Performer Magazine: June 2016

THE MUSICIAN ’S RESO URCE

JUNE ‘16 FREE

Why Bitcoin is Poised to Revolutionize Royalty Transparency

5

Ways To Improve Your Live Sound on the Cheap

Margaret Glaspy Explains why re-recording her latest LP led to a surge in creative momentum

How RAID Storage Can Save Your Studio Money

interviews

PETER BJORN AND JOHN · MUTUAL BENEFIT · THE MELTING POPSICLES

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cover story

Margaret Glaspy

TABLE OF CONTENTS

VOLUME 26, ISSUE 6

by Vincent Scarpa

Peter Bjorn and John

4. LETTER FROM THE EDITOR

by Tony Eubank

5. VINYL OF THE MONTH: The Howling Tongues

6. RECORDS THAT CHANGED MY LIFE: Timothy Maloof

8. Dot Blockchain and Fair Trade Music: Part 2

10. Why Bandcamp Can (and Should) Bury

Mutual Benefit

by Wilhelmina Hayward

iTunes

12

28. RECORDING TIPS: RAID Storage & Studio Archiving

30. Put Together a Killer Live Rig on the Cheap

32. TOUR TEST: Audio-Technica In-Ear Monitors

34. STUDIO TEST: Focusrite Clarett 8Pre 36. GEAR REVIEWS: BOSS, JBL, AKG, Shure & more…

47. MY FAVORITE AXE: TW Walsh

The Melting Popsicles

by Brad Hardisty

16

20

48. FLASHBACK: Vintage Gibson Acoustic Cover

Erbu Yildiz

PERFORMER MAGAZINE JUNE 2016 3

LETTER FROM THE EDITOR

Prince died.

Volume 26, Issue 6

Is there really anything more to say that hasn’t already been said?

PO BOX 348 Somerville, MA 02143

-Benjamin Ricci, editor

CONTACT Phone: 617-627-9200 Fax: 617-627-9930

P.S. – Sometimes it does indeed snow in April…

PUBLISHER William House Phone: 617-627-9919 bill@performermag.com EDITOR Benjamin Ricci ben@performermag.com DESIGN & ART DIRECTION Cristian Iancu EDITORIAL ASSISTANT Bob Dobalina editorial@performermag.com CONTRIBUTING WRITERS Andy Alonso, Benjamin Ricci, Brad Hardisty, Chris Devine, Dan McCurry, Don Miggs, Jordan Tishler, Michael St. James, Rick Belluso, Rob Tavaglione, Timothy Maloof, Tony Eubank, TW Walsh, Vincent Scarpa, Wilhelmina Hayward CONTRIBUTING PHOTOGRAPHERS Brad Hardisty, Emilia Pare, Erbu Yildiz, Johan Bergmark, Rob Meigel, Ezra Walsh, Dan McCurry, Mike Herrera ADVERTISING SALES William House Phone: 617-627-9919 bill@performermag.com

performermag.com

performermagazine

performermag

ABOUT US

CORRECTIONS

Performer Magazine, a nationally distributed musician’s trade publication, focuses on independent musicians, those unsigned and on small labels, and their success in a DIY environment. We’re dedicated to promoting lesser-known talent and being the first to introduce you to artists you should know about.

Did we make a heinous blunder, factual error or just spell your name wrong? Contact editorial@performermag.com and let us know, cuz we’re big enough to say, “Baby, I was wrong.”

MUSIC SUBMISSIONS We listen to everything that comes into the office. We prefer physical CDs, cassettes and vinyl over downloads. If you do not have a physical copy, send download links to editorial@performermag.com.No attachments, please. Send CDs to: Performer Magazine Attn: Reviews PO BOX 348 Somerville, MA 02143

4 JUNE 2016 PERFORMER MAGAZINE

EDITORIAL SUBMISSIONS In the words of our esteemed forefathers at CREEM: “NOBODY WHO WRITES FOR THIS RAG’S GOT ANYTHING YOU AIN’T GOT, at least in the way of credentials. There’s no reason why you shouldn’t be sending us your stuff: reviews, features, photos, recording tips, DIY advice or whatever else you have in mind that might be interesting to our readers: independent and DIY musicians. Who else do ya know who’ll publish you? We really will... ask any of our dozens of satisfied customers.

Just bop it along to us to editorial@performermag.com and see what comes back your way. If you have eyes to be in print, this just might be the place. Whaddya got to lose?

Whaddya got?”

© 2016 by Performer Publications, Inc. All rights reserved. No part of this publication may be reproduced by any method whatsoever without the written permission of the publisher. The magazine accepts no responsibility for unsolicited recordings, manuscripts, artwork or photographs and will not return such materials unless requested and accompanied by a SASE. Annual Subscription Rate is $30 in the U.S.; $45 outside the U.S.

The Howling Tongues Boo Hiss

Atlanta, GA (Self-released)

REVIEWS

Emilia Pare

O

K, I’m just gonna come out and say it. F%&$ every so-called rock radio station in America for not playing “Vivian” on the hour, every hour as part of their regular rotation this summer. While we get inundated with the latest “YouTube sensation” crap from the FM airwaves, glorious rock and roll like The Howling Tongues’ latest, Boo Hiss, is nowhere to be found.

And what a loss for real music fans – these guys f lat out rock, and the brutally honest lyrics and crashing damnation of “Alone” make me want to personally issue a copy of this record to every program director in the country with a note telling them they’re all idiots. Angry face emoji. That’s right, I wrote it out.

Benjamin Ricci peace with the fact that you’re soon to be out a few bucks, because you’re gonna want this LP in your collection ASAP. We liked their first record. We loved their second. In the words of Alvy Singer, we lurve this one. Highly recommended.

Follow on Twitter: @HowlingTongues

How best to describe The Howling Tongues for the uninitiated? Well, the Atlanta natives take the best bits from the Hives, Aerosmith, The Black Crowes, and a little swamp-boogie for good measure and Frankenstein the whole lot into a cohesive ball of pure rock energy. In other words, make PERFORMER MAGAZINE JUNE 2016 5

REVIEWS

"Dear Performer, There are a few albums that stand out starting in childhood. First would be Saadoun AlBayati (above), his first album released in 1973.

I grew up in an Arab-American household, but my parents were also huge fans of early rock and roll.

However, in a mixed culture home one is exposed to the sounds of the “old country.� These sounds were, and are, deeply embedded in me and have informed my compositions and playing, as well as revisiting traditional Arabic music performance as an adult.

RECORDS CHANGED

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Approaching my teenage years, exciting bands were emerging and one such band that moved me was X. The album Los Angeles was mind-blowing. Produced by the Doors’ Ray Manzarek, it was raw, emotional and featured his organ virtuosity. The sound of his organ with the visceral proto-punk sound, Billy Zoom’s guitar, and dark lyrics--it was easy to get lost in this world.

REVIEWS

That being said, I was bitten by the rock and roll bug as well. Buddy Holly’s Greatest Hits was constantly on the turntable as well. We are all aware of his contributions to popular music and his unique voice. He employed double tracked vocals and developed the two-guitar-bass-anddrum instrumentation that would drive rock and roll up to now.

ones listed above are just the earliest examples-some still have a conscious effect on me and other influences have been embedded into what it is I do. Music.

Thank you for reading.

Sincerely, Timothy Maloof"

A few years later Hüsker Dü released Zen Arcade. This double album is an emotional roller coaster and was done mostly in first takes. The music truly represents and emulates the troubled, tormented lyrics; it is hardcore and psychedelia slammed together in the most elegant fashion.

Lastly, I would like to mention an album that has had a profound effect on my sense of aesthetics in regards to sound. Robert Fripp and Brian Eno’s Evening Star was released in 1975, however I did not hear it until ten years later, and what an impact it had. A new world was presented to me, one in which I immersed myself.

This album, too, is intense and exhibits emotion in a refined manner.

These albums are really just the tip of all that has formed me as a musician. I have been, and continue to be, inspired by many new artists. The

Which records inspired you to become a musician? Let us know and you can be featured in a future column. Email ben@performermag.com for more info.

S THAT D MY LIFE Timothy Maloof

PERFORMER MAGAZINE JUNE 2016 7

MUSIC BUSINESS

FAIR TRAD AND DOT BL How Virtual Reality & Bitcoin Will Shape the Future of Royalty & Licensing Transparency in the Music Industry (Part 2 of 2)

[editor’s note: We pick up the conversation in part of our series with Benji Rogers (founder of PledgeMusic, pictured opposite), outlining Dot Blockchain’s vision for the music industry. Catch up on part one in the May issue or online at performermag.com.]

Concerning the ledger and transparency: Some music sales are meant to be private - partial interest catalog purchases, and partnership licenses, co-pubs, etc. How would those be handled?

This is what I meant [earlier] by under-the-table versus what is open above it. This architecture will allow for a nested permission system, you do not have to post the deals. Or, you could choose to do so, and set market rates, or averages. But mostly, the transparency comes in when those who interact with licensing of music need to know the correct parties to pay. You know as a music publisher and licensor that is the absolute hardest part right now about the business.

Getting transparent, correct, and up to date information. I believe this is the definition of Fair Trade Music, as well. If a large company or service decides to not use .bc in their system, they are, in effect, saying “we don’t know (purposefully choosing not to know) who we need to pay or report to.” This fixes that.

website screenshot

information around them. Permissioned songs and the obligations behind it. You can’t serve a song without that; it’s powerful. Right now, there is nothing to stop anyone from doing

“What I’d like to do show is a system of openness and transparency. You don’t need a law to see who to pay, and who owns what.” - Benji Rogers How does Dot Blockchain improve security?

Interestingly, this is not just a repository of files in one place. What we have created is a cultural repository. Not just the files, but also all of the 8 JUNE 2016 PERFORMER MAGAZINE

Ctrl-I in iTunes and completely changing file information, then uploading to a DSP. It’s ridiculous, there’s no trace or record of change.

In this system, if a bad actor tried to register a

song they don’t have ownership interest in, it will be transparent to the pub and the PRO, and the licensing community will all know that you did that for eternity. The record would reflect that. That would be in the permission tree.

Errors happen, though, and I imagine many will be made as new users do this. Is there a way to make these records cleaner?

Exactly right. But in the past we’d be stuck with bad information forever. With this system, it can be fixed right away. For instance, if we write a song together and I claim 75% the first time that the .bc gets compiled, you’d come back and say it should be 50/50, we can amend it, but the first bit would always be there as a transactional record. You could look at a queuing system, where if I claimed over a percentage, then another publisher could amend it or approve it before it was served as a full-permissioned song. The biggest part of that is making sure

there are transparent permissions to review.

We can always change percentages or additional owners.

Let’s get into Virtual Reality (VR) and Augmented Reality (AR). You’ve mentioned this is a real opportunity for music, if (and it’s a big “if”) it takes off.

Well, as with any new medium, who knows if it will really work, right? But we’re seeing estimates of a $50-150 billion market. What we do know is that companies like Oculus, Google, Microsoft, etc. are all pouring tons of money into developing VR and AR. I do think we are about to see the world’s largest deployment of a new format since discs, and there is no standard or format for this new technology. By format, I mean there is no “.vr” that encompasses video and audio. It’s a mash-up of multiple codec/ formats like .mov and .mp4, and the audio is currently .acc or .mp3 - obviously not a best fit for this new technology.

So, we in the music industry have a moment here to play an active role in directing this new industry in what format we want them to use.

And so much of the work is around the “video/ visual” side, and so there is, at the present time, a singular moment in the cycle of technology to create and adopt a fair trade format and roll it out through VR and AR. Because it’s a brand new medium, we have the chance to create a standard that will be used in other industries, too, and we may not have this chance for another few decades. We want to embrace VR and AR and a partner in this, and we think they will do the same.

The blockchain is actually a distributed database, so why is that so important for security?

Think about the Library at Alexandria. It was a centralized system that stayed in one place. So, obviously it was at risk of disappearing if it was attacked. And it was. It’s a big reason why I prefer the blockchain to house this. In one sense, you could achieve a big part of this system without the files; we need a repository all in one place.

The thing about a distributed system is that key nodes can be attacked, but not every node or the system. In this system if we got to 500,000 or 1,000,000 nodes we could fork the first hundred

MUSIC BUSINESS

ADE MUSIC LOCKCHAIN years, forward compatible. It doesn’t make the past obsolete.

How would .bc play with audiofingerprinting and tracking? It seems those are tied to other formats (.wav, etc.).

Ideally, we would be able to put as many audiofingerprinting beacons into to each file. Once the APIs are built, which we are deciding with the MVD (minimum viable data), we might decide which ones to include initially. But the hope is that would eventually be any and all that work well.

What if bitcoin itself as a model fails, will the blockchain survive? Is it married to bitcoin?

Blockchain can exist without bitcoin, however, because everyone participates as a node in the system, if things went wrong, overpowered or failed, everyone could keep redundant backups.

So, the more it’s used the stronger it is?

Exactly. If something goes wrong, you fork it and create a new one. The key to this kind of system is the volume of nodes. We are somewhat blockchain agnostic, but we will choose one; the bitcoin is best production.

Why is that?

The blockchain is a 7-year production hardened engine. It’s withstood issues with coding, and survived attacks, and it’s improving through slowness issues, which means it’s steady. It does have competition, but [they’re] nowhere near as stable. There’s a 6 billion-dollar market cap with bitcoin - bigger than the entire music industry.

How ironic?

As the CRB and copyright hearings continue to amend licensing regimes, how can we get .bc into the legislation so that it’s ready to go? For instance, would we need to change language and copyright functions?

Basically, that’s advocating for an existing system vs. a new theory. What I’d like to do show is a system of openness and transparency. You don’t need a law to see who to pay, and who owns what. That’s half the battle. Currently those laws (which change and are not universal) have not solved these problems, and probably have caused some of them.

GET INVOLVED Keep an eye out in this space for a future column where we will be actually deploying a piece of music on Dot Blockchain in .bc format. Until then, get involved by visiting dotblockchainmusic.com and help define the beta priorities by taking the survey: https://dotbc.typeform.com/to/a8IqiK 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.

PERFORMER MAGAZINE JUNE 2016 9

MUSIC BUSINESS

HOW (& WHY) CAN & SHOULD

W

elcome to another dispatch from the streaming wars. Or, wait a minute, are we still in the format wars? If you thought the music industry especially the independent sector - was going through a rough transition, get ready to freak out: it’s about to get worse.

YouTube is in shaky negotiations with the majors, which will result in far fewer offerings, and Content ID is still a mess. And all of the talk and business analysis around Apple’s flagship iTunes store makes it clear that they are planning to exit downloads entirely in the very near future. You read that right.

Until recently, music lovers had an incredible array of options to stream (free or paid), download, and buy physical. But, change is swift. Spotify is becoming a video company.

SoundCloud has jumped in bed with the majors and is taking down DJ tracks and remixes while they implement a paid sub service and sell ads.

So, get ready to be forced to trust a profitmotivated corporation with your music by paying a hefty fee every month of every year for the rest of your life, plus internet/data rates.

Because that’s what is coming.

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The music business headlines all scream

about the major players in the industry. You know the ones: Spotify, Apple Music, Pandora, and so on. And you know the arguments: “royalties suck,” “artists are getting the shaft!,” “NOBODY BUYS MUSIC ANYMORE!” You know what you don’t hear about?

Bandcamp.

You know of Bandcamp, right? It’s the one that doesn’t have VCs behind it, or a trilliondollar internet search portal giant that displays its own ads on its own ad network with its own search results by its own algorithm, or a multibillion-dollar company that makes its own ads

And Why Apple is Getting Out of the Download Game Founded in 2008 by Ethan Diamond and Shawn Grunberge, Bandcamp is the one you never hear artists or rights holders bitch about; mainly because its terms are fair: 10%15% cut of digital, and 10% cut of physical sales. You also rarely hear about Ethan, right? He’s not like the Swedish tastemaker guy, or even the tanned one from Cupertino.

Hell, he’s so busy ramping up Bandcamp’s next phase that he couldn’t do the interview we had planned for this article [editor’s note: no hard feelings, sir!].

But you should get to know Bandcamp.

Your music should be on there. It’s free and you control everything: pricing, offerings, file formats, lyrics, streaming rights, freebies, and more. Did I mention you can sell your pretty vinyl or cassettes to all the cool kids? Yep. Can you sell your own t-shirts and hoodies on Spotify? No? Well, you can on Bandcamp.

And it’s free. More importantly, the free version includes all of the aforementioned options. But, if you’re touring, doing radio campaigns, or even producing a ton of releases, there is a Pro plan for just $5/mo (first year).

And it’s awesome. You can upload tracks by batch instead of one at a time and you have incredibly robust stats of who and where your fans are. In addition, you can host your videos on your site, ad-free, and share new content exclusively by permission through a streaming, embeddable player. with its own artists on its own cameras edited by its own software.

No, Bandcamp is the one that’s been selffunded and profitable since 2012.

Even if you are part of “Team NOBODY BUYS MUSIC ANYMORE,” you can set all of your music for streaming. You can even start your own subscription channel where you charge a flat monthly rate for part of all of

MUSIC BUSINESS

Y) BANDCAMP D BURY ITUNES your catalog, offer in-app communications and offers, and more.

Bandcamp is poised to beat out all of the giants, if they play this right. Here’s how they can do it.

Go social. Bandcamp has one million registered users (and growing). I am one of them, but really the only thing to do on their site is buy music. My hope is that Bandcamp allows for playlisting of songs that are not purchased just yet, but discovered, saved, and tagged for later. A social feed to interact with, and follow, other’s profiles and playlists. Let me comment with other fans and get turned on. This will lead to more purchases, and more time on site.

If the iTunes store is going to be taken behind the shed and shot in favor of the crappy Apple Music, your iTunes will go away. I foresee a time where Apple does not support or update iTunes, and will force you to put your music on iCloud to keep it. Umm, no. We still need a de facto library; we still need a dedicated player.

This is another area where Bandcamp could sneak in and grab all of that market.

I call on you, the independent/DIY community, to support Bandcamp. It’s up to us as musicians to ensure our fans can fall in love with our music however they wish. Don’t let the tech giants screw this up.

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.

PERFORMER MAGAZINE JUNE 2016 11

SPOTLIGHT

Wilhelmina Hayward Ebru Yildiz

How The Process of Quitting Music Inspired Jordan Lee to Come Back to the Industry Full-Time

MUTUAL BENEFIT 12 JUNE 2016 PERFORMER MAGAZINE

SPOTLIGHT PERFORMER MAGAZINE JUNE 2016 13

SPOTLIGHT

M

utual Benefit’s Jordan Lee is gaining well-earned recognition for his music, and his new album Skip a Stepping Stone is due for release this month on Mom+Pop. Before he gears up for touring season, we had a conversation about the ups and downs of his life as a musician.

Tell me about your short-lived attempt at the punk scene. [laughs] Well, I grew up in the Ohio suburbs, so the idea of punk was like whatever was at the mall. After that, I think I was lucky to grow up in an age where it was pretty easy to home record.

So, I just got into writing songs that way, through trial and error.

And did you bring in other people as you started writing music?

The very awful pop-punk band that I was in in high school had lots of people and we played shows in my parents’ basement…it was such a mess. The stuff I made on the computer was more of a solitary thing for the first couple years, because the songs were so bad I didn’t want anyone to hear them [laughs].

Did you just start writing and gradually the

14 JUNE 2016 PERFORMER MAGAZINE

idea of doing music full-time became the reality?

Yeah, I definitely never thought that this would be my job. I figured that was like the same odds as like, being a professional athlete. I had pretty realistic expectations, and I just really enjoyed doing it. So, I started having a goal where hopefully I could quit a full-time job and just have

being a dishwasher or something.

You’ve spoken about ‘facing reality head on,’ so what does that mean in the context of songwriting and your journey with this new album?

A lot of songs that I hear have the phrase in it, ‘everything’s going to be alright,’ you know? That’s

“One of my favorite things to do is to have something foundational, maybe a piano or guitar, build something around it, and then take that foundational thing out.” a part-time job and just keep trying to do less and less work that I didn’t like [so I could] work on art and creative stuff. I think just over the past ten years or so, it’s gotten a little bit easier each year to tour and put out records and do that instead of

one of my pet peeves, except when Kendrick Lamar does it and then it’s awesome. But, I feel like, oftentimes people are either approaching songwriting like, ‘This is going to be a sad song’ or ‘This is going to be a happy song,’ and I think that

[laughs] No, but maybe you can tease out what you mean by these complex thoughts?

I think the core of the project is the idea that the world can be a really scary bad place filled with awful people doing bad things to one another, if you think about it like that. You know, everywhere you look you can see corruption and racism and sexism, and just everything. And when I see people that are really really happy, it’s easy to kind of discount their worldview. Like, ‘Well, they just don’t know what’s happening,’ [laughs] and so, I think, at least for the last couple of albums my focus has been on how to have good mental health and how to still find joy, but also not turning away from all the things that make it pretty hard to be a human being in the United States.

Can you tell me a bit about the collective space that you worked in and how that assisted in your songwriting?

Oh, Silent Barn, yeah. So, Silent Barn existed in Queens, and it got broken into and they couldn’t use it anymore, and they opened up a new space in Bushwick that’s like a music venue and recording studio and apartments, and it’s run collectively. So I lived there for a couple of years because I was really interested in living in a collective space and kind of trying to do things a little differently, rather than just having a landlord and you know, not knowing your neighbors and stuff. The recording studio there was really beautiful and I recorded probably the first half of the record there, and I did a lot of the overdubs in my apartment.

Then the last half of the record was in New Hampshire and Boston. Silent Barn was really a big part of making the album because the first year I was there, I was mostly touring, and the second year I had to finish the album, so I didn’t leave the city much. That was a very new experience for me to be in this bustling city and like, I couldn’t escape it. There’s a lot of strong personalities there; it was just a really interesting environment to live in.

And what does your songwriting process typically look like?

Normally a song starts with a little spark and it could be a lyric or an image that’s in my head or a keyboard sound, I never really know what it’s going to be. But otherwise, like if I just hear acoustic guitar chords, I’m not inspired to make a song. So, it just has to be a little thing, and from there I put it in to the computer and try to add things or take away things. One of my favorite things to do is to have something foundational, maybe a piano or guitar, build something around it, and then take that foundational thing out.

What does life on the road look like for you?

Mmhmm, yeah, I just got my apartment back yesterday because we’ve been touring with Deer Tick. I guess it’s a little different each tour; sometimes the shows are bigger and we can have a big van, and sometimes like on this opening tour I had to kind of strip it down a little bit. It’s a mix of being extremely boring, just being in a van for hours and hours and eating junk food, but then sometimes it’s totally crazy, you’re in the type of city you’ve never been before, and everything’s confusing.

Do you do any songwriting while on the road?

In the past it hasn’t been a good space because we usually wake up pretty early and then get in the van and then sound check, play, then crash at someone’s house. So, there’s just not a lot of time to be creative or be able to be particularly thoughtful about what’s happening. It’s kind of an interesting headspace because you kind of know what you’re going to do in the day ahead of time, and then there’s so much waiting and then a cathartic release…and then waiting again. I feel like it almost puts me in a meditative space. This last tour I really enjoyed, and since I just got back, I’m now trying to adjust...

Was there ever a point along your journey as a musician where you almost threw in the towel and called it quits?

It’s easy to get discouraged, and it’s easy to look at the ecosystem of trying to put your music out there and just see a lot of cronyism and PR people…I don’t know, it’s pretty gross. And so I actually wrote a blog post saying that I was going to quit. [laughs] It’s around still, I don’t think I ever deleted it. But, you know, it’s just ‘I’m sick of the music industry, I’m just going to make things for my friends make it free, I don’t want to identify as a musician anymore, I want to live a full three-dimensional life and learn new skills,’ and [laughs] then I finished the record and all of a sudden my life became the opposite of what I said I would do. So, I guess I encourage more people to write a blog post saying that they quit, because I guess that’s what helped.

Is there something you can leave with other musicians who have been at it for years and still haven’t seen much for the fruits of their labors - step one: write a blog post? [laughs] Okay, yeah, to not be facetious, I think everyone’s journey is completely different from one another so it’s kind of hard to try and give advice, but, even the way the question is phrased, that a person has been going a long time and don’t see much in return, that type of headspace is poisonous. I think that making art is a lot like a lightning bug, like it’s light. I think it’s kind of like a mating dance, sending off pheromones and it attracts other lightning bugs to it. I kind of think that everyone has something to say and

something to make, and instead of trying to figure out how to find mass appeal, or how to market yourself the best, if you actually just focus on what you’re trying to say and work your whole life to say it in the best possible way, then I think all the connections that come out of that are really organic and beautiful.

SPOTLIGHT

obviously life is not a dichotomy like that. And so I guess I try to articulate more complex types of thought, but I don’t know, maybe that sounds pretentious.

So, what are you trying to say on this album?

I guess in my music I try to incorporate both the depression I feel sometimes, but also these moments of complete bliss, and I think those those two things are probably related to one another in some way. I guess, I like the idea too, that everything for better for worse is a season and is going to pass. It’s a calming thing to think about when life gets crazy…

Cool, well, we’ll end on a lighter note…

Please! [laughs] What’s your favorite piece of gear when you’re on tour?

Probably a trusty synthesizer, the Alesis Micron.

I blew it up in Berlin. I plugged it in to the wrong type of power, and then we had to get on the equivalent of the Berlin Craigslist and drive all over trying to find one. So, I’ve become very attached, I really like those.

Follow on Twitter: @mutual_benefit

MUTUAL BENEFIT SKIP A SINKING STONE STANDOUT TRACK: “LOST DREAMERS”

PERFORMER MAGAZINE JUNE 2016 15

SPOTLIGHT 16 JUNE 2016 PERFORMER MAGAZINE

SPOTLIGHT Making Custom Laser-Cut Merch & of Collab oration in Music City

THE

S ailing the S eas

Melting Popsicles Brad Hardisty Brad Hardisty & One Man, One Garage

PERFORMER MAGAZINE JUNE 2016 17

SPOTLIGHT

T

he Melting Popsicles just completed a performance video for their first self-released single, “Delilah Darling” and suffice it to say, it came about in an indie networking/Nashville scene kind of way. Sj Stone originally moved to Nashville from Stockton,

captivating ideas into a two-man band project that is equal parts, power-pop and Queens of the Stone Age.

bands, while the stage performance notoriety gets outside support from local musicians and creative engineers and media.

The two-man aesthetic which Nashville is becoming known for [The White Stripes, The

The Melting Popsicles always has free, custom, off-the-wall swag like laser cut key chains at local shows, and Stone is more concerned with building media content and he plans for the future of The Melting Popsicles. We recently caught up with him for a conversation…

On performing as a two-man band: “It just ended up being very convenient in a way because it’s less people to manage.”

California and had been involved various projects when he decided to put together all the elements of his life: music, laser woodworking and 18 JUNE 2016 PERFORMER MAGAZINE

Black Keys, JEFF The Brotherhood] makes it easier to book dates with other Nashville musicians who float in and out of several

When I saw you live, the drummer you worked at The Basement said that was his first gig with you?

Yeah, usually it’s my friend Jeff Hutchins but he had other commitments for that day so I had to ask Alex McVey. Jeff is my go-to guy, you know, but if he can’t make it, I’ll find somebody else.

SPOTLIGHT directions they have a paying gig, then maybe off to a passion group.

Right.

So in a way, what you are doing is like a writer’s night, where a guy brings a percussionist with him.

Exactly. [laughs] That’s pretty much it. You know, one of the beautiful things about Nashville – talent in this town does not go to waste. I myself, I am in multiple projects. I love the fact that no matter when a gig comes up, there is always somebody who is willing to do it.

You are working on different projects now?

Technically, I’m in three bands with different styles. I love it; it keeps me busy.

What are your current goals with The Melting Popsicles?

It’s my priority. At this point, I am just trying to create content. I love creating. On top of the band things I have a normal day job running an arts and crafts business…I create things and I like to incorporate that in my music. I’m doing my own merch, so I always like to have something to provide at shows.

I thought Alex was pretty good, he’s a tight drummer. His timing is impeccable.

Yeah, I really enjoyed it, too.

The two-person band thing, I got to ask you is that something that you’ve always done?

You know, it kind of ended up that way. When started in bands and managing a lot of people, it was hard to get people together. I’m a huge fan of that dynamic with two people. I love The White Stripes and I love The Black Keys and that just resonated with me. That’s kind of like my approach when writing; I just like that raw, spontaneous thing…stripped down with a lot of energy. It just ended up being very convenient in a way because it’s less people to manage.

It is hard to manage people, especially here in Nashville. Musicians go off in all different

I was like, “Yeah, definitely.” He invited me over to his studio, we looked at it. It was a pretty cool house that has been turned into a studio up in the Inglewood area off Gallatin Pike, and we decided to make a studio session video. We set up cameras and we recorded three songs and three videos in one day. At the end of that, I was like, “I don’t just want to do the taping; I also want to turn it into a house show.”

I invited people to come later in the day so we could play a few songs for them. We invited them over for some wine and cheese. We had a good time and it was fun. It’s one of those things that I like to do every time that I’m working on something; I like to take advantage of all the facilities and get people involved in it, too. So it turned out to be a great event.

Follow on Twitter: @TMPopsicles

When and where did you record “Delilah Darling”?

I want to say in the middle of January. We recorded it at a place called Univox 1, INC with Michael Puwal. We planned to record this thing back in December and I think that snow happened one of those days and that’s why it got delayed.

How did the video come about? I remember getting the call to join the production on short notice.

At the first show we did at The Basement, Michael Mechling was there that night and just by chance he stuck around to see us because he saw my guitar amp and it looked crazy. He was like, “I am going to stick around for another couple of songs and see what this all about.” After that he just reached out to me and he was like, “I’m an engineer and I work at this studio called Forty-One Fifteen and I would love to work on something with you.”

THE MELTING POPSICLES NEW SINGLE! “DELILAH DARLING”

PERFORMER MAGAZINE JUNE 2016 19

SPOTLIGHT 20 JUNE 2016 PERFORMER MAGAZINE

H ow to S park

SPOTLIGHT

Peter Bjorn and John the C reative J uices b y B ringing in O utsiders Johan Bergmark

ndie pop troupers Peter Bjorn and John are set to release their seventh studio after a five-year hiatus, Breakin’ Point, this month. The band chose to work with several producers on this project, including Paul Epworth (Florence and The Machine, U2, Paul McCartney), Emile Haynie (Kanye West, Lana Del Rey, FKA Twigs), and Greg Kurstin (Adele, Sia), and the added lacquer results in a beating, yet airy interpolation of disco and new wave synth-pop sounds.

The work is a marked shift and expansion of sound for a band that has previously dabbled in baroque pop and garage punk textures, but the band manages to do this without losing the buoyant earnestness of their lyrics.

The trio, comprised of Peter Morén, Björn Yttling, and John Eriksson, have been playing together for nearly 15 years and feels like the shift in sound is just a natural progression, the result of growing not just as a band, but also as human beings,

Tony Eubank

having children, and starting their own label.

Morén explains, “It’s been a long, long journey. We’ve been away from the public for quite some time and obviously we haven’t worked on the record all of that time, but we’ve been up and running since late 2012, on and off. That’s when we started writing the first songs.”

Morén details that during this time the band also changed management a few times, had children, and began working with several producers: “If we had focused and just done this for maybe a year, it would have happened quicker, but there has been a lot of other stuff going on.”

He continues, “One reason that it took so long is that we always set up some kind of agenda for a new album. Like the last one, Gimme Some, we wanted to go back to basics and work with our live performance set up, drums, bass, and guitar, you know? And go for a power pop, punky thing.”

PERFORMER MAGAZINE JUNE 2016 21

SPOTLIGHT

“Because we’ve been together for so long, we need other people in the room; it makes us work better.”

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He further lays out that on previous records that band went into the studio with a “production dogma,” experimenting with various production techniques and narrowing their focus to creating new sound palates, “like building our own drum kits out of found sounds and this time around we didn’t have anything like that; our rule was more about the songwriting, which I personally enjoyed more.”

He elaborates, “The dogma wasn’t about the recording, it was about the writing. We wanted to do really well-written pop songs that would all be under four minutes. So, maybe that made the recording take longer, because we didn’t have any strategy for the recording.”

While working on Breakin’ Point, the band also founded art collective and record label INGRID with Andrew Wyatt and Pontus Winnberg of the pop group Miike Snow, along with several others. “It started with Björn, he was offered to take over an old studio in Stockholm. In the seventies I think ABBA did some stuff there and some other famous people. For a while now it’s been kind of going off the radar, but it’s a really lovely studio. So, they [Pontus and Björn] started this studio and from that came the idea to start an organization around the studio, mainly as an umbrella for all the activities that we don’t do in our main bands.”

He continues, “It’s a simple outlet for when you want to get a record out quick, rather than going through the whole grinding process of shopping it around, so it’s not so much a traditional record label.”

The band’s stated goal for this album was

to make a real, proper pop record. Which is why they chose to work with so many producers on this project. “There’s a lot of things here, that maybe we wouldn’t have normally done, but I think it makes the songs shine more. The individual songs have their own identity in a way that on some of our previous records might have been a bit neglected, but here every song shines in different ways. Also, we learned a lot from the songwriting [process] because we sat in a room together much more than we normally do.”

He adds, “I think as a band we’ve gone past wanting to do everything ourselves. Because we’ve been together for so long, we need other people in the room; it makes us work better. It’s a social thing, as well. You bring in producers and new people in the room when you’re playing and rehearsing, and it becomes a bit more fun.”

Morén discusses in some detail the history of the band and its growth up till now: “I don’t think we really expected this to be a career at all. I’ve always been doing music all my life, but I’ve always worked other jobs and studied other things and did music on the side. So, we put out two records before working full time with music, on some small indie labels, doing small shows mainly in Sweden and some in Scandinavia.

Then it was the third record that went all the way.

At that point we were hitting 30, so we weren’t kids. Now we’re even older!”

He goes on, “But you know it was good in a way, because you don’t take anything for granted and you’re a bit more grounded. I always feel like this might end tomorrow, but of course you hope that you can make a living out of it for the rest of your life.” He concludes,

SPOTLIGHT

“WE LEARNED A LOT FROM THE SONGWRITING [PROCESS] BECAUSE WE SAT IN A ROOM TOGETHER MUCH MORE THAN WE NORMALLY DO.” “And not just as a band, but just making music and writing songs. You want to keep busy and do different types of music. Of course the band is the main gig, and we’ll see how long we do that, but right now it feels really fresh.”

Follow on Twitter: @PeterBjornJohn

PETER BJORN AND JOHN BREAKIN’ POINT STANDOUT TRACK: “BREAKIN’ POINT”

PERFORMER MAGAZINE JUNE 2016 23

SPOTLIGHT 24 JUNE 2016 PERFORMER MAGAZINE

SPOTLIGHT

Margaret Glaspy H ow D I Y R ecording ( & R e-R ecording) A llowed H er to R ealiz e H er T rue C reative V ision Ebru Yildiz

Vincent Scarpa

PERFORMER MAGAZINE JUNE 2016 25

SPOTLIGHT

“I think that songwriting is an extended mythology.”

F

our years ago, writing for this publication, I described Margaret Glaspy as a distinct and unique performer, a musician for whom “influences don’t serve as tracing paper.” At the time, having the opportunity to see Margaret frequently at Cambridge’s Club Passim, I was stunned by how unheard-of she was, struck by her undiscoveredness. She was finding, in a way all her own, these gorgeous spaces where jazz and folk coincided, and her voice and songwriting consistently blew me away. How did so few people know her name? I have a distinct memory of first seeing her as an opening act for singer-songwriter Vance Gilbert. I happened to be standing beside Gilbert as Glaspy played her first song, the room silent as a church. And I remember so well the “Holy shit” that Vance let out when the final note of the song faded out. It was a sentiment shared by the room, a sentiment always shared by whichever room Glaspy is playing.

In the time since then, Glaspy has released two DIY EPs—Homeschool and If & When— but this June marks the release of Glaspy’s first full-length record, Emotions and Math, a stunning collection of twelve songs released by ATO. As a devoted fan, suffice it to say that I was very much anticipating the record, wondering what it would sound like and which songs would make the cut. The day I received an advance was extremely happy-making, and I haven’t stopped listening to the record since. To say it is remarkable seems like an understatement.

It is an achievement in every sense. It is both a departure and arrival. Glaspy has found a space uninhabited in music and planted her flag there; about this, fans of music ought to be thrilled. The record’s sound is markedly different than the sound I’d associated with Glaspy previously—here, she is playing electric and playing it loud; there’s thick, knotty distortion on most of the songs, and the vocals are expertly muffled and warped.

“I feel like it finally clicked for me,” Glaspy

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And off-roading Glaspy has gone, so much so that it’s difficult to describe the record or try to place it in a genre. It resists that kind of interpretation, that reduction. It is everything at once. As a listener, I heard throughout the record the influence of artists as diverse as Joni Mitchell, Lauryn Hill, Elliott Smith, and Prince. Some of the guitar licks and solos—

example, seems to be a track in which the speaker is frustrated with the titular you, who is misreading the speaker’s actions as a kind of commitment. There’s a confidence, a frustration, in that song, but it’s also in conversation with a song like “Somebody to Anybody,” a kind of admission of vulnerability, a confession about the fear of commitment. The songs contain multitudes in and of themselves, but even more so when grouped together.

Glaspy says it was “Somebody to Anybody” and “You and I” that brought her into the record, in fact - breakthroughs that guided her and set the tone of what the record would be, what it would sound like. Of “Somebody to Anybody,” Glaspy says, “Writing that song taught me a lot about songwriting.” And it was the style and

you started to try a little harder, don’t you think?” But it’s in the phrasing, the repetition, that the song brings about a kind of alchemy which seems to indict both the listener and the speaker simultaneously, one of the great experiences music can create between artist and audience.

SPOTLIGHT

says. “It all came together, in terms of having my own style. I was finally writing in my own voice and not mimicking all my favorite songwriters. We often model what we do off of what we love; I think you’re supposed to for a long time. But it all came together for me, creatively, and I felt like I was ready to go off-roading.”

Emotions and Math, if the world spins toward justice, will land Glaspy in the bright and vast spotlight she has deserved for years. In our interview, she mentions that so many publications have been referring to her as “the new girl,” forgetting or ignoring the years and years of honing and seeking Glaspy has undergone to become the person to make Emotions and Math, one of the greatest records of the year.

“GLASPY HAS FOUND A SPACE UNINHABITED IN MUSIC AND PLANTED HER FLAG THERE.” which seem to dare you not to air-play along, like the solo on “Memory Street”—sound like they could’ve come straight off Last Splash, the great Breeders record.

sound of “You and I,” she says, that gave her a kind of permission, a reminder that there were no rules or rubric for what the record ought to sound like.

Perhaps the record is as perfect as it is because Glaspy recorded it three times. “I was so tired of waiting around to see what was going to happen, to see if someone was going to suddenly give me a check to make a record,” Glaspy says, so she decided to make the demos herself, using only an iPad. Soon after, she and her partner, Julian Lage, went out and purchased recording gear, learned how to use it at home, and engineered the record themselves again. It was during the finalization process of this DIY-style recording that Glaspy was presented an offer from ATO Records, resulting in a third and final recording.

Asked about the impetus of the songwriting—about what space she’s writing from—Glaspy cites a recent documentary about Nora Ephron, the title of which, Everything is Copy, is a line of advice Ephron was given by her mother. “I feel that way,” Glaspy says. “Not to a negative extent, I don’t want to exploit my life, but I think humans want to be heard and they want to share what they’re going through: no matter if you’re an introvert or an extrovert.”

“It was pretty essential to have made it that many times, to make it go through so many filters, to weed out all the things that were unnecessary from the songs and the arrangements,” Glaspy says. “Once we got into the studio, I knew exactly how I wanted to do it, and was able to produce it myself.”

The songs on Emotions and Math are deceptively accessible on the lyric level.

On the surface, a song like “You and I,” for

She continues, “People need to share their experiences. I think that songwriting is my way of doing that, and it’s also my work.

It’s obviously cathartic because you can deal with life in a certain way through writing, but more than cathartic to me it feels like a kind of practice. Songwriting is an extended mythology. I love being a part of that. I love finding different ways to say the same thing.”

Glaspy’s peerless songwriting skills are best evidenced on “Parental Guidance,” a standout track on the new LP. The song’s refrain is simple enough: “It’s about time

Follow on Twitter: @mglaspy

MARGARET GLASPY EMOTIONS AND MATH STANDOUT TRACK: “YOU AND I”

PERFORMER MAGAZINE JUNE 2016 27

RECORDING

How RAID Storag Ass (and Your Wal ARCHIVE YOUR WORK This month I want to address a really important, if totally unsexy, topic: Archiving.

Here’s the thing, most people don’t back up as they work and backing up is not the same is archiving. Let me tell you story: maybe 20 years ago, when I hadn’t given this topic much thought, I had all my current work on my studio drive, and I would periodically back it up to an external drive. If my internal drive became full, I’d remove an old project since it was also on the external drive. Ultimately my entire life’s work was on that external drive. BAD IDEA. One day I needed an old session, plugged in the external drive only to have it burst into flames!

OMG, all my work! Thankfully, DiscSavers in California was able to recover all of my data for a mere $3,000 (only a fraction of which was covered by my business insurance policy. You do have one of those, right?) It was a painful lesson.

DATA PRESERVATION This made me think long and hard about data preservation. You should, too. I’ll tell you what I do. To begin, let’s think about a few crucial definitions. First, when we’re talking about long-term data preservation we’re talking about Archiving, not back up.

Back-up is a single, on-line or near-line copy of your data that’s available if anything should go wrong now or as you’re working in the near future. Archiving is about making sure you have lots of copies of completed projects that will hopefully survive long into the future.

Second, what you archive needs to be different from your working session in order to survive not only mechanical failure but technological changes over time. DAWs and plug-ins are going to change in the future, that’s guaranteed, and over my career I’ve seen them come and go enough that old sessions simply can no longer be opened.

TIME FOR RAID In many ways, archiving demands in the physical world are relatively easy. You need many copies of your data and a way to keep track of it. The answer is a RAID (redundant array of independent disks). [See Fig 1 ] This is a special external hard drive

28 JUNE 2016 PERFORMER MAGAZINE

1 enclosure that has built-in software that, in its simplest terms, takes two hard drives and makes them act as one, but with the second a mirror copy of the first. This is called RAID 1.

There are a bunch of different ways to do RAID that you can look into; I actually use what is called RAID 10 to get enough storage space as well as redundancy.

number, the designation of the drive (Archive number X) and whether it is the A or B of the pair. [see Fig 3 ] When I store the pair, I make a screenshot of the top level of the folder of the drive so I can see what’s on it. Annually, I take all the stored drives out and spin them up to prevent mechanical seizure of the platter mechanism.

A key feature to my scheme is that when the drive(s) are full they get copied onto their replacement drive(s) that are, thanks to the march of technology, larger. This provides yet another copy, on fresh drives, moving forward. The full drives are then placed in special drive boxes (available on Amazon) [see Fig 2 ] and stored in a cool, dry location, in two SEPARATE locations (my home and the studio). I have a paper form that I complete for each drive listing the date of install, the date of removal, the manufacturer and model

WHAT TO ARCHIVE So much for the easy part! Now let’s talk about what you archive. You have to assume that if your data survives, none of the software that you used to create it will work to open it. It is unlikely that Pro Tools 27 is going to open PT 12 files, and even if it did, it’s unlikely that Mac OS 19 is going to read those files, or Soundtoys 15 plug-ins will work with it. You can only really hope that standard PCM files will still be around (AIFF, WAV). So, we plan for only those files to be useable. That means that after

a project is complete, there is more work to be done.

RECORDING

age Will Save Your allet) in the Studio 2

When you’re done with your mix, you make a few versions, right? We make a vocal up (1dB) and another vocal up (2dB) and a vocal down (1dB). We make an a cappella version and an instrumental. We make a TV version (all instruments and vocals except the lead). These are great to have on-hand for when the client needs one (which they will, but never believe it until they do). Then we bounce all the tracks individually (from the start of the session) with and without effects. At the end we have a lot of files! [see Fig 4 ] We have every track as linear files (no edits) for each instrument (or group) in raw and processed form. This means that we can open a blank session, throw in the processed tracks, and have the mix immediately re-created. If you use analog processing, as we do, this means bouncing, in real-time, through all those boxes.

It takes about four hours per mix! However, this is the best way I’ve found to be sure that our data will survive the future, and has already proven itself to be a successful strategy.

Now that you know how important archiving is, and why backups are not the same thing, I urge you to respect your own work and develop a strategy that is similar to protect it.

Don’t let yourself only become convinced, as I did, after a (near) tragedy. Archiving, as time consuming and unsexy as it is, will someday save your ass.

3

4

ABOUT THE AUTHOR Award winning mix engineer and producer Jordan Tishler runs Digital Bear Entertainment in Boston MA. Currently in the process of designing and building a new facility with renowned designer Fran Manzella, DBE will, once again, be the pre-eminent mix/overdub room. The SSL console and racks upon racks of analogue outboard gear, tape machine, and gazillions of instruments helps Tishler meet the expectations of artists including B Spears, JLo, Iggy A, MOTi, Justin Prime, SIA, and London Grammar. Contact me about producing your next record, or mixing the one you’re working on now! www.digitalbear.com PERFORMER MAGAZINE JUNE 2016 29

LIVE SOUND

5 WAYS TO IMP LIVE SOUND ON

I

n this day and age, being a small or solo act doesn’t mean your live sound has to suffer.

A smart, professional rig will delight your listeners with big sound and bring them deeper into your music. And you don’t have to break the bank to build one.

Let’s explore some key gear upgrades for building ‘big time’ live sound and wowing the hell out of an audience.

START WITH A PORTABLE, POWERFUL PA As the centerpiece of your live rig, you’ll want a PA that strikes a balance between sound quality and portability. Keep it as simple as you can to reduce setup and teardown time. Do you really need a 12-channel mixer?

A popular option is the Fishman Loudbox Mini (pictured), an acoustic amp that also offers 30 JUNE 2016 PERFORMER MAGAZINE

a balanced XLR microphone input. Eliminate excess gear and save tons of money with this smaller PA at less than $400.

On the higher end, the Bose L1 offers incredible sound with amazing portability. It’s a bit pricier at $900, but has glowing reviews.

Traditional PAs like the Behringer Europort series are bulkier but offer more volume at half the price of the Bose. Once you’ve got a great PA system, let’s move to the next most important part of your rig.

PRO VOCALS: A KILLER MIC CHANGES THE GAME There’s no faster way to let a crowd know that you care than with warm, full-bodied vocals that sound expensive. If you only have the budget to upgrade one piece of your rig, let

it be the vocal microphone.

For less than $100 you can get professional caliber mic that will last your entire music career. The ole standard on the low end of the price spectrum is the Shure SM48, but if you’re looking for a step up, Sennheiser e835 is a

LIVE SOUND

MPROVE YOUR ON THE CHEAP And Win More Fans with Unexpectedly Professional Audio dynamic performance mic with fantastic sound.

The e935 is also worth a look, but honestly under $200 is all you need.

PROCESS VOCALS LIKE A BOSS A great voice, PA system, and mic can get you pretty far - but a vocal processor will really tie the whole room together (without a lot of work). These are especially valuable if you don’t have a backup singer or particularly great acoustic environment to round out your sound, and they’ve come way down in price in the last few years.

Let’s explore the key features.

1. Reverb is a standard and foundational effect to utilize—without it, vocals sound sharp, empty, hollow, and unnatural. Sometimes less is more, though.

2. Compression allows you to limit the peak volume while enhancing the subtleties of your voice, breathe, and expression. Pro Tip: don’t overdo it or you’ll kill all your dynamics.

3. Harmonizers have come a long way from sounding like Alvin and the Chipmunks! What better way to impress a crowd than thickening up your vocals with tasteful and subtle harmonies. It can make you sound big for cheap.

My pick is the BOSS VE-20 (pictured), both for sound quality and ease of use. It’s one of the most popular and effective units on the market for processing live vocals. There are many great choices for less than $200, however. The BOSS PS-6 and TC Helicon VoiceTone Harmony are also top performers in this price range.

RETHINK YOUR GUITAR Now that you’re singing and sounding good, let’s see if there’s any opportunity to improve on the guitar front.

If you’re an acoustic performer looking to sturdy up your sound, an acoustic/electric is the only way to go. It just makes everything easier. A regular acoustic is fine for impromptu living room gigs, but if there’s amplification involved, cut the

nonsense and line-in to the system.

For electric players, there’s a great upgrade you can make: stop tuning forever. Yes, you read that right. You can forget entirely about the tuning part of your setup by installing an EverTune Bridge—a magically simple device that keeps your guitar in perfect tune until it’s time to change a string.

Truth is, nobody in the crowd but your mom enjoys watching you tune-up, nor do they care that you can. Why not just save that time and focus on rocking people’s socks off?

TAP INTO MOBILE TECH OK, now we can have some fun. The 21st Century has made the life of a gigging musician easier and more fun. If you’ve got some extra cash around, buy a used iPad from Gazelle (an older one is fine), mount it to your mic stand with an iKlip and go app hunting. Set lists, tour schedules, lyrics, tabs, tuners, samples, beats, synths - and anything else you could possibly need will be at your fingertips whenever you need it, onstage and off. Plus, it’s just fun and the audience loves it.

At a basic level, you can use a tablet on-stage to stay organized and focus on your performance.

Remember your song order, lyrics, and keep the show moving smoothly. If you want to get next level, read on.

BRING ON THE BEATS Don’t expect fans to rock out to your acoustic jam without a kick and snare showing them how.

The people want a beat!

If you have a drummer already, congrats. But if you’re on your own or rocking a skeleton crew, there are some great options for adding a backbone to your rhythm section without much fuss.

The BeatBuddy: It’s a stompbox that lets you control pre-programmed rhythms with your foot. It’s a popular option for small acts. At $299 it’s a bit pricey, there’s a learning curve, and constant tapping is required. But it’s still pretty cool.

Drum Beats+ App: If you decide to bring the iPad (or any mobile device) on stage, I actually created a $5 alternative that you should check out. It’s called Drum Beats+ Metronome App for iPhone, iPad, and Android. Originally created as a stockpile of beats for my songwriting needs, it turned into a nice little metronome and live drummer replacement for small acts. I recently got an email from a one-man-band using it on his cruise ship gig! People love it (and you can’t beat the price).

Fancy Foot Drums: If mobile isn’t your thing, check out the elegant Foot Drums by Farmer.

These are a simple but quick way to add character to your performance. Warning: they aren’t cheap!

But they are excellent.

IN CLOSING As a live solo performer or as part of a small act, you have an opportunity to delight fans without breaking the bank on gear. Leverage efficient and high-quality tech to put together a performance that gives your fans way more than they expected (and gives your music its best chance to succeed).

Good luck!

ABOUT THE AUTHOR Rick Belluso is the Co-Founder and CEO of Ninebuzz, a boutique music software and education company based in Rhode Island, USA. For more, visit ninebuzz.com.

PERFORMER MAGAZINE JUNE 2016 31

TOUR TEST

PRO REVIEW: Au “E Series” In-Ear In Session and On-Stage with the ATH-E40s, 50s & 70s

[Editor’s note: recently we put out a call for entries to win a set of new AudioTechnica in-ear monitors, which debuted at Winter NAMM 2016. We ultimately selected Andy Alonso, who tested out the gear in his California studio and on the road, and whose final review appears below. Be sure to check out performermag. com for his complete video wrap-up, and for more praise from Andy’s friend, MXPX’s Mike Herrera (pictured), both instudio and on tour testing out the IEMs Andy shared with him.]

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Well…I suppose I can begin me review by spouting out a boatload of technical jargon about each of the E Series models, but you can go ahead and read the tech specs for yourself. Let’s start off with the part we all secretly enjoy the most, the box.

Like coming down stairs on Christmas morning to a plate of half-eaten plate chocolate chip cookies and lukewarm glass of milk, the Fed-Ex arrival of my three sets of Audio Technica IEM’s was like a gift from Santa Claus. Each set was boxed in a matching thick cardboard cube, reinforced to keep the precious contents protected. Audio-Technica knows how to do packaging right.

ATH-E40 I began my trials by popping open the ATHE40s; like the others, it came with a nicely simplified black carrying case and extra ear fittings for maximum isolation. The first thing I noticed when trying them on is the comfort and security of the memory cable that loops over the ear. Unlike a few other IEMs I have tried in the past, these in-ears seem to fit quite nicely right off the bat and did not require too much fiddling.

I also noticed the “No B/S” styling of the driver; a design that is focused on the quality of sound and not a high-faulting style “headphones by ____

TOUR TEST

Audio-Technica ar Monitors (pick your favorite millionaire/rap mogul)”. After listening to my PA tuning tracks on a premium quality audio interface, the end result was pretty much as follows: “These $99 entry level in-ears sound pretty damn good!”

ATH-E50 I then switched over to the ATH-E50s ($199), testing them before I sent them out to MXPX’s Mike Herrera as he entered the studio to work on some new tracks. Similar to the entry-level 40s, these offer a straightforward, sleek look and a single driver in each ear that provides an impressive and detailed range and soundstage. I was impressed with the ability of the 50s to offer a clear and rich listening experience without feeling harsh or overbearing. I would confidently take a set of these out on the road with my clients, working FOH, and know that I am not risking discomfort of ear fatigue.

ATH-E70 Now the big kahuna… the flagship… the one we’ve all been waiting for… or at least I was waiting for between the time I found out I won these from Performer Magazine and the moment the Fed Ex truck arrived. The Audio Technica ATH-E70s ($399)! MMMmmm MMMmmm MMMMmmm… These guys are the real deal, a state-of-the-art 3-driver listening experience in a strong and rugged shell for long-lasting road (and studio) use. The balance and presence of each frequency range was nothing short of impressive.

It made the drum kit really come to life in my ears; I could feel the thump of the kick, the crack of the snare and the shimmer of the hi-hat. Everything felt, in a word… alive.

I could go on and on about these units but I will just leave you with this: if you’ve never thought of Audio-Technica as a go-to company for in-ears…think again. I am very impressed with the three models (and so is Mike Herrera) and I very much look forward to what they have in store for us in the future. I would gladly and confidently take their products on the road any day.

ABOUT THE AUTHOR Andy Alonso is an audio engineer and musician working in California. He does sound work for many indie bands, including MXPX. Find him online at @audio_andy.

PERFORMER MAGAZINE JUNE 2016 33

STUDIO TEST

STUDIO TEST: PUTTIN CLARETT 8PRE THR

[Editor’s note: recently we put out a call for entries to win a Focusrite Clarett 8Pre. We ultimately selected Dan McCurry, who tested out the gear in his South Carolina studio and whose final review appears below.

Be sure to check out performermag.com for his complete video wrap-up, and for footage of Brave Baby, a band on his label Hearts & Plugs, in-studio cutting tracks on the Clarett interface.]

I’ve got to say, I’ve always heard good things about Focusrite but never personally had the chance to experience their products for myself until now. I’ve worked with interfaces by Digidesign, PreSonus, M-Audio, and Behringer so I’m coming from that camp. Had the pleasure of testing out the Focusrite Clarett 8Pre with my 34 JUNE 2016 PERFORMER MAGAZINE

studio partner, producer Wolfgang Zimmerman, and his band Brave Baby. Here’s the deal…

FIRST IMPRESSIONS I was really impressed the moment I pulled the Clarett out from the box. It’s got some real heft to it; it just feels like a professional studio tool. I also really love the whole look of this unit.

I think a lot of gear out there looks kinda…goofy and unsexy. I know looks aren’t everything, but if you’re working with a client, you want them to walk into your studio and see that they are in good hands, recording with gear they can trust to bring results. The Clarett 8Pre will fit right in to the most professional of rigs. From turning the knobs and feeling the smooth yet ample resistance to just cutting the power switch on and watching the meters jump when they’re hit with signal, I

knew I was in for a real treat.

INSTALLATION AND COMMUNICATION First we had to register an account with Focusrite to download the control software – easy stuff that’s to be expected with any new interface.

I think it took all of 10 minutes to get the interface online and communicating with my iMac. I had never used Thunderbolt anything before, only Firewire and USB, so I was eager just to see how this new platform worked. I wasn’t sure what this whole “Focusrite Control” application was going to be all about – but I quickly found out it’s like having an interface for the interface, I mean, it’s totally clutch.

My experience getting previous interfaces to work with any DAW have generally been

Hell on Earth – there’s always some feature not working, some weird latency issue to sort out, inputs are missing, outputs are jumbled, etc.

Focusrite Control really just takes all of that digging around your DAW to find the missing link and puts the controls essentially outside of the DAW, in a brilliantly intuitive layout that any computer challenged person (myself included) can figure out in a matter of minutes. Thing about this that really blew my mind, though, was the whole mixer routing. Getting a different mix sent to headphones has always been an impossible task, involving a lot of confusing busses, external hardware, cabling and headaches. I’ve always just accepted this and tried to move on with my life.

Well, the Focusrite Control solves this problem that I didn’t even realize I had, and it feels like a revelation.

IN USE Brave Baby was working out some kinks on a new tune, so we figured it’d be a good time to test the waters with the Clarett. The session was initially demoed in Logic, so we decided to build things up from there. We started by replacing some sampled drums with real drums (performed by Wolfgang).

Kicked the “AIR” feature on and noticed that everything sounded more “together,” like running through a vintage console; it just had some glue and excitement in the high-end that I associate with analog preamps. Usually interface preamps just sound kinda muddy, isolated, and bland. With the Clarett, I didn’t notice myself missing my outboard preamps so much. After the drums, we dropped a little bass direct in. Usually doing bass direct in on an interface sounds kinda wimpy and anemic, in my opinion. We cut a Fender Jazz Bass in on Channel 1 and junk was sounding perfectly fatty and snappy – didn’t even need to bust out the SansAmp plug-in to try to make the bass guitar sound like an actual bass guitar – that was refreshing. After bass, we did a slew of keyboards, some through a miked-up Univox amp, some direct in – all came out pretty juicy and clear, I thought. Keyboards can sometimes be a real pain in my experience, often turning out to sound just plain unnatural.

I thought these keys fit right in a mix without a hitch. Finally, we cut a vocal through a standard SM-58 (which Keon Masters, lead singer of Brave Baby, generally prefers). The vocals sounded alive with every nuance coming through. I thought the AIR feature really shined here, as it brought out the energy and presence in the high-end on the front-end before ever touching any EQ.

Throughout our time recording with the Clarett, I thoroughly enjoyed the metering, as that made it much easier to know where any clipping was happening, on the front end or on the mix side. The dim button is something you don’t normally see that I personally LOVE for my monitors. Dual headphone outputs are always welcome. And latency?!? You can forget about that, running Thunderbolt here. That’s always been an issue in big sessions with lots of plug-ins going and then having to disable all the plug-ins just so you can record another track…well, it’s nice to not have to worry about when your session is going to crash next for a change, or whether you have enough skill to play in time when your monitoring is half a second behind due to latency.

Yeah, that’s not an issue here.

OVERALL Totally impressed with everything that’s packed into this single space rack here. The Focusrite Clarett 8Pre has everything you need and zero fluff. Focusrite Control brings a new level of functionality to the world of recording interfaces. Typically, my relationship with any interface is built around trying to avoid the builtin preamps at all costs. Using the pres on the Clarett is a patch bay-less joy that has me using half as many plug-ins as I normally would. For anyone who has been waiting to jump on the Thunderbolt recording interface gravy train, I

STUDIO TEST

TING THE FOCUSRITE HROUGH ITS PACES would say that Focusrite Clarett 8Pre is workflow recording revolution, that is well worth the $1000 point of entry. #goodbyefirewire ABOUT THE AUTHOR Dan McCurry heads the Hearts & Plugs label out of Charleston, SC. For more, visit www.heartsandplugs.com.

PROS

8 solid preamps packed into a low latency Thunderbolt 1 space rack unit with Focusrite Control and “Air” CONS

Zero PRICE

$999

PERFORMER MAGAZINE JUNE 2016 35

GEAR REVIEWS

BLACK LION AUDIO Auteur MkII Mic Pre - $649

T

he gap between professional and personal studios has been narrowing in the last decade. But it always seemed like getting a decent preamp to integrate to smaller interfaces was severely lopsided; too many channels and inputs for a 2-channel interface box, for far too much money, and that wouldn’t complement a DAW. Black Lion Audio’s Auteur MkII Mic Pre is a great balance of those two worlds.

The half rack unit is perfectly simple, with selection of phantom power, a 10dB pad, and phase reversal, along with a gain knob for each channel. Inputs are XLR, and outputs are 1/4” TRS only. Connecting it to a standard 2-channel digital interface box, it can really liven up anything you choose to run through it. It’s ultralow signal to noise ratio means the gain can really be applied, bringing “more” to anything run through it.

Vocals, drums, and guitars all sounded equally excellent through it. Put simply, it’ll add an analog sound to your set-up that was • Dual Channel • Ultra High-Speed Input Stages • Edcor Output Transformers

FEATURES

• 65dB Gain • Extended Frequency Response • Low Distortion & Noise • Phantom Power • Phase Switch • 10dBu Pad • XLR Microphone Input • TRS Line Output (balanced) 36 JUNE 2016 PERFORMER MAGAZINE

previously only available through large vintage consoles (most of which are now commanding ridiculously high prices on the secondary market). As the only parameter/control is the gain knob, maximum settings still bring plenty of sonic goodness, without overpowering things.

Inexpensive “industry standard” mic’s like SM57s and the like sound even better than they ought to though this! There’s plenty of warm, low end fatness that still retains sharp clarity, and the high end sharpness exists in a good, musical way, with more overall range and room to move.

Every studio is always looking to get back some of that warmth and musical dynamic that digital recording can be missing, and this is a super easy way to solve that problem. With a street price of $649, it’s well worth it for any home or pro studio running an interface with lessthan-impressive built-in mic pres; trust us, this investment is worth making. For a commercial studio, a pair (or more) of these wouldn’t break the budget, and will bring amazing warmth to any DAW-driven environment.

Chris Devine

PROS

Excellent sound quality and price.

CONS

None.

GEAR REVIEWS

PROS

Master control over pedalboard & amp, plenty of tonal possibilities.

CONS

BOSS ES-5 Effects Switching System - $399

Numbering of pedals is reversed in display, as well as on back panel. ee n te in article

C

hanging several pedals at once has gone from a tap dance routine, to a single button with Boss’ new ES-5, but there’s a lot more it has going for it. It’s got five fx loops, a tuner out, external controls (for an amp’s channel switching, for example), expression pedal output, as well as MIDI connections. Each loop can also be set for buffered, or true bypass.

Our test pedal chain included a Boss Blues Driver, Boss Chorus, MXR Micro Flanger, EarthQuaker Night Train Tremolo, and an Eventide H9 MAX, while our test amp was a Peavey Classic 50 2x12. The order of the loop in the signal chain is assignable to each patch, so there’s no need to put the pedals in any particular order. Putting the chorus before the tremolo, for one song, might sound better, but in another song, it might sound better after the tremolo. Setting up a patch with the Chorus and Blues Driver on was very simple, as well as any other combination of pedals we could imagine. The patches can be named, too, which is great; a song name is a great way to keep track of these settings. With the H9 Max connected to the MIDI ports, the ES-5 can change the presets on the H9, as well as place the H9 Max in the proper effect order for the particular sound. Nice!

There’s also the ability to sync tap tempos either via MIDI, or even if there’s a Boss pedal like a DD7 that has an external 1/4” connection, it can be engaged through the ES-5. There’s also a parallel loop connection, for running multiple loops at the same time. A chorus and delay at the same time, for example, can really create some new sonic textures

that are made simple with the ES-5. Jim Bybee of BOSS explains further: “The parallel function is basically a simple internal mixer that allows you to run effect loop paths side-by-side (parallel) instead of sequentially (serial). Also, the same internal mixer is also used for the carryover function. When used with a delay pedal for example, this allows the sound to carryover (delay trails not cut off ) when switching patches.”

There’s also a momentary feature: engaging a reverb or delay, for instance, for the end of a solo for just that last note. Press down and hold on that loop’s switch and it’s there. Release the switch, and it’s gone. Very easy.

The ES-5 turns any amp and pedalboard into one cohesive unit, with the added ability to connect it to an amp’s channel switching or any other footswitch that uses a standard 1/4” TRS connection. Going from the Blues Driver with the H9 with a delay, with the amp on clean with no reverb, to the lead sound of the Peavey, reverb off, with the chorus on, was done in the touch of one button. It may sound confusing, but it really makes things much simpler. Tap dancing across a pedalboard has now become a thing of the past.

There was initially one minor quibble we had on the unit: looking down, the buttons on the pedal run from left to right, loops 1-5. On the back panel the inputs run 5-1. The interface does the same. We thought it might confuse things a bit, wondering why loop 1 isn’t on the same side as switch 1. For an explanation, we again turned to

Jim Bybee: “In application, this may not be such a big ‘con’ in most cases, [and] this design is actually in line with typical advanced switchers of this type.

The loop switchers that have jacks and correlating switches right next to each other are passive switchers, which are simple on/off devices. Since the ES-5 offers advanced functionality like patch programming, freely assignable loop order and footswitches, etc., there’s no need for this (similar to our larger ES-8). Assuming the loops are used in sequential order (the default), the rear panel jacks provide left-to-right signal flow, from guitar in to final output. But the display order was designed to mirror the physical jack order, so the signal flow goes right-to-left to match. So, in a virtual sense, the display is providing the one-to-one correlation you’re asking for. (But of course, since you can change the loop order at will, this can go out the window in a hurry!) Since the unit’s footswitches can have multiple different functions, (switching patches, switching loops on/off, tap tempo, etc.), there doesn’t necessarily need to be any linear correlation with the rear loops. If the user wants to, there are some easy workarounds—if you want to always use the switches for on/off duty, you can simply re-label them (label-maker, tape) to match the rear jack order. Some people may also choose to label pedals to identify which is used in a particular loop.”

With a street price of $399, the ES-5 can give players looking to really get everything out of their pedalboard and amp rig the ability to take things to a whole new level with minimal fuss. For stage use, we can’t recommend it highly enough.

Chris Devine

FEATURES

• Number of Footswitch Buttons: 5 • Inputs: 1 x 1/4” (instrument), 1 x 1/4” (tuner) • Outputs: 1 x 1/4” (main out) • Effects Loop: 5 x 1/4” loops • MIDI I/O: In, Out/Thru • Other I/O: 2 x 1/4” TRS (external control), 1 x 1/4” TRS (expression/control) PERFORMER MAGAZINE JUNE 2016 37

GEAR REVIEWS

PROS

Fantastic dynamic control, tons of tonal variety, easy to use.

CONS

Limited metering options.

JST Finality Limiter Plug-In - $79

I

do a LOT of mixing for self-recording artists and the most common problem I see with their tracks is excessive dynamics, as in too much level variation. That is, the peaks tend to be too wild and there’s not enough average-volume consistency. There’s a new plug-in from JST (Joey Sturgis Tones) called Finality that can do wonders for such issues and no, it’s not a compressor, but a limiter…and you need it!

A limiter is simply a compressor with a really high ratio (generally 10:1 and above) and they offer the ability to stop peaks from ever going beyond zero dB and distorting “in the red” with “brickwall” (no overshoot) operation. Yes, that can get pretty ugly if you’re not careful, but that’s where Finality shines. There’s a Soft mode that aims to be inaudible and neutral, there’s a Hard mode that is more grabby and dramatic, an Aggro mode that benefits snappy/transient sources like drums and finally a Color switch that introduces a little growl and grind with some saturation (today’s sup du jour).

38 JUNE 2016 PERFORMER MAGAZINE

Such varied tonality choices are unusual and desirable in the world of limiters, but the rest of the Finality package keeps up the pace with thoroughly modern options. One big plus is Lookahead operation, where Finality inspects the audio signal milliseconds prior to applying limiting; such advance notice makes for smoother, distortion-free behavior.

Another plus is the Sidechain filter. Simply put, this filter allows Finality to disregard low bass frequencies when inspecting the audio signal, preventing the pumping and shrinking that might happen otherwise. For advanced users there’s even a parallel-processing mode with the Mix control that allows the blending of limited and un-limited signals … a secret weapon for many mixing and mastering engineers.

Don’t let the complexity fool you; such options increase Finality’s usefulness beyond typical limiters in a big way and the ease of use is still … easy. Knobs can be turned quickly, or switched to a slow mode and numerical values can be directly entered (my favorite method). You can

set the output level manually, or allow Gain to be compensated automatically.

One drawback (the only one?) is the metering, where the single large VU meter doesn’t show the details of light attenuation. Some single-digit LEDs or a sensitive meter-mode would be useful.

Such a feature set allows Finality to be used on drums (naturally), vocals (especially rock vox where a little color/saturation is often welcome), bass (especially with a compressor placed before Finality), whole mixes and even mastering.

No one’s audio can exceed the digital maximum of 0 dBFS, but we are expected to knock on that door with regularity (if we expect our mixes and masters to keep up to today’s loud and saturated standards). With Finality applied carefully to tracks, busses, mixes and masters you can reach those elusive standards along with numerous artistic tonal options to further personalize your sound.

Rob Tavaglione

GEAR REVIEWS

EARTHWORKS DK25/L Drum Kit System – $1699

PROS

Excellent kit, works for live and studio applications, KP1 kick pad is amazing.

CONS

Slightly pricey.

E

arthworks have a built their reputation on high-quality mics, and their DK25/L kit is designed especially for live drum applications. But we found there are a lot more uses for this kit than just drums.

The kit includes three SR25 condenser microphones and one KP1 KickPad, windscreens and case. The SR25 sports a cardioid capsule, with a frequency response of 50Hz-25Khz. In high volume applications (like live drums) there’s plenty of headroom here, and like the SR20s they work great in off-axis positioning, with accurate response across the microphone’s head. There is plenty of depth as well as musical clarity, regardless of the positioning. Just using these three mics (one on the kick drum, and the remaining two for overheads), it’s not difficult at all to get a great drum sound, live or in the studio.

Earthworks even includes a great guide for optimum mic placement on the drum kit, and

it made a huge difference.

Can you get by with just these three mics? Depending on the kit, room and type of music, yes, easily. Tonal and mixing options might be limited, but it’s a great start. This kit can provide a strong foundation for drums, and the condensers work just as well for other instruments, especially acoustic guitars. The “L” in the name refers to “Live,” but we found the kit is also excellent for studio applications. These could easily be any sound engineer’s “go-to” condenser microphones for tracking.

The big MVP here is the KP1 KickPad. Place this small metal cylinder after the kick drum mic, and it instantly improves the response of the kick’s mic response. No futzing with EQ, compression or other outboard processing.

It just seems to add an amazing amount of “presence” to any mic plugged into it, solving

any room inconsistencies or audio quirks that usually require a work-around. It’s a passive circuit design, so there’s no added noise, and it doesn’t require phantom power. Again, even though it’s being marketed as a drum kit, our tests with guitars, bass and vocals proved it can also work wonders on almost any other live instrument.

Three individual SR25s run at $600+ apiece, and the KP1 is $100, for a total of $1900.

The street price for the DK25/L is $1699, so there’s a pretty significant value to getting it as a complete kit, and it even comes with a rugged carrying case. While meant for live use, it’s totally worth it for studio applications too, and goes beyond the usual “drum mic only” situation, if necessary. At the very least, anyone doing home recording or in a commercial studio should check out the KP1, the kit’s real shining star.

Chris Devine PERFORMER MAGAZINE JUNE 2016 39

GEAR REVIEWS

JBL LSR305 Active Studio Monitors - $149/each

J

BL has been a huge name in pro audio for years, and their LSR305s deliver on that famous big JBL sound in an inexpensive and compact size.

These active monitors are housed in an attractive black housing and contain a 5” driver and 1” tweeter, while the rear panel has the usual XLR & 1/4” audio connections. There’s even the ability to tune the speakers to the room via the HF and LF trim controls, as well as input sensitivity. A nice touch to help get the right sound in any tracking situation.

Running a variety of musical styles through these, there’s an obvious direct tightness, especially in the lower frequencies. In a lot of cases, it’s thought a larger speaker will produce better low end response, but that’s not the case here. In direct comparison to a different, 8” set of monitors we compared them to in the studio, the 305s were much more “present,” overall.

Even at maximum settings, these didn’t get flubby, mushy or distorted. A set of these are a MUST for any hip-hop/trance/EDM music being produced on a budget. Mixing through a set of these will eliminate the difficulty of trying to find that low-end sweet spot. It’s just there, and it’s tight. Even at lower volumes, when bass frequencies tend to waft off, there was plenty of bass response to be had.

They didn’t disappoint in the upper and mid-range either, with plenty of clarity and dynamics that seemed to sit well across a variety of genres. The frequency response is 43Hz-24kHz, and with a volume range of 108dB, it’s hard to beat how much great sound comes out of such a small package.

The street price is $149 each, which is amazing considering a set of these would only set your home studio back $300. If you’re in the market for a new monitoring set-up, especially if you’re on a budget, these should be at the top of your shopping list.

Chris Devine

FEATURES

• Bi-amped active studio monitors with 5” LF driver and 1” HF driver • Exceptionally wide frequency range for more accurate mixes • Image Control Waveguide creates a detailed and dimensional stereo image • HF and LF trim controls let you fine-tune the speakers to your room’s acoustics • XLR and TRS balanced inputs give you low-noise performance with your studio gear 40 JUNE 2016 PERFORMER MAGAZINE

PROS

Plenty of low-end, smooth mids, inexpensive.

CONS

None.

GEAR REVIEWS

T

CONTOUR RollerMouse Red Plus – $265

he Contour ShuttlePro v2 and Shuttle Express (which we’ve reviewed in previous issues) are great tools for streamlined productivity. Contour’s RollerMouse Red is literally a new twist on the mouse.

PROS

Mac/PC compatible, comfortable, seamless transition between keyboard & roller mouse functions.

CONS

Odd ergonomics when used with smaller, low-profile keyboards.

It’s about the width of a standard PC sized keyboard, with durable aluminum construction throughout. At the top, a rolling cylinder handles the vertical functions of a mouse, as it also slides across horizontally, covering the movement of any conventional mouse. Pressing down, it engages the standard click, with a positive, robust connection.

Just below, and off to the left, are 5 userassignable buttons, as well as a scroll wheel, which also has a “press to click” function. Out of the box, the top two are set for “copy” and “paste,” which works great for any software that needs that, from MS Office to Pro Tools.

Downloading the required driver allows the user to customize the buttons for simple commands like opening files and applications to macros and other intensive commands. It works with both Windows and Macs with ease, and uses a simple USB connection.

takes a bit of transition, but adjusting the sensitivity to a slower response can be of great help. Thankfully, it can be used in conjunction with a regular mouse, making transition easier.

The only downside we can see is for users that have a small keyboard, like the smaller, low profile Apple version; it’s a bit tough to get the hang of it, size-wise, and it looks a bit out of place. It just feels a bit clunky there. However, with full sized PC keyboards (ones that have the 0-9 keypad on the right hand side), and laptops, there’s no issue at all. It feels and seems to make more sense with these configurations and going between the keyboard and the roller mouse is much easier. A great application of this neat device is a workstation where space is an issue for use of a traditional mouse.

Chris Devine

There is also a padded wrist rest/palm support area, that is detachable, as well as two “feet” that attach to the back to raise a keyboard to an optimum height. Working across a variety of software applications, it can offer up a lot of functionality. Transitioning from the keyboard to it is kind of like using a laptop’s trackpad, with less reaching for a mouse between typing on the keyboard. Overall, getting used to it PERFORMER MAGAZINE JUNE 2016 41

GEAR REVIEWS

SHURE KSM8 Dualdyne Microphone - $499

S

hure pretty much invented the modern dynamic mic, and when they come out with a new one, they don’t follow trends, they set standards. The new KSM8 delivers on their history of quality sound and design, and we were excited to get our hands on one after seeing the splash they made at NAMM. Form wise, at first glance it doesn’t look like anything out of the ordinary, but under the metal windscreen is a dual-diaphragm cartridge, which eliminates the proximity effect of a lot of dynamic microphones. What that means is, as a microphone moves away from a sound source, like vocals, the low end drops off, and a lot more “airy” high end starts to flow in. Ever hear a presentation where the mic is lowered from the speaker, the sound drops, and feedback starts to creep in? That’s one situation - another is a singer getting really on top of the mic, to the point where it gets super bassy and flubby. With this new “fromthe-ground-up” design from Shure, those issues are a thing of the past.

The response is incredibly consistent, and performers will find that there’s not a lot of adjustment necessary to find the sweet spots for their particular voices. Hip-hop performers who love that deep bass response will realize there’s almost no limit to how low you can go.

Divas can control mic position as a volume control, and not worry about losing body or depth. The Dualdyne design has another great feature, as well - a reduction in pops that can really be annoying in any situation. Ultra shrillness gets capped off, and responds well to all high frequencies.

It’s not as inexpensive as a lot of other Shure mics, with a street price of $499, but for vocalists looking for “their” microphone, this is it. Sound engineers looking for that special weapon for singers who really beat on a mic, in a musical sense, this is it. In fact, even though it’s clearly being marketing for vocal use, we couldn’t find a situation where it wasn’t “it.” So we encourage you to experiment, like we did, with guitars, drums, acoustic piano, basically anything you can mike up live. You’ll be hard pressed to find anything the new KSM8 can’t handle perfectly.

Chris Devine

PROS

Excellent sound quality, super-flat response, eliminates proximity effect.

CONS

A tad pricey (but worth it)

While it’s really meant as a live tool, it’s no slouch in a studio environment. As it can handle these extremes, it’s great for vocals, as well as live instruments -- no worrying about mic placement as far as a tonal adjustment, looking for that perfect distance in miking an amp cabinet. For cymbals or hi-hats, this can be a godsend, capturing the depth and clarity, while eliminating excessive brightness and high end.

FEATURES

• Handheld dynamic microphone introduces Shure’s Dualdyne cartridge • Dual dynamic diaphragms and reverse airflow virtually eliminate proximity effect • Highly consistent sonic performance accommodates active vocalists • Internal shockmounting and Diaphragm Stabilization System reduce handling noise • Internal windscreen and capsule design dramatically reduce plosive pops • Rich bass response and smooth upper mids provide an incredibly musical profile 42 JUNE 2016 PERFORMER MAGAZINE

GEAR REVIEWS

W

NEWZIK Sheet Music Reader App for iOS FREE or $19.95 premium version

e’ve had a little time to test out the Newzik sheet music reader app for iOS, and wanted to share a few quick thoughts on what we were digging about it.

For starters, we really like the Annotations feature. Sometimes you have a chart that a band member wrote out that, well…maybe it’s not in perfect shape. One of the cool things in Newzik is the ability to quickly and easily highlight, notate and even correct sharps and flats in the notation itself with the stamp feature. What I personally found it useful for was notating fx timing within a song structure (when to turn on delay, chorus, volume pedal, etc). The other neat thing is that in Band Mode, you can sync up your screens so everyone’s on the same page (literally), even when you make changes to a piece you’re rehearsing.

For small combos following the same chart, this can become invaluable, and since everything is stored in a central file management system, there’s no possibility for any band

member to lose their sheet music, or worse, be using the wrong version of a chart during a live performance.

The other cool thing we wanted to point out was the Lyrics & Chord Management functionality. I’m a big fan of the dictation feature in iOS (I talk, it types), so getting down lyric and chord ideas in the tour van is supereasy with this. Another rad thing is that if you initially chart out the chords in one key, and realize you might need to change it to fit your singer’s range, a little slider allows you to transpose the entire song on-the-fly, and even updates the chord charts and fingering diagrams you had in place.

Finally, Newzik plays nice with hardware page-turners. We recently tested out the new BlueTurn from IK Multimedia, which is a footcontrol Bluetooth page-turner. Syncing the app to work with the hardware was a snap, and once it was up and running, we were able to easily (and silently) tap our foot on the “forward/up”

button to advance the sheet music. You can even scroll up and down PDFs with your foot, so in low-light situations, or for times when you can’t take your hands off your instrument to change the page, Newzik’s ability to work well with 3rd-party solutions is a great bonus.

Benjamin Ricci

PROS

Easy-to-use, great file management, nice collaborative sync features.

CONS

No Android version.

PERFORMER MAGAZINE JUNE 2016 43

GEAR REVIEWS

KYSER Guitar Wipes - $30

K

eeping a guitar in working order isn’t that hard, but going that little extra mile to maintain your instrument can really make all the difference. Kyser has an inexpensive set of wipes that won’t break the bank, and can help you keep up the look, feel and performance of your instrument for years to come.

We received their string cleaning, polish, and lem-oil wipes, and they all come in a small container containing 35 wipes each. A lot of times bigger wipe containers will go dry, so it’s better to have smaller boxes that will stay moist, and then buy more when needed.

The lem-oil is a fretboard conditioner. A lot of unfinished fingerboards can really take a beating, especially over the dry winter months. If a fretboard dries out, there can be issues with frets popping out of place, bringing unwanted noise and intonation issues. A quick pass with a couple of wipes when changing strings is a great idea.

Even in the age of coated strings and advanced alloys, the sweat and oils from a player’s hands can still do a number on strings. The String Cleaning Cleaner & Extender wipes are a great idea, even for players who aren’t that tough on their strings. Wiping down before and after playing is easy, and there is no greasy or slippery feel or residue. Clean strings last longer, and can hold tune better. Bassists and fingerstyle players would greatly benefit from this, keeping all that gross gunk out of the windings of wound strings.

The trend of relic’d or worn-in guitars is still with us (for better or worse), but there are a lot of players who prefer their instruments to remain nice and shiny. Kyser’s Wood Polish for Instruments is a good way to go. The wipes don’t leave a waxy residue or streaking, while removing dust or any unwanted grime that’s accumulated on the instrument.

Overall for under $30, it’s a minor investment to keep an instrument in good shape, especially if you plan on keeping it around for a while. For anyone who’s planning on selling an instrument, you should give a good cleaning and polish before anyone sees it, and these are simply a great way to do that.

Highly recommended for any guitar case or tech’s workbench.

Chris Devine

44 JUNE 2016 PERFORMER MAGAZINE

PROS

Great, inexpensive part of instrument maintenance.

CONS

None.

that usually break our office’s Mac mini. Tons of plug-ins? No prob – in fact no slowdowns to note, at all. Lots of tracks? Like, LOTS of tracks? Got you covered there, too. At NAMM, we saw Slick run up to 100 tracks of audio smoothly in their DAW demo.

While we didn’t process quite that many tacks at once, it was clear even after a few dozen that the machine was built to laugh at our attempts to break it. Dare we say it’s the Ivan Drago of audio PCs? Even our secret weapon “dark MIDI” files were no match. Which is a shame, really, because we kinda like seeing them blow up our Mac’s brain.

GEAR REVIEWS

SLICK AUDIO T2000 Audio PC - starting at $1980

We also learned from the folks at Slick that the tower version we tested is also available in rack form – just something to keep in mind depending on how your particular studio is set-up. “The rack and tower differ slightly in that the rack systems offer hot swap drives when running the RAID card, where the tower does, but, must be opened to do so.

Other than that, they are identical,” says CEO Jim Slick. Good to know.

W

e met up with the folks from Slick Audio back at NAMM in January, and were excited to see a company focused on making great PCs aimed squarely at the audio market. For too long, home studios and even commercial spaces have had to piece together systems, or make do with off-the-rack components that sometimes worked well together, and sometimes didn’t. When you want to focus on your latest session, worrying about fitting together a powerful system to run your DAW is the last thing you probably want to worry about.

PROS

Powerhouse CPU, customized OS for recording, silent, incredibly customizable.

CONS

Windows-only.

Out of the box, we were impressed with the rugged, tank-like construction of the T2000 tower we got on loan from Slick Audio. We had a chance to speak with CEO Jim Slick several times on the phone during the course of our evaluation, and there are a few things worth noting about this particular unit. For starters, even though we didn’t test these features, the OS itself has been optimized by Slick’s team specifically to run DAW applications smoother and to handle core audio functionality and processing. It must also be mentioned that these machines are Windowsonly, so if you have a certain affinity for a DAW that runs on Mac, or if you’ve invested heavily in Mac software, take that into consideration.

The processing power of the T2000 was robust enough to handle a number of killer tests

As far as the guts are concerned, since everything is pretty customizable, from OS to RAM to CPU, from cooling to RAID options, we won’t really say too much about specs since yours will be different than ours (heck, our demo machine only came with 16GM of RAM, which still powered our DAW and plug-ins effortlessly, though we urge you pack us much in as you can afford, with 32GB being our minimum recommendation). After all, it’s up to you how you customize your system from the factory. What we will say, however, is that the I/O options are incredibly robust, offering every iteration of USB you can imagine, plenty of display port options, as well as audio ins and outs (in addition to what your interface will offer).

The whole casing itself seems to offer sound dampening, which in a studio environment where every nuance of a mix is being scrutinized by highly trained ears, is a completely welcome addition. You don’t want your computer’s fan overpowering your ability to hear the mix, do you?

Staring at around $2000, the machines aren’t cheap, but then again they aren’t meant to be. If you want cheap, head to a big-box store and talk to a blue-shirt. If you want a real workhorse computer to power your recording studio, you owe it to yourself to make the proper investment and do it right from the start. The computer is the heart of most modern recording set-ups, and we’re pretty surprised at how little thought often goes into its purchase. We were impressed with what we saw from Slick Audio both at NAMM and in our demo machine. And we think you will be, too.

Mark Paul Allen with Benjamin Ricci PERFORMER MAGAZINE JUNE 2016 45

GEAR REVIEWS

AKG K92 Headphones - $59

T

he closed-back design is lightweight, with a self-adjusting headband that can fit even the largest of heads. Replaceable ear cups sit in front of 40mm drivers, and the 9.8foot cable is plenty long, meaning there should be no need for those extension cables to go between an interface and the recording booth/room that always seem to cut out.

For tracking or monitoring in the studio, there is plenty of isolation from external sounds, and these are extremely comfortable. Even in the same room as a LOUD drummer, the headphone mix came through as clear as day. Sound-wise, the bass response is fairly tight and deep, while the highs are crisp, and don’t get too shrill or brittle. With no sonic ear fatigue, and the comfortable feel, a set of these won’t wear down the

user during long sessions.

The only potential downside is the long cable; it’s hardwired, and non-replaceable. While the extra length is great for tracking, sitting at a control desk, it just seemed to get caught up in the wheels of the studio’s chair a lot. We could see this being a potential problem over time.

There are a lot of good headphones out there, and the K92s are on par, but considering the $59 price, the value of a set of these is really a no brainer. Anyone looking to make the jump from a set of headphones from a large generic box store should look into a set of these, as they’re not that much more expensive, but they’re so much better than those $20 Sony cans you started out on in your home studio.

Chris Devine

AKG K182 Headphones - $99

W

ith a street price of $99, features like a detachable cable & replaceable ear pads are usually a luxury, but they’re standard here. With all the adjustable pivot points they fit any size head, they fold up nicely, and don’t take up a lot of space in a messenger bag.

Consider these a nice step up from the K92s.

With a closed-back and over ear design, unwanted noise is kept out, while each ear has a 50mm speaker. There is plenty of dynamic range with a 10Hz-28 KHz frequency response, and the sound quality lives up to AKG’s reputation, and doesn’t disappoint in any way. After long listening sessions there’s no ear fatigue, and with no strange noise cancelling/ boost/EQ adjustment, they’re great for reference: what you hear is what you get, no extra “coloring” of the sound.

AKG highlights the best applications for these as electronic drums, keyboards, studio monitoring and home recording. A set of these work great in these applications, sure, but they’re good enough to track pretty much anything. They’re ultra-comfortable, fairly lightweight, and have excellent clarity and plenty of low-end (more than the K92s).

The only real negative is the cable. It’s great to see a detachable cable becoming a standard feature, even on inexpensive headphones. However, the cable for the K182s has a mini XLR to connect at the headset, and a TRS 1/8” end (a threaded 1/4” adapter is included) to plug into a sound source. This unusual configuration might be tough to find at a local electronics store, compared to say, a cable that has 1/8” TRS at both ends.

It also has a secure locking feature to keep it from getting pulled out inadvertently. The included cable is 9.8 feet (3 meters) long. AKG claims these headphones are a great choice for mobile devices, but the cable length seems way too long for this application, at least in our opinion. That said, they’re a nice upgrade over the $59 K92s, and really can do some heavy lifting in a studio situation, or just for pure listening enjoyment.

Chris Devine

46 JUNE 2016 PERFORMER MAGAZINE

PROS

Priced right, great sound, great for tracking.

CONS

Cable is slightly long, and might be tough to find a replacement.

PROS

CONS

Excellent price, great sound quality.

Long cable length might be too much for casual listening, but great for tracking situations.

TW Walsh is a songwriter/multiinstrumentalist releasing albums since 1999. He’s also a former member of Pedro the Lion.

MAKE & MODEL

2015 Eastern “Control 01”

Industrial

Audio

WHAT IT DOES

I built this MIDI control surface with my own hands. It’s modeled after tube consoles of the 1950s. It has vintage Bakelite knobs and it’s super fun to use. It doesn’t have a “sound,” per se, because it’s a control surface for recording software. But one special feature is that you can map each knob to a different feature within Ableton Live.

MY FAVORITE AXE

BACKGROUND

Follow online at twwalsh.com

MY FAVORITE AXE

with

TW

WALSH

Got a favorite instrument you’d like to share? Email us at editorial@performermag.com

Ezra Walsh PERFORMER MAGAZINE JUNE 2016 47

FLASHBACK

1954 GIBSON J-45 ACOUSTIC

BACKGROUND

The dreadnought, “round-shoulder” Gibson acoustics were created in 1934 to compete against the “D” series Martin acoustics.

WHAT IT SOUNDS LIKE

Really warm bass and good projection.

NOTABLE PLAYERS

Bruce Springsteen, John Lennon, David Gilmour, Buddy Holly, Aimee Mann, Jeff Tweedy and Woody Guthrie, to name a few.

INTERESTING FEATURES

The reason the J-45 got the sunburst finish was because the wood supply at the time wasn’t great looking and the paint hid the imperfections. The J-50 is essentially the same guitar with a natural finish. Regarded as the most famous Gibson acoustic, the J-45 was introduced in 1942 at $45 (umm, mine was a “good” deal at $4,000!)

ABOUT THE AUTHOR

Don Miggs is a singer/songwriter/producer and fronts the band miggs (Elm City/Capitol Records). His love affair with vintage instruments and gear only presents a problem when he’s awake. Find out more at miggsmusic. com, lalamansion.com, or his radio show, @miggsandswig (102.5FM Radio) or his guitar shop, sohoguitar.com.

photo by Rob Meigel

48 JUNE 2016 PERFORMER MAGAZINE

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ATH-E50

Single Balanced Armature Drivers

ATH-E40

Dual Phase Push-pull Drivers