Performer Magazine: October/November 2021

THE MUSICIAN ’S RESO URCE

OCT./NOV. ‘21 FREE

HOW TO Manage Your Side Hustle Build a Killer Home Studio Navigate Health Care for Musicians Shape Your Signature Guitar Tone

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VOLUME 31, ISSUE 5

5.

Book Review: Saved by a Song

18

6.

NAMM 2022 Rescheduled 8.

Musician Access to Healthcare

DEPARTMENTS

10.

How to Build an EPK

TABLE OF CONTENTS

contents

4.

LETTER FROM THE EDITOR

URETHANE

by Benjamin Ricci

24

COVER STORY

12.

Catching up with Preffy 14.

Shape Your Signature Sound

16.

Carve Out a Successful Career in Media

34.

The Harman Home Studio Makeover

40.

GEAR REVIEWS: Taylor, PreSonus, Akai, KRK, SSL and more…

SNAIL MAIL

by Casandra Armour

30 INSIDE NICK VIVID’S CREATIVE PROCESS PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 3

LETTER FROM THE EDITOR

LETTER W

ell, this has certainly been a yo-yo year, amirite?

We’ve got more info on the pages ahead, but Winter NAMM, which usually occurs in January, has been pushed back to later in the summer of 2022.

What does that mean for the industry?

Not sure yet, to be honest. I’m sure a lot of manufacturers are re-evaluating the importance of NAMM for their business strategy, and the return on investment they get (or don’t) from exhibiting each year. Truth of the matter is, at least as far as product announcements are concerned, much of the importance of a “NAMM launch” seems like a relic of the past. And it sure ain’t cheap to exhibit when you factor in booth costs, flights, lodging and food for all your employees.

With a simple press release, the world can know about your new pedal, guitar, drum stick or gadget in seconds. So, it remains to be seen who attends next summer, what presence companies will maintain on the show floor, and whether global shipment issues even allow for many new announcements.

I know a lot of folks in the industry will be jumping up and down to say how important networking

from the editor

PO BOX 348 Somerville, MA 02143 CONTACT

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

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

Benjamin Ricci ben@performermag.com DESIGN & ART DIRECTION

Cristian Iancu

is at NAMM, and it’s not just for new product announcements. And that’s valid, sure. To a point. As press ourselves, being somewhat on the outside of the manufacturing sphere (while still working with manufacturers closely throughout the year) gives us sort of a unique perspective on the whole thing.

I’m not sure how much new networking is occurring at the show itself – one of the main criticisms we hear year after year is that the influx of non-MI people on the show floor makes things too crowded, too difficult to speak with someone in the booth you’re at, and just creates an atmosphere of people who simply don’t need to be there overwhelming the entire convention center.

I’m not saying that NAMM isn’t important. I do think, however, like everyone (us included), they must keep up with the times and continue to prove their value to the industry -- especially when it comes to the in-person tradeshows.

What do you think? Drop us a line on our socials or email editorial@performermag.com Until next time….

Benjamin Ricci

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

MUSIC SUBMISSIONS / We listen to everything that comes into the office. We prefer physical CDs, cassettes and vinyl over downloads. If you do not have a physical copy, send download links to editorial@performermag.com. No attachments, please.

Send CDs to: Performer Magazine, Attn: Reviews, PO BOX 348, Somerville, MA 02143 CORRECTIONS / Did we make a heinous blunder, factual error or just spell your name wrong? Contact editorial@ performermag.com and let us know, cuz we’re big enough to say, “Baby, I was wrong.”

EDITORIAL SUBMISSIONS / In the words of our esteemed forefathers at CREEM: “NOBODY WHO WRITES FOR THIS RAG’S GOT ANYTHING YOU AIN’T GOT, at least in the way of credentials. There’s no reason why you shouldn’t be sending us your stuff: reviews, features, photos, recording tips, DIY advice or whatever else you have in mind that might be interesting to our readers: independent and DIY musicians. Who else do ya know who’ll publish you? We really will...ask any of our dozens of satisfied customers. Just bop it along to us to editorial@performermag.com and see what comes back your way. If you have eyes to be in print, this just might be the place. Whaddya got to lose? Whaddya got?”

4 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

Volume 31, Issue 5

EDITORIAL ASSISTANT

Bob Dobalina editorial@performermag.com CONTRIBUTING WRITERS

Ash Stahl, Benjamin Ricci, Joseph A. Cross, Chris Devine, Dr. Janice Johnson, Jason Peterson, Luc Lemay, Michael St. James, Nick Vivid, Sammy Hakim CONTRIBUTING PHOTOGRAPHERS

Sylvain Lussier, Geoff Hug, Tina Tyrell, Grayson Vaughan, Jeremy Frasca ADVERTISING SALES

William House Phone: 617-627-9919 bill@performermag.com © 2021 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.

REVIEWS

BOOK REVIEW

Mary Gauthier

Saved by a Song: The Art and Healing Power of Songwriting (St. Martin’s Essentials) Jason Peterson

O

A powerful exploration of the inspiration and struggles behind a true troubadour

n a recent, must-listen episode of Brian Koppelman’s “The Moment” podcast, songwriter Mary Gauthier discussed the difference between herself and a career Music Row songwriter: “If you’re signed to a publishing deal on Music Row in Nashville, your job is to feed hits to the publisher so that they can monetize your songs, and you’re writing for a very specific, small window [commercial radio]... that is where you throw your darts. That is the little red circle in the middle. Will radio play it?

For me, I just take the dart board off the wall and throw it out the window...For me, what I’m trying to do is get to the truth.”

That explanation reads like a thesis statement to Gauthier’s poignant book. Part memoir, part song examination (both her own, as well as John Prine’s “Sam Stone” and John Lennon’s “Mother”), Saved by a Song

showcases what makes Mary Gauthier a master at the craft: commitment to the truth.

Much like in her songs, Gauthier doesn’t hold back here, detailing a troubled upbringing, serious substance abuse problems, and personal and relationship issues. This journey culminates with an attempted reconnection with her birth mother and the recognition of the trauma she experienced as a child.

While this journey can make for an intense read, it’s deftly balanced by Gauthier, who uses these real-life examples to shed light on her writing process (and highlight the healing part of her book’s subtitle). There’s also more humor than might be expected, with anecdotes about early open mic disasters that are sure to resonate with aspiring songwriters and a dry wit that

permeates the book.

Even more helpful for songwriting readers, Gauthier shows early drafts of her songs and details how and why she continued revising to get to the finished song. This drive -- for a shift in a song’s perspective, or a new bridge, or even the change of one word -- is instructive and encouraging. While this is not a songwriting “how-to” guide (Gauthier appears to shudder at the thought), it is an incredibly revealing look at the hard work and mystery of what makes a song and a songwriter.

If Gauthier was attempting to write a timeless work about the creative life and the choices one makes to write deep, true songs - she hit the bullseye.

For more info, please visit marygauthier.com PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 5

MUSIC BUSINESS

The NAMM Show Announces Return to Anaheim in June 2022

T

he National Association of Music Merchants (NAMM) announced that The NAMM Show, the annual “family reunion” of the global music, sound, and entertainment technology industry, will reconvene in Anaheim, California at the Anaheim Convention Center on June 3–5, 2022.

Previously scheduled for January 20–23, the new dates will offer global industry leaders, buyers, sellers, music educators, artists, media, and music makers the opportunity to reconnect and renew their businesses while taking greater advantage of reimagined indoor and outdoor events, activations, professional development sessions, an expanded digital reach, and more at the crossroads of business opportunity.

Joe Lamond, NAMM President and CEO, says, “The industry has not stopped evolving and innovating during the pandemic, and The NAMM Show is evolving, as well. As the health and safety of our members remains top of mind, and after carefully listening to companies here in the U.S. and around the world, the new dates will help members maximize their opportunities and accelerate what has arguably been a transformative time both in new products and in how they come to market. I imagine this gathering will have the kind of impact of a Beatles

6 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

moment or the introduction of MIDI— definitely one you will not want to miss.”

evening on the Grand Plaza, as presented by Yamaha.

The news of the return of the show and the change in dates addresses ongoing concerns about pandemic activity, new product development and launches, available in-store inventory, and current travel restrictions. The announcement was met with support and enthusiasm from business leaders across the industry.

With the move of The 2022 NAMM Show to June, the organization has decided not to hold Summer NAMM in Nashville, Tennessee, for the 2022 year, effectively combining the two shows.

Mark Terry, CEO, Exertis/JAM US Music Group, shares the same sentiment: “[NAMM] has made a great decision on moving the show to June. This move ensures that it will be a very successful show for vendors and dealers. We certainly plan on being there!”

On Friday, January 21, the organization will host a one-day global livestreamed event: Believe in Music: The online global gathering to unify and support the people who bring music to the world. Building on the success of this year’s Believe in Music week, the livestreamed event will again welcome leaders across the industry, music educators, and music makers to connect in a live, online setting and take part in sessions and experiences. In total, 2021’s Believe in Music week welcomed 93,226 industry professionals and attendees from 187 countries and territories to support those who bring music to the world through nearly $500,000 in charitable donations made by participants and generous donors.

The largest NAMM Show in the history of the organization took place in January 2020, when the show welcomed 115,888 members and industry professionals and more than 7,000 brands. The show also hosted 350 professional development sessions, numerous live events, networking opportunities and concerts each

Please visit NAMM.org or follow the conversation on social media with #NAMMShow for the latest news. To learn about the health and safety measures that will be put in place to help reunite our industry, please visit NAMM’s Safe and Sound site: https://www.namm.org/ thenammshow/2022/safe-and-sound

“No matter when NAMM happens, Shure is excited about the industry finally getting together to engage with each other at this important event,” comments Abby Kaplan, Vice President of Global Retail Sales for Shure Incorporated.

MUSIC BUSINESS

MUSICIANS AND THE GREAT DIVI

N

o individual should have to experience the uncertainty and insecurity that comes with having a lack of access to affordable healthcare, especially during a global pandemic. However, that is the reality that many established, as well as up-and-coming, musicians face every day. In 2010, the Future of Music Coalition conducted a study of 1,450 musicians and found that 33% did not have health insurance coverage.

According to the Kaiser Family Foundation, approximately 49% of Americans receive healthcare coverage from their employers.

For many musicians, music is a full-time job, especially given how competitive an industry music is. Since a majority of musicians work on a contract basis, this leaves many artists fending for themselves when obtaining adequate healthcare coverage -- many opt to forego coverage altogether.

I work frequently with organizations such as MusiCares and the Blues Foundation to advocate for musicians’ health, witnessing firsthand the obstacles they face in receiving care. Living without healthcare coverage is already a liability to an individual’s overall health, well-being and finances. Foregoing coverage during the COVID-19 pandemic is especially high-risk. As musicians resume tours, they face the potential of contracting COVID-19. The virus can spread particularly fast among crew members as musicians or bands tend to travel in small, tight-knit groups.

Fortunately, there are many options out there for musicians seeking healthcare coverage.

You just have to find the right one for you!

Healthcare Resources for Musicians One option is to purchase coverage through the Health Insurance Marketplace. However, you must be mindful of deadlines to ensure enrollment in time. You can also familiarize yourself with healthcare-related terminology to make it more digestible. Some good words to get comfortable with include copays, deductibles and premiums, just to name a few.

There are also virtual-first individual plans that offer an affordable alternative for those looking for reliable access to healthcare. For

8 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

MUSIC BUSINESS

ND HEALTHCARE: VIDE the company I work with, members have no copays on routine primary care, as well as hospitalization protection. There is also access to 24-hour care, national direct primary care through virtual and in-office visits, chiropractic, routine labs, mental health and more.

Depending on where you live and how much you make annually, Medicaid may also be a viable option for healthcare coverage. This can give you access to either free or low-cost care.

However, if you qualify and sign up for Medicaid in your state, it might not transfer to other states while you are touring across the country.

Tips for Finding the Right Plan for You Evaluating your personal health is key to determine which path to take when it comes to healthcare coverage. If you are young and healthy, you will want to aim for a plan with a low premium and higher deductibles -- this will help reduce the overall cost of your health insurance. However, if you have medical issues, it’s best to find a plan with lower deductibles and more coverage. It may appear to be more expensive, but it can save you a lot of money in doctor visits, prescriptions and more in the long-term. Ultimately, choose the option that is the best for you and your circumstances.

Changes That Need to Be Made in the Healthcare System One of the major changes that needs to occur within the healthcare industry is price transparency. Many individuals, including musicians, avoid care because of the perceived costs. What they might not understand is that there’s room to negotiate costs on services such as basic labs, primary care and more.

The need for more robust access to telemedicine services is a must. The COVID-19 pandemic has caused an increase in telemedicine services and this benefit can save musicians valuable time and money while on tour.

Fortunately, there are plenty of organizations out there striving to help musicians receive the care that they need.

Taking the time to understand the resources available, as well as what you need in order to be happy and healthy, is the first step in the right direction of your healthcare journey.

ABOUT THE AUTHOR Dr. Janice Johnston serves as Chief Medical Officer and Co-founder of Redirect Health, where she oversees all medical operations.

When it comes to the patient experience, Dr. Johnston spearheads efforts to enhance quality of care while improving administrative efficiencies. Dr. Johnston is integral to both the telehealth and in-person clinical operations, continually advancing strategies to improve member service and ensure positive patient

outcomes. She has been recognized numerous times by AZ Business Magazine in the categories of “Most Influential Women Business Leaders,” “Outstanding Medical Director” and “Telehealth Leader.” She was also recognized as a “Keeping the Blues Alive” award recipient for her work advocating for musicians’ health. Additionally, Dr. Johnston is part of the MusicCares Provider Network through the Grammy Foundation. She holds an M.D. from the University of Toronto and is currently a Health Insider for ABC15.

PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 9

MUSIC BUSINESS

HOW TO MAKE A EPK FOR MUSICIA

S

o, you’re making your first musician website. Or you’re trying to, and you’ve stumbled on the words EPK along the way. You might be wondering what those three capital letters mean.

page. An artist bio is a basic summary of what you’ve done professionally and any relevant personal information. Bios can range from long descriptive posts that fill an entire page, or they can be short and sweet, depending on what you’re trying to share with whoever’s going to see it.

An EPK is an electronic press kit - it acts as a collection of your promotional materials. Think of it like an online resume, or a one-stop shop for anyone who wants to take a look at your band.

That’s also the reason why every musician should make a music website that includes an EPK.

Our advice to you is to keep it short and to the point. People are way more likely to skip over lengthy paragraphs, and you don’t want somebody to miss anything important! Let yourself shine with the basics. If they like what they see, they’ll ask you to tell them more.

Not sure where to start? Here are some tips to help you figure it out.

Good-Quality Images Images are an important element to your EPK because they help show potential colleagues, both industry and creative, what your brand is like. However, as you go through and find your photos to add to your EPK, they shouldn’t be selected at random.

How to make an EPK for Musicians Now that you know what an EPK is and why you need it, you might be wondering how one makes an EPK specifically for musicians. Well, there’s a few key elements you’re going to need to get started:

Musician Bio Firstly, a bio is how you’re going to sell yourself to anyone who stumbles across your 10 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

When picking out images, you want to make sure you include high-quality options with varying subject matter. You’ll want a few examples of live photos, ‘personality’ photos for your fans, press photos, and any

other kinds of photos you might find relevant to your band. Make sure you have hi-res versions available for print purposes (yes, if you’re holding this in your hands, you know print is still a thing) This is key because it’ll make your EPK a valuable place to find images for Instagram shots, social media content, press content, and give any industry professionals a chance to see how your personality is carried through these images as you’re doing what you do best.

Music Perhaps the most obvious inclusion in your EPK should be examples of your music. Put your most successful songs and anything you’d be proud to share under your name. This isn’t a place to put those unfinished masterpieces. Why? Well, as much as we love to see new growth, your EPK is a place to sell yourself fully. You want to make sure your best foot is put forward at all times. So, if you wouldn’t feel comfortable walking into your next label meeting and playing the song, you probably don’t want it on your EPK. You may even want to include a Linktree here

with links to your work on popular streaming services as well as Bandcamp.

Video Video material is crucial for live performance and branding. This is going to be where you really get a chance to show off what you do best.

from the articles on the headline of the page and including the full articles in either a hyperlink format or a section labeled for more press.

All of your materials should be up-to-date and show a projection of where you’re going with your career. After all, like it or not visuals are where many people start.

Of course, make sure you include the biggest publication reviews you can find. At the end of the day, those big names will give you more clout, and their interview or reviews will carry more weight - and likely be the first thing your viewers click on.

Stage Plot Another necessity for your EPK (if you’re seeking live gigs and festival slots) is to add a stage plot. It’ll make your life, and the life of everyone working stage and soundcheck so much easier, because they’ll have access to your set up, requirements and necessities right at their fingertips.

Reviews / Interviews In any industry, reviews and interviews are something to show off, especially when they’re raving. Make sure you include a section in your EPK to highlight these articles and mentions.

Something that’s worked really well for a lot of musicians is highlighting your favorite quotes

Social/Streaming Links Social media is the modern-day business card. So, it only makes sense that you’re going to want to include your links in your EPK. Social media numbers and streaming numbers give an idea of how well you’re doing on your own, and how potential clients and colleagues can help you

Of course, we all know that live performance are a huge part of the music industry, so make sure you have a high-quality video on your EPK. Additionally, make sure your music videos represent your music now, not your act in 2012.

MUSIC BUSINESS

A PROFESSIONAL IANS

get to the next level. Don’t forget to include any playlists you’ve been added to on Spotify.

Contact Info Last, but certainly not least, you’re going to want to create a contact section so that people will be able to reach you or your reps.

This is where labels, press, agents, potential collaborators or bandmates, and anyone else interested in working with you is going to be able to reach out and maybe even hire you.

An EPK is an important way for musicians to get their music and work out there. As in any industry, a strong portfolio can open doors for you that you didn’t even know were closed. So, keep that in mind while you’re brainstorming what to add to your EPK. ABOUT THE AUTHOR Sammy Hakim is an up-and-coming young songwriter based in Los Angeles. In May 2018 she graduated from Berklee College of Music with a major in songwriting and a focus in music business. These days she spends most of her time in songwriting sessions with artists all over the world. Follow on Instagram @sammyhakim PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 11

MUSIC BUSINESS

CATCH WITH W

e’ve been writing about how important TikTok can be for your music marketing efforts and I have seen some of you killing it on there as I power scroll for hours on end. It’s addictive for sure, and there are over a billion other people using the app who would agree. Yes, you read that right, billion with a “B.” For those of you who haven’t read the previous pieces or continue to dismiss TikTok as some silly dance platform, here are some reasons why TikTok must be part of your music marketing mix right now.

First, genre and style do not really matter. metal can go viral as easily as hip-hop, a snippet of a love song can perform as well as a bass drop, country can score you a hit that leads to a national sync deal (Hello Hunter Hayes, “Fancy Like”) and your emo shoegaze indie track can find love around the world, too. It doesn’t matter if your song is new or back catalog, and that is rare in today’s music world. There are multiple other reasons why TikTok is crucial, but one of the most important is that the community of creators is dependent on new sounds and music every day; even the biggest TikTok trends don’t last long, which means you always have a chance to catch some fire.

How do you get your music to be used by those creators, especially the influencers who can rack up millions of views? Well, you can pay them directly, which some do through agencies or Submithub, etc. It can cost $500-$5000 to get one placement to show to their list of followers.

However, artists rarely receive any confirmation that all of those followers even saw the post, much less engaged with it.

Now, there is a new way. It’s a platform called Preffy. Instead of spending your time pitching influencers and negotiating prices with no real proof of ROI, you can partner with Preffy which

12 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

does all of the work getting your music to microinfluencers who want and need to make new content every day.

In general, I am not a fan of competitions for artists and consult against them. Normally platforms are just leveraging your hard work and the bonds you’ve built with your fanbase to get more traction and the prizes aren’t worth the trust you trade.

Preffy is different. The artist is not asked to promote the competition. In fact, they are discouraged from doing so. Further, the competition is not between bands and artists, it’s between the creators on TikTok and Instagram, using your music.

I had a chance to chat with the founder of Preffy, Charlie Davis, to dive into what the platform is doing for artists and influencers, and how they are growing.

Performer Mag: Charlie, great to meet you, give us the elevator pitch for Preffy.

Charlie Davis: Preffy is an online contesting platform where artists host competitions with cash to get influencers and creators posting for

likes, rather than a guaranteed upfront fee.

The purpose of Preffy is to gain hundreds of thousands of user generated content pieces for the price of one macro influencer piece.

PM: Congratulations on being acquired by Songfluencer in May. Is there any crossover? For instance, is this kind of a minor league to get to Songfluencer?

CD: We do tie into Songfluencer. We have limited bandwidth for how many competitions we can do with fewer creators in our network, but we are growing fast. An artist can start with Preffy to mobilize hundreds of micro-influencers, and then segue into a macro-influencer campaign where it may be thousands.

PM: So, let’s talk about the competition.

The post with the most likes wins? Do any other metrics matter? View counts or shares etc.?

CD: It’s purely “likes” based, which allows us to be cross platform. One “like” on TikTok or IG reel is treated the same, and we will be adding other short-form video platforms like Triller, YouTube shorts, etc. It’s not just one post, it’s also based on overall likes, which incentivizes creators

MUSIC BUSINESS

CHING UP H PREFFY How to Tap into the Micro-Influencer Community to Maximize Social Reach to make multiple videos/posts with your music instead of just one post, as is often the case when you pay them directly. The key to this is we work directly with our growing network of creators, so the measurement is in real-time. We show how many creators are using your music and how many likes they have.

PM: I’ve seen some competitions for Daddy Yankee and Zac Brown, as well as some independent artists. What goes into choosing which competitions you run?

CD: As we onboard more and more creators, we will have more and more opportunities. We try to limit the number of competitions per week and that means we do have to make tough choices. We started with competitions for as low as $50, but we realized that to get quality influencers who want to use your music creatively, the incentive had to go up. So, we do competitions for $1000 total spread out among many winners, and yes, some others are as high as $5000. In some cases, we can do as low as a few hundred dollars, but I’ll be upfront, we do defer to the larger amounts. We are built for artists who are serious about their music careers. This is why we really suggest you plan a campaign in the future to get it booked on the calendar.

PM: Let’s talk about the value -- too many independents have spent money on marketing without seeing a real return, how do you address that?

CD: So true. First, we are very transparent.

You can see all of the accounts using your music with the number of “likes” in real-time within the song dashboard. You can go see those videos live.

In fact, we do a quality check ourselves to make sure the song is upfront and audible and being used appropriately. We guarantee a return of $1 per 1,000 likes, but we are finding we were really conservative with that estimation because we are seeing $.10/CPM which is an amazing return for any advertising or marketing spend.

PM: Do the artists or Preffy come up with the ideas for the creators?

CD: The creators know their niche, they know their fans and what works, [so] we let them work their magic. We find that you may not know where your music works. For instance, you may not know that a Fortnite guy using your music might work far better than a thirst trap dance.

PM: Let’s get into the money details - how much is the minimum, what are the fees, etc.?

CD: Once an artist comes to preffy.com and sets up a competition and we have accepted it, we invoice you for the amount of the competition, so you do need to have that money available upfront.

Preffy’s fee comes out of the competition money for providing the creator network. You still just pay the amount invoiced. We use PayPal because we have an international network and it’s just easier.

PM: What is asked of the artist to promote a competition they start?

CD: Once the competition is live, the artist doesn’t have to do anything, it runs by itself. Preffy does not promote any specific competition. We drive interest to our creator network and they get to work being creative trying to win the prize money. We then do a thorough review [to ensure] the song is being used in the video. Before the prizes are awarded, we manually watch the video to ensure the song is properly being used.

may be a waitlist. If you are planning a release in the future (which we highly suggest), just email us and let us know the dates and details and then we can work together to find an open date.

I broke down an example of recent competition so that you, the artist, know exactly what to expect.

The Artist set the prize at $1500 for creators: the four winners for 1st place won $200, three winners for 2nd place won $100, and two $70 winners for Most Creative and Creator with under 100k followers.

The four 1st place winners generated 1.5 million likes for the song. The three 2nd place winners generated 508k likes. Remember, those are just verified likes, the views from the top creator alone were over 4 million! Crucially, that video (and all of the other ones) still get views even as the competition is over. There were also nearly 40 other creators who did posts using the song.

A few more things to consider: not factored in is how many of the creator’s followers, who are not in the Preffy network, may use the music in their own videos. There is also the Spotify effect. It’s hard to measure exactly, but we know when music blows up on TikTok, it leads to streams, actual paid streams, and followers.

If you are serious about your music marketing, Preffy is a great option for a verified return on investment and may really supercharge your release if coupled with your existing marketing efforts. Get in now, before they are all booked up.

PM: Alright, let’s walk through the process for an artist to use Preffy.

For more info, please visit https://preffy. com/artists

CD: An artist goes and sets up a free account on Preffy. Connect your PayPal. Then you click “Start a Competition,” fill in the information including the song name and the total prize amount you are willing to spend. Right now, there

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 OCTOBER/NOVEMBER 2021 13

MUSIC BUSINESS

Find Your Signature Sou Players Can Stand Out F Photo by Sylvain Lussier

F

or metalheads like me, it’s no secret that the genre as a whole has evolved considerably over the last couple of decades— not only is there a much larger swath of die-hard fans around the world, but there’s a seemingly never-ending surge of new bands popping up, who add to an already extensive list (and crowded field) of artists.

Among these, however, are the stellar few outliers— those who stand out from the crowd and push the genre forward. For me, Gorguts is one of those visionary bands whose creativity and innovation underlies their unquestionably unique sound.

Formed in Sherbrooke, Quebec in 1989, the technical death metal outfit is widely considered one of the most complex, forward-focused, and fiercely experimental bands in metal. Headed by venerable guitarist and vocalist, Luc Lemay, Gorguts’ inspired, enigmatic music expands and contracts around brutalizing passages: barbs of groove, sinewy guitar solos, and Lemay’s bellowing gutturals are at the fore, while dissonant harmonies ushered in by orchestral ensembles sweep through for added drama.

Maestro Lemay, along with a revolving lineup of all-star talent, has paved the way for many modern tech-death progeny who have taken queues from Gorguts’ distinct sonic qualities.

To better understand how Gorguts developed their sound, I spoke to Lemay for insight into his approach to songwriting, refining his guitar tone, and for his advice on how guitar players can find their own signature style.

What do you feel truly makes a guitar tone “unique” or “signature?”

To me, what makes a guitar tone singular is all about the playing. How someone expresses themselves through the instrument.

It can be the simplest riff ever and still have a signature sound— amps and pedals come in second. You can have one rig set up a certain way 14 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

An Interview with Luc Lemay of Gorguts and have two players performing through it one after the other and it will sound different.

What are some techniques or technologies you employ to shape your guitar tone when songwriting and recording?

“It can be the simplest riff ever and still have a signature sound— amps and pedals come in second.”

Gear took a more important place in the composition process, especially on the last two records. On Colored Sands, I started writing riffs using more clean tones, experimenting with different phrasing with delays and reverb.

But the more significant use of effects in the writing was on Pleiades Dust. I’m a big fan of Steven Wilson’s work, and after seeing a rig video, I decided to get a multi-effect processor, and I used it 110% in the writing.

For example, on the Pleiades Dust album you have a quite long, dark ambient counterpoint with only bass and guitar using extremely long delays and reverbs. This section cannot be performed without the effects.

What other musicians or styles of music have influenced your tone and playing style over the years?

When I started, I was really influenced by Chuck Schuldiner from DEATH. Then, when I saw and heard Suffocation, they became a big influence when I wrote our second album.

Then, we wrote Obscura, and we became more interested in writing with less distortion in our tone, but focusing more on creating textures, like using our pick percussively on the strings and using more dissonances and open strings.

Speaking of influences, how can a musician best incorporate their musical influences into their overall style, while still maintaining a unique sound?

I think that at some point, the personality and individuality of the player tends to break through the most basic writing ingredients, like palm muting or tremolo picking.

I think it’s also taking place in the arrangement and structure department. A riff full of influences sitting on its own doesn’t mean much, but when a musical context is built around it, that’s where the musical personality happens.

What are some tips for balancing guitars with other tonal elements and instruments within a song? What should a songwriter or composer do or listen for within a mix?

To me, everyone’s important in a mix.

The whole thing should sound like one. I find it annoying when I listen to an album where the drums are way too loud compared

MUSIC BUSINESS

ound: How Metal Guitar t From The Crowd to the other instruments, or if the guitars are burying the other players. That doesn’t serve the music.

Everyone should sound at the right place.

The tip I can give is to find a producer who understands your music. These things happen when the wrong people are mixing.

What are some tools of your trade? What are your current go-to pickups, pedals, strings, etc.?

I’ve been using Marc Chicoine’s guitars for many years. We’ve been friends for over 30 years now. He crafts beautiful instruments, and they’re a joy to play.

I’ve been using Mesa Boogie amps since 2013. We used them on albums, but I didn’t own one back then. I use the JP2C which is John’s Petrucci’s signature amp. I love the Mark series tone and it’s also MIDI so I can use my G SYSTEM along with it.

As far as pickups go, I use Seymour Duncan Black Winter and Elixir for strings.

Do you use the same guitar setup when practicing or songwriting as you do when recording— and should a musician use the same set up when songwriting as they do when recording their music?

I don’t think that the same setup should be used all the time. For me, it doesn’t affect my playing workflow. Sometimes, I can write using the tube amp, and another day, I can write on the computer using the Axe-Fx. If you had to describe your own signature sound in a few words, what adjectives would you use?

The first words that come to mind would be dissonant, floating and melodic.

ABOUT THE AUTHOR Lindsay O’Connor is a musician and vocalist - she currently is a member of the ultra-dissonant death metal band, Coma Cluster Void, and is the vocalist in the hardcore/slam metal band Eyes of Perdition.

PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 15

MUSIC BUSINESS

I’m the Head of Company: This i Manage My Side

I

first started working with Trevor Christensen — better known as DJ/ producer Said The Sky — in 2014, when I was a college student at the University of North Florida. Back then, I had been working as a social media editor at EDM.com and juggling school, when a friend of mine who was preparing to launch an artist management company asked if I wanted to help with PR and social media for his clients. I was introduced to Trevor, and we got along immediately. I knew we had to work together.

At first, Trevor and I were both working fulltime while pursuing the Said The Sky project on the side. Neither of us were making any money — and as is usually the case with these things, Trevor was putting his own money into the project. It took several years for us to start seeing a return on that investment.

During those early years, we worked with Create Music Group on YouTube monetization for Said The Sky. I became friendly with the team there and started working full-time at Create Music Group in Los Angeles in 2016. When Create Music Group acquired Flighthouse — the most followed brand on TikTok, known for its original game-ified influencer content — in 2017, I immediately saw potential with the platform and shifted my focus within Create Music Group to work on Flighthouse, where I now serve as CEO, leading a team of 30 (give or take). We work closely with lots of blue-chip brands who want to leverage TikTok for their marketing campaigns and we at Flighthouse are great at that. While we built Flighthouse, I was always managing Said The Sky. Similarly to my experience with Said The Sky, the early days of Flighthouse required me to adopt an entrepreneurial spirit and put in late nights and long hours to build the brand up to what it is

16 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

today — a short-form media house and creative agency that’s not just known for its viral influencerdriven original content, but also specializes in TikTok music marketing, brand and influencer partnerships across TikTok, and more.

Everything I’ve ever worked on in my career, I’ve focused on it because I truly believed in it — and that goes for both Flighthouse and Said The Sky. This belief in the projects I involve myself with makes it worth it to put in the time and effort to build them. In the case of both Flighthouse and Said The Sky, I’m extremely passionate about seeing the results unfold over time. The genuine love that I have for both Said The Sky and Flighthouse is what drives me to balance these two demanding projects, and over time I’ve developed tools for helping to achieve that balance.

From an organizational perspective, a strong team is imperative towards helping me to manage my primary job and my side-hustle.

Having people I trust at both Flighthouse and on Said The Sky’s team allows me to keep the wheels turning at all hours of the day on both projects, even during times when one of them demands more of my attention than the other.

While it’s tempting to try and have my hands in every aspect of both Flighthouse and Said The Sky, I’ve had to learn to delegate in order for both of these entities to function smoothly. Delegating is a powerful thing, and it goes back to having a trustworthy team — if I trust that my teammates understand our goals and we’re in agreement on the best ways to achieve them, then that allows us all to accomplish much more in the long run, and in a more efficient way that doesn’t lead to burnout.

Time management is also imperative when it comes to managing a side-hustle. There are only so many hours in the day, and I can’t afford

to dedicate my time to the small things — I have to eliminate distractions and carve out space for myself to think about the bigger picture. I’m still learning how best to manage my ever-growing list of tasks, but for now I’m a big to-do list fan.

Every single morning, I write out my tasks for the day (and the week). I’ve tried a couple different to-do list apps, but for me, nothing beats putting a pen to paper. I’m also the type of person who can get distracted by sporadic mid-day meetings; I find it difficult to accomplish any meaningful work in the 30-minute breaks between calls. So, I’ve recently started blocking out entire days or half-days for head-down ‘get shit done’ work with no meetings on the agenda. Not a perfect process, but it’s been working for me so far!

But beyond the technical ways I manage my side hustle, the primary thing that keeps me going is passion. With Said The Sky, we don’t often have a specific road map that we’re working off of. I take it a day at a time, and I trust my gut when it comes to decisions both big and small.

This approach has led to a lot of major milestone moments for Said The Sky. Trevor recently headlined Red Rocks Amphitheater in Colorado, which was a huge achievement for him. When I look back at his first sellout in Denver, at a small 500 capacity venue, the Red Rocks show feels like a massive win, and it inspires me to keep up the momentum. That feeling when the wheels are turning, and the train is moving helps me to stay focused on my side hustle.

Another thing that keeps me going is the way Trevor and I have started to use his Said The Sky platform to give back. Over the course of the 7 years that we’ve been working together, we’ve been able to grow Said The Sky’s audience massively. Trevor and I both feel passionately about using his influence to benefit the greater good. Last year, in recognition of World Suicide Prevention Day, we released a song with Hopeless

MUSIC BUSINESS

f a Major Media s is How I de-Hustle Records benefiting To Write Love On Her Arms, a nonprofit that provides help for young people who are struggling with depression and suicidal thoughts. The video for the song (called “Worth Living For”) featured fan-submitted videos of moments that reminded them that life is worth living. We’ve also partnered with 4 Paws For Ability, a charity that trains service dogs for disabled children and veterans, on a limited-edition hoodie, which raised $17k for the organization. We’ve also donated 100% of proceeds from a limited Said The Sky’s “Anti Sad Ppl Sad Ppl Club” merch line, a gender-inclusive version of Said The Sky’s signature merch to LGBTQ+ organization The Trevor Project. Being able to make an impact like this reminds me that the hustle is worth it.

When I think back on the biggest moments that Trevor and I celebrated together, one that stands out was when he was able to quit his job and start doing music full-time. He recently paid for his parents to re-do their floors, and someday he’d like to pay off their mortgage. These meaningful, tangible achievements help me to keep my eye on the prize and continue to prioritize Said The Sky in my off-hours, while also leading Flighthouse.

With Said The Sky, we might never feel like we’ve truly made it, because with each major win, the goalposts move forward — which is a good thing and leads to bigger and better goals. But when it comes to balancing my side-hustle with being the head of a major company, it’s the little milestones that keep me going.

ABOUT THE AUTHOR Ash Stahl is the CEO of Flighthouse Media, a leading digital entertainment company in Los Angeles. Previous to that, she was Project Manager for Create Music Group and Social Media Manager for EDM Network.

For more information, visit https://www. flighthousemedia.com

PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 17

SPOTLIGHT Benjamin Ricci Jeremy Frasca

Legendary Skateboarder Steve Caballero is Back with the Raddest New Punk Band We’ve Heard in Years

Uretha 18 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

SPOTLIGHT

hane PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 19

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“There may have been people thinking that the music was taking away from the skating, but if anything, it enhanced my personality, it enhanced my creativity.”

20 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

I

can remember a time when my skateboard was covered from nose to tail with stickers. Most of them were freebies from the local skate shop, or they came included with a new set of trucks or wheels. There was one, though, that stood out.

It was a sticker for The Faction, a band that I wouldn’t actually hear until someone passed me a homemade tape years later, but one that I knew I’d love because I loved their founder with all my heart, Bones Brigade member Steve Caballero.

Back then, the Bones guys were kings in our world. We wanted to be them, we wanted to skate like them, we wanted…well, we wanted to find Animal Chin, I suppose. The main problem with

SPOTLIGHT that dream was that we all kinda sucked. And it was hard to keep a vert ramp going when it snowed six months out of the year. But that didn’t stop us from trying, and loving skateboarding with every fiber of our being.

Cut to the day when I did actually hear the Faction, and underground punk in general, for the first time. I was hooked from the first power chord – it was like the energy of skateboarding captured in musical form. And here we are, all these years later, celebrating the next chapter in Caballero’s continued journey to become the gnarliest dude who ever lived. Back with a brandnew band, aptly called Urethane (if you know, you know) featuring Cab himself on guitar, Tim Fennelly, bassist Chad Ruiz, and drummer Dylan Wade plus some very special guests on their

debut LP, Chasing Horizons.

We recently caught up with Steve at his home in California as he was recovering from a recent band rehearsal, to chat about his punk beginnings, the new band and his approach to making music.

Hey Steve, thanks for talking with us.

Can you give our readers a sense of how music entered your life originally? And which came first, the music or the skating?

As far as being in bands, skating definitely came first. It actually introduced me to rock and roll. I lived on the east side of San Jose, so I was primarily listening to R&B music, soul and even disco back then. When I ventured over to

the other side of town where the skateparks were being built, this was maybe ’77 or ’78, [the kids there] were all listing to rock and roll. And that’s when I got introduced to bands like AC/ DC, Cheap Trick, and Aerosmith. And after that, things evolved into more new wave-type music, like the B-52s, Gary Numan, the Cars, Missing Persons…that kind of stuff.

When the ’80s came in, it went right to punk rock [laughs]. It hit skateboarding full blast.

What do you think it was that linked skating and punk so closely, was it just the pure energy of it all?

The movement of punk rock meshed well with the movement of skateboarding because it PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 21

SPOTLIGHT was kind of looked at the same way. Rebellious, rough around the edges, not mainstream. Raw, you know? There wasn’t a lot of money to be made in it, and it was very DIY. So, you shared a lot of the same ethics as the punk bands of the time, then.

Pretty much. And just the raw energy of skateboarding went really well with punk rock music. And that was the choice of music that I became more and more attracted to – I was listening to a lot of bands like Minor Threat, Bad Brains, then English bands like Exploited…Chaos UK. All the skate parks started closing in 1980 and 1981 so we started going the backyard route, I built a ramp in my backyard and we’d go looking for pools…just a lot of skating in the streets. But a lot of the guys I met at the skatepark were hanging out at my house, and we started going to a lot of local punk shows. We’d go see bigger acts…

Fear was big at the time, Social Distortion, a lot of punk bands were touring [there] so in 1982 I picked up a bass and decided I wanted to start my own band.

And that was the origin of The Faction?

Yeah, we wrote our first EP in 1982…I 22 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

remember being in the studio tripping out, like ‘I’ve only been playing bass for six months and now I’m recording.’ [laughs] Well, that’s kind of one of the great things about punk, though, isn’t it?

I was still learning how to be in a band.

Our first show in ’82 we opened up for Social Distortion and we played with bands like DOA, Suicidal Tendencies, TSOL and after that we made an album, another 45 and then another album and went on a U.S. Tour in 1984 in a small van.

Our guitarist owned his own little label and put out our records and he booked this tour. I was a professional skateboarder at the time, I had turned pro back in 1980, so people knew me as a skateboarder and by 1984 we were making skateboarding videos and [skating] was getting super huge…but then I went on this tour with the band and it was basically one of my very first tours playing backyard parties, little gigs, clubs and warehouses…we made it all the way to CBGB’s.

By 1985 I switched to guitar, we did another tour around the U.S. – the band pretty much lasted from 1982 to 1985 after that second tour around the country and then we broke up.

Did you ever find a period when skating

was interfering with the music or music was interfering with the skating?

We would religiously skate the ramp in my backyard and then come in and practice music, go back out and skate. So, I kind of juggled it.

I remember this funny story with me skating this backyard ramp contest, wearing these bondage pants with a bomber jacket and my hair was all dyed. It was one of the very first backyard ramp contests, and I fell in the prelims, and Stacy [Peralta, team manager of the Bones Brigade and co-founder of Powell-Peralta] coming up to me an giving me a hard time, yelling at me like, ‘Don’t you even care about skateboarding anymore, or are you just so into this punk rock thing? Do you even care? I can’t believe you’re skating like this!’

And I picked myself up, and was like, ‘I’m gonna show him!’ and I ended up winning the contest [laughs]. So, there may have been people thinking that the music was taking away from the skating, but if anything, it enhanced my personality, it enhanced my creativity…I went on two tours with the Faction before I ever toured with skateboarding. [editor’s note – at this point in the conversation we go off course, reminiscing about fellow Bones Brigade member Tommy Guerrero and his music,

they wanted to produce a record for us.

Let’s talk about the new project, Urethane.

So that’s how everything came together for us in just four short months [laughs].

Coming up with a band name these days is impossible [laughs]. Everything has been taken! I always had that name on the backburner, so when I started this new band, I asked my singer Tim what he thought, and he said, ‘Oh, that’s perfect!’

So, I googled the name to see if it was taken, and sure enough it wasn’t! [ed. note -- for a little history, the urethane skateboard wheel came out in 1973 and a company Cadillac Wheels introduced it to the market at large. Before then, everything was either steel, clay, plastic or rubber…skaters still use urethane wheels today along with bearings for smooth riding]

So, it was meant to be!

One thing just led to the other. So, we had this Zoom call with El Hefe, and he asked if we could be ready in three months to meet [producer] Cameron Webb, because they wanted him to produce our record. We worked really hard in the pandemic practicing twice a week, learning 12 songs, putting them together and rearranging

So, you got the new band going during the pandemic. How did that work for you?

I was playing in another band; I was jamming with them for about a year, and I was playing bass at the time. The guitarist was in another band I was in, Soda, from back in the day. These guys were solid musicians, we had about 8 or 9 songs, but we really needed a singer. So, I put out a little Instagram post saying we were looking for a singer, and this is where Tim, our singer in Urethane, comes along. He sent us a demo of two songs, and I really, really fell in love with it. So, I brought them to the band I was working with at the time, and they listened and were like, ‘Nah, it’s not gonna work out.’

Dylan’s face looked like for months! Other than that, the pandemic in turn kind of helped bring this group together and write a record. What’s odd is that we haven’t played live much…we’ve been working on that element more lately now that things are opening up, but we finished an album before we ever really played in front of an audience.

SPOTLIGHT

which might be a story for a future issue…]

How did the recording process end up going?

When we came into the studio, we spent three weeks recording this album and went in with certain songs and came out with completely different ones. There are a lot of leads and melodies that were created in the studio. When we were recording backing tracks, I would hear these little melodies in my head, just sitting on the couch, and I had an acoustic that I was jamming along with. When it was my time [to record], I’d even scrap some of my rhythms and play those melodies [instead].

What’s funny, is that when we left the studio and went back to rehearsing, I’d go back to those rhythm tracks because I didn’t remember what I had played in the studio. [laughs]

Follow on Instagram: @urethane_music @stevecaballero

I was like, ‘Whoa, I guess we’re not on the same page.’ I had to sleep on it, but it was a decision I had to make. I knew I had to work with Tim, I loved his songwriting, I loved his sound.

So, I called the band and told them I was willing to give up a year’s worth of work to go in a new direction.

So, I met with Tim, explained to him that I was quitting the band to join up with him, and we started writing music. About four months in, I got this feeling that the band would really be better if I switched to guitar. Tim was like, ‘I can’t believe you’re telling me this. The guy I introduced you to at the last practice, Chad, really wants to be in the band and he can play bass.’

So, Chad came in, and he knew a lot of Tim’s work because they had jammed in a previous band called War Fever, which he’s still actually in. This new music Tim was doing was very surprising to Chad and even his other band…so we practiced, and it sounded insane, and a week later Chad brings us to the table and says he met with El Hefe from NOFX and he played them Tim’s demo tape and they fell in love with it, and

them so they were good enough to go into the studio and record.

Were you guys able to record and rehearse in the same physical space during the pandemic?

URETHANE CHASING HORIZONS STANDOUT TRACK: “GRAVITY”

It’s funny, because he was wearing a mask at every rehearsal, I didn’t actually know what PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 23

SPOTLIGHT 24 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

SPOTLIGHT Tina Tyrell and Grayson Vaughan

Casandra Armour

On Delivering the Quintessential Post-Breakup Album for a New Generation

SNAIL MAIL

PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 25

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W

hen I talk to Lindsey Jordan, the woman behind the band Snail Mail, at noon on a weekday, she has a lot going on. “I am very busy right now,” she tells me, “but making it work for myself in a way, trying to take care of myself too, which is in itself a challenge in itself but I’m kind of enjoying being busy.”

Snail Mail is ramping up for a November release of their new record Valentine, a postbreakup dossier of aching devotion amid absolute disaster. A departure from the sweeter tones she sang with on her first studio album Lush, in 2018, Jordan’s huskier delivery is even itself heart-wrenching, as if she were hoarse and recovering from that relentless post-breakup spiral: pleading for their return, snarling at their rejection, then pleading some more. And Valentine is precisely a plot to bring you along for that ride. Jordan’s lavish layers and cushy synth confessions can lull you into a swoon, then sharp changes in tempo and melody and pithy lyrics reemphasize the desperation, but adoration, that underpins it all. But today, Lindsey is upbeat, keeping busy, and taking care of herself.

You said you’re trying to take care of yourself, which is a struggle for everybody, I think. What does “taking care of yourself” and self-care look like for you?

LJ: I make sure that I throw in things that I do for fun into my day, because around this time with a record, as I learned last time, it just becomes all about me-- but it’s actually not all about me. It’s like I’m talking about myself all

“I have such an overactive brain; it’s overproductive all the time.” day long and doing stuff for my career all day long. The actual things that I like to do to wind down I have to force myself to do. I have such an overactive brain; it’s over-productive all the time.

Sometimes it’ll mean meditating, sometimes it’ll mean taking an hour out of the day to time myself where I just do something I actually like. I’m in the process of buying a nice overnight suitcase.

Having a nice suitcase is self-care, in a way.

Putting 26 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

together

Valentine

during

LJ: It was a little bit of everything. I did a lot of it initially at home, a lot of the fleshing out of the demos. And some of the actual process was at home. But a lot of the final stuff was done at Brad’s studio in North Carolina. [Producer, Brad Cook]

SPOTLIGHT

Covid, how did you handle that? When you’re doing part of that at home and taking that into the studio, what does collaboration look like?

Collaboration to me, working with Brad for example, I went into the studio with all of these demos and all of these half-finished ideas and Brad really gave me the reins as a co-producer.

He tried to be as hands-off as possible so that I could take over. It’s a lot about getting out of my own head and asking for opinions. That’s hard for me. I’m such a solo worker. It takes flexing certain muscles to try to be collaborative for me.

I’m very much a control freak about my own stuff.

There are definitely times it helps to have experts around, getting some perspective on things that make a big difference that I’m willing to ask for help about. So, not the writing. [laughs] I think that shows growth to go from “this is mine and this is me” to having the self-awareness to recognize that need for collaboration. But still, you said you “make everything happen” -- so you’re writing solo or is that collaborative?

LJ: All of my writing is solo, it’s really intense, I think it’s the hardest part of the job because it’s so important to me to do it myself. It’s what makes it a special job. Not to shit on people who work with ghostwriters. But I can do it. It’s a lot of trial and error, especially with the lyrics. I’ll sit down and write something on the guitar and then start to bring lyrics into the fold and I’ll have a finished set of lyrics that doesn’t stop changing until the song gets recorded -because I just need and want everything to be perfect, by my standards.

When I’m making a demo I’ll add in some synth stuff, flesh out some stuff, redo some stuff and then when I take it to the studio it’s just kind of about adapting that to having more resources and having something bigger than the things that I have in my apartment.

Do you ever look at a studio-polished production and want to peel it back, like been made too big?

LJ: One hundred percent, I think that’s a huge part of editing. Knowing when you’re done often means taking something down a few notches. Sometimes with music, where it doesn’t PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 27

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speak it me, often I find that that is why. There’s too much going on, nobody dialed it back.

Over-produced can sometimes mean that the song isn’t necessarily good. But then sometimes having this big production works really well for the song! It’s really all just about having a strong connection with your intuition and really listening to it. Never doing anything just because. “Damn, I want violins here so I’m going to put them in.” That is definitely not conducive to making something really special, in my opinion.

‘Valentine’ is the first song and that’s going to be the first single. When you put together the track list are you thinking of it as a whole album, a concept, or in those singles and bite-sized pieces? The way we consume media and music is so different now…

I think it’s about piece by piece. I never made a song with the intention of it being a single, I just kept on trucking forward and making songs and then didn’t choose singles until the very end. There were a lot of options, which is always a good problem to have. Between me and the people that I work with, nobody was able to easily choose three singles and agree on them.

Which I think is really cool. There’s a lot of catchy songs on there.

But the track list I spent a lot of time on, [especially] the sequencing. I have a method to

“I don’t want a pat on the back for my identity, I want the praise for the music.” it. And I definitely think that is such a personal thing. Everybody had different ideas for the sequence, but I was like, I know that there is a correct answer within me and that has to be what we go with.

Valentine plays like a really excellent playlist; it has an incredible flow, obviously that’s by design. What’s your favorite song from the album, is it the title track?

LJ: No! I wanted that to be the title track. I wanted that to be the name of the album. But I definitely think my favorite is “Automate.” The lyrics are really personally loaded for me, as are all of them, but with those I got done what I set out to get done. The imagery is solid and it’s pretty clear to anyone listening what the tone is, 28 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

and I really love that ending part. The end is one of my favorite things I’ve ever written. I just love that song; it always hits a nerve for me when we play it or when I listen to it. It just continuously hits a nerve.

Mentioning what it makes you feel like to play it: are you playing out at live shows yet? When was the last time that you played live in front of an audience and what do you anticipate that that’s going to feel like?

LJ: It’s been two years! Hopefully it feels good, like riding a bike, but I don’t know that that’s true about it. I’m pretty nervous.

Hopefully it will just come rushing back! We are doing session work. We’ve been practicing since summer and going really hard. We’ll do like two weeks at a time and do multiple sessions, end early if we feel like it and still have plenty of time left. We just really like hanging out.

What are you looking for folks to take away from their experience with this album, with all that you put into trying to craft the impact?

LJ: I hope that people are able to be transported into the experiences that I’m talking about. I think a lot of them are just vague enough that I think that people can bring their own context to it. I didn’t intend to be specific enough that people would be digging around in my stuff and instead that it can be a personal experience for everyone.

A lot of the influences that people throw around in the press for you are a lot of those singer songwriter artists that also practice that catharsis: Elliott Smith, Cat Power, Fiona Apple. When you hear that, who of those comparisons feels really spot-on for you as an influence?

LJ: Elliott Smith and Fiona Apple are in my top five. Smith is my all-time songwriting hero, so I just love that. That comparison means a lot to me. Anytime I hear that one I feel so much more seen as a songwriter because I think people are quick to want to throw all the women together and it’s not a testament to anyone’s actual songwriting or intention, it’s just gender in common. Which is so obnoxious.

I’m not comparing myself to him, but I wish that I could have more of my own corner instead of being associated with a wave. I feel like none of the people who get compared to each other have anything to do with each other, they’re all just women.

All the women and gay artists get put together. There’s space for it, which is awesome, we’re in a new time, there’s a lot more representation of more people. I’m with

SPOTLIGHT

the wave, yes, cool. However, in a musical way, it’s harmful to group everyone together just because of identity. I’ve been compared to every single woman at it right now. And sometimes it’s so completely different. The progress is dope.

Sometimes this can feel so belittling, though. It’s not a genre. It’s just more people making music and getting accolades for it, which is great. But it’s going backwards to put them all together.

I don’t want a pat on the back for my identity, I want the praise for the music.

Absolutely. It narrows the scope when you’re saying that this artist is cool because they’re queer rather than that it’s cool that they are a good artist who is queer and making good music. Right. What do they have to do with the other queer people making good music? It’s becoming the focus instead of the peripheral. So, where are you hoping that things go next?

LJ: It’s really hard for me to imagine doing it again, it took so long for me to make a second album and I can’t really imagine where I’ll be next. But I do hope that we get to tour for a while on this album and then can be afforded the chance to take my time again.

Follow on Instagram: @snailmail

SNAIL MAIL VALENTINE STANDOUT TRACK: “AUTOMATE”

PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 29

SPOTLIGHT

Nick 30 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

SPOTLIGHT

ck VIVID on His Creative Process and Crafting New-School Videos with Old-School Tech

Geoff Hug

PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 31

SPOTLIGHT

“I had the luxury of letting this album grow at its own pace – the complete opposite of how I originally planned it.”

Editor’s note -- we recently asked New York indie artist Nick Vivid to give the mag an exclusive look inside his brain, to learn just how the creative process of one of today’s most unique, contemporary artists works. We hope you enjoy…

On my writing process:

Since I was a little kid, I was always hearing songs that didn’t exist in my head. To this day it works the same way - I hear the full production verses, choruses, harmonies, guitar tones, keyboard sounds, etc. So that’s been kinda haunting me my whole life. I usually hum enough of an idea into my phone’s recorder so I can jog my memory with it later. Then when it comes time to make a new album I go through those ideas and see which ones 32 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

still retain the initial spark. Some ideas seem great at first, but don’t seem so hot months later. Another method of writing is by looking for keyboard sounds or guitar chord structures or chops of loops that inspire me. It’s gotta have a “feel” to it. It’s gotta have something a little unique or, at least a little weird, going for it. Otherwise, it doesn’t make the final cut.

It typically takes me about 100-150 ideas before I feel I have enough for an album.

On the creation of No More Secrets:

After the “Blissed Out” tour ended in 2019, I got a new apartment in Queens. So, I built a hybrid analog / digital studio in early 2020.

I planned to write and record 24x7 for a few months, have a new album out in September,

and be back on the road. Easy, right? Well, the pandemic hit so obviously part of that plan got wiped out. But the studio got built. So, I had the luxury of letting this album grow at its own pace – the complete opposite of how I originally planned it. I still allowed myself to be available for it 24x7, but I let go of the pressure to make something happen. And there were plenty of days where it felt like nothing was happening. I didn’t get down on myself for having those days this time around.

A good lesson learned – sometimes things work out if you let them and give them enough time.

On the recording techniques used for No More Secrets:

As a solo electronic lo-fi artist, I have too

many choices for keyboard sounds, bass sounds, thousands of kicks and snares. But I know what I like to hear so luckily that narrows it down. For instance, the kicks and snares have to have what I call the “Blue Sound,” which usually emphasizes the 700Hz and 1.4KHz side of things. I’m still chasing my perfect vision of that sound. My Helios Type 69 preamps are my favorite. About 10 years ago I put together a small pile of albums I loved the sound of and wanted to “copy” as it were, and oddly enough they were all done on the same console – the Helios.

On the new album I exclusively used 1176 and La2a compressor samples through a VST called Nebula for my vocals. I’ve never had a better vocal sound. Nothing comes close to Nebula in the

I’m a big fan of the entire recording process.

The studio is my lab and I usually have a very clear vision of where I want things to go. The only other person I bring into the fold is my mastering engineer, Dan Millice. He’s the only one I trust to get it ready for the world. He’s got a great natural sense of that “Blue Sound” midrange that I like and we are both fans of the same mastering engineers for the same reasons. He’s really known for a lot of modern NYC hip-hop stuff. I go for real vintage vibey sounds. Dan makes it so my ideas can work alongside everything else out there in the current market.

My views on image and style vs. musical substance:

When I was a teenager, I was writing music that was relatively uninteresting because I was still living in and influenced by a small-town environment and oppressive family life. So, it was really me who was uninteresting. You can’t sing about what you don’t know. So, one of my main goals in moving to New York City was to become more worldly and give myself a larger palette of cultural influence to not only draw from creatively, but to use to define who I was. Not only did that experience make my writing better over the years, but it made me better. And as a result, my visual style got funkier. My creative choices in life as a general rule became less traditional. It has to look like how it sounds, or it doesn’t hold up as far as I’m concerned.

On the use of vintage computers to make the “Trainers” lyric video:

I was a nerdy kid and loved computers. I was a big fan of the “cracking” groups that would graffiti their own intros during the loading screens of games they pirated to spread all over the world – “This game brought to you by THE BANDIT” – that kind of thing. Like, who is this Bandit guy?

There was a mystique to it. It was underground, illegal, and brimming with artistry. My first taste of anti-authoritarian counterculture, really. It left a big impression on me, and I thought it would be fun to incorporate some of that influence from my childhood into the video. Plus, the song title “Trainers” comes from the term for “Unlimited Lives” in video games, so it was a no-brainer to dust off some old coding skills and create the lyric video entirely on an old Commodore 64.

SPOTLIGHT

plugin world. I pulled my old Yamaha 24-channel console out of storage, restored it with new caps and op-amps, and used that as a summing mixer.

The mixes got sent to my early-1970s Revox A77 tape machine. I used new-old-stock Quantegy 456 tape. That formula of tape hasn’t been made in 20 years, but it’s my favorite and luckily you can still find it out there.

On producing my own albums:

“Sometimes things work out if you let them and give them enough time.”

Follow on Instagram: @nickvivid

NICK VIVID NO MORE SECRETS STANDOUT TRACK: “HUSH MONEY”

PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 33

GEAR REVIEWS

The Harman Home 34 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

GEAR REVIEWS

me Studio Makeover Joseph Cross

PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 35

GEAR REVIEWS Ed. note -- recently, we hooked up the artist known as Effswell (aka Joseph Cross) with a complete home studio recording package courtesy of our friends at Harman, incorporating products from JBL, AKG and Soundcraft. The goal was to take a sad home studio setup (sorry Joseph!) and completely renovate it from the ground up with everything an artist would need to make a full record from home: mics, headphones, studio monitors and a mixing desk/interface.

Effswell installed all the gear in his home recording space and crafted an entire video series on our YouTube channel chronicling his journey to home studio bliss.

Watch all four episodes at https://www. youtube.com/user/performermag and keep reading for his full rundown.

36 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

home studio; and over the course of this series, I’m going to be covering the new key components to mine! First up, we’re going to be covering the powerhouse that powers my home studio setup: The Soundcraft Signature 22 Multitrack Mixer and Interface! Let’s get into some of the details, shall we?

Episode 1: Soundcraft Signature 22 Multitrack

Tracking and mixing instruments and vocals are an essential aspect of modern home recording. Having a mixing board AND interface in one unit that can handle the total workload involved is necessary for creating and editing awesome sounds!

Finding myself in a new space; ever evolving.

Things are moving at a mile a minute and I find myself with the need for a new home studio setup. Thanks to the help with some of my friends at Performer Magazine, we’ve put together a

ENTER: The SOUNDCRAFT SIGNATURE 22 MULTITRACK. With unparalleled British craftsmanship, this lovely board makes my life as a songwriter who doubles as a studio musician and voiceover artist MUCH EASIER!

GEAR REVIEWS

The next big feature of the Signature 22 MTK are all of the goodies that are built into the board itself. From the Soundcraft Sapphyre 4-band equalizer, which allows you to shape your sounds across the spectrum; to the dual Lexicon effects engines that produce different delay, chorus and reverb options at the turn of a knob -- Soundcraft Signature Series boards come LOADED with options. The built-in mic preamps are also a great feature on this board, as they come from the same heritage as Soundcraft’s well-known Ghost mic pre’s.

One of the coolest features for me is the “USB Return” button included on every channel. After I record my mix and send it to my DAW for editing, pressing the “USB Return” button allows me to send that mix back to the physical Soundcraft mixer to add any effect or edits I need with the board itself!

Control freaks, listen up: THIS is the board for you! Literally every element of your mix is in your hands with Soundcraft Signature Series mixers!

In conclusion, the Soundcraft Signature 22 Multitrack is a versatile mixing board AND interface, capable of powering you through multiple environments, including rehearsal spaces, live shows, or the recording studio.

Coming in at just under $950 USD, this board is a great investment into your musicianship, production house, and live venue spaces. For more information, please visit SOUNDCRAFT. com.

Here’s how: First, the Signature 22 MTK is built tough with a durable metal body, equipped with a 22-in/24-out USB recording and playback interface, compatible with any digital audio workstation (or “DAW”) you prefer to use; be it Pro Tools, Reaper, Logic, or otherwise. Each channel records directly to its own track in your DAW, providing a feature that many other physical mixers simply do not!

Ableton Live 9 Lite comes included with the board, so you can get started making your creations right out of the box. Not only can you fully control your live mixes on the physical board, but they may also be tweaked in post-production, putting the total quality of the final product into your hands and allowing you to save multi-track versions of live gigs and rehearsals, as well.

Episode 2: JBL 305P MkII Powered 5” TwoWay Studio Monitors Creating an optimal soundscape for the best recording and editing space that you can have in your home is essential; and now we’re going to do that with the JBL 305P Powered 5-inch 2-Way Studio Monitors.

Crafting a home studio in a space that’s not treated for soundproofing poses several obstacles; however, utilizing the proper equipment can save the day. Accurate, detailed playback of every idea that comes through my system is important, and PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 37

GEAR REVIEWS for this, I turn to a pair of JBL 3-Series 305P MkII Powered 5” Two-Way Studio Monitors.

make up for your speakers placement proximity to walls or other objects in your studio space.

The glossy face of the 305P MkII Monitors has two main components. At the top, a 1-inchhigh frequency transducer is built into JBL’s Image Control Waveguide; a patented feature that broadens the sweet spot these monitors achieve. Below that lives a 5-inch low-frequency woofer design that delivers authentic mids and lows to pump out the sweetest mixes you can conjure up!

On the back, you’ll find balanced XLR and 1/4” inputs, selectable input sensitivity, output volume control, a high-frequency trim switch, and my personal favorite feature for the home studio: Boundary EQ, which you can adjust to

Because I am recording and mixing in a home environment, it is VERY convenient that these monitors pack so much balanced sound and hifrequency detail during playback. When creating, once I think a mix sounds great in my headphones, I usually verify my theory by playing the mix back loudly through my monitors. The JBL’s do a phenomenal job of allowing every facet of the mix to be audible and clear, whether I’m inside or outside of the sweet spot! And while the 305P MkII provides some serious low-end presence as well, it CAN be beefed up when paired with JBL’s LSR310S Powered 10-inch subwoofer; a speaker that is NOW on my wishlist.

The 3-Series MkII Monitors are also available in the larger, even MORE powerful 306P & 308P [6” & 8” respectively] models. For less than $320 USD, a pair of these impressively dominant speakers can be yours. For additional details, please visit JBL.com.

Episode 3: AKG P420 Large-Diaphragm Condenser Microphone “Check, check... Attention, attention…Is this thing on?”

That’s a mic check if you don’t know, and after the interface, board and monitors are in place, we should get down to recording, right? Let’s check in with the mic that we’re using in my home studio. Of course, I’m talking about the AKG P420 high-performance condenser mic.

Welcome to the future!

Right out of the box, the AKG P420 dualcapsule condenser mic comes stored snugly in its own hardshell carrying case, equipped with a custom shock mount; so, you can hook up to a 38 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

GEAR REVIEWS

mic stand or boom arm and get started recording vocals and instruments straight away. Be advised that in addition to an XLR cable, you will also need to provide at least +48V of Phantom Power in order for this microphone to operate. This can be achieved best by plugging the P420 into your interface of choice (like our Soundcraft board), then pressing the Phantom Power or +48 button.

At this time, your solid- built P420 is ready to record vocals, acoustic guitar, piano, woodwind instruments and more.

As the bolder and mightier sibling to AKG’s P120 and P220 large-diaphragm condenser mics, the P420 produces very low self-noise, bringing high dynamic range to every take.

With three adjustable polar patterns to toggle on the front of the mic, you can benefit from the figure-8, cardioid, or omnidirectional prowess of the P420 with the simple flip of a switch!

The back of this microphone features two more toggle options: the bass roll-off switch and preattenuation pad.

I must beg your pardon, but I have a secret to share with you: every voiceover portion I recorded for the accompanying video series to this article was recorded with an AKG P420 microphone. I find these reviews to be most helpful when the product in question gets its own opportunity to shine in real-time.

For around $200 USD, this microphone is a dream; and while at the price point it competes with some of the more entry-level mics on the market, the specs of the AKG P420 easily line up with microphones in the $600+ range.

More information is available at AKG.com, including extended technical specs as well as purchasing information.

Whether I’m in studio or on-the-go, access to superb sound is of the utmost importance to me.

Finding a set of headphones that enhances my busy, mobile lifestyle while also accommodating my home recording needs wasn’t easy. That is, until I was introduced to the AKG K371-BT closed- back Bluetooth headphones. With a 40-hour USB rechargeable battery life, these headphones stand up to the most demanding lifestyles with ease.

Enabled with Bluetooth 5.0 for strong, reliable connectivity, this foldable, modernstyle headset really does check off every box in my search queue. To achieve TRULY neutral sound, these amazing headphones are tuned to the AKG Reference Response Acoustics Curve; an innovative feature that means the K371-BT’s largest in-class 50mm titanium-coated drivers are primed for maximum performance.

For less than $200 USD, these glorioussounding headphones can be added to your own creative arsenal. More amazing fine points about the K371-BT can be found at AKG.com, where I encourage you to log on for some truly remarkable tech.

And now that the studio is set up in full, I am fully capable of tracking albums, doing voiceovers, whatever I like to do; as well as taking the board outside and recording and tracking live at a concert! The possibilities are literally limitless. THANK YOU to everybody that’s participated in this: JBL Audio, AKG, Soundcraft, and Performer Magazine. Cheers!

With an extended frequency response of 5Hz - 40kHz, the K371-BT is optimized for you to hear a broader spectrum of sound. The oval earcups themselves have pads so soft and comfortable, I sometimes forget I’m wearing headphones at all!

This is great for extended editing sessions, where it’s now easier to work longer without the overear stress some headphones can cause.

Episode 4: AKG K371-BT Closed-back Bluetooth Headphones When it comes time to not only tracking but listening back to some of the fruits of your labor, you’re going to want the most accommodating headphones to listen back with! And that’s why when I set up my new home studio space, I opted for the AKG K371-BT Bluetooth-enabled headphones.

In studio, I prefer to utilize the K371-BTs closed-back technology for tracking, editing and accurate playback; mainly because I can work distraction-free, with the least possible leakage of sound out of or into my headphones.

So far, I’ve had a low-latency experience with my headphones in Bluetooth mode; and to go COMPLETELY latency-free, all I have to do is plug my headphones into my mixing board or interface and BOOM! Zero delay in the signal!

This is easily achievable with a little help from the included 3m coiled or straight cables and the 1/8” to 1/4” adapter.

PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 39

GEAR REVIEWS

TAYLORSENSE Guitar Health Monitoring System

I

n January of 2021 we reviewed Taylor’s then-new GTe Urban Ash guitar, but shortly after that review went live, Taylor made a unique new feature available.

Taylor took the idea of on-board electronics in a new direction with a system that has sensing technology which monitors the guitar’s humidity, temperature, battery life, and impact incidents.

Download the Taylorsense app, which is available on iOS and Android systems, and the guitar sends the information via Bluetooth to your device. Enabling push notifications allows real time updates, and even offers up solutions to the situation. When we installed the software the 66% humidity was noted as an alert, and the suggested solution was to use a readily-available two-way humidification system. Nice.

If you happen to already have a Taylor guitar and would like to upgrade, it’s available as a kit to retro-fit into existing models that happen to have their expression system 1, 2, ES-T or ES-N electronics that use a 9v battery as a power source. Installation seems easy, but as always if you have any reservations about working on your guitar, an authorized technician can easily handle this task.

Despite the wood in the guitar being cut, processed and assembled into an instrument, it still reacts like a living thing, and while a couple of hot days might not debilitate a guitar, continuous unfavorable conditions can take its

40 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

toll, and eventually rob the guitar of its playability.

It’s hard to believe that a 73-degree day with 66% humidity isn’t considered optimum living conditions for a guitar (apparently the favorable humidity range is 40-60%).

The battery life status is a great feature. How many times have you plugged in an acoustic, and get no sound, and immediately forget about its battery, and go through everything else in the signal chain? This can help anyone eliminate any troubleshooting issues.

The weather this year in North America has certainly been extreme, and with the dry hot weather of the southwest, to the wet, hazy, hot and humid northeast, this can certainly help mitigate any issues before they become serious.

Finally, the impact status function registers any hits your instrument gets, in or out of the case. Shortly after installing the app, we put the guitar in its included soft-shell case, and as it wasn’t balanced well, it tipped over, and bumped against a bookcase. No damage happened, as it was in a case, but it did register on the app.

Ever wonder if someone messed with your instrument, or mishandled it? Now you’ll know with an impact report with the time, date, as well as force subjected to the guitar. One thing we did notice and seems like a minor glitch in the app – we had our test guitar in its case, in our heated studio (that we were sitting in) in early fall and got a temperature warning at -48 degrees

Fahrenheit. We dismissed this as a bug, however a false warning can be just as concerning as a real one. Something we’re sure Taylor will address in future updates.

Overall, it’s a great addition if purchased as an upgrade, and for units installed on new Taylor’s fresh from the factory.

Chris Devine

PROS

Excellent, inexpensive upgrade to existing Taylor guitars CONS

App sometimes gave incorrect temperature report STREET PRICE

$79

GEAR REVIEWS

K

RK has really made their mark with studio monitors, so it made sense that they would release headphones for studio applications. The overall quality and performance they deliver is on par with their monitors, but the price is the bigger surprise.

Cracking open the yellow box, it contains the accessories of a soft storage bag, cleaning cloth, as well as the connection cable and a separate slider volume control cable. As the cables are detachable, the age of a great set of headphones getting thrown out due to a damaged cable is over.

The headphones themselves feel quite light at just over a half a pound, but don’t feel fragile or flimsy. The 40mm drivers are Neodymium based, which obviously are a factor in the light weight, while leatherette covered memory foam is the name of the game when it comes to the head and ear cushions, and these soft items are replaceable.

With an over the ear design, the sound isolation is great, blocking out 30dB of outside noise, making these excellent in a live tracking situation. Using the inline slider cable allows the user to control the volume into the headphones.

Ever have a session where a player keeps asking for constant (and inconsistent) volume adjustments in their cans? This will put them in the driver’s seat in controlling their own overall volume without a separate monitor mix.

Speaking of volume, with a max 124 dB (which is about the same volume level as a jackhammer)

KRK KNS 8402 Headphones Review there should be no issues with drivers getting damaged or fatigued in even extreme situations.

Comfort-wise, these are excellent in a physical sense, with the fantastic padding, and lightweight feel. Going into long sessions the audio fatigue was non-existent, especially with the in-line volume control, allowing the player to adjust the levels to their own taste. With a frequency response of 5hz-23kHz they can cover pretty much anything from sensitive acoustic to mega umlaut metal. The audio quality was excellent, the Neodymium drivers not only tend to make things lighter but seem to roll off harshness in the higher ranges, while still maintaining a nice and full low-end response that maintains definition.

So, for tracking, these are really nice, but one thing that always helps in a mixing setting is being able to switch between headphones and room monitors, hunting for the audio issues one of the items is either missing or coloring in some manner. We did a few bits of back and forth between our monitors and these and found a nice balance where these seemed to have a lot of characteristics of monitors.

There’s a school of thought that mixing only on a set of headphones isn’t a good practice.

However, with a set of these, since you’re getting very similar responses to monitor speakers, that school could easily be dismissed.

Overall, these are quite nice, and for tracking and personal use (our tester loved using these with his modeling pedalboard) a set of these is a no brainer. Mixing with a set of these was a pleasure and worked nicely with monitors. There seems to be a lot of mileage to be had from putting these in your home studio, regardless of the road taken or the destination.

Chris Devine

PROS

Well made, lightweight, good sound and ultraaffordable CONS

None STREET PRICE

$149

PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 41

GEAR REVIEWS

AUDEZE LCD-XC Headphones

L

et’s not bury the lede – these are the best headphones we’ve ever listened to here at Performer.

Audeze sent us a pair of their LCD-XC headphones and quite frankly, it took about 10 seconds using them for a mix session to tell they were hands-down the best things we’ve ever experienced here in our project studio.

they continue to amaze. Sure, we picked out some reference material to help stack the deck (Donald Fagen SACDs and freshly re-issued Blue Note vinyl), but they also excelled at detail retrieval for albums we always thought were, shall we say, less than ideally recorded. It’s not hyperbole to say we were hearing elements in the music we never heard before, even on familiar tracks.

PROS

Sure, they’re not cheap, but the design and comfort are second to none (I know this review sounds shill-y so far, but keep in mind Audeze doesn’t advertise with us – so take that for what it’s worth).

So, what’s so good here? Sonic separation, for starters. Mixing music is tough, made even tougher when your monitoring system muddies up the works. And while these headphones aren’t specifically being marketing as studio cans, they should be. Instrument separation across the spectrum was absolutely astounding -- perfectly separating vocals, drums, cymbals, synths, bass all into their appropriate bands. Stereo imaging was spot-on, as well, and coupled with the excellent isolation provided by the comfy earcups, and you’ve got your studio’s next musthave upgrade. Stereo imaging can sound awfully artificial using headphones, but this is the first time we ever heard a natural-sounding 2-channel soundstage in our heads. Truly wonderful.

Even for general listening for pleasure, 42 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

So, what’s at the heart of these headphones?

Audeze has employed a custom planar magnetic design, which is definitely what’s adding to the overall weight (we didn’t have an issue with this, although some more sensitive users may find them heavy) along with a proprietary magnet array inside, utilizing Neodymium N50 magnets.

The specs are even more impressive from there – and look, we could regurgitate all of them here and it wouldn’t change a thing.

If you’ve even remotely toyed with the idea of treating yourself to a pair of ‘end-game’ headphones, the new LCD-XC’s should be at the top of your list to check out.

The baseline configuration comes with a stellar hard case, high-quality detachable singleend to mini-XLR cables, and a hand-signed warranty card.

If you couldn’t already tell, we can’t recommend these highly enough. Enjoy!

Ben Ricci

excellent sound reproduction, instrument separation, frequency response and presence CONS

some users may find them heavy STREET PRICE

$1299

GEAR REVIEWS

W

e recently reviewed the previous entry-point into the MPC ecosphere, the MPC One. Coming in well under $1000, it offered most of the functionality that MPC users craved, while stripping out some of the flagship features that artists just getting started with sampling might not need yet.

After we published that, Akai surprised us by introducing the new MPC Studio (not to be confused with the old MPC Studio), an MPC controller unit that pairs with their killer MPC software.

To be clear, this is not a standalone sampler and sequencer. So, if that’s what you’re looking for, move up the ladder to the MPC One, like we previously mentioned, to get your feet wet.

No, what we have here is an ultra-affordable controller that gives you tactile control over your MPC session on your Mac or PC. And while you might think that would be crippling at first, it’s actually a pretty ingenious way to lure artists into the MPC world by getting them used to the grid/pad layout and workflow and empowering them with an insane number of sounds at their fingertips (this comes with more than enough to get you started).

We definitely thought that not having any audio inputs sort of defeated the purpose of an MPC, but after using it for a few sessions, we got who this is intended for. Are you a singer/ songwriter who wants to add programmed drums to their track? Load up the MPC software, get

AKAI MPC Studio Controller grooving on the pads and tweak the virtual drum sets until you get that killer backing track locked in. you might even find you don’t need to look at your computer while doing so.

There is a whole world out there who can benefit from a simple pad controller, without the need to record samples or sequence entire tracks in a standalone unit. In fact, having done both workflows recently (standalone sampler/sequencer and “in the box” using a PC with the controller) I can now see that a lot of today’s artists may actually prefer the “in the box” style that they’re potentially already be used to. And the MPC Studio is easy enough to use that it can slide right into your existing workflow with a minimal learning curve.

What’s cool is that you can even use the MPC Studio as VI in whatever DAW you’re currently using, so if you’re already used to a software setup for recording, this can plug right into your current session, no problem.

So, bottom line: if you’re looking to add a fresh ingredient to your recording setup, this is a superaffordable way to get the MPC experience into your tracks, without the need for a costlier standalone unit that you might not actually need.

PROS

great feeling pads, perfect software integration, easy to use, retains MPC “feel”, bright screen and intuitive, powerful ‘touch bar’ interface

CONS

will make you want a standalone unit down the road :) STREET PRICE

$269

I think even non-electronic artists owe it to themselves to give this a fair look the next time they’re seeking new studio gear.

Ben Ricci PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 43

GEAR REVIEWS

GEMINI SOUND GD-115BT Powered Speaker Review

P

A speakers have come a long way, from basic boxes and speakers. Gemini’s GD 115BT Steps things up, with an active unit with plenty of applications.

The enclosure seems quite rugged and robust, with a slightly textured black finish and has handles built into the design, along with a black metal grille. The sides are angled for use as a wedge monitor, and for traditional PA use, a recessed mounting point for being placed on a stand. With a 15” driver the unit weights in at about 35 pounds, which isn’t bad as it also contains a three-channel mixer and a 1000-Watt Class D amplifier. The controls are recessed into the back panel so if it’s being used as a wedge, there’s no chance of getting in the way of power or audio cable connections or any damage to the knobs.

The 3-channel specification, however, is slightly misleading. Channel 1 is strictly for a Bluetooth device to connect to the unit. Channel 2 has a selectable 1/8” aux in, as well as a 1/4” and a XLR connection. Channel 3 has the same connections as channel two but swaps out the 1/8” for a pair of RCA inputs. Each channel has its own level control and clipping LED indicator.

EQ wise, it has treble and bass adjustments along with a master volume control. For true stereo, a pair of these speakers can be wirelessly connected in tandem.

44 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

There’s plenty of power in here to cover a large room; any good size function hall will certainly be shaking with even one of these installed. There’s plenty of thump and defined bass, with enough top end to cut and project.

For a singer/songwriter who has a vocal mic and an instrument, this can be a pretty potent setup for any gig. It’s not quite an all-in-one solution for a band, unfortunately. We found that for even a duo type gig, we would need an additional mixer to sub mix down to 2 hardwired channels. Yes, there are Bluetooth connections for backing tracks and some microphones, but they’re not as common as standard, hard-wired devices. Using these as a wedge isn’t a bad concept, with a 15” speaker that has plenty of bottom end and EQ that could tame any feedback issues.

However, for a Party DJ event, or EDM performers that might only need two inputs, a pair of these could easily raise the roof. The simplicity is quite fantastic, and the overall low-end response would be perfect for that kind of application. For a road-worthy powered speaker, it can make life easier for these kinds of performances, and even the most technically challenged users can make these work without a lot of hassle.

Chris Devine

PROS

Bluetooth, easy to use, plenty of power, works great as a wedge CONS

somewhat limited I/O options for larger groups and combos STREET PRICE

$299

I

n the last few years USB microphones have really come a long way, from the hobbyist realm to a professional standard. PreSonus’ Revelator has all the design of a quality studio mic, but with some added practical extras that offer up professional solutions at a touch of a button.

With three pattern types available, the mono condenser capsule offers Cardioid, Omni and Figure 8 patterns. Audio-wise, the frequency response covers 20Hz-20kHz at 24bit resolution and a 110 dB max input level. The weighted stand is nice, but it comes with an adapter so it can be attached to a standard mic stand. Connection to your preferred audio device is via USB-C and it has a 1/8” headphone jack for personal monitoring with zero latency.

PreSonus has made a pretty unique package with this. A lot of interfaces come with specialized software to optimize and offer other features to the user, but this is the first USB mic we’ve tested that offers up its own universal control software, that really gives “under the hood” control. The software offers up 8 factory presets that range from simple EQ and compression and gating optimized for male or female voice frequencies, to major pitch shifting and altering such as “space overlord” and “android.”

There are also 8 slots for user-defined presets that can be saved and recalled. All of the processing has adjustability and the ability to save scenes for later use. This is great if the mic is getting used as a podcast mic in one setting but might be used in an overdubbing/voiceover setting at some other time. For livestreaming there’s loopback channels, as well, for broadcast functionality.

The mic also happens to have the presets selectable from the unit itself, and the color changes to the corresponding function laid out in the software. It’s Mac and PC compatible, and functions with iOS nicely (with Apple’s camera kit converter). To top it all off, included is Studio One 5 Artist, and their magic suite of plug-ins by Lexicon, SPL, Brainworks, and a host of virtual instruments.

GEAR REVIEWS

PRESONUS Revelator USB-C Microphone We put this package through its paces, using the mic to record some “spoken word” situations, such as audio for a YouTube video, and in an interview-like setting. The figure 8 configuration worked well with two subjects in a room and had no issues on the YouTube video. Mounting it on a traditional mic stand, we tried recording an acoustic guitar as well, placing it just around the 14th fret, and had no issues. Using it as a vocal mic went equally as well, but depending on the singer, a pop filter could help out any overdone plosives and general aggressiveness.

Overall, it’s hard to find an all-in-one unit that delivers so well. For a content creator, musician or Twitch streamer who might want to step things up, this is worth the price tag. A solo artist who wants a decent mic that offers up some presets, without having to add an additional interface, this could be that first step that gets a lot of mileage. Recommended.

Chris Devine

PROS

Plenty of audio options, flexible applications, great price.

CONS

None.

STREET PRICE

$179

PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 45

GEAR REVIEWS

PRESONUS Eris E5 XT Powered Studio Monitors

W

e have reviewed PreSonus Eris Series monitors in the past and have been impressed, but the new Eris E5 XT brings heftier low-end presence in a small size.

Inside these vinyl covered laminated MDF enclosures resides a 1” silk dome high frequency driver and a 5” woven Kevlar composite low frequency speaker. For added low end, a horizontal port opens up some extra thump.

These are powered monitors, come in at 80 watts, and can handle up to 102 dB of output.

Connectivity is covered with RCA, TRS and XLR balanced connections from your interface.

The gain control on the rear covers all three inputs, and there are additional controls allowing mid and higher EQ adjustments, as well as low frequency cutoff and acoustic space adjustment.

Nice touch.

Modeled) waveguide really helps tune these speakers, and had us convinced that we had a larger speaker doing the work. The dispersion pattern was quite nice, with a nice sweet spot right at our desk. We did some fiddling and adjustment for our space, and within a couple of passes of a few reference mixes we were very pleased.

First off, it’s all about the bass, and there’s plenty of it. Listening to a mix where we previously thought the lower ranges were somewhat lacking, the new Eris models corrected our ears, and gave a better idea where to tame some of the bass for more optimum punch and definition that didn’t mean a lot of re-adjusting the overall mix.

Speaking of low end, these will go down to 48Hz, fairly impressive for such a smaller woofer size.

Our tester’s desk is loaded; with three video monitors, a pedalboard shelf, interfaces, a Mac mini, and more, so space is at a premium. There was some concern of having to re-configure his space just for this review, but with the new Eris’s just being a tad bit bigger than our tester’s previous set of monitors, they fit nicely and still had adjustment for optimum placement.

Thankfully these aren’t bottom-heavy one trick ponies, and the overall frequency response sits nicely with plenty of clarity and punch in the high and mid frequencies. Running an acoustic guitar mix had plenty of range to really tune in the track with just a touch of EQ. It was great to have the monitors work with our mix, and not fight it.

Our reviewer does a lot of YouTube music related videos, and starting with a good mix is key. These helped sort out optimum settings for his EQ templates for these situations.

The unique EBM (Elliptical Boundary

Overall, the bass response will have you

46 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

thinking you have a sub-woofer going, but not having to mix to a sub’s idiosyncrasies is a godsend. We recommend these as a fully adjustable, powered speaker that won’t occupy a huge footprint, and can be tuned for YOUR space; for smaller rooms this could be your gamechanger.

Chris Devine

PROS

Excellent functional and usable bass response for such a small speaker, tunable CONS

None STREET PRICE

$119 (each)

H

ardware wise, SSL has always been at the forefront. Now with their Fusion Vintage Drive and Stereo Image Plugins, software versions of their Fusion Rack are now available for use in the DAW environment.

Starting with The Vintage Drive -- the display is easy to read, and the “controls” mimic the feel of the hardware, with input and output VU/level meters, saturation level, input trim, drive (that goes to 11), density control, auto gain, mix and output trim. Installation was very easy, with no problems getting them to run in our Studio One 5 environment.

The gain covers input saturation, while the density adjusts the even order harmonics, and the mix controls the overall level of the effect.

The Auto-Gain function matches levels in a totally functional sense and is super intuitive to use. There are presets designed by a variety of producers and are tailored for a range of instruments from guitars and acoustic drums to vocals, keyboards and drum machines. There are also plenty of presets for use as an overall mix. If mixing without outboard gear is your bag, this might be your new essential plug-in.

Throwing it on the snare track on a lo-fi indie rock recording mix we already had going, really brought new life to the track, bringing in more warmth and depth, without getting too processed.

We had some great results using this on electric guitar tracks and vocals, as well. The big thing

we found was that it could easily be subtle, but when really pushing the knobs to their limits, big changes happened, but not in a bad way. It seems to stop short of unusable and unmusical.

It certainly depends on what the track needs but knowing it can be pushed hard without being fatiguing is fantastic. Depending on the session, this can really warm up sterile tracks without a lot of hassle, and while the presets were great reference points, just going by ear wasn’t an issue. There’s no parameter option overload. It’s quite an enjoyable “analog” experience.

The Stereo Image plug-in was equally easy to navigate, again with simple and easy controls.

A visual representation of the effect’s presence with a vectorscope image that interacts with the track is a handy touch. Space and with functions work in a “depth” functionality, with the shuffle acting as a frequency adjustment from the 40Hz to 400Hz range. Applying this to mono tracks is certainly an option, and does have some very positive results, especially on individual drum stems. It seems to add more air without sounding artificial, which was our chief concern. Thinking of this as a modulation without the de-tuning, it’s quite easy to get practical results quickly. This approach helped add in some nice glassy space on some un-affected guitars, while giving the feel of a wider stereo image it wasn’t originally recorded with.

GEAR REVIEWS

SSL Fusion Vintage Drive & Fusion Stereo Image Plug-ins

there’s nothing like tweaking by ear, and as the hardware version has no preset functionality, working the plug-in like an analog device is quite satisfying.

Overall, these are quite powerful pieces of software, and certainly excellent additions to any DAW system. The functionality and overall ease of both of these yields some great results and can be that little extra needed to make a mix really jump, without a lot of effort or cash. SSL has nailed it with these two.

Chris Devine

PROS

Great price, excellent analog feel and response CONS

None STREET PRICE

$149 (each)

Again, there are copious amounts of presets, and are great starting points for adjustments, but PERFORMER MAGAZINE OCTOBER/NOVEMBER 2021 47

GEAR REVIEWS

FOCUSRITE Clarett+ 2 Pre Audio Interface

W

e’ve reviewed Focusrite interfaces in the past and have always been exceptionally pleased with their robust build quality, excellent analog and digital convertors as well as included software bundles.

tracks for added presence. While we didn’t have an old session using the previous Clarett handy, we did do some new demo recordings with the 2Pre and were pleased yet again with just how good you can have it for under $500.

So, when we heard that a newly revised lineup of Clarett interfaces were on the way, we were intrigued. Truth be told, the new lineup is partially a response to the recent fires that devastated the AKM factory. This has impacted audio interface manufacturers badly, and if you’re an audiophile like me, you know it’s hit the DAC market hard, as well. AKM chipsets were a pretty crucial component to the Clarett range, so a new supplier (Cirrus) has been brought in to provide the digital-to-analog and (maybe more important) the analog-to-digital convertors in the new “+” lineup.

Acoustic instruments, scratch vocals, synths and bass all recorded perfectly, and sat just right in the mix off the bat without additional fiddling.

That’s what you want, an interface so transparent that you can almost put the mix together without having to put the mix together, if you know what I mean. And other units in this price range have a hard time doing that.

How do they sound? In a word, fantastic.

The new “+” range, of which we have the 2Pre model, basically improves upon every aspect of the previous versions. Total harmonic distortion figures have been lowered with the new design, and the dynamic range has been leveled-up across the board. You’ll get absolutely crystal clear, bitperfect audio reproduction, without latency, at up to 24/192 quality using the on-board inputs.

Setting up the Clarett+ is as simple as it gets, and we commend Focusrite again for their intuitive Control software to get your routing in place in no time.

From there, the mic pre’s are good to go into your DAW, and like always, we pretty much engage the trademarked “Air” functionality on all 48 OCTOBER/NOVEMBER 2021 PERFORMER MAGAZINE

While the mic preamps are usually the stars of the show, we have to give special shout outs to the instrument-level inputs here, as well. Typically, ‘hi-Z’ inputs on consumer-level products can be a bit thin and wimpy. What’s great is that on the new “+” lineup, going direct is not an afterthought. So, plug in your guitar and enjoy a full-bodied sound that sounds pretty authentic, like you mic’d up an amp with your trusty SM-57.

There’s not much left to say, unless you want us to continue gushing for a few more pages. The front panel has your standard phantom power buttons for condenser mics, “Air” engagement LED’s, combo jacks for your analog inputs, and headphone amp output with monitor mix control.

Around the back are your line-outs for studio monitors and outboard doo-dads, plus an additional optical input so you can pipe in 8 more channels over Toslink. For under $500, you’re getting an awful lot here 9we haven’t even

touched upon the software side of things) – and let’s continue saying it, MIDI I/O should not be optional on audio interfaces with more than one input!

Kudos to Focusrite for FULL-SIZE MIDI DIN INPUTS! You hear that, *other-guys*?

FULL-SIZE, please. No dongle nonsense on our gear anymore! Cap it all off with a USB-C connector for both data transmission and power (assuming your device can power it – you may still need the included AC adapter, so check your device specs) and you’ve got another redfaced winner here. Excellent job at improving an already great lineup, Focusrite.

Ben Ricci with Grant Wilcox

PROS

excellent sound, small footprint, expandable inputs over Toslink, great Control software CONS

none STREET PRICE

$499

/ AT2040 Hypercardioid Dynamic Podcast Microphone

Sound Focus

Podcasters and other content creators no longer have to choose between professional sound and an affordable price – the AT2040 podcast mic gives you both. Perfect for aspiring and established creators, this rugged dynamic microphone produces a classic,

audio-technica.com

warm broadcast sound without annoying pops or unwanted noise. And its highly directional pickup keeps the focus on your voice, so you can focus on your content. The choice for broadcast-quality sound has never been clearer.

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