Performer Magazine: February/March 2019

THE MUSICIAN ’S RESO URCE

FEB/MARCH 2019 FREE

OPTIMIZE METADATA FOR LICENSING OPPORTUNITIES THE BEST OF WINTER NAMM THE YEAR IN SAMPLES INSTRUMENT INSURANCE 101 On letting go of label restrictions and the satisfaction of self-producing

Georgi Kay

BIG SOUND TO GO MLS900 PERSONAL LINE ARRAY Experience the ideal union of power, features and portability with the all-new Harbinger MLS900 Personal Line Array. Perfect for vocals, guitars, keys, DJs and more, this versatile, compact PA system has everything you need to get your message to the world. A total of eight simultaneous inputs and 900 watts of power combine with Bluetooth audio and innovative Smart Stereo™ to create a wealth of performance options.

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harbingerproaudio.com

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TABLE OF CONTENTS

VOLUME 29, ISSUE 1

TABLE OF

cover story

CONTENTS 16

NICK WATERHOUSE

by Lauren Moquin

DEPARTMENTS 4. LETTER FROM THE EDITOR 5. Cassette of the Month: Kiss Concert - “Look Bad/Feel Bad” 6. State of the Music Industry 8. How to Optimize Metadata for Music Libraries 10. Tracklib’s 2018 Comprehensive Sample Study 28. The Basics of Instrument Insurance 30. 7 Tips for Choosing a PA System 32. TOUR TEST: Andrew Hoyt with Mackie FreePlay LIVE 34. Best of Winter NAMM 2019 38. GEAR REVIEWS: Mackie, Peavey, Sennheiser, Taylor Guitars and more…

Cover

GEORGI KAY

by Kim Nieva

24

NOVO AMOR

by Wilhelmina Hayward

Morgan Demeter

20 PERFORMER MAGAZINE FEBRUARY/MARCH 2019 3

LETTER FROM THE EDITOR

LETTER

from the editor

Volume 29, Issue 1 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

Howdy, y’all.

EDITORIAL ASSISTANT

Just back from NAMM and I’m excited to start seeing all the new gear flow in and out of the office as part of the post-show madness. By all appearances, the industry seems healthy, Gibson looks to have a solid new footing, and the feature-per-dollar ratio of home recording gear is getting even more insane (in a good way!). In short, good stuff.

We had a chance to roam the halls and check out all the new guitars, synths, recording equipment and live audio gear that one could handle – and hope to be able to review as much of it as possible in the year ahead.

On that note, we have some exciting plans for more video-based reviews and how-to content featuring some of your favorite brands, and some brands that might be new to you. So, if you’re a content-creator and are interested in being a part of that, be sure to drop us a line (likewise, if you make awesome gear, let us know that you’d like to get in on the action). We want to work with talented people, and I think our readership is the talented-est of the bunch (even if your humble editor is not so good with the wordy-words).

Bob Dobalina editorial@performermag.com CONTRIBUTING WRITERS

Benjamin Ricci, Chris Devine, Andrew Hoyt, Bruce Zimmerman, Derek Burns, Kim Nieva, Lauren Moquin, Michael St. James, Oskar Sundberg, Wilhelmina Hayward CONTRIBUTING PHOTOGRAPHERS

Morgan Demeter, Monika Sedziute, Zach Lewis, Connor Robertson, Daniel Alexander Harris, Warner Pool ADVERTISING SALES

William House Phone: 617-627-9919 bill@performermag.com

On that front, we also want to hear from the small guys and gals out there, the boutique and short-run builders who are making cool, unique and (most importantly) musical stuff that our readers should know about. Again, drop us a line and let us in on what you’re doing. We might just feature you in a special upcoming issue (shh, don’t let the secret out).

© 2019 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.

Anyway – let’s summarize. Cool gear ahead. More video demos ahead. Get involved if you’d like and oh yeah, some special issues on the horizon that we think you’re gonna dig.

Annual Subscription Rate is $30 in the U.S.; $45 outside the U.S.

Benjamin Ricci PS – please write in and say you like our special issues, even if it’s a lie. Makes me look good to the boss :) Also, special congrats go out to Zildjian for making the super-smart decision to hire my super-awesome, super-intelligent, super-talented wife as part of their marketing team. By the time this comes out, that should be public knowledge, and if not, oops! Consider the beans officially spilled. You’ve got one helluva woman on board now. Listen to what she says – she knows what she’s talking about!

ABOUT US / 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.

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 CORRECTIONS / 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.”

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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PERFORMERMAG

Kiss Concert

REVIEWS

CASSETTE OF THE MONTH Look Bad/Feel Bad Worcester, MA

Derek Burns

L

ook bad, feel bad -- sound good. This late2018 release from Worcester, MA trio Kiss Concert, Look Bad/Feel Bad serves neatly-woven rock arrangements at mid-fi production suitable to the music style. Equally giving in technicality and oddity, with dark lyrical wit to boot, the album is tightly wound, balancing the bizarre with the recognizable. Peckham’s guitar chording is in turns jangly and razored, while leads tend toward either ’70s fuzz, or clearly articulated arpeggios. Satisfyingly complex, but restrained, drumming from Coviello bolts everything down asymmetrically, with effective use of negative space (yes, please).

Pink Floyd-like guitar melodies honk into uneasy rests and crushing guitar chords in “Party Tonight,” and “M’Peach M’Peach” is raw, with a metalcore tone and clip. “Ballad of Kiss Concert” is They Might be Giants on arrival, old Blink-182 forward, and finishes early Modest Mouse. While each band member contributes to vocals, the style remains cohesive. Intentional. Punk rock and at times, the band members proudly represent their influences, but never derive. With more than a few tricks all their own, Kiss Concert continues to bring the weirdest of ear-tasties -- but not a single empty calorie -- with Look Bad/Feel Bad. (Midnight Werewolf Records) Guitar - Zach Peckham Bass - Anthony Richards Drums - Gio Coviello Vocals - All

Pombriant at Studio 52 Allston, MA Vocals recorded by Alex Molini in Domino’s App, NY Lyrics & vocals on “shit in my hand” written & performed by Jordan Holtz Mixing & keys & formidable guidance by Alex Molini Mastering by Michael John Thomas III Cassette via Midnight Werewolf Records

All songs by Kiss Concert Instruments recorded by Jesse Weiss & Jack

LISTEN NOW at kissconcert.bandcamp.com

“If Neutral Milk Hotel had a baby with a young Modest Mouse and it was good at math.”

PERFORMER MAGAZINE FEBRUARY/MARCH 2019 5

MUSIC BUSINESS

I

t’s 2019; look at that number again.

2019. Doesn’t that kind of blow your mind? We are pretty much closer to 2040 than we are to 1999.

Is this what you thought it would look and feel like? I want to give you a realistic outlook on where we are as an industry and put some of the B.S. in perspective. I’ve had the honor of working with a few futurists on strategy and forecasting, and one thing I can always count on is that everyone is wrong. The experts, the dreamers, the futurists, the blowhards, all of them, wrong.

This is never truer than in the music industry.

Let’s unpack some of the hype vs. the reality.

By this point, I was told holographic concerts would be the norm; wrong. In fact, there is a backlash against them. I’m sure you have read in other columns about the “extinction” of downloads, “Music Downloads Will Be Dead by 2020,” read one headline; it’s all over. Yep, except for the $1.2 billion (billion, with a “B”) of revenue last year in the U.S. alone. Are download and physical sales declining? Sure, they absolutely are. But to call ONE BILLION dollars in revenue “dead” and “extinct” is disingenuous at best, and basically cheerleading the streaming future you want.

Blockchain! Notes! Bitcoin! Tokens! I know you’ve read about all of these in this very space.

But, guess what, it hasn’t taken off. Bitcoin is worth half of what it was last year. Most of these new music services chose the Ethereum blockchain to build on, and ETH (Ether) is literally worth 8 times less than what it was last year - that’s what your payment would be tied to.

This could all change tomorrow, but that’s where we are today.

Physical is dead! “Vinyl is a fad, cassettes are an anomaly and NO ONE buys CDs anymore.”

Right? Well, vinyl and cassette grew by double digits (12% and 19%, respectively) in 2018. Surprised? Did you know that 60 million CDs were sold in the U.S. in 2018? Probably not.

All of this AFTER the industry has basically forced the shuttering of record shops, and forced big box stores to stop selling because they won’t stock them. Again, the numbers are dropping, absolutely. But that’s not the story you’ve been sold, is it?

Streaming is dominant and growing exponentially! Not true. Would it surprise you to know that the growth rate of every music streamer subscriber base - including Spotify and Apple Music - is slowing. That’s right, it’s growing, but slower and slower each quarter, meaning that they have reached a saturation point. Spotify grows by just 2% per month while Apple grows by 5%. I’m sure you’ve seen articles spouting numbers like “180 million subscribers” without mentioning that half of them (87 million) are Free Tier users. Apple Music says it has 56 million paid subscribers. All of these numbers fly around and it seems like streaming is so damned important and huge. Well, it is. But pump the brakes, those are all worldwide numbers. What if I told you that Apple Music has more paid subs than Spotify….in North America, it’s true. If I were to ask you how many people pay for Spotify in North America (Canada and the U.S.), what would your guess be? 40, 50, 60 million? How about around 20 million. Same for Apple Music at about 21 million.

Think about that for a second. Music streaming, we’re told, is how everyone gets their music. There are 226 million people in U.S. and Canada between 16 and 64 years of age, and fewer than 6% of them pay for a music subscription.

I could go on. Live concert ticket sales grew by 12% in 2018! But this is due to higher prices -- not more fans attending. And, as I am sure you know, it’s increasingly hard to get fans off the Netflix couch and out to regularly support your growing number live shows locally.

Sync sales are up, but I can tell you from vast experience that the growth for independents is in micro-licensing, resulting in less overall revenue.

I haven’t even mentioned how important genres are to these numbers, and haven’t even touched on recent reports that streaming royalties may

actually be as low as half of what they were two years ago for most of you. If you aren’t in hip-hop or EDM, your numbers are probably down no matter what area you measure.

So, what is the “State of the Music Industry in 2019?” Murky.

The point I want to drive home with you is that these numbers should not drive what you do as an independent artist. Do not listen to the prognosticators, including me, if they tell you X is dying or Y is the future. The fact is this, there is no one way to do it today. There is no one fanbase, there is no one platform. You absolutely should experiment with blockchain streamers, you absolutely should be on every streaming platform, you absolutely should offer downloads, you absolutely should use social media and email to promote. Your niche may include vinyl or cassette lovers and you need to pay attention to that. Your live shows may have reached a limit in your local town or region and you need to be creative about video and livestreams to increase them. Or tour outside your home base.

Look, it’s not easy. This is an amazing time of upheaval and access in music, and the fact is you have to do much more than you ever have before to claw out a living.

The opportunities are there, but the answer is still the same - make music that people need to feel. Music that touches people on a Friday night to party, or helps them with a break up, or provides an escape from this messed up world.

That’s it. If you do that, I can’t guarantee money and success will follow; but if you don’t, I can guarantee it will not.

The best advice I can give you is to go write and record the best song you can today. It just takes one.

I can’t wait to hear it.

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.

STATE OF T INDUSTRY

6 FEBRUARY/MARCH 2019 PERFORMER MAGAZINE

MUSIC BUSINESS courtesy of underclassrising.net

THE MUSIC Y - 2019

PERFORMER MAGAZINE FEBRUARY/MARCH 2019 7

MUSIC BUSINESS

Finders, Keepers: How to get your production music into the right hands via music libraries

P

roduction music libraries have become the go-to music tool for many producers and music teams looking for the right music to match their picture.

A great deal of music scoring used to be custom work for hire, but that’s changing as projects face ever tighter timelines and budgets--and as more and more people and organizations are creating 8 FEBRUARY/MARCH 2019 PERFORMER MAGAZINE

video content, production music becomes an increasingly attractive option.

I’ve been working as a composer for much longer, but ten years ago, I started uploading cues to libraries like Audiomicro, which has become one of my favorites. It started out as a way to fill my time, to keep writing for fun between scoring gigs. Revenue from libraries now makes up 60% of my yearly income. Like many dedicated production composers, I write all the time, as much as I can.

Search is key to making the most of these platforms, and that means you need to understand how to communicate what your cue’s all about in a few short words, tags, and other features. A little thought and common sense can go a long way to getting your cues picked by producers.

Discovery is a numbers game Production music is a numbers game. Full stop. You have to produce a lot of music. It is a biz for people who write well and efficiently

expect? So, before the metadata and tag stage, I try to match the mood of the music with a really good description.

Is it moderately paced or driving? Is it quirky or contemplative? That list will be the descriptors that make someone go, “Yep, that’s what it is, thank you!” Then, if you’re allowed, use reasonable synonyms to improve your chances of discovery. For example, optimistic and positive mean just about the same thing in tags.

Give it a title

Titles are metadata, hints to what the piece is about. Your music needs to really sound like the title you assign it. It’s a mistake to give something a title that is either completely abstract, or on the other hand, too specific or personal. A title may be important to you, but it won’t mean much to a producer if it doesn’t convey the essence of the music.

When I start writing, I often start with the title. I want to come up with pictures and images, words that evoke a feeling or sound to me. I jot them down and then I write to that title. The music and title need to have a real connection.

If someone is browsing via genres, like say, folk or pop, my titles need to convey something unique. If they see “Warm Spring Morning,” and it sounds like a cold autumn night, they won’t listen to anything else I’ve put out there. But if it sounds like its title, you develop trust.

without a lot of torment. You can’t spend three days on two minutes of music. Do that for your own compositions, but not for production library use. These catalogs are growing every day. You can’t write 20 pieces of music, submit it to Audiomicro, and then complain about your lack of revenue. You need to produce.

Figure out what it really sounds like

I think my experience in working with real producers and doing custom music has permeated my sense of how to describe things.

If I’m writing a few sentences about a piece of music, I try to think about what my friends in video or film might be looking for. How can I give them a sense of what this music is and what to

Step away from the computer

Hear me out. It’s easy to get caught up in data and dropdowns, but sometimes you need to take a few moments away from the screen to sit and listen to your own music. Jot down a few adjectives or genres or other words that come to mind as you listen. You’ll have a clearer, more honest reaction to your work, and you’ll save yourself the trouble when you need to add tags to your cues when you upload them to a library.

Resist the temptation to overtag

A cue with a ton of tags might look suspect.

Producers with limited time use tags to help them zero in on their options as quickly as possible.

When they see the word “pretty” and the cue is not really pretty, they are going to get frustrated.

If you’re overloading pieces with inappropriate tags, producers get the picture and may not want to go back to your cues. You may win a battle by getting in a search result, but you’ll eventually lose the war.

Length matters

Many clients I work for want three versions

of cues: full, 60 seconds, and 30 seconds. Many also want ALT versions with different mixes.

I’ve kept to that approach, as it helps with the numbers game. You’re potentially submitting 6 pieces instead of one. You can legitimately fill up more data space and get bigger hits.

It also helps clients who have a wide range of needs. Lots of clients don’t want to do a lot of editing, so 60- and 30-second cues are helpful.

MUSIC BUSINESS

photo courtesy of Vancouver Film School

That said, don’t take shortcuts. You have to do a good edit. Don’t fade out, anyone can do that. In your DAW, if you have a sequencer say, when you finish the full piece, make nice smaller pieces.

Cut and paste and snip. Then try to add the same ending as the full track.

Producers don’t want to hear an abrupt chopping off of the music. Make it musical!

There is no perfect or right way to make music, of course, and there’s no single answer to how to get that music to come up in an interested producer’s search. However, if you take a few extra moments to think through your tags, titles, and cue lengths, you’ll expand your repertoire and make its essence instantly recognizable, building trust and radically improving your chances at a placement.

ABOUT THE AUTHOR Bruce Zimmerman is the composer and owner of Sound Productions LLC, a film scoring project studio located in Windsor, Connecticut.

Zimmerman began his career over 20 years ago, after attaining a Doctorate of Music from the Hartt School of Music in West Hartford, Connecticut.

Zimmerman has scored over 500 programs for clients such as AT&T, IBM, PBS, History Channel, Connecticut Public Television, FOX Network, The Learning Channel, MasterCard, Pratt and Whitney, Random House, Sony Kids Music, Simon & Schuster, McGraw Hill and Warner Brothers. Zimmerman has won four Emmy Awards for Outstanding Individual Achievement in Original Music Composition for his work in Public Television.

His production music can be heard on programs aired on PBS, CPTV, The History Channel, Discovery, TLC. Maine Public Television, Vermont Public Television, VH1 and MTV, and shows like Saturday Night Live, The Voice, American Idol, American Pickers, Dateline NBC and literally hundreds of reality shows, corporate and commercial projects and documentaries.

He is a member of ASCAP and a longtime contributor to AudioMicro.com.

PERFORMER MAGAZINE FEBRUARY/MARCH 2019 9

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THE STATE OF S COMPREHENS OF SAMPLING I 10 FEBRUARY/MARCH 2019 PERFORMER MAGAZINE

MUSIC BUSINESS

F SAMPLING: A SIVE SURVEY G IN 2018 PERFORMER MAGAZINE FEBRUARY/MARCH 2019 11

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[Editor’s note – special thanks to Tracklib, who conducted exhaustive research to bring you the information and findings in the following pages. We have partnered with them to republish their study here, as we think you’ll find interesting and valuable insights about the current state of music sampling in popular music. For more info, head to tracklib.com] What’s the overall state of sampling right now? The Tracklib team dug deep into statistics from 2018’s music to answer this question. A full overview like this has never been done before and we will make this an annual tradition.

How Much We Sample “Why is that important? Some people even say sampling is dead.” WRONG: 1 in 5 songs in the Billboard Top 100 of 2018 include samples.

As a matter of fact, there are almost twice as many samples now compared to a decade ago.

This State of Sampling feature has been built around actual numbers to give insights into how much producers sample.

1 in 5 Songs on Billboard Hot 100 Last Year Contained Samples Looking back on 2018, 20% of the top 100 tracks contained samples. It’s been fairly consistent the last few years: usually between 20-25%. Looking back 10 years, the number was 14%. The increasing popularity of Hip-Hop has probably also had an impact on the number of samples. In 2018, Hip-Hop surpassed Rock to become the most popular music genre in the U.S.

Twice as Many Samples in 10 Years A total of 28 samples were found in the Billboard Top 100 Songs of 2018. Songs like Cardi B’s “I Like it” and Drake’s “In My Feelings” and “Nice for What” included several samples, which is why the number turns out to be a bit higher than the grand total of 20%. Looking back 10 years, on the End of Year chart of 2008, it only included roughly half as many samples: 15.

The Top 100 song containing the most samples was Drake’s “In My Feelings,” with four separate licensed samples – all vocals.

Even Rockers Sample Looking by genre, we can see that sampling is most common in rap music. No surprise there, as sampling has always been an integral part of Hip-Hop productions. 38% of last year’s biggest Hip-Hop songs contained samples. R&B is the runner-up with roughly half as many samples (20%) as rap music.

But even in the genre least known for sampling, Rock, samples are used; 8% of last year’s biggest Rock songs contained samples.

For example, Panic! At the Disco sampled James Brown and Death Cab for Cutie sampled Yoko Ono in 2018 releases.

Two-Thirds of All Albums Contain Samples A majority of the top 50 albums last year contained samples. A total of 204 samples appeared on those albums, making it four samples per album on average.

Drake’s album Scorpion was the album containing the most samples (21) in Billboards Top 100 Albums for 2018. That’s the same amount of samples as the Billboard’s top 50 for Pop, Dance/Electro and Latin contain combined.

That’s 13 Drake-songs versus 150 top-hits!

What We Sample As early as the ’30s and as late as the 2010s: each decade differs from each other in terms of 12 FEBRUARY/MARCH 2019 PERFORMER MAGAZINE

MUSIC BUSINESS

style and samples. Which era is most-loved by producers? And where do they get their samples from in an ever-changing industry where you don’t need an original vinyl record anymore to find a sample?

Producers Tend to Sample Music from Their Childhood By looking at the songs a handful of top producers sampled in the last three years, it becomes clear that their birth year affects what songs they choose to sample. It obviously differs from song to song, but on average, we can see that the release year for the songs a producer samples tend to be around when they were between the age of 5 and 10.

Producer Avg. year sampled Age then Murda Beatz 2002 8 Mike WiLL made it 2001 10 London on da track 1998 7 Boi-1da 1996 10 Kanye West 1983 6 Swizz Beatz 1982 4 No I.D. 1982 11 No songs sampled the ’70s.

A common belief is that music from the ’70s is the best suited to sample. In a survey, Tracklib’s users also said they prefer to sample ’70s music to other decades. Because of this, it’s a little surprising that not even one song on the Billboard Top 100 last year sampled ’70s music. It’s of course still very popular, but the most common decade to sample right now is actually the 2010s.

Hip-Hop samples Hip-Hop Hip-hop is not only the biggest genre on the charts, it’s also by far the most common genre to sample, with around 50% of all samples coming from Hip-Hop. Sampling

online video (YouTube, Instagram, etc.) is also becoming increasingly more popular.

Trends in Sampling The reason we do this State of Sampling now, is also to be able to take a step back and reflect on 2018 as a whole.

What were some of the key trends, and which developments influenced artists the most?

It›s time to reflect on trends together with one of the world›s most renowned sample experts.

‘The Queen of Sample Clearance’ Deborah Mannis-Gardner is one of the world’s most renowned sample clearance experts. Last year her team cleared over 1,500 samples. She’s worked with artists like Eminem, Kendrick Lamar, Jay-Z, Drake, Kanye West, Lil Wayne and Lady Gaga, to name a few. We asked her if she saw any sample trends during 2018.

Trend #1: When estates take over “Some artists always deny sample requests, and Prince used to be one of them.

But sampling his music definitely got easier this year. I’ve secured the rights to Prince for a client, for an interpolation, which never happened when he was alive.”

Trend #2: More Obscure Sources “Many producers tend to do their cratedigging online nowadays, which helps them PERFORMER MAGAZINE FEBRUARY/MARCH 2019 13

MUSIC BUSINESS find a lot more obscure music to sample. This, of course, makes my job a lot harder since it can be very hard to figure out who the original

chances and are clearing everything. Marshall (Eminem) is like that: he used a couple of words just one time, but because it was a

In the News The world of sampling can be tricky to navigate sometimes. Even some of the biggest artists had some bumps in the road last year.

These are some of the biggest stories around sampling that made the news in 2018.

Nick Mira vs Sting Who would’ve thought: Sting in a HipHop beef. Producer Nick Mira called out the “Shape of My Heart” singer for threatening a lawsuit over Juice WRLD’s “Lucid Dreams.”

Despite Sting calling the track a “beautiful interpretation” of his track, Mira went off on Twitter: “Fuck Sting and his WHOLE team...”

Nicki Minaj vs Tracy Chapman In a series of now-deleted tweets, Nicki Minaj desperately tried to get in touch with singer-songwriter Tracy Chapman about a sample of Chapman’s “Baby Can I Hold You.” It got messy: Chapman “repeatedly denied” the clearance request, Funkmaster Flex premiered Minaj’s “Sorry” on Hot 97 and the song got out there, resulting in a lawsuit for copyright infringement.

rights owners are. The biggest problem I’ve had is Russian stuff. And Cuban. As a US citizen, I can’t even call Cuba.”

Trend #3: Release First, Ask Later “Most top artists are not taking any 14 FEBRUARY/MARCH 2019 PERFORMER MAGAZINE

nod to another artist he thought it was very important to clear it. And then you have artists on the other side of the spectrum where the mentality is more like ‘Release first, clear second.’ I’ve seen more of those, this year.

Nothing I would recommend, obviously.”

JID & Lost Samples Dreamville’s and Spillage Village’s J.I.D. got frustrated about a producer slacking with his sampling. His tweet was a note to self and a reminder for all producers to always keep track of where your samples come from.

MUSIC BUSINESS Danny Brown’s Sample Splurge Danny Brown tweeted “Never spend 70K on samples for an album that no one buys ’cause you will be in debt lol”, referring to the samples for his intricate Atrocity Exhibition album from 2016. The album debuted at number 77 on the Billboard 200.

Big Samples in 2018 A few examples taking sampling to another level last year; from sampling a BMW seatbelt warning to a 1936 Christmas song.

These are some of the biggest and most talked about samples in 2018.

Lauryn Hill’s nod of approval Lauryn Hill is known for declining sample requests for her music. But she made an exception for Drake’s “Nice For What,” one of the year’s biggest tracks.

That sample became a part of a long sampling chain: Lauryn’s “Ex-Factor” heavily samples Wu-Tang Clan’s “Can It All Be So Simple” from 1993, which samples a Gladys Knight & The Pips’ song from 1974, which is a mashup of Barbara Streisand’s “The Way We Were” from 1974 and Jerry Orbach’s “Try to Remember” from 1960.

Double Sting Both JuiceWRLD’s “Lucid Dreams” and Tory Lanez & 50 Cent’s “Pieces” sampled the

same Sting song only a few months apart. The 1993 hit “Shape Of My Heart.”

XXXTentacion Seatbelt Sound The sample of a BMW I8’s belt alarm had an essential part in XXXTentacion’s hit ”SAD!”, produced by John Cunningham. With over 1.5 billion streams (around 7896 years in total streaming time), BMW I8’s belt alarm is surely the most streamed alarm ever and probably a first.

Kanye flipping an Xmas song from 1936 For his “4th Dimension” track with Kid Cudi, Kanye West went all the way back to 1936 for a Christmas song sample: “What Will Santa Claus Say (When He Finds Everybody Swingin’)” by Louis Prima. Definitely one of the oldest and most unexpected samples of the year.

Summary Sampling is alive and well–and actually growing in top music. Hip-hop is the world’s biggest genre and shows no signs of slowing down, which of course also impacts the number of samples. The rising popularity of Lo-Fi beats this year also introduced more young producers to sampling, as it’s an overwhelmingly sample-based subgenre.

But it’s still fairly underground and a vast majority of the samples in Lo-Fi are not

cleared. Another development: more samplepacks and advanced tools mean less need for sampling smaller elements such as a snare.

Case in point: there are extremely few drum samples used in Billboard Top 100 songs of 2018.

Hopefully the ease of Tracklib can make sampling available to more producers in 2019.

I guess we’ll see what The State of Sampling 2019 brings us...

Methods For this piece, we mainly looked at Billboard’s End of Year lists for the top songs and albums. This means it doesn’t include every single song or albums that appeared on the Top 100 throughout the year, only the Top 100 for the full year. We counted direct samples and interpolations from previously released music as samples. However, references of lyrics have not been counted. Worth noting is that since we only examined the biggest hits of the year, it doesn’t necessarily represent the statistics of sampling as a whole. Besides Billboard’s charts, other sources included Chartmetric, ASCAP, Whosampled, DMG Clearances, Sample Spotters and our own user survey.

For the complete survey, please head to https://www.tracklib.com/blog/ tracklib-presents-state-of-sampling/ PERFORMER MAGAZINE FEBRUARY/MARCH 2019 15

SPOTLIGHT 16 FEBRUARY/MARCH 2019 PERFORMER MAGAZINE

SPOTLIGHT Zach Lewis

Lauren Moquin

NICK WATERHOUSE On Keeping Music Communities Alive as Artists Are Priced Out of Their Markets

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SPOTLIGHT

T

here’s a nostalgic tinge to everything that Nick Waterhouse crafts. As his career traces the California coast, back and forth, he has picked up more warmth and soul between his punchy songwriting, horns and harmony. Growing up in Huntington Beach, spending years in San Francisco and bouncing all around the state in recent years due to social and economic changes in most major cities, his hearty rhythm and blues spirit remains unbroken. Ahead of the March release of his self-titled album with producer Paul Butler (St. Paul and the Broken Bones, Devendra Banhart), Waterhouse took the time to discuss places and frames of mind that he holds close.

Can you describe your experience living in San Francisco?

I left two weeks after graduating high school for San Francisco, went to college there and stayed.

I wound up living there for about eight to nine years.

California feels small if you’re a native. My mother’s family lives in central California and doing drives between L.A. and San Francisco with a bunch of my friends was very common.

There was a lot of transit when I lived there and my music career really started in both. I was recording in Southern California and playing with a band in San Francisco. By the time the first album came around and I started going on tour, a lot of the scene in San Francisco was changing.

There was a lot of money coming into town. It was weird.

When I lived there, it was between the first tech bust in 2001 and the one that we are living in now.

It was living in a place that was rapidly pricing out most of the people that I knew and I was tired of the rat race feel, so I moved back to L.A. Around the same time, I went on my first massive campaign for my album. When you are campaigning and touring that much, you don’t really live anywhere.

Home is just where your mail goes and where you keep some of your stuff.

Now, I am bouncing around here and there. I didn’t realize that L.A. would accelerate in cost of living in the way that it has.

I have heard that San Francisco in particular, is a totally different city than it was a few years ago, which can be a bit discouraging.

Absolutely. I was just talking to a friend a few weeks ago about a night that I use to DJ at, which played my very first test pressing on a 45’’, did their final night recently and this is a night that was going for 16 years. The guy running it is a very positive and progressive minded person, so he didn’t have a lot of doom sayings, but it is definitely

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What advice do you have for artists in the major cities, who are getting priced out, in keeping music communities alive?

Hmmm, I have been around overzealous, territorial people who conflate community with being active about it and community should be treated like the way that you care about a person. You don’t tell yourself every day that you are supposed to care about something, you just do. It’s more of being an unselfish person who treats others with respect and is also honest with

notion that if you read about a scene, you think that it is going to be amazing and would love to be a part of it, but if it is being observed by an outside, it is probably on its way to an end.

It was a very small community with maybe two dozen people, but all of it influenced me. On the other side, being around my dad’s firefighter buddies and the way that they interacted with me, influenced me just as much. All of that swirled in with teenage angst and alienation; it’s always going to feel extra potent.

Physicality seems to be a big part of your musical experience, between playing DJ nights with vinyl and hand-pressing albums.

What exactly does the physicality of music mean to you?

The physicality just feels right to me. It’s

“When you are campaigning and touring that much, you don’t really live anywhere.

Home is just where your mail goes and where you keep some of your stuff.” yourself and other people. I think a lot of people get stuck on trying to live in a scene because they are dishonest with themselves about what their core inspirations are. It’s always in hindsight, the way that you perceive a community and I think natural communities will continue among people who are true believers in something together.

also something that I am familiar with in that physicality is how I interfaced with music my whole life. I do it with intent, but my intent is ‘this feels right and the other way feels wrong’.

It’s a really powerful medium. There are all kinds of ‘up your ass’ descriptions, but it makes you engage with music in a different way.

It’s about trying to be a better person rather than mak[ing] something. I know a lot of people who wanted to make something, so badly and I was always the one who seemed very unambitious, but now I am making records and most of them are not. You need to be willing to take time, pay your dues and acknowledge other people.

We are in an era of wellness and being in the moment, and you actually have to be in the moment when you play a record because if you are not paying attention, your hands aren’t working.

Was there a strong arts community in Huntington Beach when you were growing up?

When I was there, I was so miserable. I felt like there was nothing worthwhile because you want something that is bigger and shinier. It’s that

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a question of the changing demographics and this is kind of a direction that everywhere in the world is going. I have seen it just touring. The same thing that is happening in San Francisco is happening in L.A., Austin, Chicago, Pittsburgh, Berlin, just everywhere. That’s just the nature of technology.

How has your relationship with gear changed over time?

All of my equipment is instruments to me.

Sometimes they just feel like a tool, but sometimes I can do a new thing with a tool that I have never dealt with before. Since I am seeking my own particular vision, I am always looking to elevate them to something that really excites me.

I got a new RCA microphone preamp before we did this record (‘Nick Waterhouse’) and I didn’t wind up using it as a preamp. We wound up trying it as busing for the entire mix, so the whole record is put through this thing, adding theses pleasant harmonics. The more that I thought about it, the more I thought about how that was essentially how a radio broadcast board was in the ’40s. They (equipment) are all like paints. It’s all different textures, which is something that I’ve always loved.

Follow on Twitter: @ nickwaterhouse

NICK WATERHOUSE SELF-TITLED STANDOUT TRACK: “SONG FOR WINNERS”

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SPOTLIGHT 20 FEBRUARY/MARCH 2019 PERFORMER MAGAZINE

Wilhelmina Hayward

fter a summer spent at a summer camp in the woods in upstate New York, young Ali Lacey was forever changed and the music of Novo Amor (his alter ego) soon followed.

Returning home to Wales and facing a period of uncertainty, Lacey discovered that there were matters that were pressing on him to put to lyrics and consequently found his voice through the Novo Amor moniker. With a foundation in music production, he was able to create music with a level of professionalism not found in many young artists just starting out. We caught up with Lacey to talk about his journey as a musician and the onset of what is, Novo Amor.

Do you come from a musical family; what were some of your early influences?

Yeah, I guess I’m from a musical background, not necessarily a musical family apart from my dad and my brother. My dad used to have kind of a studio next to our house that he was trying to run, but didn’t really get very far, so it was full of drum kits and guitars. And I remember being five-years-old and just hitting drums and tuning guitars and breaking sticks and stuff. But you know, I didn’t really think about music for years and years, and it was about nine or ten when I got really into skateboarding and music seemed to go hand in hand with that, with all the music you hear on the skate tapes. And I just fell in love

SPOTLIGHT

NOVO AMOR A Connor Robertson and Daniel Alexander Harris

with a lot of rock and punk music and ended up wanting to be in a band because of it. I joined bands at the age of thirteen playing drums... and playing with my dad and my brother, as well.

I was listening to things like Green Day’s early stuff, The Offspring, and AFI, slightly heavier bands.. I never really looked back since, and got really into music production.

It seems like there’s a strong storytelling component to the music you write. What does the songwriting process look like for you?

I mean, every song I guess you could say is some sort of journey. And yeah, a lot of people have said, all your songs seem to kind of be the same

The songwriting process… it varies. You know, I go through weeks of not writing anything I like and then maybe one day I write something that I think is good and then record it and… I won’t like it anymore and you go for months and months… the process is just sitting around writing whenever I want to, really. If I like something, I’ll start recording it properly. There are no real objectives, though, other than to make music I want to make, or if I want to talk about something I’ll write about it.

So, it just comes when it comes, you don’t force it? Do you usually start with lyrics and build off of that, or the other way around?

I find it hard to start with lyrics because it’s hard

“Learning how to produce was the best thing I’ve probably ever done… with my entire life, I guess.” in that they start soft and then really build up in dynamics, and it’s kind of right, I guess. I think that’s maybe influenced from the rock music I used to listen to. I quite like heavy drums and distorted guitars. And yeah, I can hear it seeping through in a lot of my recordings.

to structure a song around just [words]. I prefer to just pick up a guitar, or be at the piano and kind of mumble melodies; once you have a melody then you can really start to fill the lyrics around that, so you’re not tied to what you want to say before you even start.

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SPOTLIGHT

Can we talk a bit about how you met Ed Tullet, your longtime collaborator? What was the process like for you learning to collaborate with another musician for the first time and has that changed the way you approach songwriting now?

We met through a mutual friend who was supporting Ed’s UK tour back in 2013. He ended up needing somewhere to stay, so he ended up staying at [my place] for the weekend and just started writing, so we started making a record from the first weekend we met. Without really realizing it, it just came so easy.

Ed’s someone who I think is a really good songwriter and a really close friend of mine now, and I just like to have him around. Sometimes making your own music can be really boring and stressful and upsetting, so it’s nice to have another pair of ears and in that way, collaboration is good, really. I’ve been doing a bit more collaboration recently, and I’m going to have two more songs

On collaboration: “Sometimes making your own music can be really boring and stressful and upsetting, so it’s nice to have another pair of ears.”

out with someone else, so that’s going to be exciting.

It sounds like your background in music production definitely has an influence on 22 FEBRUARY/MARCH 2019 PERFORMER MAGAZINE

the strength of your songwriting today.

I think so, yeah, because I think I can hear how a song’s going to end up before having to commit it to an album or go to a big studio to record. I can kind of see, “Oh, I have this idea, I’m going to record it,” and if it’s not quite right then that’s fine, I can get rid of it or hopefully I have the skills to change it without having to rely on anyone else. So, learning how to produce was the best thing I’ve probably ever done… with my entire life, I guess.

Does the feeling of a song change quite a bit for you as you perform it more and more?

I think so, I mean the meaning of the songs, I don’t think that it matters for the live performance.

Like, I’m not going to perform a song because it’s about a certain thing, really. It’s more about how I feel about the tracks now. For example, a lot of my earlier stuff I don’t think are that good of songwriting, or I don’t think will lend well to a live performance, I’ll maybe cut them out. Or some I do still play, only because I think they’ll work well in the set. I think the live performance is a completely separate thing to the album…

So, it’s whatever works; I definitely get bored of certain things and I’m always trying to level up the live set with new ideas. That’s why I’ve got a live band of five of us, to keep it interesting.

What is that like for you now, with the success that has come from your music so that you’re able to just solely focus on songwriting?

It’s kind of weird when your hobby becomes your job because you don’t find any free time, essentially. You feel like you’re always working because you’re always thinking about this thing that you love and are wanting to do. I aspired to be a producer or performer or artist for years and then it kind of happened. And it becomes a fulltime thing because I was waking up in the morning and then working until whatever time at night, and then doing it over and over again, and it was kind of killing me slowly…kind of sucking the joy out of music in a way.

But I mean, it was all for a great in the end because I knew I was making an album and I knew I really did like what I was doing, it was just stressful to have the pressure to be making music and I think that’s why it is good to have collaborators because you don’t find yourself, you know, sat on the floor at 4:00 in the morning freaking out about whether a song is going to be as good as you thought it would be.

What was it like stepping into the spotlight, particularly your early days as a performer?

Seeing as I had a background in learning how to produce, I thought “Oh, I can really do this.”

Without having to really be an artist, I’m just going to make some music and put it out. Then suddenly there was a demand for me to get on a stage and my first ever show, I think I drank a bottle of wine before I got on stage and I messed up the whole set. I was detuning the wrong strings while trying to talk to the crowd and then playing songs completely wrong and there were only about ten people there, but I was horrifically nervous and it was a real big shock in the system of what live performance was going to be like for me.

So, it’s taken me years and years to really build the set to something where I’m happy to get on stage and not hide behind layers of vocal takes on a recording and have to just stand in front of people and open my mouth. It’s kind of scary, but, you know, last year, I did the most shows I’ve ever done and I think it’s getting to the point where I’m happy now.

And what does life on the road look like for you now?

It’s mainly about drinking enough water and trying not to get ill and making sure my throat feels okay. Like with the American tour we just did, we spent it in really small towns and for a guy from Wales, it’s completely otherworldly to be touring around America; it’s amazing. Touring’s exciting and I love it, I love meeting fans afterwards and just seeing the people that helped me to be able to do this. It’s kind of a romantic thing to go on tour, I think.

Can you tell us a bit about what you’re currently working on in the studio?

Sure… I mean, there’s potentially something that you might hear about soon if it goes ahead, something that I’m working on, but that’s as vague as I can be, really. It essentially means a lot of music might be coming. There’s a collaboration project that I’m doing which would actually be out in a month, I think. And then I’m just kind of writing and sitting around waiting for ideas and just playing and... keep buying gear, I guess.

What’s your favorite piece of gear at the moment?

I actually got a new guitar today. A 1958 Harmony guitar, not a great brand and a beginner’s guitar of its era, but I love it. I bought it in Chicago while I was on tour, and it’s only just arrived here. I also recently bought a reel-to-reel tape machine.

So, I’ve been using that a lot to just kind of send mixes to give them a more Lo-Fi vibe and record straight to tape. I like the idea of moving parts and I’ve been so focused on seeing what I’m doing, and recording into the computer where I can do as much as I want that I just like the idea of doing a bit of analog stuff and not focusing so much on mic placements and worrying about how things sound…So maybe some more Lo-Fi music is going to come from me.

SPOTLIGHT Follow on Twitter: @ iamnovoamor

NOVO AMOR BIRTHPLACE STANDOUT TRACK: “UTICAN”

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SPOTLIGHT 24 FEBRUARY/MARCH 2019 PERFORMER MAGAZINE

SPOTLIGHT Kim Nieva (@Yeahkimsaidit)

Monika Sedziute

GeorgiKay On Removing Toxins on the Road to Self-Production PERFORMER MAGAZINE FEBRUARY/MARCH 2019 25

SPOTLIGHT

I

t’s been four years since a confident 22 year old, wearing a leopard pattern button-up and wide brim hat, swaggered into a recording session I was helping to curate in Bali, Indonesia.

It was the Invitational Group Songwriters Camp and she was writing for her debut EP through Parlophone Records, a London-based sub of Warner Music Group. She eyes and smiled at every top-ten hitmaker in the room, her aura oozed rock star.

Today, Georgi Kay walks into an understated Los Angeles café, nestled in the communitycentric neighborhood of Los Feliz, wearing a subtle outfit consisting of black denim, a black turtle neck sweater, and a black knit cap. The only pop of color is the gold rims from the classic Ray-Bans she is sporting. It’s not just her look that’s evolved. Her entire presence is warmer and more subdued in a quiet intelligence.

Basically, GK—as she is affectionately known by fans and friends—has grown up.

After leaving her major label post 2016’s Origins EP, she moved from London, spent some time in her native Australia, and finally made her way to Los Angeles. Her separation from a major label isn’t a new story, so we won’t bore you with the details. It was the classic: creative difference, change in A&R, etc. While disappointing, not an original enough story to dwell on, and so Georgi Kay doesn’t either.

“It feels like a different person lived that life because it’s been such a big growth in between,” GK explains. The Grammy-nominated artist, and ARIA winner for Best Dance Record for the 2012 single “In My Mind,” recounts her journey from UK/Australian it-girl to the indie-pop and self-produced artist that calmly sits in front of me this afternoon, sipping a hot tea.

“It was exciting, I was young. Everyone wanted a piece of you—like a piece of cake,” she

“Without even realizing it, I think I was doing a lot of backseat driving with production.”

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She continues, “It has been a bit of a battle for my ego but I’m glad that I experienced all that stuff, over all.”

As she settled in LA, keeping her longtime manager Stephen King—the other one—Kay rebuilt a small but loyal team to reset, as well has her writing process.

“Without even realizing it, I think I was doing a lot of backseat driving with production,” when remembering co-writing sessions, the standard writing process in the pop-lane. “[But I wondered], why am I never feeling fulfilled, why am I never truly happy with my releases?

[I thought] because they sound like someone else.”

So, the self-discovering artist took to YouTube to learn how to produce her own records, first on GarageBand and then graduating to Ableton. Barrowing tricks from past producers she worked with, trial and error, and from “a lot of thirteen year old Swedish kids, to be honest,” she was able to capture exactly what she envisioned her sound to be, from top to bottom, topline to track.

The awards and attention were never the end goal for GK, early attention from competitions like the Independent Music Awards, WAM Song of the Year, and the Myspace/Sony National Songwriting competition may have given her her start but it was never her driving force. “That’s not what I sought out to make music for. So, it was nice to humble myself and just write from genuine feeling and emotion.” And that sentiment was the foundation of what would become her debut full-length, Where I Go To Disappear.

Released in the fall, the record is an intimate electronic-pop diary of Georgi Kay’s process of moving on. Not only from a label, but the conceptual ideals of moving on from all things that cause resistance, be it business, relationships, location or otherwise.

Opening the album with “Heavenly Gates,” a composition penned while still residing in London, this was the only track resurrected and revamped from her prior life. It acts as a bridge between the major label era and her new DIY world. The haunting imagery found in “Toxins” and “Scary People” partnered with a danceable synth-heavy soundscapes, both tell sad but relatable mini auto-biographies. To contrast, the anthemic brass-sampled “Lone Wolf ” describes a universal feeling of isolation over an uplifting hook that gives listeners a chorus of empowered independence.

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says with a classic dad-joke dry humor, “and then, no one remembers you.”

Everything about this album is genuinely and distinctly Georgi Kay, taking pieces from every aspect of her life and dropping it into her music. “I’m a big gamer, and a lot of games have a ton of puzzles and problem solving, [it’s] this cryptic piece of data that’s been presented to you and you have to figure it out.”

To Georgi, this is what her music is, “to have ambiguous and symbolic music and videos, it’s a way for anyone to relate to, in their own way; its open. But also, there are hidden messages [in the lyrics], and that’s me. That’s what I’ve been through. This is what I’ve done.

This is what I still love about myself, even if it’s not a good thing to love, but I’m okay with it, I’ll accept it.”

This is Where I Go to Disappear, both the album and the psychology behind it.

Having shared a stage with Ed Sheeran, Tash Sultana, Peter Bjorn and John and her recently announced opening slot for recording artist LP in 2019, Georgi is no stranger to the live stage. “There’s an adrenaline that the crowd gives you. And that silence in between songs makes me nervous.” When talking about the live aspect, with no surprise, she says, “I like being uncomfortable because it keeps me on my toes.” Now a self-made LA-artist, she is a staple on the local venue circuit and is quickly doing the same in the NYC club scene.

Six years after its original release, “In My Mind” continues to be a flagship song for Georgi Kay. Its recent remix by Lithuanian DJ Dynoro has once again spiked her unique vocal and topline to nearly half a billion streams across platforms worldwide.

Rather than red carpet events and guest spots on popular televisions shows, GK has her priorities set: it is about the message.

She knows exactly who she is, and is ready to introduce herself to the world. “I just want people to feel something at the end of the day.

What I think is the best thing about releasing music, and this album in particular, is the discussion after.”

So please, in the name of Georgi Kay, listen, and discuss amongst yourselves.

Follow on Twitter: @georgikay

GEORGI KAY WHERE I GO TO DISAPPEAR STANDOUT TRACK: “TOXINS”

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INSTRUMENT INSURANCE

3 Things You Shou Musical Instrume

L

et’s get it out of the way: insurance is not the most exciting topic we cover here at Performer. But be honest with yourself – would you rather have the security of knowing your precious gear is covered in case the unthinkable happens, or would you rather leave it all to chance and be out of luck if the worst were to occur?

In the world of insurance, we must make a clear delineation because we’ve covered a number of liability insurance topics in the past.

That sort of coverage is great if you’re a live performer or touring band. It can help protect you if claims arise involving bodily injury, property damage and other kinds of harm YOU may have been responsible for.

But what about your gear? What happens if

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something catastrophic were to happen to your babies, through no fault of your own? That’s where specific musical instrument insurance policies come into play. So, let’s explore a few basic points that you should know.

1. You can get a policy that covers your gear no matter where it’s located.

This is huge. Many of you may have solid renter’s policies or homeowner’s policies for your residence. And in a lot of cases, that might not be enough for the amount of gear you actually have.

Rob Tavaglione, owner of Catalyst Recording in Charlotte NC, explains: “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.” Not only

that, but that coverage only applies to when the instrument or instruments are physically located in your residence at the time the damage occurs.

What about touring bands? If you’re on the road (or even just headed to your rehearsal space), you want the same level of comfort, don’t you? That’s why musical instrument policies cover your gear whether you’re at the show, backstage, in the tour van, on the plane, wherever.

And that’s peace of mind that goes a long way for serious working musicians.

2. Your gear is covered even if you have a chronic case of GAS. That’s gear acquisition syndrome, for those of you unfamiliar. If you’re like us, you’re always lusting after the next new piece of gear. So, you may change out instruments fairly frequently, or even rent gear to test out before you commit to buying. With a policy like the one you can get

Benjamin Ricci

from MusicPro Insurance, that’s not an issue.

Unlike your home or renter’s policy which might make itemizing your musical gear a chore (or even impossible), coverage like that which is available through MusicPro allows you to keep an updated inventory of gear you’ve currently got.

So, no matter how often you upgrade your sound, you’re covered with an updated policy.

Heck, even if you’re borrowing something to give it a spin, you’re still covered as long as it’s something you’d normally use (and within a certain dollar value). Even if something’s on long-term loan, say more than 30 days, you have options to get that approved as well. So, you see, no matter where your gear is, or how often you’re changing it out, you can stay protected.

3. Know what’s covered, and what’s not.

Just as with liability insurance, it’s good

to know what sorts of things would be covered if your instruments were to get damaged.

MusicPro Insurance specifically issues “at risk” policies, which will typically cover you for any unintentional damages. Check your specific policy, of course, but that would usually mean things like fire, floods, negligent transport companies, “acts of god,” natural disasters, theft and intentional vandalism, etc. Someone breaks into your tour van and steals your prized guitar on tour? That’s the sort of thing you want a policy for.

So, what would be outside the scope of the typical policy? Well, you’re not going to get to file a claim for normal wear and tear, of course.

And it should go without saying, but we’ll say it anyway. Fraud is obviously going to be taken very seriously, so if you intentionally damage, or have someone in your circle intentionally damage your belongings, that’s going to be a legal nightmare that you don’t want to be a part of.

INSTRUMENT INSURANCE

ould Know About ment Insurance

Lastly, things that wouldn’t be your insurance provider’s responsibility would be things like defects from the factory (take that up with the manufacturer of the gear), nonwarranty repairs that caused damage (don’t trust your bass player when they say they “know a guy”), and gear that you loan out to other bands. Yeah, you might be buddies, but if you can’t trust them with your precious gear, maybe learn how to say no. Politely, of course.

At the end of the day, we’d hate for anything to happen to your gear. We’ve been there, we know.

It’s an awful feeling. But with companies like MusicPro Insurance offering affordable policies with deductibles as low as $100 per loss, it would be foolish to ignore dedicated instrument insurance if you’re serious about your gear.

For more information, head to https://www. musicproinsurance.com/pages/about PERFORMER MAGAZINE FEBRUARY/MARCH 2019 29

PA SYSTEM TIPS

7 Tips for Choosing the Right PA System

W

hether you are a professional musician or an amateur who wants to boost their sound, choosing the right PA system is vital if you want audio clarity and definition.

In a nutshell, a PA system (also known as a public address system), amplifies a performer’s sound. There are a wide variety of PA systems with a range of different components and functions. A PA converts acoustic sound to an electronic signal, usually with microphone or line inputs. It processes and mixes signals, delivers sound through speakers, and monitors sound performance.

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When it comes time to choose a PA it can be hard to know exactly what to look for, and how to decide which features are most important. This handy guide will give you the seven helpful tips to assist you in the process of finding a PA that is perfect for your needs.

1. Think about how much power you need One of the first questions you need to ask yourself is how much power you need. Consider how big your audience is and what kind of space you are playing in. Power is produced in a PA by the amp, and it is the amp’s job to boost the signal produced

PA SYSTEM TIPS 3. Consider your budget There are loads of PA’s on the market, and you can easily spend thousands of dollars to get a system with huge power and loads of features.

However, remember to consider your budget.

For smaller groups and acts, all-in-one modular PA systems present great value for money, and deliver clean and simple amplification, without the fuss of some of the more complicated systems.

by the mixer and transmit it through the speakers.

Power is measured in watts. If you don’t have enough watts to cater for the venue you are playing in, you will end up with crackly and distorted (clipped) sound when pushing the volume to hard. As a rule of thumb, a band playing in a medium-sized venue will want to bolster around 1500 watts of power, where a softer style performance might require less than 750 watts. An acoustic performer in a small space might only need 60 watts. Carefully consider your needs and remember that if you are likely to be playing bigger venues, it doesn’t hurt to invest in a better system now.

2. Decide how important portability is Are you likely to be performing in the same space all the time, or do you need a system that is extremely portable? Traditional PA systems come with multiple separate pieces, are hefty to transport, and can take a bit of time to set up on stage. If you are always on the go, you might consider a portable and compact PA system, which has all the necessary components within a single enclosure.

4. Decide whether you need a battery or non-battery operated PA When it comes to deciding whether you want a battery or non-battery operated PA system really depends on your usage. If your events are mainly held indoors with ready power sockets around then you should go for a non-battery operated PA. One main advantage would be that the PA system will be much lighter without the battery pack. If your events are mainly outdoors or in areas where a power socket is not easily accessible, then going for a battery operated PA system is a great choice. Setup will be much easier and fast. If you are looking for a battery operated PA solution, you can’t go wrong with the Bose S1 Pro Multi-Position Powered PA System, which offers supreme sound quality and long lasting battery power of up to 11 hours of usage. It’s an excellent system for live music performances, business presentations, mobile DJs and more.

5. Get to know your mixers Regardless of which PA you choose, it is vital to spend some time getting to know your mixer. Before your purchase, you should consider

whether the mixer is too basic or too complex for your needs. Mixers can be daunting with all those buttons, faders and knobs -- but remember, every part of the mixer has a function, and these functions are the key to unlocking your best sound.

6. Think about how important effects are for you Many PA mixers have on-board, built-in effects which may be sufficient for your needs.

However, if you want additional options, you can consider purchasing outboard processing gear and software for signal processing, reverb, delay and chorus effects to add depth to your sound.

7. Don’t overlook column array line speakers Column line arrays can be deceiving because they look lean and discreet, and you might think they don’t pack too much punch.

However, these systems, such as the LD System Maui 5 line array speaker, pack a load of features in their tall and slender packages using cutting edge technology. Don’t be fooled by their tall and slender profiles.

The world of PA systems is complex and vast, but that doesn’t mean you need to get weighed down in technical jargon and brand wars. Focus on the components that are vital to your sound, and enjoy every moment of your sonic journey.

SPECIAL NOTE: This article is brought to you by the audio professionals from Musicshop.sg – Music and Audio equipment store.

PERFORMER MAGAZINE FEBRUARY/MARCH 2019 31

GEAR TEST 32 FEBRUARY/MARCH 2019 PERFORMER MAGAZINE

GEAR TEST

Andrew Hoyt Puts the new Mackie FreePlay LIVE Through its Paces

I

am a singer/songwriter based in Des Moines, Iowa. Recently, I was fortunate enough to win the Mackie FreePlay LIVE giveaway through Performer Magazine. I want to quickly thank Mackie and Performer for the opportunity to give my honest review of this awesome PA. First off, I was very impressed by the appearance of the speaker. The older version did not look quite as professional (in my opinion).

This one looks really nice, a big improvement.

The sound is also incredible. Despite its size, it packs a punch. The lows, mids and highs were excellent right out of the box. I didn’t have the urge to change anything with the mix right away. I wasn’t thrown off by any EQ issues, but I wouldn’t call myself a sound guru. Depending on the venue, audience size, etc. I also use a Bose L1 Compact

PA. I have the treble turned up and the bass lowered quite a bit (Bose speakers are generally bass heavy). I’ll need to keep performing with the FreePlay to get a better feel for it, but I’m happy with how it sounds for now.

discovered how easy it is to navigate around it.

There’s reverb, EQ and volume controls. It also allows you to play a backing track in addition to Channel 1 and 2.

I hadn’t previously owned a PA that is battery powered. Mackie states that the battery can last up to fifteen hours. I have performed with the FreePlay for five hours at a time with no problems. I often play at the Des Moines Farmer’s Market in the summer and rent a generator for my equipment. This will be a nice change, though I am concerned it may not be loud enough (I play for 5,000+ people walking by).

Performing with the FreePlay Live is a natural fit for me. The sound is great. It looks professional. It takes minimal time to set up. There’s nothing wrong with it or out of the ordinary. It’s simply a reliable mini PA system that is great for busking, small coffee shop shows, and performances that don’t have access to a power source. This speaker has come in handy on numerous occasions, and I’m happy to be using it!

The FreePlay Live app acts as a mini soundboard on your smartphone. Honestly, I wasn’t expecting much from the app. I quickly

For more info, head to mackie.com/ products/freeplay-live and follow Andrew Hoyt on Twitter @andrewhoytmusic PERFORMER MAGAZINE FEBRUARY/MARCH 2019 33

NAMM 2019

NAMM in Pictures Chris Devine This past NAMM was a doozy – and we sent our resident guitar guru Chris Devine to roam the halls in Anaheim looking for the coolest new gear on display.

If you haven’t checked out our YouTube coverage yet, I urge you to do so. There’s a lot of great interview footage and live-hands-on coverage, thanks in part to our friends at IK Multimedia, and also be sure to subscribe to our Instagram feed,

where we posted even MORE awesome pics from the show.

The next few pages highlight some of our fave guitar-related items from the 2019 dog-and-pony show. So, enjoy, and get those wallets out!

Ben Ricci, editor

Orange Amps have branched out to the acoustic realm with their new Preamp! Can’t wait to get our hands on this in the studio (and on the road!)

34 FEBRUARY/MARCH 2019 PERFORMER MAGAZINE

NAMM 2019 Believe it or not, Reverb.com had their own booth, with some cool rack gear that we’re sure has more history to be made with them.

Danelectro always comes up with a new twist that goes well beyond retro. We’re digging the dual-lipstick vibe of this doublecutaway, which features a P-90 in the neck position for extra clarity.

Earthquaker Devices always shows of their wild and insanely great pedals at NAMM, and each year we get pedalboard envy out the wazoo. Where is the wazoo, anyway?

PERFORMER MAGAZINE FEBRUARY/MARCH 2019 35

NAMM 2019 PRS came out with an SE version of their more expensive Paul’s Guitar, which looks great and has some interesting switching options. The SE series is probably the best dollarfor-value proposition in the import market, and delivers pro-level features for the budget-conscious.

Even Yamaha’s traditional nylon string guitars are getting an upgrade, with their Trans Acoustic electronics. We’ve tested these out on the steel-string models, and we think the new classical addition is a great idea. Chorus in real-time with no outboard effects? Yes, please!

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NAMM 2019

Blackstar has some new low-wattage, and big sounding amps! Keeping the watts down is a great way to drive the amp and saturate the gain even at low-volume settings.

Great for miking up on stage and studio usage.

Racing stripes, Mini Humbuckers and carbon fiber appointments make this Yamaha Revstar look like a restomod car, with a sound that’s just as fierce! We’re continually surprised with how great the Revstar series is – and people have been sleeping on them for the past two or three years. Watch for that to change as the guitar-buying public wakes up to this line.

Kramer is BACK! Maple neck, Single Humbucker, Floyd Rose. Yes Please!!!

Gibson returned to NAMM 2019, with a booth celebrating the new and old, as well as a way to blend all that in one guitar.

We’re excited to see the new direction the company is headed in – hopefully the restructuring will lead them to create the instruments that people actually want, and prices that aren’t gonna require a second mortgage.

PERFORMER MAGAZINE FEBRUARY/MARCH 2019 37

GEAR REVIEWS

MACKIE DL32S Digital Rack Mixer

I

n the studio, performers want every option, with the ability to fine tune every possible aspect. Live, that same performer wants simplicity and performance. Mackie’s DL32S brings the detailing of the studio to the live user, but can also bring the workflow simplicity of the live realm to the studio.

First off, this unit is well thought out physically, and with rubberized bumpers on all corners, it has a tactical/durable feel that should handle anything, including that “roadie” who insists on helping you load out in exchange for a ride home! 16 XLRs as well as 16 combo input jacks occupy the front, along with 10 XLR outputs. Headphones output and controls also reside here, along with the WiFi antenna. Yep this baby can go wireless! As there’s no control surfaces, the method of interacting with the mixer is through a computer (MAC or PC), via USB or through a tablet or smartphone (Android or iOS) wirelessly. If you need to go for longer distances, or line of sight is questionable, connect it to a wireless router for better connectivity.

Setup was a breeze, by the way.

Mackie has long since had their Master Fader app/program that’s free to download, and that is what runs things here, as well. Now you CAN run it from an iPhone, but in this application, the bigger the screen, the better, and in most cases, a laptop is probably going to be the best choice. Short of that, an iPad should fit the bill nicely (and will likely be a bit more mobile-friendly, anyway).

38 FEBRUARY/MARCH 2019 PERFORMER MAGAZINE

We’ve had some experience with Mackie program in the past, and it offers up studio level sound sculpting at a very high level. The user can access EQ, high pass filters, compression and noise gates on every input with the touch of a finger. Need an effect? Reverbs, delays, modulations, all editable, and customizable.

Bus sends and submixes, done! Let’s say you play a venue that’s huge, and doesn’t need a delay, but some EQ to deal with the odd shaped room. You can save these settings for when your band plays there again, which is a lifesaver.

Have a regular gig at a little coffee house that needs some echo? Save those settings, and they’re ready to go, for the next gig there! Even for install scenarios and houses of worship, this can be the indispensable tool you’ve been looking for.

Master Fader also allows the ability for the players to control their individual monitor mixes via their smartphone or tablet. So many bands rely on the sound person to tell them how they sound from the front of house mix, but the Mackie has an on board hard disk. A great application is to do a song during sound check, and then play it back through the PA, and let the band tell the sound person to adjust levels during playback. With this option, the musicians on stage can easily run the mix on their own, without help from a sound person.

Want to release that live album? Record your set, and it can be mixed and processed at a later date. Yeah this is the way to go!

Ok, now that the live situation is more than covered for pretty much anything, using it as a USB interface to a DAW is a great way for this to do double duty. Set it up like any other interface, with your software of choice, and it’s good to go.

The ONYX preamps were really nice for both dynamic and condenser mics we tested, with no odd coloring, and since there are 32 inputs with them, there should be no bottleneck there!

So, is it a live mixer that doubles as a DAW interface, or is it an interface that can do live mixing? That’s entirely up to the user but considering the options it brings to both live and recording realms, it can solve a lot of problems you probably didn’t know could be solved.

Chris Devine

PROS

CONS

PRICE

Excellent track/channel to dollar ratio, app has plenty of control options and applications.

Works great as DAW interface, and live mixer.

None.

$1299

GEAR REVIEWS

M

MACKIE CR Earbud & MC Studio Headphones

ackie’s been a huge player in the prod audio world for 30 years, and now they’ve unveiled a new lineup of in-ears and studio headphones for today’s musicians. How do they fare?

Mackie’s CR-series buds start things off with a sleek and very small form. They use a single driver in each ear, but don’t let that fool you. They’re certainly a big upgrade in sound from whatever earbuds get included with a smartphone, and they’re definitely more comfortable. For a listener who wants a great set of headphones for the gym or general listening and such, these are a great value in overall sound quality.

Taking things up a notch, the CR-Buds+ are designed more like a set of in-ear monitors, with dual drivers in each ear. The extra driver really makes a difference with tighter bass response than the standard CR-buds, and are really great for a big sound in a tiny package. These could easily handle the task of mixing audio for a home project, or even live-in ears for stage use in a pinch.

Each set also has a cable that can handle calling functions, and microphone, as well as volume control. A selection of foam and rubber ear pieces are included in both sets. The big thing to note is making sure you have a good and tight seal against your ear with any set of earbuds. The first reason is comfort, and the second is a loose seal doesn’t give proper bass response, and it also allows in external noise.

Now for over the ear headphones, Mackie has unleashed their MC Series: the MC150 & MC250, They’re quite similar in form and design, but very different listening experiences, and each shines in their respective worlds. They both use 50mm drivers, with soft leatherish ear cups and headbands. The cables detach, and have a twist lock to prevent the cable popping out inadvertently. A nice touch is included -- the ever important 1/4” to 1/8” adapter that screws on to the end. Using them while on the go is easy, and they collapse down for easy storage in a backpack or a drawer.

The MC150 is meant for more personal listening and light recording work. They work great as a set of DJ headphones, with a very comfortable set of earpieces. With an excellent depth of bass response, even at high volumes things do not get too muffly or soft. A guitar player connecting to a headphone jack on an amplifier or a modeling system will certainly love these. Tracking during a long session is super comfortable and the frequency response is also comfy, with no ear fatigue even after hours of use.

Now the MC 250’s serve a different master.

So, do the 250s sound better than the MC 150’s? Well…these are meant for some big audio business, with a more sensitive frequency range that is specified for serious listening like mixing or mastering. That means the bass isn’t tuned for dubstep, it’s more meant for clarity and articulation across the entire frequency range.

The high end is super smooth as well, with no spike-y harshness, even after a long mixing

session. Now a set of MC-150s AND MC-250s would be great in the studio, to go back and forth just to see what adjustments to the mix really sound like on both sets. For the user who wants to get into a set of reference headphones, but not spend a ton of money, this is the perfect place to start!

It’s hard to do our usual PRO/CON epilogue on these, as each set is slightly different, and has their specific applications so the best way to summarize is: CR-Buds: Excellent upgrade earbud that won’t break the bank, great for the gym or personal listening. $19.99 CR-Buds+: Fantastic earbud that’s more like an entry-level in-ear monitor at a ridiculously low price point. $39.99 MC-150: Perfect for personal listening. $69.99 MC-250: Professional reference set of headphones for mixing and mastering, Great sound quality at this price level. $99.99 Overall Mackie isn’t going to break even the stingiest wallets, especially considering the sound quality that’s being delivered to the user. These may not be the most high-end, deluxe models we’ve ever tested. But they aren’t meant to be; the point is to deliver good sound for a reasonable price. And if that’s what you’re looking for, look no further.

Chris Devine PERFORMER MAGAZINE FEBRUARY/MARCH 2019 39

GEAR REVIEWS

JOECO Cello Interface

W

ith two combo 1/4”/XLR connections meant for microphones, each input also as a selection of options, with classic push analog feel pushbuttons; phantom power, a 20dB pad, a high pass filter, and phase control.

There is a dedicated 1/4” instrument input, although it doesn’t have the extensive functions the mic inputs have. Two headphone outputs are also available, each with their own adjustability controls. A talkback mic is also integrated into the robust aluminum casing, which is great for small studios that have control rooms. A blue LCD display offers up easy readings and settings on volumes, time clock and connectivity.

The back panel has an abundance of connectivity; 1/4” for monitors, line inputs, and mic channel inserts. SPDIF and light pipe connections are here as well for clock connections, as well as expandability to larger input devices, making this an expandable system. With the mic inserts, connecting the Cello to external effects, such as compressors or other mic pre’s, is easy. There’s even MIDI connections on the left hand side to round out pretty much every possible connection, so producers and beat makers are covered as well.

Now to really dig in, JoeCo has a control application that’s available for both Mac and Windows. The interface covers the input and outputs, and is very in depth for the monitor and headphone out controls. There’s also a top + function that adds, you guessed it, some extra top end to the mic channels for some natural brightness.

40 FEBRUARY/MARCH 2019 PERFORMER MAGAZINE

This is especially great for those somewhat darker mics that seem to need a lot of EQ attention. The app also handles any latency issues, and it is almost a bit overwhelming considering all of the options available, especially for users who might not be used to getting this deep into their interface.

in BEFORE they hit the DAW, as raw tracks, and means less fiddly time wasting in mixing sessions.

The instrument input works great on direct bass recordings, with a nice fullness, and electric guitars that are going to an amp sim plug in really interact nicely. So kudos on that.

Mixes can be tweaked via the app, and be recalled; this is great for sessions where you might be going back and forth between players who prefer totally different mixes in their cans! The big downside is you need to set up an account with JoeCo, and get it approved BEFORE you get the ability to access the software. We tried getting it to work one night, but didn’t get approval until the next day. After asking how long it would take to get approved, we got a response on Sunday, around noon, along with a response:

With the connectivity options and expandability, it’s got a lot going for it. Users who’d like to go beyond the usual 2-input desktop interface, this is clearly the next step. Want to explore the world of the outboard effects, but not have to get into a large interface? The mic insert option offers that ability up nicely. The expandability can make going from the pro-sumer to the professional within reach. The street price comes in at $1125, but considering this could be the heart of a home studio that has professional options, with the ability to become more over time, it’s worth it.

Chris Devine

“On a weekday it normally takes a few minutes.

At the weekend it does often take longer as approval relies on one of us checking our company emails and approving you.”

Honestly, if you’re waiting on a company’s approval to get the required software to run their hardware on their schedule, that’s a serious bummer.

All that said, it’s quite nice sound wise, regardless of the mics being connected -inexpensive mics sound great with the HPF rolling off any audio flabbiness, and the Top + brings in the sparkle and chime on guitar amps in a nice musical fashion. It’s great to get these tones dialed

PROS

CONS

PRICE

Plenty of connectivity options, great sounding preamps, expandable

App is almost a bit overwhelming, you need approved account BEFORE you can access software required.

$1125

SPIRE STUDIO

Discover a new way to record The award-winning wireless recording solution for iOS & Android WWW.SPIRE.LIVE

GEAR REVIEWS PROS

Well designed, durable construction, great sound.

CONS

None.

STREET PRICE

$699

T

KLOS Carbon Fiber Acoustic/Electric Travel Guitar

ravel guitars often come up short; small versions of full size guitars, with compromised tone and playability.

Traditional construction also fails to deliver when subjected to different environments, as well as overall durability. Klos (pronounced close) rethought the whole concept, with a full scale acoustic/electric that can take the abuse of travel.

headstock, but again Klos followed the zero angle design found on bolt on guitars, eliminating any headstock breakage issues. It’s also quite small, with just enough space to fit the tuning machines.

What you can’t see are the carbon fiber stiffening rods inside the neck, which provide additional stability. What this means is less having to adjust the truss rod, as the guitar travels through varying environments.

Our test model came in a smallish flat pack box, with the neck and body in separate gig bags.

Not to worry though, the Mahogany neck and the carbon fiber body follow the bolt on design that’s usually found on electric guitars. Threaded inserts in the neck provide a positive contact and proper placement of the neck in the body. The instructions were clear, and all the tools were included to assemble it -- within 5 minutes it was ready to go.

Two pieces of carbon fiber comprise the body; the back is a molded weave, with a gloss finish, and the top is made from a separate piece in a satin finish. Underneath isn’t the usual x-style bracing, with two braces that run parallel to the strings. While it may look like a short scale instrument, it’s a full 24.75” scale, with just a downscaled dreadnaught size body. It’s also hyper lightweight. Fishman’s Sonitone Pickup system is installed with the volume and tone controls, stealthily placed inside the soundhole’s edge.

The Mahogany neck has a gloss finish with a blackwood fingerboard, and the frets are finished off nicely. Most acoustics have a tilt back

So, with all that technology, how does it sound? First impressions were a slightly

brighter response overall, which was odd, but then realizing the picking hand was naturally going to an area closer to the bridge. This is probably due to it being a small form body, with a full scale length. Changing our picking nearer to the soundhole, it warmed up nicely.

The action was nice and smooth, lead/melody parts just seemed to pour out easily like a liquid. It felt like a great acoustic should, with immediate response and an overall natural feel. There is plenty of loudness, and the tone is quite full and rich overall. The Klos easily outclasses other travel size and short scale guitars in overall sound quality. The Fishman pickup has plenty of clarity and depth as well, with enough sparkle to cut, and enough chunk for big rhythm parts.

Players who travel a lot, this is the one for you. It’s travel sized, and travel designed, but delivers full scale sound and feel with no worries as to what climate you’ll be playing in.

Chris Devine PERFORMER MAGAZINE FEBRUARY/MARCH 2019 43

GEAR REVIEWS

PEAVEY 6505MH Mini Head

T

he basis for Peavey’s 6505 series goes back to the early ’90s, and over the years has seen various tweaks done here and there, while maintaining the tones its famous for. Now the twist is smaller, lower wattage, and recordingfriendly, while still delivering the gain and clarity players desire.

channel, it sits very nicely with the gain at noon.

Rhythm parts are articulate and chunky, and really react to picking dynamics overall. Push the gain even higher, and there’s some really nice natural saturation that feels super smooth and liquid. It’s got modern hard rock and metal covered easily, with a very flexible EQ.

So, this is small, not lunchbox small, but still small. The simple 1x12 cabinet we tested it out with was plenty wide to rest the head on, with space leftover for a pedal. A pair of EL43 power amp tubes, along with (3) 12AX7 preamp tubes reside inside, and the reasonable 20 watts keeps the volume at actual musical and listenable levels even with extra gain.

One area that seems to get overlooked in high gain amps is the clean sound, and paring the 6505 with a Tele on the clean channel was amazing, and engaging the crunch switch took it from sparkling to single-coil-bite. Country players should not overlook this amp just because of its high gain heritage. This also makes it a great pedal platform, along with the effects loop, making the standard 4-cable method of routing gain, fuzz and wah pedals in the front of the amp, and delays, modulations and reverbs in the loop, a reasonable option.

The controls are pretty simple, with gain and volume controls for the rhythm and drive channels along with a shared 3-band EQ and reverb section.

The Resonance and Presence controls cover the overall low- and high-end response of the power amp section. The rear panel covers footswitch and effects loop connections, as well as an XLR output along with a USB connection. A single 1/8” headphone connection also resides here. Wattage is selectable from 1 to 5 watts, topping out at 20 watts.

OK, all the specs aside, is that big high-gain tone in there? Yes! Just like their bigger siblings. We’ve had some past experience with previous versions of the 6505, and while the size is small here, the tone is still massive. With humbuckers on the drive 44 FEBRUARY/MARCH 2019 PERFORMER MAGAZINE

Now there’s some extra coolness, as it’s a lower wattage, it’s great for not only home use but it has enough power to handle most band practice situations with no issues. Small clubs will like the fact you can get that cranked up sound at a lower volume.

The XLR out on the back allows for running it into a mixer or into a DAW interface for recording.

Even better, it doesn’t need to be connected to a speaker cabinet! But wait, there’s more! Now with the USB out it brings all of that into the guitar interface area. Simply connect it to a computer

running your favorite DAW software, and it’s all set.

Again, no need for a speaker cabinet! Sound wise it doesn’t skimp here, either. The amp’s sound comes through fantastically, with no issues. No need for extra plugins or extra impulse responses that load down a CPU. This really brings the opportunity to bring tube tone to home recording sessions. Which output sounds better? We had great results with both outputs, but we found the USB slightly less noisy than the XLR. We used a Focusrite 2i2 as our interface, but running into a higher end unit that has better processing will no doubt sound a bit better when using the XLR connection.

Considering the expense that a power attenuator/load box and a cab emulator would cost, this is a great overall value. Somehow Peavey found a way to bring all the reasons a high gain tube amp is desirable to a lower volume, and silent recording into a small form, with no sacrifices to the player in features or sound. Nice job.

Chris Devine

PROS

CONS

PRICE

Low wattage, usable volume, big tones, USB connectivity, great price.

None.

$599

GEAR REVIEWS

I

SENNHEISER IE40 Pro In-Ear Monitors

n-ear monitors have come a long way; from something only million dollar high end tours could support, to a flexible way for up and coming artists hear themselves on any stage. Along the way though, an inexpensive, yet highquality set seemed to be nearly impossible. Sennheiser’s now closed that gap with their IE40 set of In-Ear Monitors.

no issues that usually come with IEM’s that are at this price point. These aren’t a set of hopped up earbuds meant for casual listening. The bass response was fantastic, with a depth that had a maintained definition and more focused top end that wasn’t brittle. We threw a few of our standard “DAW tests” at it and it handled things with ease.

Out of the box, they appear to follow the form of traditional IEM’s, but with a twist. The earbuds themselves are NOT hardwired in like a set of earbuds, but feature a detachable cable. With a reinforced end at the ear connection, the cable feels super robust, and connects to the earpieces with a nice positive response. It’s a nice feature usually only found in more expensive IEM’s. A selection of foam and rubber ear pieces are included that easily attach and fit just about any seized ear.

Singers know odd things like distortion and overtones can seriously affect their pitch. The IE40’s could handle enough headroom our ears could take without any distortion issues arising. A big factor in IEMs is not only getting sound into the ear, but keeping unwanted sounds from leaking in, and even at higher volume levels, the ambient noise was kept at bay. This will be great for stage use, or the home studio. Comfort is always a concern, and having a set of these in for prolonged sessions didn’t cause any physical pain or discomfort, nor did we have any ear fatigue issues that usually come with close monitoring.

With multi driver IEM’s, things like phase and balance can sometimes be an issue, affecting the overall sound.

Inside each ear piece is a single driver/transducer, which has been tuned to give a full frequency response, making for a very simple yet responsive design.

Making sure of a good seal against the ear is KEY when using any in-ear devices. These delivered quite nicely, with

Overall, they’re a pro level set of IEM’s that check all the boxes for performance, and won’t break the budget.

Any performer who has dismissed a set of in-ears as too expensive, should seriously consider a set of these. They’d be a great gateway into the world of in-ear monitoring.

Chris Devine

PROS

Great design, excellent sound, well priced.

CONS

None.

STREET PRICE

$99

GEAR REVIEWS

ZYLIA ZM1 Multi-Track Recording Microphone

B

ands have made room recordings since the beginning of…well, recording.

However, so many good recordings could have been better, with a better mix, or even the possibility of fixing that one flub if you could just separate the parts. Zylia has come up with an innovative solution that’s very interesting with their ZM-1 unit.

With an array of 19 condenser microphones spread across its spherical shape, a single LED ring across its “equator” lights up indicating its functionality. Included is a table top stand, equipped with a threaded microphone stand.

It’s detachable as well, allowing for mounting on a tripod or mic stand of choice. It connects via USB, and is compatible with Mac, Windows and Linux systems.

Now it will require some extra software to get everything going, all of which is available via Zylia’s website. After setting it up and calibrating it, just place the little unit in the middle of your recording space. Then in the software, select what kind of instruments to be recorded. After, it simply asks you to play an 8-second bit on each instrument so it can “find” the individual instruments in the space. It might be noted that if there are two guitar players (or a single guitarist with a dual-amp setup) you should place them across from each other to give some better separation.

Overall, it picked up the instruments very well. We were actually surprised that it wasn’t a gimmick. Sound wise, it featured none of the usual “hollowness” usually associated with 46 FEBRUARY/MARCH 2019 PERFORMER MAGAZINE

poorly set-up room mic situations, and the included software helped tweak things quite easily overall. It’s one of those “the more you use it, the easier it becomes” situations. It may take some moving of amps and or players around to get a specific desired mix, but that’s true of any situation.

Comparing it to having a simple recorder in the space capturing just a stereo signal, is like comparing VCR to a Blu-ray player. Now there is some bleed over, so it’s not as pristine as say a multi-track session in Pro Tools, with each instrument isolated and recorded with their own mic. Ever have a room recording where the vocal or lead guitar was too low in the mix? Now, lower volume sources can be bumped up to sit in the mix better. The final product we ended up with was somewhere between a basic stereo room recording, and a full blown multi-tracked session. But that halfway point isn’t falling short in any way, considering the simplicity and overall sound quality. And for capturing a live feel, this could be an easy and indispensable way to record on-the-fly.

The track separation is quite good, and even the minimal bleed can be tweaked enough by other DAW editing software after the fact. Using it to record live sets at gigs is a great application, as it can pick up the instruments and mix in crowd response, meaning recording that “live” acoustic EP at the local coffee shop is easier than ever, and being able to mix more than left and right channels is a godsend.

It’s also designed to work capturing audio for

360 environments, for both Facebook & YouTube.

So, making natural, enveloping soundscape recordings is a whole lot easier.

Overall, it’s fairly well executed, it keeps things simple, while delivering recordings that can later be re-mixed far better than anything else that’s currently available. It may take a bit getting used to in order to fit in with your specific needs, but once set up, it could easily live in the middle of a practice space permanently for onthe-spot recordings.

Chris Devine

PROS

Interesting design, great audio capture device CONS

Slight learning curve STREET PRICE

$599

T

he traditional method of acoustic guitar making uses a pattern of braces on the sound board in an “X” design, called (you guessed it) X bracing.

Taylor Guitars have always found new ways to turn tradition into innovation, and at the 2018 NAMM show, showcased their new “V Bracing” design. Their Grand Auditorium 614ce sports this new construction method.

And let’s just say it: Andy Powers has outdone himself.

GEAR REVIEWS

TAYLOR 614ce Acoustic

The sitka spruce top, that’s been roasted to further ensure stability, pairs nicely with a dark stained maple back and sides, called Brown Sugar. The flame pattern on the back of our test guitar was prettier than the front of some other guitars. Ebony binding ties things together on the front and back edges. It’s an excellent example of the high quality materials, craftsmanship and detailing that Taylor is known for. The Rosette detail is a wonderful looking blend of ebony, paua, ivoroic and ivoroid. Need more wood? Even the pickguard is Macassar Ebony.

Tropical Mahogany is the basis for the neck, topped off with an ebony fingerboard that uses an elegant wing and diamond design. With a 25.5” scale and 20 impeccably installed frets, this neck is phenomenal. With a satin finish, the overall feel is quick and natural in all playing positions. The large neck heel comes in at 3.5”, but doesn’t feel limiting, and has a strap button located for more traditional strap placement. The headstock veneer again is ebony, bound in ebony, and has the wing theme once more. The detailing continues on the back, with the glass like finish, and more wing detailing. Simply stunning.

Acoustically the V-bracing offers up rigidity, with flexibility for the soundboard to resonate naturally. The GA style is big, but focused; there is plenty of top end that doesn’t get sharp, mids have plenty of thump, and the bass response is smooth and full. Lead melody parts just sing with ease and are intonated perfectly across the board, with the playability that’s softer than butter. Pick a chord, any chord, it sounds bigger and bolder, across the entire neck. Sustain rings true at every spot on the fingerboard, a testament to the new bracing system’s immediate benefits. Some guitars have “sweet spots” -the entire fingerboard of this instrument is a sweet spot. Strumming wise, it’s as rich and as deep as the materials, each note of a chord seems to have its own definition, with no string or overtone overpowering another.

Taylor has developed their own Piezo system, with the pickup behind, not under, the saddle. It brings a bit more openness, without any treble spikes or shrillness. Three soft rubber controls sit on the upper bout for volume, treble and bass. The EQ system can easily be tweaked to whatever amplification it’s plugged into, with no issues.

The street price comes in at $3499, which is certainly an investment, but considering the materials, design, construction, playability, and that amazing sound, it may just be the last acoustic you ever need to buy. Players looking for a serious instrument that will inspire you to pick it up every time you see it, this is the one.

Chris Devine

PROS

CONS

STREET PRICE

Excellent materials and design, plays and sounds like a dream.

None.

$3499

PERFORMER MAGAZINE FEBRUARY/MARCH 2019 47

GEAR REVIEWS

TASCAM Model 24

T

ASCAM pretty much invented home recording, and their Model 24 works as a standalone recorder, a tactile mixer, as well as acting as a DAW interface. What more could you want?

The overall landscape of it is very familiar to a traditional mixing console. Name an option and it’s there at your fingertips. Channels 1-12 each sport a Gain, Compression, 4-Band EQ, Monitor Out Buses, FX Bus, and Pan controls, along with nice big faders. Recording enabling, mute and main, sub and PFL switches are also on these channels. Channels 13-20 sport a similar configuration, minus the Compressor control, and only have a 3-band EQ section. Channels 21 & 22 are more configured for sending signals for playback, with RCA connections as well as a Bluetooth connection. Channels 1 & 2 also have dedicated instrument inputs, as well as inserts for effects with a 1/4” TRS connection. So you can get clean, direct recording of guitars and bass with no problems.

Channels 3-12 have XLR and 1/4” inputs, while 13-20 have XLR, and (2) 1/4” inputs. A great way to think of using this is putting guitars in channels 1 (and 2, if need be), 3-12 can be for drums, vocals, bass, and use 13-20 for items like keyboards/synths, or use them as effects return and sends. The mains area has a sub mix control, as well as two monitor faders, and the main control fader, a 7-band graphic EQ, along with outputs for monitors, aux outs, and headphones.

And of course, there’s on-board phantom power available for condenser mics that require that extra juice. It’s a lot to take in, but everything is 48 FEBRUARY/MARCH 2019 PERFORMER MAGAZINE

neatly laid out; each knob and fader feels super solid, no odd wiggles or looseness. Sound quality is great, especially with the on-board compressor to even things out right from the start.

So, this is kind of a mix of old school analog and digital, with a pretty powerful digital effects section featuring 16 variations of reverbs, delays and modulation effects to add ambience and depth to your mix. It goes a bit deeper into the digital, as the mixer also can act as a digital recorder; there’s an SD card slot which makes things super-easy to capture. Using it as a live mixer to record gigs is an excellent option. How about recording those sounchecks? The digital display interface is pretty easy to navigate, but will take a bit of going back and forth to the manual in the beginning. In some cases, workflow wise, it might just be easier to go to something like Pro Tools or Studio One, for edits and punchins than try to use it as a stand-alone workstation.

But the option is there, and if you need to get out of the box for a change of pace, this will bring you back to the old-school way of doing things.

Now any recordings done on the TASCAM Model 24 can be imported into the software of your choice. So, you’re recording a band live with the Model 24 in a live room or practice space, but want to mix in a different environment on a Mac or PC? Yeah, this really shines in this application.

Now there is a USB connection as well, so this could also act as an awesome big-format DAW interface. Going that route offers up plenty of options. Bang for the buck, having an analog style preamp/channel strip control THEN hitting the DAW is pretty sweet. The Model 24 can also be

connected and act as a mixing/control surface for a DAW as well, bringing that cool old analog feel to a new level.

At the end of the day, if you don’t want them, then no extra software or hardware add-ons are needed. It’s actually a refreshing change of pace and can get you thinking more about the song than menu-diving in your DAW. It could easily be the heart of a good DIY studio that wants to have enough inputs to do a full band, without any issues. It’s old school feel meets new cool options.

Chris Devine

PROS

Great analog inputs and tactile feel, easy on-board digital recording and expandability CONS

Smallish digital display.

STREET PRICE

$999

Ready to perform.

Anywhere. Any time.

BATTERY INC LUDE D PL AY UP TO 11 HOURS

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