relied on tapes-not computers--and there was a lack of modern editing tools. “It was a different process, it was a lot harder, really, in a lot of ways,” Hallman added. “And it took a lot longer, because we had to use tape and we didn’t have modern editing tools.” However, every producer started at different times with different technologies. Jason Richard, for example, started producing in the 2010s.

years with that I was on to computers.” For others, technological advances have been less drastic. Rock Ali, a producer at the Austin based Montop Studios, reports that not much has changed since he started producing, particularly because of the unique process his studio uses. “When I started, it was during the Napster days, you know, kind of like when, I guess, the internet, the DSL, and the cable modems [were] really first getting started,” Ali said. “But the process of making music is something that really hasn’t changed too much…because a lot of the equipment that I use is analog equipment, which is not ran by zeros and ones.” Ali went on to say that there had been slight changes

“It was a different process, it was a lot harder, really, in a lot of ways.” “I started on cassette players bouncing from cassette player to cassette player, then I got a real real four track, a real real eight track, and then I got this thing, they were called ADATs and they were ran off what looked to be VHS tapes, but you could sync them up together. So three ADATs. So then I had a 24 track studio”, Jason explained. “And after a couple

Picture of Austin-based producer Jason Richard rocking a guitar. Photo courtesy of Clockright Studio.

in technology, but perhaps the biggest change has been the new connectivity between creatives and producers brought on by the internet. “I mean, there’s been software changes, and, you know, computers change. And that’s kind of been the only thing,” Ali added. “But I could say, with technology, that actually making music with others and actually getting files sent back and forth. That [has] probably been the biggest change is that now you can do music, and you can network with people all around due to the internet”. Ali’s answers have also highlighted another aspect of producing: the unique technology that each producer

brings to the field. In Ali’s case, he takes numerous steps to make sure that the source sounds good before it even hits the computer. “We’re a hybrid studio, but we like to use analog gear, we believe in getting an actual analog acoustic on the field,” Ali said. “So we invest a lot into high quality gear, gear that makes someone sound good, before it even hits the computer.” In most cases, it isn’t the technology that is unique, but the producer’s process and expertise. “I can’t really think of any technologies that are different. Most studios have access--just like I do--to everything that’s out there,”

Picture of recording studio. Photo by Josh Sorenson.

Hallman explained. “I would say the difference would be in the staff. The engineers are particularly exceptional, and they’re not always that way in other studios. So it’s more about the people than this equipment.” Of course, producers also have some common technology that they all use. For example, every producer uses something called a Digital Audio Workstation, commonly abbreviated to “DAW”. DAWs are a type of computer software that is used to record, edit, and produce audio files. They are a central part of every producer’s toolkit, and some commonly used ones include: Ableton Live, Logic Pro, Nuendo, and FL

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Many microphones arranged in a circle. Photo courtesy of Clockright Studio.

Musician sitting in a studio and recording himself playing the guitar. Photo by Tim Toomey.

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Studio. Many producers also use plugins to augment their DAWs. “I think most studios

“Most studios have access--just like I do-to everything that’s out there.” are going to have a computer or person who likes to record, whether they start with something like Audacity and then go to Logic and then… to…whatever workstation they work in. I work In Nuendo, could be Pro Tools, whatever,” Richard explained. “So for sure that computer and interface.” DAWs aren’t the only software producers use, as Richard himself touched on, with another popular software mentioned called Audacity. Audacity is a completely open source software that is described on its website as

“an easy-to-use, multi-track audio editor and recorder for Windows, macOS, GNU/Linux and other operating systems.” Mr. Richard also touched on the fact that there is no single industry standard, and producers often choose their own workflows from the wide variety of capable software, with Richard himself working in Nuendo. Software isn’t the only piece of technology that producers rely on. Hardware is equally as essential. “Some kind of computer based recording and microphones, speakers, compressors, equalizer sound, enhancers, things like that,” Hamil said. But all of this talk about technology and production processes risks missing what really makes producing special. Producing is ultimately about creating something that people can enjoy, and like with any art, it

is a deeply creative process that can’t be simplified down to technologies like DAWs and microphones, as instrumental to the process they might be. “When producing, it’s like meditation, it’s something you just kind of fall deeply into. And when somebody hears your work, and it moves them, it means that much more. After you’ve made something, you just want to keep doing it,” Ali said. “It’s not about the money…, or about producing a really famous track or anything like that. But when somebody says, this jams, this makes me feel good. I can listen to this over and over and over. It’s something that you created, something that came from within, and it’s just a driving force to keep doing it. It’s like chasing the high. You just want to keep getting that response from people. I love it. It makes me feel good. It’s very addictive.” 512

Picture of vintage music equipment and tapes arranged on a wall. Photo by Mikes-Photography

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BEHIND THE SCENES OF A SPEAKER by Rachit Kakkar

Introduction The speaker, invented in 1925 by Edward W. Kellogg and Chester W. Rice, is present in all sorts of devices--from computers and televisions to cell phones and record players. A speaker, at its core, is a device able to convert electrical signals into a whole symphony of sound. It does this by pushing and pulling air molecules to make complex sound waves. This story is designed to give readers a complete understanding of the inner workings of this widespread device.

THE MAKING OF Sound AMPlITUDE: wave strength/power = sound volume

one Second

The diagram to the right describes the anatomy of a sound wave. It is technically inaccurate, as sound waves travel in pockets of high and low pressure instead of bouncing up and down, but it is easier to visualise a wave with peaks representing high pressure areas, and troughs representing low pressure areas. As shown by the components section, speakers use an electromagnetic voice coil to move the cone, which pushes and pulls air molecules to create a sound wave. But how are we able to hear complex music from one wave? The answer is the superposition principle.

FREQUENCY: waves/vibrations per second = note pitch

Superpostion LOW NOTE

This principle states that multiple waves in the same system will superimpose into a unified wave, allowing the brain to hear multiple notes from one wave with both fast and slow vibrations.

HIGH NOTE

BOTH NOTES

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This also works for the same notes played by different instruments, due to small variations in their unqiue sound, or timbre. In short, speakers use an incredibly complex wave to create their varied sound.

COMPONENTS OF A Speaker

POLE Pole PIECE/REAR Piece/Rear PLATE Plate

This piece slides into the gap in the center of the magnent, preventing the voice coil from crashing into the back of the speaker.

MAGNENT

TOP PLATE This piece is important in completing the speaker’s magnetic circuit. It’s diameter, thickness, and gap affects the speaker’s sound.

This piece surrounds the voice coil and helps repulse or attract the suspendedvoice coil. An important aspect of this piece is its permanent magnetic ﬁeld.

BASKET

Voice COIL

CONE

The cone is a diaphragm. or a device that converts mechanical motion into sound waves. It is moved back and forth by the voice coil, and pushes air molecules to create sound waves.

DUST CAP

This piece acts as the system’s suspension. It keeps the voice coil and cone aligned properly, prevents side to side movement, and returns the mechanism to its neutral position between vibrations.

SPIDER

This piece is surrounded by a coil made of copper wire, allowing it to be an electromagnent. Because of this, altering electric current ﬂowing through this wire causes it be be repulsed or attracted to the permanent magnent it is suspened in varying degrees. This creates a back and forth motion.

This piece, also known as the speaker chassis, is a metal frame which holds the speaker together and helps prevent issues with deformation/alignment.

This piece prevents dust, dirt, and other particles from entering important internal components.

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SOURCES 1. https://animagraffs.com/loudspeaker/ 2. https://learn.sonicelectronix.com/what-are-all-of-the-partsto-a-speaker-and-what-do-they-do/

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aturday nights on 6th Street are wild. Lights are flashing, bodies are dancing, voices are cheering, glasses are clinking, and the street is resonating with the sound of a good time. Electric basses blast from rooftops, acoustic guitars strum country chords in bar corners, and the upbeat scales of ragtime piano bounce out of propped-open doorways and into the dark city skies. To the happy, laughing partygoers stumbling down sidewalks between bars, it seems impossible that the colorful and endlessly vibrant energy of Austin’s most popular live music scene could ever screech to a halt. Of course, this magical, musical street couldn’t exist just anywhere. “Austin has something very unique,” said Austin fiddler Warren Hood. “When you go to some of the other cities, you might see a really great jazz band, or a really great blues band, or a cover band, but in Austin, the players here are really good at all of it. On the same night, one guy can go play a jazz gig and then a rock show and then a blues gig with three different bands.” Madeline Horrell, who plays cello in the Austin Civic Orchestra and directs the orchestra program at Kealing Middle School, had a similar sentiment.“I think there’s more of a focus on bridging different

With the absence of a crowd, street performers struggled to mantain their livliehoods Image and Illustration by Tessa Cook

genres of music in Austin because live music is such a part of Austin’s identity as a city,” said Horrell. She pointed to the Austin Civic Orchestra for an example.The orchestra has ties to musical groups and bands all around Austin, including the University of Texas. “There’s just more of a connection [between genres] here, and I notice a lot of collaboration,” explained Horrell. For musicians, it’s not just the Austin crowd that makes playing music in the city special; it’s also the legacies that our historic performance venues carry with them.

up at the Continental Club, and it’s still my favorite club to go to when I’m off,” said Hood. “My dad played there every Tuesday from the time I was eight years old until I was eighteen. After he passed away, I sat in that chair and ended up playing that gig for even longer than he did, every Tuesday for 25 years.” But in March of 2020, a hush fell over Austin’s memory-filled streets. 6th street, a road once paved with noise and spirit,

“I kind of grew

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was empty, occupied only by the shrill shriek of silence. The COVID-19 pandemic did what even scalding summers of solid sun could not; it killed the vibe. The shutdown of Austin’s bars and restaurants was hard on Austinites who had to turn to taco takeout instead of their typical world-class tex-mex, but for Austin musicians who were paid more in hoots and cheers than dollar bills, the pandemic was devastating. Sixth Street felt empty without the crowds during the pandemic Image by Tessa Cook

The ABGB has loads of parking outside of it’s industrial-style restuaraunt building Image by Tessa Cook

Austin is filled with monuments of famous musicians, such as this statue of Willie Nelson Image by Tessa Cook

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“Looking back on it now, I’m like, how did we do it?” said Horrell. When pandemic conditions forced schools to close, teachers like Horrell had to create an entirely new, independently-focused online curriculum. “There was a lot of it that was not so fun,” confessed Horrell. “But also there was definitely a lot that I learned to do that I didn’t know how to do before.” For Kealing Orchestra students, virtual orchestra classes last year involved playing along to prerecorded practice tracks and rehearsing in small Zoom breakout rooms. In retrospect, Horrell was “really impressed by what people were able to do in their own little isolated units, and what they were able to learn and put together.” Not only is Horrell in charge of one of the best school orchestra programs in the city, but also she finds time to perform with the Austin Civic Orchestra. “I actually kind of took last year off from working with [the Civic Orchestra], but they did a lot of virtual concerts,” said Horrell. “They had some concerts where they would get together in someone’s backyard and play string quartets.” Chamber music was particularly conducive to the pandemic, as chamber ensembles are rarely more than five players. Even this season, when Horrell returned to the Orchestra, chamber performances continued. “The first concert this [season] was a small group, but that was in the fall when there was the

Delta variant. From October on it’s been pretty much back to normal, but with masks and trying to be careful. It’s been a lot of having to be flexible.”

“I was really impressed by what people were able to do in their own little isolated units” - Madeline Horrell

Flexibility was also vital for Hood. He had to adjust from frequent gigs in crowded venues to occasional outdoor meetings with his musician friends. He’s back to performing now, but with a different perspective. “Nobody takes it for granted anymore. Everybody is just happy to be out and see other people,” said Hood. “I think fewer people are in the corner on their phones, and they’re more engaged with the people around them.” Horrell shares the optimistic approach: “Now that we know these things are possible, it opens up more things that we can do in the future if we ever need to,” she said.

Right: The ABGB may look quiet during the day, but at night the parking lot buzzes with life. Image by Tessa Cook

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Statues of guitars that nod to the city’s rich musical history are scattered around Austin. Image by Tessa Cook

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“Being a musician when you’re playing every day, it can start to feel like a job sometimes,” said Hood. “Not all the gigs are fun, [because] sometimes you’re just tired, but you have to go out and play again.” He added that the pandemic gave him a different perspective, and now that he and his fellow musicians are playing again, they “just don’t take any performance for granted.” When speaking about the future, Hood said that one of the things he took away from his pandemic experience was a piece of advice from his cousin: “He told me it doesn’t matter if you’re standing in line at the DMV, or backstage at the Rolling Stones, wherever you are, there you are. And he’s got it right.”

“He told me it doesn’t matter if you’re standing in line at the DMV, or backstage at the Rolling Stone, wherever you are, there you are. And he’s got it right.””

Nowadays, you can find both Horrell and Hood regularly performing at venues all over Austin. Coming up in June, The Austin Civic Orchestra (austincivicorchestra.org) is planning two concerts at the Zilker Hillside Theater, free for everyone to attend. Warren Hood performs from 7-9 every Wednesday evening at the Austin Beer Garden and Brewery (theabgb.com). And the Kealing Middle School Orchestra program can be found on YouTube, Instagram, and occasionally around Austin at school district events. 512 Warren Hood’s website is warrenhood.com. Madeline Horrell can be contacted through AISD’s staff directory. The Austin Civic Orchestra’s website austincivicorchestra.org Support local musicians!

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ERRY FIEL

PES bsp E 2t CR

4 eg

1. In a blender, combine all ingredients and blend until smooth 2. Spray a frying pan with oil and set over medium-high heat. 3. Pour ¼ cup batter into the hot pan and tilt the pan until the batter evenly coats the pan. When the crepe is set, flip it over until both sides are lightly browned. Repeat with remaining batter. 5. Fill each crepe with berries and some jam. Enjoy!

1 1/2 cups

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TRIVIA

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Live music plays on

Roughly

-B

42% pi

of adults report to be able to play an instrument!

Since food is such an

INTEGRAL

EAT. 5 1 2UNES | 34

6th STREET

What instrument did Chef Gordon Ramsay play on the TV show MasterChef Junior?

An sw er :

O R C

A O SR

in bars and restuaraunts every night!

B AW

IN G R

‘N

1 cup

TS N E DI

K OC FR K I NG O

METHOD 1. Preheat oven 1 cup* to 350 F and line 1 egg a cookie sheet 1 ripe with parchment banana paper. Set aside. 2 strips 2. Combine peacooked nut butter, sugar, bacon and the egg in a large bowl and mix. 3. Using a sharp knife, chop the bacon strips rs tte bu nut into small pieces. Add he r t o ith k *Recipe has not been tested w Co o bacon to peanut butter mixc ca Adapted from a recipe by Rebe ture and mix well. 4. Scoop the dough in heaping tablespoons onto the prepared cookie sheet and flatten using a spoon. 5. Thinly slice the banana into circles or semicircles and press slices onto the top of each cookie. 6. Bake for 8-10 minutes, or until the bottoms of the cookies are lightly browned. Enjoy!

RO L

Elvis Presley was, of course, known best for his crooning voice and catchy rock ‘n roll, but many people also know him for his funky taste in food. He was known for frequently requesting peanut butter sandwiches with banana and even bacon! Try out these Elvisinspired cookies to connect with the king of rock ‘n roll on a whole new level!

LC O OK IE S

Approximately

450,000

L AC NU E M

Austin, known as the Live Music Captial of every year! the World, has a lot to live up to when it comes to musical performance. Festivals such as ACL draw big crowds once a year, but restuaraunts and bars show off talented musicians year round! Stop by the Austin Beer Garden and Brewery on Wednesdays to see Warren Hood (see pg. 28) perform and to experience the authentic Austin vibe!

people go to ACL

ACL runs from late september to early october every year!

Although food trucks are life-savers for hungry festival-goers after long days of walking and dancing, food trucks are also fun places to hang out with friends year-round! Austin has wholeheartedly embraced food truck culture, with dedicated parks around the city with clusters of trucks and an abundance of cuisine options in each!

AUSTIN’S

FOOD TRUCK PARKS 1720

Barton Springs

ROAD

Eighty-Two

RAINEY Street

7800 S First St

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“Sometimes we meet our soulmates in EZine.” - Sophia Dawson

SEEKING: Administrative assistant to take Rachit’s place Pay: Unlimited Hugs

“I guess it’s not backstabbing if you stab them in the front.” - Kai Henry

Nothing is more valid than the beetle. Except the devil.

“I need you to Photoshop me bald.” - Ivy Sernovitz

“French is just English but yassified” -Flore Sterne

“If my cat was stuck in our house during a fire then we’d have a nice roasted dish.” - Ivy Sernovitz

Fun Fact: 3 out of 4 members of team 512UNES were in Mr. Ramirez’s B5 Spanish 2 class

“I am not crazy! I know he swapped those numbers. I knew it was 1216. One after Magna Carta. As if I could ever make such a mistake. Never. Never! I just - I just couldn’t prove it. He covered his tracks, he got that idiot at the copy shop to lie for him. You think this is something? You think this is bad? This? This chicanery?” - Caty Tarrant

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Rachit: “This is the hill I’ll die on.” Ivy: “Then die.”

Follow The Valid Beetle on Instagram @thisbeetleisvalid for adventures and life advice!

“Keefe.” -Henna Wittsche “Ur mom sus ;-;” - Charlie Williams

Flora: “Get Instagram” Tessa: “NEVERRRR” Flora: *locks Tessa out of her iPhone by guessing the password wrong*

“Edith isn’t my middle name *winks*” - Flora Stern

-.. .. -.. / -.-- --- ..- / -.- -. --.-- / - .... .- - / - .... .. ... / .. ... / .- / .-- . .. --. .... - . -.. / -.-. .-.. .- ... ... / ..-. --- .-. / ... --- -- . / .-. . .- ... --- -. / - .... .- - / ... ..- .-. .--. .-. .. ... . ... / -- . /

“Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice, Sacrifice!”

The 512UNES Head Offices are accessible by appointment only from 2:20-3:55 pm Monday-Friday

There are absolutely no exceptions to the “by appointment only” rule, not even for you, Flora. Big Sad.

“If me and Ivy ever got in a fight, Kat would still win.” - Flora Stern

“Will you marry me?” - Ivy Sernovitz

“No.” - Rachit Kakkar

“I want a divorce.” - Ivy Sernovitz-Kakkar

“TESSA!!! *Incomprehensible screams of joy*” - Astrid Gothard

“AAASSSTTTRRRIIIDD!!! *jumps up and down*” - Tessa Cook

“Henna threw a book at me.” - Simon Auby

“I’m Johan-Carl Seagren. I teach SciTech and Woodworking here at LASA.” - Thibaud Mankin

Flora: “Can we take a picture?” Tessa: “Sure” Flora: *takes photo of Tessa only*

Fact of Life: Kat is cooler than any of us can ever hope to be.

“Thibaud est sus.” - Madame Lee “Thibaud est beau.” - Ariel

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