The Dog - Autumn 2011

ISSUE 4 Credits EDITOR Roberta Pia 0131 229 8227 roberta@reddogmusic.co.uk DEPUTY EDITOR Alex Marten 0131 229 8227 alex@reddogmusic.co.uk CHIEF WRITER Roberta Pia STAFF PHOTOGRAPHER Andy McKay (Purrrfect Photography) CONTRIBUTORS Amy Clarke, Dave Gardner, Corey Gibson, Alex Marten, Andy McKay, Guy Perchard, Dan Reeks, Graeme Steel, Jonathan Tait.

Shop Photographs DN Anderson www.dnanderson.co.uk ADVERTISING Roberta Pia 0131 229 8227 If you would like to advertise in The Dog, please email marketing@reddogmusic.co.uk

CONteNts DOG MUSIC preSeNTS

THE

7GO

OK DR.FRETLOVE

Chicago’s favourite dark arty pop band talk music, paint, broken noses & choreographed dance routines with dogs.

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PICKS! 11 PRoducT

The Red Dog Musi c staff present their personal favourites. ............................

20 SPOTLIGHT on

GlASGow’S

MODELLING AMPS

A YAMAHA JR2 TRAVeL GUITAR

Win by answering our stupidly simple question. you’d be silly not to! (page 37)

Find out what makes “The Weeg” Scotland’s live music capital.

DESIGN & ART DIRECTION The 16K Design Works 0131 661 3737 info@16kdesign.com www.16kdesign.com

an interview withCHRIS MAY

CONTACT Red Dog Music 1 Grassmarket, Edinburgh EH1 2HY 0131 229 8211 info@reddogmusic.co.uk www.reddogmusic.co.uk

42 UP

ROUND

wiN!

MUSIC SCeNe

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27 OVERWATER

Tanglewood and Overwater get into deep discussion over Chris May’s tasty bass guitars

29

The intricate details of his beloved 6-stringed friend.

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Front cover ILLUSTRATION The 16K Design Works & Nem Sarton nemsarton@yahoo.com

PRINT Cocoa Creative Consultants 0800 644 0646 info@cocoadesign.co.uk www.cocoadesign.co.uk

STRANGE 38 The WORLD OF

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.Presenting . . . . . . . . the . . . crème . . . . . .de. .la. .crème... ......

T He

ACADEMY OF

MUSIC AND

SOUND 45

You haven’t heard of The Academy?

Read this and get educated, people!

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EXPRESS 49 YOURSELF

DIY

MUSICIANS A lass called Ames gives us her own personal perspective on life as a self-sufficient musician

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The dos & don’ts of ... EARL GREY &THE LOOSE LEAVES LIVe 53 TOP TeN EVENT SOUND

Achieve awesome sound with local sound engineer and live event super hero, Graeme Steel! ....................................

32

WILLIAM DOUGLAS & THE WHEEL

Talks about intelligent song-writing, seagulls of negative space and playing gigs Elvis-style!

BReWS One of the coolest blues bands in town talks tea ....................................

54

EVENTS What’s happening in-store at Red Dog Music?

AUTUMN 2011 THE DOG 3

DOG EDITORIAL top DOGS THE

MUSICPRESENTS

MUSIC’S

The Top Tunes on the Shop Stereo this Issue

In the words of the late, great James Brown: “Good God almighty!”

We’re on Issue Four already!? Time flies when you’re having a blast.

I

want to give a shout out to all the bands that played at The Dog Show at the end of April. Big love to The Fire and I, Size Queen, The Marrs Effect and last but not least, our secret headliners – legendary ten-piece ska monster, Bombskare. You were ACE! Last issue, we took a peek at Manchester’s music scene; this time, we’ve stuck the spotlight on Glasgow aka “The Weeg”.

We’ve rounded up a few Glasgow-based music gurus and asked them a bunch of questions to find out why they think Glasgow is Scotland’s music capital. If for no other reason than I, as a born and bred Edinburger, want to know what their secret is.

I was on my way home from work a while back and walked past a couple of teenage boys. As I passed them, I stumbled across one of the most infuriating conversation snippets I’ve ever heard: “There’s no music scene in Edinburgh.” This irritated me for a few reasons. Firstly, how wrong he was; secondly, his blatant ignorance; and most of all, the awful feeling that my life’s work thus far (I’m only wee, mind) had been a waste of time.

As someone who works hard on Edinburgh’s music scene and is continually inspired by it, I couldn’t help but feel annoyed that all my hard work (alongside the hard work of heaps of other talented musicians) had gone completely unnoticed. I wanted to kick him in the shins but in hindsight, I’m glad I didn’t – that would have been an embarrassing criminal record.

I’ll leave it at this: Edinburgh music scene, are you listening? I love you. I think you’re pure barry.

“Edinburgh music scene... you’re pure barry.”

4 THE DOG AUTUMN 2011

Now, back to The Dog...

Rumour has it you could be in with a chance of winning a Yamaha JR2 Travel Guitar.

Woah now! Is it your birthday? It seems that way.

Oh no, hold on... we’re just spoiling you rotten. No worries, you deserve it.

Gideon Conn ‘Eccentric’

Prodigy

‘No Good (Start The Dance)’

Mr Scruff vs Kirsty Almeida ‘Pickled Spider’

Vintage Trouble ‘Nancy Lee’

Janelle Monae ‘Locked Inside’

Dizraeli and DJ Downlow ‘Fantasize’

Hidden Orchestra ‘The Burning Circle’

Check ou r blog at ...

RedDogMu

sic.co.uk

TALES OF MUSIQUE, PAINT, BROKEN NOSES AND STRANGE DOGS WITH CHICAGO’S OWN...

This “dark arty party” Chicago-based 4-piece are best known for their imaginative, one-take music videos; featuring synchronised dance routines, treadmills & Rude Goldberg machines. They also mentioned something about choreographed dances with dogs – we love them already.

OK Tim, Go...

AUTUMN 2011 THE DOG 7

OK GO

TIM’s

KITLIST Fender P Bass

*

How did you come up with your name?

Damian and I met when I was 11 and he was 12 at Summer Arts Camp. The expression ‘ok go’ was something that our art teacher use to say to us all the time, so it became an inside joke between the two of us. When the time came to name the band, it seemed like an obvious choice.

Describe your musical style in 3 words.

Dark arty party.

*

Name a song that you *wish you’d written.

* Tell us the best and worst decriptions of your music so far.

I wish I’d written Hey by The Pixies.

*

The best description of our music so far was actually “arty party”. The worst description comes from my dad, who once called it “a bunch of cacophonous noise”.

*

What is your favourite tunes/albums at the moment?

Favourite albums at the moment: Forget by Twin Shadow, King Night by Salem and Cults

by Cults.

* Which of your records are you most proud of?

I am proudest of our most recent record ‘Of the Blue Colour of the Sky’. It’s the most reflective of us as people and how we hear music.

Recommended!

Electro Harmonix Big Muff Pi Distortion How do you go *about writing a new tune?

Lately, a lot of our

8 THE DOG AUTUMN 2011

“We couldn’t tell if my nose was bleeding because I got shot with red paint.” songs have been written from the beat on up. Usually one of us comes up with a very basic rhythm track and we build on it from there until we have something that elicits an emotional response.

*

What do you want your music to achieve?

I want our music to affect people on an emotional level. Whether that emotion is happiness, sadness, lust, or a multidimensional version of several emotions, I just hope our music makes people feel something.

Which bits of music gear would you recommend to the masses?

If you’re into bass distortions, I would recommend the Electro Harmonix Big Muff Pi Distortion. It’s a really hairy distortion, but you can still fine-tune the EQ enough to where the sound still makes some sonic sense.

Tell us a funny story. i’d imagine you have *some funny treadmill-related accident stories or strong opinions on paint colours.

We had to stop shooting on the set of the Rube Goldberg Machine ‘This Too Shall Pass’ video when the paint machine shot at me so hard I thought my nose was broken. We couldn’t tell if my nose was bleeding or not because I got shot with red paint. So, for a good 15 minutes we were cleaning off my face trying to decipher whether I should go to the hospital or stop being such a wimp. of your videos was your favourite *toWhich film?

It’s hard to pick a favourite but one that I really enjoyed was our video for White Knuckles where we do a one-take choreographed routine with dogs. It was a lot of fun to spend time hanging out with a bunch of really sweet dogs. I still miss those guys to this day and it’s been almost a year.

*

In a parallell universe, which band would you like to be in?

I’d love to be in Daft Punk.

SVT Classic Ampeg head

*

What’s up next for Ok Go? We have a live record coming out this summer called 180/365. We’ll also be releasing a new video collaboration we did with the Pilobolos Dance Company for a song called ‘All Is Not Lost’. And we’ll be on tour playing festivals this summer in the UK, Europe and the U.S.

8x10 Ampeg cabinet speaker

*

If you were superheroes, what would you call yourselves and what would your special powers be?

We’d be called The Special Food Society. We’d have the ability to whip up amazing meals at any time to feed the hungry. www.okgo.net

AUTUMN 2011 THE DOG 9

PRODUCT

PICKS!

Picked By:

A few of the Red Dog Music staff take time out to tell us what they think are the coolest bits of gear in-store at the moment.

Let’s meet them and find out what they think rawks...

Cakewalk VS-20 (Rrp:£265.52 / Red Dog Price: £235)

W

Name:

Dave G Top Tune of the Moment: The Phantom Band ‘O’ This track starts with a bed of dark analogue synths and breaks into a doomy, lazy groove before building to an intense climax that makes you think of wondering a bleak highland landscape and stumbling across an ancient pagan ritual summoning some kind of dark mystical force.

Quality.

hat’s the best way to record a guitar?

Is it on a computer?

Is it using a hardware recorder? All kinds of digital multitrack recorders or software effects plug-ins aimed at guitarists have proved very popular. These things sound great but they are not always very easy to use and are not immediately accessible to guitarists who are new to recording.

Roland and Cakewalk have come to the rescue with the VS-20 recording system. It provides a great solution to the hardware vs. software problem by combining the two in a really user friendly but exceptionally powerful way and gives you everything you need to start recording your guitar now!

The VS-20 is made up of two main parts: the hardware, VS-20 audio interface, which is basically a box that allows you to plug your instruments into the PC; and the software, Guitar Tracks, which is a multi-tracking recording program.

Buy online at

Buy online at

RedDogMusic.cog2’.uk

and use code ‘do 5% OFF at the checkout to get e into com or se cha pur r you the shop for a demo!

RedDogMusic.cog2’.uk

and use code ‘do 5% OFF at the checkout to get e into com or se cha pur your the shop for a demo!

“everything you need to start recording your guitar now!”

Let’s look at the VS-20 itself first.

Once you have connected it to the PC with the supplied USB cable, you can plug in a guitar and a microphone and control the volume of these with the onboard controls. It has a built in high quality stereo microphone to record anything and the faders and transport controls provide loads of hands on control for the software.

Guitar Tracks lets you record up to 32 tracks of audio and has a whole variety of effects and instruments included, allowing you to easily achieve the sound you want. There is even a built in Boss Multi FX unit which gives you loads of amp sounds and effects using Boss’s legendary COSM modelling technology. It comes with over 1 GB of backing drums and loops, so it’s ideal for quick composing and practice. Above all else - it’s simple and, at just over £200, amazing value for money.

Come in for a demo today!

Alternative Recommendations Cheap as Chips: Roland UA33 (£105) Crème de la Creme: Cakewalk VS100 Sonar V Studio (£425) AUTUMN 2011 THE DOG 11

T PRODUCK S! PIC

Focusrite Scarlett 8i6 (Red Dog Price: £199.99)

I

t’s no secret that Focusrite probably have the best preamps going for the money. 60dB of gain with only 0.001% signal distortion? Crazy.

Yes, I realise that was a bit of a tech-nerd statement. But I said it.

On the back of their current Saffire range of audio interfaces, Focusrite have now released a little box of awesome called the Scarlett 8i6, and rather than just being a collection of very high quality ins and outs for your DAW, the Scarlett wants to give you something extra. Sweet sounding, dynamic extras. The Focusrite Scarlett 8i6 features DSP, which for the uninitiated means it processes the audio going through it in various ways to unburden your recording system and offer signal routing and effects. The effects in question come bundled as the Scarlett VST suite, featuring a super-smooth compressor based on the sound of classic 60’s optical units, a lush sounding reverb, a multi-mode gate and 6-band parametric EQ. So, you’ve pretty much got all your basics covered inside this clever little red box! I love this magic-box-

of-awesome, but it’s not perfect.

The Scarlett is advertised at being an 8 in, 6 out interface, so at first glance you’d be forgiven for thinking “fantastic, now I can finally close mic my drum kit and/or send out six different signals to a soundman when I play my next gig.” Well, not

“Sweet sounding, dynamic extras.”

Picked By:

Name:

Guy

quite. The I/O has been ‘fluffed up’ Top Tune of the Moment: the semi-useful SPDIF connection Not just one song - but adding additional stereo in and out ‘Standards’ by Tortoise and two magical “internally routable” is probably the only inputs that don’t physically exist. In album I haven’t got tired physical terms, the Scarlett is a 4 in, of in the last decade.

4 out interface and should be damn It always sounds fresh, proud of that! You basically get two challenging and of Focusrite’s prize winning preamps, complex yet remains ridiculously low-noise line level unobtrusive. Perfect connections, routing options that for dinner-party would make a heart surgeon proud atmosphere or social and four incredibly good ‘meat gathering backand veg’ plug-ins that you’ll ground. Sweet probably use on everything chickens.

Buy online at you do... all wrapped up in RedDogMusic.co.uk a solid little casing. and use code ‘dog2’ at the checkout to get 5% OFF your purchase or come into the shop for a demo!

Alternative Recommendations Cheap as Chips: Focusrite Saffire 6 USB (£149) Middle of the Road: Native Instruments Komplete Audio 6series (£249) Creme de la Creme: Focusrite Liquid Saffire 56 (£599) 12 THE DOG AUTUMN 2011

PRODUCT

PICKS!

Native Instruments Komplete 7 ( Red Dog Price: £419)

Picked By:

Name:

Andy

Top Tune of the Moment: Depeche Mode ‘Behind The Wheel’ (Vince Clarke Remix) Not only is it classic DM, but it’s been re-worked by founder member (and my synth hero) Vince Clarke, taking it in a very different direction (he’d left the band by the time the original was written) and it bounces along verrrry nicely. In fact, buy the album. With names like Röyksopp, Digitalism, Trentemøller, M83, even Alan Wilder! Like synths? Love Mode.

Alternative Recommendations Cheap as Chips: Arturia Analog Experience THE PLAYER (£129) Middle of the Road: Spectrasonics Omnisphere (£315) Crème de la Creme: Korg Kronos 61 (£2,599)

N

I’s Komplete - now in it’s 7th incarnation - is a monster! A really big, 90Gb, 24 instrument monster with 10,000 babies (you call them sounds) for every possible style and genre, past, present & future... and it wants to be YOUR friend! To quote Rob Swire-Thompson of Pendulum, “I’m sure if Tom Hanks had a copy in ‘Castaway’, he would have returned to land with some pretty decent beats!”. Pretty funny Rob, but no one really cares what you think!

Anyway, where do I begin with this multi-award-winning software bundle of virtual awesome? Ok, synths - 6 of them! From the MASSIVE Massive to the labcoat friendly FM8. Every real world sound (organs, strings, brass, choirs and the like) under the hood of Kontact, to the scaaariest and most awe inspiring TV & film scoring sonic goddess that is Absynth.

Four legendary pianos. Enough drums to satisfy even the most demanding

beat junkie in Battery. Creative new effects such as Prism (modal synthesis anyone?) and Tim Exile’s The Finger! (look for the YouTube video),

People, what are you waiting for!? to every possible classic guitar amp emulation & effect in Guitar Rig Pro. And then *deep breath* there’s REAKTOR! Look, I could fill this entire magazine with all the stuff i’ve missed out from Komplete 7 and another 3 issues with the big names (Deadmau5, Metallica, Gary Numan, Roni Size, Rammstein etc.) that use it. People, what are you waiting for!?

Buy online at

RedDogMusic.cog2’.uk

and use code ‘do 5% OFF at the checkout to get e into com or se cha pur r you the shop for a demo!

AUTUMN 2011 THE DOG 15

T PRODUCK S! PIC

Blackstar HT1R 1-watt Valve Guitar Combo (RRP: £179.99 / Red Dog Price: £129)

B

lackstar Amplification have seriously got their sh*t together since launching their products on an unsuspecting world in 2007. The reason? Those products kick ass (by which I mean “bottom” before anyone complains about donkey cruelty...). They are clearly built by people who really care about the

“they are making some of the best kit around at the moment.” sound they make, not just people who are paid to pretend they care.

The good news is this really shows in their products and they are making some of the best kit around at the moment.

Having religiously failed to go to the gym all my life, one of my personal favourites has to be the HT1R - a dinky 1-watt valve combo that doesn’t require Schwarzenneger-style guns to carry around. Nevertheless, despite its diminutive size, it is by no means a toy. It is built properly - like things used to be built, dammit - solid knobs, and a generally rugged, classy design. More importantly, however, it sounds ace.

The aceness of the sound is due in part to the ECC83 pre-amp valve which imparts that classic warmth to anything you put through it. The amp is also surprisingly loud, considering it’s only officially 1-watt, and sounds 16 THE DOG AUTUMN 2011

a lot bigger than it really should, especially when plugged into an extension cab via the external speaker output.

My personal killer feature, though, has to be the “Infinite Shape Feature” knob, mainly because I like anything with the word “infinite” in it, but also because this allows you to very quickly dial in a range of different tones, spanning the Atlantic ocean from UK to USA tonal attributes. Topped off with a great sounding digital reverb (really!), the HT1R is yet another reason why Blackstar Amplification are taking over the world, one amp at a time…

Alternative Recommendations Cheap as Chips: Vox AC4TVmini (£169.99) Crème de la Creme: Marshall Class5 (£312.30)

Picked By:

Name:

Alex

Top Tune of the Moment: Aphex Twin ‘Avril 14th’ Quite an old Aphex tune from his 2001 album Drukqs, but I was reminded of it recently as it featured in the weirdly moving ending of the otherwise quite funny Chris Morris film Four Lions. No crazy electronic acid sounds, just sad plinky plonk piano.

Buy online at

RedDogMusic.cog2’.uk

and use code ‘do 5% OFF at the checkout to get into your purchase or come the shop for a demo!

T PRODUCK S! PIC

Vox Mini3 Ivory Guitar Combo

Go-Go-Gadget!

Akai LPD8 Mini Drum Pad It’s LESS than 13 inches wide, weighs LESS than a pound with EIGHT velocity-sensitive, light-up drum pads, FOUR programmable memory banks and EIGHT Q-Link knobs for complete parameter control – all for under £40!

Jings crivens. The LPD8 is a dinky bit of kit, based on Akai’s legendary MPC

The ultimate portable modelling amp! Not only does it look SWISH, it also features the swish-est of portable modelling amp attributes... a wide range of authentic sounds; great effects; a compact size; AC or battery powered portability and a hotto-trot design to boot. The MINI3 provides a grand total of ELEVEN amp models, ranging from a powerful high-gain to a sparkling clean sound – beautiful, eh?

It also provides an array of different connections - from a clean, non-distorting setting for keyboard connections to an AUX input for your MP3 player AND it even has a built in tuner. So many things, such a little amp... RRP:

£95.99 / RedDOG PRICE: £79.99

Cakewalk Music Creator 5 This is high in the ranks when it comes to the ‘best-value DAW’ awards.

A new and improved version, it has been redesigned with a much simpler interface that allows you to play & record using thousands of high-quality instrument sounds. You can control your effects, instruments AND mix just using a MIDI keyboard. It has a built-in virtual guitar amp so you can plug straight into your computer to record sockrocking guitar parts. You can even make backing tracks super fast with an animated interface that looks just like a bangin’ drum kit. RRP: £51.06 / RedDOG PRICE: £45.00

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groovebox range.

The best thing about it is its size - it’s completely portable so perfect for musicians, DJs and producers on the move.

It’s also compatible with ALL kinds of audio software and features a plug-and-play USB connection for Mac or PC. Basically, whoever you are, wherever you are... the LPD8 is your cup of tea.

RedDOG PRICE: £39.99

Diago Little Smasher EPM AGT100 aka ‘The Cap’ ‘The Cap’ is a simple pick-up designed for acoustic instruments – primarily acoustic guitars but you can use them on anything you like: harp, double bass, cello... whatever.

The cool thing about it (aside from the design) is you can move it to different points on the instrument and get a completely different sound at each point. So, not only do you get a pick-up for super cheap; you also get a range of sounds for your instrument AND it makes you look well rock ‘n’ roll, as each ‘Cap’ comes with a different beer bottle cap design. So, whatever your tipple, there’s a probably a Cap with said tipple’s name on it.

RedDOG PRICE: £29.99

It may look small and cute but don’t be fooled, the Little Smasher knows how to rock.

Diago’s Little Smasher is the perfect practise amp. Why? Because it’s the first amp head EVER that is small enough to fit easily into your pocket.

Compact, portable, sturdy... and what it lacks in wattage, it makes up for in its wide range of tones: delivering sparkly, clean and bright right through to dirty, crunchy rock – all at the mere twist of a knob. It is probably best used for home rehearsals but could be used for small “living-room” gigs. Be warned though: he has a severe case of wee amp syndrome.

RRP: £129.99 / RedDOG PRICE: £99

The Band.

SP T LIGHT that Shedding light on thingsof be not may may or interest to you...

MusiC When your favourite band comes to Scotland, 9 times out 10 (or perhaps 10 times out of 10) – they’ll be playing in Glasgow. The reason for this is Glasgow appears to have a pretty unique live music scene, especially when it comes to the crowd - and let’s face it, that’s the main ingredient for an awesome gig.

What we want to know is what is it that makes Glasgow the recognised music capital of Scotland? We rounded up some highly recommended Glasgowbased music gurus to find out what the “weegie” charm is all about...

20 THE DOG AUTUMN 2011

Woodenbox with a Fistful of Fivers are a folk-blues sextet who have garnered a reputation for exhilarating live shows from Brighton to Berlin.

Tell us about your own personal experience of the Glasgow music scene.

When I moved here, I was instantly taken aback by how forthcoming folk were to get me involved with projects, open mics & recordings. After recording a self-made album and passing it around, people were really up for pushing it forward, which resulted in Woodenbox making an album with Electric Honey and getting involved in a studio in Bridgeton.

We’ve never looked back.

What’s so good about Glasgow’s music scene?

It’s varied and supportive.

What are the various music scenes/circles happening in Glasgow at the moment?

There’s a strong folky vibe but the good stuff is bands that experiment with new sounds and do it themselves. I don’t think it’s strictly a “Glasgow” scene; it’s a “Scottish” scene.

Glasgow appears to be the

music capital of Scotland, with a much better reputation for live music than that of Edinburgh. Why do you think this is?

Good venues who actually care is a big one. Glasgow prides itself on a good musical heritage; people are always sharing notes on who is new and who is worth seeing live. Also, the student population is different here – less rich kids who want to f**k about on George Street.

What makes Glasgow’s music scene different and/ or better to other cities?

It’s real. When you’re proud of your city, a community is formed. It’s all about community. Weirdly though, my favourite gigs to play now are in Edinburgh - maybe that’s just the result of not living there.

Would you recommend Glasgow to other musicians?

Yes, it’s great. It’s just about the right size and there is someone and something to inspire you every day.

Describe Glasgow’s music scene in three words.

Loud, proud, real.

“There’s someone and something to inspire you every day.”

I GLA

SP T LIGHT

The Record Label.

Shedding light may or may on things that interest tonot be of you...

Armellodie is a tiny wee rock co-operative, label, stable, collective, artist alliance, consortium of rock, whatever... based in (but not exclusive to) Glasgow, Scotland.

Tell us about your own personal experience of the Glasgow music scene.

I run a small label called Armellodie Records and write/perform in a band called Le Reno Amps. I grew up in Aberdeen but I’ve lived in Glasgow for just short of 7 years. I like to think both Armellodie and Le Reno Amps operate outwith any Glasgow music scene, despite being based here. Not in any elitist way either - I just prefer to get on with stuff that tickles my own pickle and if others get off on it too, that’s a Brucey bonus. In that respect, I’ve never felt part of any scenes that may be going on here or anywhere. I guess Armellodie in itself could be seen as a “scene” but, ultimately, it’s just a party in my pants.

What’s so good about it?

There’s a lot of good stuff and, equally, a lot of guff stuff but the good stuff is what makes Glasgow so good. There’s a misconception that Glasgow is one big love-in, it’s really not.

There are tons of creative types doing loads of ear-tickling, eyeballpleasing stuff but what makes it good is the same as any place; the individuals or groups who are striving to make sincere, passionate music.

What are the various music scenes/ circles happening at the moment?

Dunno, don’t care.

Glasgow appears to be the music capital of Scotland, with a much better reputation for live music than that of Edinburgh. Why do you think this is?

I don’t buy into this; every town is much the same. Those who want to should just spill their creative juices on any

dance-floor and see if folks bust a move or slip up and fall on their arses. There’s good, bad and ugly in every town.

What makes its music scene different and/or better to other cities?

It’s bigger than other cities but it’s all relevance - the bigger it is, the more good stuff there is and the more s***e you have to wade through to get to it.

“Don’t discriminate on the grounds of origin, only on the grounds of music taste.”

Would you recommend Glasgow to other musicians?

Yeah, it has a good range of venues. Touring bands make a point of coming here so there are always good gigs on. It may sound like I’m dissin’ Glasgow in previous answers but I can assure you this is not the case. I’ve met great people and had good times; it’s just that Armellodie does ot discriminate on the grounds of origin, only on the grounds of music taste.

Describe Glasgow’s music scene in three words.

Smell My Tunnel.

Armellodie.

A

rmellodie’s roster is, in a nutshell, the finest roster of independent bands and artists in the whole of the United Kingdom.

To describe it Neapolitan style; it’s a chocolate slab of leftfield rock, a strawberry layer of ice-cold indie and a vanilla scoop of the avant-garde.

Armellodie’s position is missionary - we always finish on top.

Only the finest chops musically, lyrically and egotistically will satisfy Armellodie’s strict A+R policy. Armellodie’s position is doggy - we come from behind. It’s all co-ordinated by my other brain but we employ various stimulants to succeed (the ears, mainly and the eyes, occasionally). We don’t make hits; we take risks, and make flops like floppy discs. Success doesn’t suit us; we thrive on our underdog status.

www.armellodie.com AUTUMN 2011 THE DOG 21

SP T LIGHT

The Podcaster.

Shedding light may or may on things that interest tonot be of you...

Glasgow PodcArt is a Scottish based music/arts website that produces weekly Podcasts, showcasing the best in grass roots and unsigned artists; not only from Scotland but around the world.

Tell us about your own personal experience of the Glasgow music scene.

It has one of the best live music reputations in the world. The artists are hard-working and love collaborating. In terms of unsigned artists, the talent is exceptional. There’s so much to choose from that it sometimes overwhelms me! I wouldn’t have started PodcArt if it hadn’t been for the music in this city.

What’s so good about it?

I prefer to call it a community - that’s what makes it so good. The diversity is spellbinding; it really shows the rich amount of talent that inhabits the place. We have everything on our doorstep. The way people network is brilliant too - some may deem it incestuous but if someone is a good musician, people want to play with them.

What are the various music scenes/ circles happening in Glasgow at the moment?

PodcArt just goes by what we listen to and we’re regularly blown away by how eclectic it is.

Glasgow appears to be the music capital of Scotland, with a much better reputation for live music than that of Edinburgh. Why do you think this is?

The venue thing is a big

issue. With rumours of places closing down, it doesn’t give people much to work with.

In Glasgow, everyone mucks in and really goes for it. Plus the venues are brilliant. There’s a lot I don’t know about Edinburgh but I do think it needs more in the way of good DIY promoters.

What makes Glasgow’s music scene different and/or better to other cities?

Touring bands have said it for years the crowd is unique. You’ll also find that people are willing to experiment with who they listen to and promoters like to mix the bills up.

People love gigs in this city, its part of the culture – there’s always something going on.

Would you recommend Glasgow to other musicians?

Of course. We wouldn’t be doing what we do otherwise. People always say how much they adore playing here. It’s my first love and has introduced me to some of the most talented musicians I’ve had the pleasure of writing about and working with.

Describe Glasgow’s music scene in three words.

Beatific, Passionate, Woooooft.

“Touring bands have said it for years the crowd is unique.”

TOP BANDS!

Glasgow PodcArt.

T

he main idea behind Glasgow PodcArt is that we don’t want to create some pretentious ‘indie’ site and would rather expose as much new talent as possible. No matter what style, what size or how established, we believe everyone deserves a platform to showcase their work.

We also put on selected live events and exhibitions. We are not professionals and we are not doing this to gain some kind of status as individuals. It is a team project and we hope it reflects our passion for the current grass roots art scene.

We believe we can help illuminate the incredible talent our country (and others) has to offer and also provide a useful tool that will allow cross pollination of ideas and art across a wide spectrum of styles and genres.

glasgowpodcart.com

Super Adventure Club (www.myspace.com/superadventuremusic) PAWS (myspace.com/pawspawspawspaws) Beerjacket (myspace.com/beerjacket) RM Hubbert (myspace.com/rmhubbert) Miaoux Miaoux (myspace.com/miaouxmiaoux) Adam Stafford (myspace.com/adammstafford) Trapped in Kansas (myspace.com/wearetrappedinkansas) Admiral Fallow (myspace.com/admiralfallow) AUTUMN 2011 THE DOG 23

SP T LIGHT

The Music Lout.

Shedding light may or may on things that interest tonot be of you...

Nick Anderson is a good old fashioned music lout - plain and simple. His mission? To bring Glasgow’s music community together. Quite a nice lout, then.

Tell us about your own personal experience of the Glasgow music scene.

At first, I played in a band; trying to capture the slightly anarchic and carefree ethic of DIY punk rock before realising I wasn’t actually that keen (or capable) and was more interested in supporting others. Now, I respond to what’s happening musically and broad-

“One movement that’s ripe is semi-illegal, DIY living room gigs. It’s a healthy thing.” cast it. The current project is getting bands to cover each others’ songs and making a CD of it in an attempt to document the circulating talent and indulging in collaboration.

What’s so good about it?

Loads of bands, loads of venues, gigs every night. There are also a lot of bands who don’t mind taking time to invest in their own development before stepping out and making their mark.

What are the various music scenes/ circles happening at the moment?

One movement that’s ripe is the semi-illegal, DIY living room gigs. A lot of bands often say that their favourite gigs are those in flats and this is a healthy thing.

Venues are generally supportive and fun

but aren’t wholly necessary for live music.

Glasgow appears to be the music capital of Scotland, with a much better reputation for live music than that of Edinburgh. Why do you think this is?

I’d say it’s to do with student volume in the city but Edinburgh has loads of students, so it can’t be just that. It’s true that touring bands are booked to Glasgow over Edinburgh, or anywhere in Scotland, meaning our population gravitates to the West and Glasgow reaps the benefit.

What makes its music scene different and/or better to other cities?

Glasgow’s great but we need more interesting music events rather than bands just playing their own gigs. In other words, we need more communication and collaboration and more people to take responsibility for designing these events. Maybe I’m telling this to myself... in fact, yes, I am.

Would you recommend Glasgow to other musicians?

Whether you want to start something, join something, learn an instrument, form a supergroup, support a wee band or support U2 – Glasgow is a great place to start. It’s all here for you to get involved with and work hard.

Describe Glasgow’s music scene in three words.

Dirty pretty ‘hings.

Nick Anderson

I

n the words of the man himself, he is a: “Contemporary performance maker / Live music co-ordinator / Music Correspondent at Vile Arts Radio Show / Recurring pest to self and others / Dad.” Nick Anderson is all of the above... I think. Nick has turned his dab hand to a whole bunch of musical stuff, it would seem, but appears to have settled into the “promotion” of other bands. I surround this word with inverted commas because I use it very loosely. When asked if I could call him a Music Promoter, he said this title made him feel uncomfortable.

He felt that Music Lout was more fitting.

Check out the Vile Arts Radio Show if you’d like to hear some of Nick’s golden nuggets of wisdom.

Randolph’s Leap (myspace.com/randolphsleap) Kill The Waves (myspace.com/killthewaves) The Darien Venture (myspace.com/thedarienventure) North American War (myspace.com/northamericanwar) Male Pattern Band (myspace.com/malepatternpage) Errors (myspace.com/weareerrors) United Fruit (myspace.com/unitedfruitband) Cuddly Shark (myspace.com/cuddlyshark) to name but a few!

TOP BANDS! AUTUMN 2011 THE DOG 25

Overwater

v i ew w i th Chr M is

Tanglewood’s Dan Reeks has a wee sit down with Overwater chieftain, Chris May to chat about his beautifully unique range of tasty bass guitars. Yum.

Who is...?

b y T ang l e w o o d

H

ow long has Overwater basses as a brand been in operation?

For over 30 years as custom bass builders, we at Overwater have been lucky enough to work with an impressive roster of customers; representing every musical style; from rock stars like John Entwistle and David Gilmour, old school session players such as Mo Foster, Mick Feat and Guy Pratt, through to the current crop of first call freelance bassists on both sides of the Atlantic - including; Phil Mulford, Andy Pask, Trevor Barry, Carlos Henriquez and Jim Donica to mention just a few...

How did the collaboration with Tanglewood come into being and why?

Despite three decades of production, Overwater basses have only been available in limited numbers, to players willing to wait for a custom build and able to afford the inevitable price of ‘one off’ production. But the recent partnership between Tanglewood Guitars and Overwater Basses and the ‘Overwater

by Tanglewood Basses’ will change all that!

This is the culmination of a long standing desire to be able to offer a line of ‘off the peg’ Overwater instruments at prices available to everyone - but which still represent what we have always stood for; without compromise in design, build quality or playability!

How many models are in the Overwater

by Tanglewood range?

There are currently five distinct ranges..

Classic J and Contemporary J which pay homage to traditional legendary designs but include some recognisable and uniquely Overwater signatures, plus the exciting new Aspiration series, in the

Artist, Deluxe and Elite formats which are easily identified as original Overwater designs both cosmetically and even more importantly on a sonic, player’s level.

As the project rolls out we have plans to extend the Overwater by Tanglewood line to include, new models, left-handed instruments, in addition to fretless and 6 string derivatives and much more...

What, in your opinion, makes the instruments unique in the market?

Designed from the bottom up, every detail and feature of these instruments has been planned and implemented to the professional, standard of the bespoke instruments for which we are renowned; Timber selected for acoustic and structural properties in addition to its visual beauty and all hardware and electronics are uniquely Overwater in design and production, incorporating much of what I have learned from long established relationships with players from every genre and working with a very experienced team, including pickup designer Alan Entwistle, long time Overwater luthier Haydn Williams and bass electronics guru John East.

Although firmly aimed at the mainstream market sector, we are proud of our achievements and feel these instruments are very much part of the Overwater family; we hope you agree.

“without compromise in design, build quality or playability!”

An Inte

r

ay

Chris May

is Overwater’s head honcho, as it were. For those of you who don’t know, the Overwater name has become synonymous with the finest in hand crafted bass guitars and to date they have produced over three and a half thousand instruments in the UK. Pretty impressive. Chris May himself has a rather illustrious career background; combining periods as an engineer, a musician, a designer AND an instrument technician. Again, pretty impressive. He has always, always kept close ties with both sides of the music industry and has been lucky enough to work closely with a number of leading Jazz and Rock musicians, both in the UK and further afield.

Basically, Chris May is a bit of a legend.

Recognise.

AUTUMN 2011 THE DOG 27

Mixing live event sound has many challenges!

The engineer has to deal with various factors: room acoustics, PA quality, time constraints,

the artists...

The thing to remember is there isn’t any kind of set formula when it comes to live sound - every engineer has their own strategies that work best for them (such as which console to spec, best microphone to use, configuration of the PA....). Find out what works best for you bearing in mind this will mean some trial and error in the early days. One of the most important attributes a live sound engineer

needs is good people skills. I estimate that at least 50-60% of my job is dealing with people in the right way - whether it’s the artists, their management, promoters or other engineers. Performing live can be a stressful experience, so it’s important that the engineer isn’t another source of panic and this can be especially hard when everyone’s working under a lot of pressure.

AUTUMN 2011 THE DOG 29

The first thing to do, before sound-check, is to ‘tune’ the PA. This is necessary as different types of speakers and acoustic spaces have differing characteristics, often colouring the sound adversely. I tune the PA by using a piece of reference music and a 31 band graphic EQ. Engineers use a range of tracks for this; from pop to rock and hiphop to opera. What matters is that you know it well and know in detail - how it should sound, including how every individual instrument within the track should sound. The aim is to EQ the PA so that the track sounds like you’re used to. The more you work as an engineer, the quicker you will be able to identify what frequencies need attention, for example: if the vocals have picked up some sibilance, try cutting between 6-8K on the graphic EQ; if the electric guitar sounds quite harsh or screechy, try cutting between 2.5K and 4K. Making very subtle cuts on the graphic can make a massive difference to the sound of your show. It’s normally the case that the older or cheaper brands of PA speaker need a lot more EQ than newer speaker systems.

30 THE DOG AUTUMN 2011

A big challenge in live sound is controlling feedback. Feedback is caused by a signal being amplified and reentering its source microphone (aka ‘chasing its tail’) from a speaker. Essentially, it’s a high level of gain at a particular frequency within the system and it’s common to panic and pull the faders or monitor sends down when feedback occurs. If you identify the frequency where the PA or monitor is feeding back, then you’ll be able to use EQ to cut that exact frequency without losing any level. You’ll quickly identify the usual suspects! Using a high pass filter on input channels is a handy tool to cut out any unwanted bass frequencies. If the high pass filter is sweep-able; try taking the filter right up until you can hear it having a detrimental sound on the source, then roll it back slightly - a great way of controlling rumble and low-end feedback.

When using EQ live, it’s preferable to make cuts rather than boosting the frequencies you feel are lacking.

Be aware that boosting EQ often results in feedback, as you’ve increased the gain of that frequency and you’re also adding level and consequently reducing the headroom on the system.

Monitors are used so that the musicians can hear exactly what they need to enable them to perform. Each artist’s monitor mix should contain exactly what they need to hear. For example: putting guitars and keyboards into a vocalist’s monitor will obstruct the vocal level in that speaker. Try to explain this to them when they tell you to “just put a bit of everything in it”.

The introduction of digital mixing consoles in live sound is currently one of the most controversial topics.

Many engineers argue that the digital sound is too ‘clean’ and ‘brittle’ compared to the ‘warmer’ sound of analogue consoles.

Having mastered one analogue console you will find others to be laid out in a similar fashion.

Digital consoles differ greatly between manufacturers, introducing a whole new learning curve for engineers. In this case, my advice is to learn as many as possible. On my last UK tour I was only behind an analogue console twice! Digital consoles are becoming popular for many

reasons: they’re sounding a lot better than they used to and they massively reduce trucking costs as all processing normally done by racks of outboard gear is taken care of within the desk.

There’s the added ability of having total recall on the console, which means after a sound check you can save the “scene” on the desk or USB stick for instant recall later.

When it comes to live sound, the final thing to remember is this: when everything comes together on the night; it’s an amazing experience to be behind a sound desk, providing the best sound possible for both the band and the audience.

Graeme Steel has been a freelance sound engineer for 6 years, predominately working in live event sound.

Rhymes and Ocean Colour Scene; right through to large orchestras such as The True North Orchestra and La Banda Europa.

He also works with some upcoming local acts such as Young Fathers, Aaron Wright, Stanley Odd and Tinderbox Orchestra.

And he’s a part-time Masters Lecturer at Napier University.

Hardcore.

This has led to travelling across the UK and Europe and reaching as far as Africa on several occasions. He has worked with a diverse selection of artists including Kanye West, Nas, Nelly, Busta

AUTUMN 2011 THE DOG 31

Without a doubt, Edinburgh’s finest songwriter.

A bold statement, perhaps... but I wouldn’t go there if I didn’t believe it to be true. Some say he’s “the musicians’ musician”. Me? I’d call him the personification of rock and roll.

Describe your musical style in three words.

Lennon, Dylan, Young.

Your best and worst gigs?

I honestly can’t remember any gigs that stand out as being the best or the worst. The most people I ever played to was in Ayr supporting The Proclaimers. There were a few thousand folk there and I got them all chanting “Higher!” and clapping their hands in time together - it was a buzz. I also used to like playing in the Leftbank when it was still the Leftbank because they had a little room in the back where all the bands hung out.

There was a lot of craziness going on, then you would just go through this curtain and you were onstage. I used to like finishing gigs by going off and then coming back on again a few times - Elvis-style - while the band kept on rocking. The worst gigs are the ones where you try and play music to people who don’t like music.

That’s even worse than playing to no-one.

Tell us a funny William Douglas story.

I had just finished a late-night slot at The Jazz Bar on Chambers Street and I was feeling a little zoned. We were packing our gear into Stoddy’s car and the sun AUTUMN 2011 THE DOG 33

William Douglas and The Wheel

was just coming up. The street was mostly empty and you could hear a few gulls screeching up above but when I looked up at the sky I realised that these were no ordinary birds... they were seagulls of negative space. I didn’t want to alarm the others so I kept quiet about it. And all the way home I behaved as if everything was fine. And it was.

Best & worst description of your music so far?

Lots of people have said some really astute things about our music, and lots of people have been way off the mark. One of the more memorable things I heard was after a solo gig at the Queen’s Hall, which had gone rather well. I was in the bar when this old fellow came up and said, in his very upper class accent, “Your songs are very intelligent. You, on the other hand, may be completely unintelligent but your songs are very intelligent.”

Your favourite tunes & albums at the moment?

I heard an album recently called Inner Speaker by Tame Impala. Daniel McGeever told me about it and he had heard about it

“I realised that these were no ordinary birds... they were seagulls of negative space.” through Lewis Gibson from the Midas Touch.

It’s good psychedelic rock and there’s a track I really like called ‘Desire Be Desire Go’.

Then, I was at local music man Gav Duvet’s house recently and he played me a Dylan tune off ‘New Morning’ called ‘Sign on the Window’ really loud through a ghetto blaster and it blew me away much farther than any modern music could.

Who are your favourite local bands?

There are lots of good bands kicking about Edinburgh at the moment. Aaron Wright and the Aprils, The Chans, The Banana Sessions, The Black Diamond Express, Miyagi, the Mike Kearney Ka-tet, Delta Mainline, Lewis Gibson and the Midas Touch and Future Heroes, to name but a few.

34 THE DOG AUTUMN 2011

What are your favourite bits of musical gear?

As a kid, I used to mess about with pedals and all that. I used to layer things up and try to sound like Brian May. Nowadays, I prefer to just plug in and go for it with as little fuss as possible.

What’s up next in your musical career?

I’ve recently been joined by Austen George on lead guitar, Daniel McGeever on acoustic and Mike Kearney on keys, with Chris Agnew on the bass and Stod on the drums.

I’ve played with Chris and Stod for years, but this is the first time we’ve had other people writing songs and it feels pretty good. We are half way through recording an album and, so far, it sounds barry. Once it’s finished, I imagine we’ll be out and about playing loads more gigs and whatnot.

What would you say to someone wanting to emulate your sound?

Well, there’s nothing too fancy going on, it’s basically roots-y rock ‘n’ roll.

Stod is a classic drummer, Chris is a solid bass player; and with Austen, Mikey and Danny now in the band, I’d imagine the vocal harmonies would be the most difficult sound to replicate as they are all top notch singers with their own style. I think the main thing to be doing is writing songs and crafting the sh*t out of them. It makes everything else a lot easier.

If you could’ve written any song in the world, which song would it be?

‘5 years’ by Bowie. The lyrics are really great.

Who is..?

Name: William Douglas About: William Douglas has been writing songs and performing them for over 10 years. For 8 years now he has been a musician in Edinburgh. He started out playing folky story-telling stuff on his acoustic guitar in “well kent” venues like the Royal Oak and the Waverley, then he went on to form rock ‘n’ roll outfit ‘The Wheel’.

They have supported (and toured with) bands such as Ocean Colour Scene, the Bluetones, Nazareth & The Dresden Dolls.

Recently, William, Ian Stoddart (drummer) & Chris Agnew (bassist) and have been joined by lead guitarist, Austen George; ex Alfonso vocalist, Danny McGeever & piano-man, Mike Kearney. He also has a side project called the House of La.

www.myspace.com/ williamdouglasandthewheel

A N I W YAMAHA JR2 GUITAR The Yamaha JR2 is a compact acoustic guitar modelled after the long selling FG series. Its compact size and authentic acoustic tone make the JR2 an excellent “take along and play anywhere” guitar.

Perfect for campfire sing-alongs (for all you festival fiends), road trips (for all you footloose and fancy-free folk), busking (for all

you buskers) and just anywhere you want to be able to play, really.

What’s more, it even comes with its own case so it’s ready to rock and travel the world with you.

So, would you like to get your paws on one of these beautiful wee guitars? If the answer is YES, just answer this stupidly difficult question.

Which of the following product firsts are Yamaha Corp. not responsible for... no.

A) The world’s first silent pia B) The world’s first silent guitar.

C) The world’s first red dog.

To enter this amazing competition, go to www.reddogmusic.co.uk/jr2competition.php and answer the AMAZINGLY simple question.

The winner will be chosen at random from all correct entries on Thursday 27th October.

AUTUMN 2011 THE DOG 37

How it Works:

The Mechanics of the Guitar.

A

lot of you will already be extremely well informed but there are just as many others who, when talking about various guitar parts and their respective functions, are confused by the terminology involved. So, starting from the headstock end of the neck and working downwards…

Machine-heads.

Whatever type of machine-head, its job is to tension the string to the required pitch.

Although chunkier, more robust items invariably provide better mechanical operation, their increased weight can often affect the instrument’s point of balance - and not always for the better.

Top-Nut. Made from a variety of different types of materials, from high-tech plastic to traditional bone, the Top-Nut provides a platform for the strings, within carefully sized slots. The nut dictates both the string spacing and string height at this end of the neck.

Frets.

Placed at precise intervals in the fingerboard, the frets create divisions along the guitar’s neck to provide accurate intonation within the instrument’s scale-length. Over time, string/ fret contact causes grooves to form on their surface requiring them to be ‘dressed’ in order to remove the wear and equalize height. Even38 THE DOG AUTUMN 2011

tually, when there is insufficient metal left, the frets have to be replaced.

Truss-rod.

Running inside the neck, its primary function is to counteract the forces exerted by the strings.

Installed with a slight curve and tightly packed in its channel, when tightened it straightens out, taking the neck with it. When slackened it allows the neck to bow as the string tension takes effect. (*A slight amount of bow is essential to allow enough string movement but too much will make fretting difficult and will adversely affect correct intonation).

Pick-ups.

Convert the physical vibration of the string into electrical energy. Simply put, they consist of a coil of very thin copper wire, wound around a magnet. When the string is plucked the movement disrupts the electro-magnetic field and produces a signal. Single-coil pickups usually produce a bright, sparkly sound.

The Humbucker is essentially two single-coils, side by side, with one coil having the opposite magnetic and electrical polarity. This configuration of coils has the effect of cancelling or ‘bucking’ the hum. Being wider, it senses a longer part of string, creating a fatter sound.

Bridge.

Creates the upper termination point for the string’s speaking-length as well as providing a means of adjustment, both for length and height. Some bridges are designed to pivot, allowing the pitch of the strings to be raised and lowered in unison. This type of bridge is referred to as the ‘tremolo’ or ‘vibrato’.

Dr. Fretlove returns next time...

AUTUMN 2011 THE DOG 39

RoundUp

A LOOK AT SOME OF THE BEST PRODUCTS IN THEIR CATEGORY, ThIS ISSUE IT’s...

MODELLING AMPS The most tiresomely predictable thing to do when discussing so-called modelling amplifiers is to focus on the humorous potential of the “modelling” element, so this is exactly what we’ll do.

When a person sets out on a modelling career, they are often naive to the ways of the fashion world – wideeyed and innocent, they expect glamour and style. For a lucky few, this is the reality: catwalks in Milan, champagne on tap, and wide-spread adulation.

However, most are bitterly disappointed; they are used for a few tawdry catalogue shots and end up feeling like a second-rate clothes hanger in a dispassionate world of mindless consumerism.

Vox Valvetronix VT+ series from £129

Modelling amps are much the same (er, really?? – Ed), though the modelling in this case stands for amp and effect modelling; these amps contain digital circuitry that can mimic a whole range of guitar tones, from classic amps of yesteryear to the latest whizz-bang effects pedals. But which is the Kate Moss, and which is the no-name hopeful? (this analogy isn’t working – Ed) Here, dear reader, we guide you through your options...

V

ox is a classic name in British amp manufacturing, having started out shortly after the Second World War. Their AC30 amp line is an all time classic and has defined the tone for several generations of guitarists. With the Valvetronix VT range, they have attempted to squeeze this history into a compact, reasonably priced range of combo amps. Have they succeeded? In a word, yes. Starting with the VT20+, these amps offer a massive range of tones and have the unique feature of a 12AX7 output valve to really warm up the sounds coming out of the internal digital processor. The range of amp models included is generous, with 22 built-in models ranging from high-gain types to classic vintage models. The effects options aren’t as impressive, but are very high quality, and will satisfy most players. All-in-all a great option if you want that tube sound on a budget.

AUTUMN 2011 THE DOG 41

Round Up A LOOK

UCTS IN THEIR CATEG AT SOME OF THE BEST PROD

ORY, ThIS ISSUE IT’s...

AMPS MODELLING

Roland Cube XL series from £79

“Which is Kate Moss and which is the no-name hopeful?”

R

oland are, of course, known for their exemplary keyboards, but not many people know that one of the first products that the founder of Roland - Kakehashi-san - produced back in the ‘60s was a guitar amplifier. As such, they know what they’re doing and their Cube amps have become a staple of bedrooms and stages across the world. The latest incarnation – the Cube XL range – feature Roland’s “Composite Object Sound Modelling”, which is marketingspeak for really good reproductions of classic amp sounds. The other good news when it comes to Roland amps is that they include a whole suite of Boss effects (Roland also make Boss pedals), meaning you get the real thing, not just a copy, when dialling in your effects. The larger models even have a Boss’ legendary looper functionality built in. The Cube XLs are also very lightweight and super-sturdy, and have controls on the top so you don’t have to do your back in each time you change your sound.

“Great if you want that tube sound on a budget.”

F

ender amps have been popular since before Rock ‘n’ Roll was but a twinkle in some jazz cat’s eye, having first been produced by Leo Fender at the end of World War II. The Mustang Amp series (no relation to the classic Mustangshape guitar) were released in 2010 and were an instant hit with players looking for Fender quality at a knock-down price. With a name as hallowed as Fender’s, these amps had to be good, and they don’t disappoint; they sound incredible. With at

least 24 super accurate models of Fender and other amps built in (more on the Mustnag 3 and up), and Fender Special Design speakers pumping out some extremely authentic tones, they are ideal all-rounders. What’s more, each amp in the series features a USB connection, allowing you to plug into your computer and edit your sounds even more. Aside from the sound and the gizmos, these amps are really easy to use – with intuitive knobbased sound and effect selection.

Round Up

A LOOK AT SOME OF THE BEST

L

ine 6 are a pretty new company, having only been founded in 1996; a baby compared to the other manufacturers featured in this round-up.

However, they’ve become hugely popular for good reason: they make top-quality gear. The Spider amps are no exception and, on their fourth incarnation, they’re better than ever. Line 6 have focussed on making it easy to dial in the tones of specific musicians so if, for example, you fancy dressing up as Jimi Hendrix one day, you can dial in an amp tone to suit.

As a company, Line 6 became famous for pioneering the whole concept of amp modelling with their now industry standard “Pod” effects modules. All of this technology is included in the Spider series, and they consequently sound great and are packed with neat features.

Fender Mustang series from £90

Line 6 Spider IV series from £80

PRODUCTS IN THEIR CATEG

ORY, ThIS ISSUE IT’s...

MODELLING AMPS

“Dress up as Hendrix with an amp tone to suit.”

Buy online

RedDogMusic.at co.uk and use code

‘dog2’ at the checko ut to your purchase get 5% OFF or come into the shop for a Demo!

P L E A S E N O T E ! P R I C E S A R E L I A BL E T O G O U P A S W E LL A S D O W N . C H E C K O NL I N E A T R E D D O G M U S I C . C O . U K F O R A LL T H E L AT E S T P R I C E S .

42 THE DOG AUTUMN 2011

AUTUMN 2011 THE DOG 43

What’s happening in The Edinburgh Academy of Music & Sound?

The answer: A lot. Let’s have a cheeky peek...

First up, back in April, a number of the Edinburgh Academy students played the Academy stage at Haddowfest. The Batonist, The Aspect, Kerrie Lynch, Steve Heron, Ded Rabbit, Craig Souter and Sweep Across Horizons all played blinding sets on what turned out to be a very successful event.

Continuing our relationship with Regular Music, Edinburgh Academy bands, The Aspect and Hokum Jam, opened up for the sensational Vintage Trouble in May, at the Voodoo Rooms.

The guys from Vintage Trouble also joined the students in the Edinburgh, Glasgow & Gateshead Academies for masterclasses which went down a storm.

For the first time, Regional Manager Jonathan Tait and Liverpool Sound City paired up to offer the students from the Scottish & North East Academies the opportunity to attend one of the UK’s leading industry events. 65 students attende d the three day event which included panels with leading industry experts and over 300 gigs.

On June 4th, The Edinburgh Academy was involved with Ally McCrae

(BBC introducing) and Detour Scotland for the first ever Edinburgh Wee Jaunt. Jonathan Tait, Craig Souter & Archie Baird and a travelling PA put gigs on inside the Scottish Poetry Librar y (with hardcore band, Shields Up), in the Pleasance Courtyard (Dubstep DJ Tanko) and in the courtyard of The List Offices (Conquering Animal Sounds) and the day was a massive success for all of the invitees culminating in an outstanding performance by FOUND in Electric Circus.

On top of all this, we hosted three wonderful end-of-year gigs at The Wee Red Bar, The Store and Cabaret Voltaire – one of which raised money for the Sick Kids Foundation and another for Cash for Kids which was sponsored

by Forth One. We will be running our Rock Club as usual over the summer break for 12-18 year olds, between 8th-12th August, 2011. Now in its fifth year, the Rock Club caters to budding musicians, between the ages of 12 and 18, who would like

AUTUMN 2011 THE DOG 45

some specialist tuition on their chosen instrument (Drums, Bass Guitar, Vocals, or Guitar) and the chance to play as part of a band.

TIMETABLE DAY 1 - Song choice and instrument specific lesson DAY 2 - Instrument Specific Lesson DAY 3 - Instrument Specific Lesson/ Rehearsal DAY 4 - Rehearsal DAY 5 - Concert for Friends and Family

So, it’s all happening. Last but not least, our very own Jade Richards hit the headlines after managing to reduce Take That’s Gary Barlow and Kelly Rowland to tears with her stunning performance of Adele’s “Someone Like You”.

Needless to say, we’re very proud.

That’s all, folks. www.theacademy.uk.com/edinburgh

Our new courses will for 2011-2012 will include our first ever HND which we are very excited about be able to offer our students even more rogression routes.

“At the faster speed, you have no option other than to sweep pick.”

46 THE DOG AUTUMN 2011

DI Y Musicians: The Alternative to Chasing a Record Deal

by Ames JC

I recently got told by my flatmate that I needed to get out and play gigs instead of playing around on my computer.

What he considered playing around was me writing all my own material, setting up my own online presence and maintaining a blog about my experiences as a DIY musician. See, for him this is an entirely new concept. I would strongly advise against relying on

“I strongly advise against relying on the internet for all of your musician needs” the internet for all of your musician needs, but people are starting to experiment and some are getting the balance between the two, right.

I find there are a lot of people ready to blame the internet/digital generation for what it has allegedly done to music.

I would argue that illegal downloading alone is not responsible for the demise

of the record company. The average record company for the last 15 years has been relentlessly plugging every niche gap they can to make a fast profit. In fact, if you remember the end of Grunge, it was swiftly followed by (dare I say it) Nickleback. Just like Punk, Grunge ended when it became a mass commodity. Instead of trying to rehash genres that defined an era, record companies would have done better to look at where the next wave would come from. They didn’t, they fell asleep at the wheel and the most important thing on the agenda was which band they could sell to make a fast profit before picking up another act wearing similar clothes and sporting identical haircuts. It makes me angry when people blame illegal downloading for everything that’s wrong with the industry. Sure, it doesn’t help things along when people steal music but at the end of the day, the record companies didn’t even see that coming because they were too focussed on Amy Winehouse and Pete Doherty’s drug habits, Britney’s breakdown and if Eminem still hated his Mum. They had a pretty big warning with Napster but they consistently

AUTUMN 2011 THE DOG 49

missed the boat by jumping on the digital download era too late. Simply because they didn’t understand how it could work for them, they sold it as a Commie threat to their profits... and don’t even get me started on Lars Ulrich from Metallica!

Let’s not kid ourselves that the music industry is full of music lovers; it’s full of business men and women, the kind that most musicians want to slap with a kipper, the kind that most of us work for in our day jobs and secretly wish their desks would collapse and leave them in a pile of paper rubble never to be seen again. Because of this dire state of affairs, musicians have been going the self-release way for the last couple of years.

It’s not all doom and gloom you know!

It’s actually pretty exciting because musicians are getting the chance to shape the music industry into what

“Let’s not kid ourselves that the music industry is full of music lovers” they want it to be – less about profit margins, more about talent and originality. Artists can make their own promotional videos, set up online stores to sell their music and merchandise, network through social media to either gain a following or even meet people who have skills to help you with certain elements of promotion that you may not be able to do yourself. It’s not as easy as it sounds though. Taking on the responsibility of being your own manager, promoter and songwriter is

50 THE DOG AUTUMN 2011

a lot of work - one DIY musician I met recently had just employed interns to help her out!

I came back from travelling with the idea that I wanted to set up my own label but went off the idea when I saw what the economy was doing. So I just decided to start getting into home recording and it kind of snowballed from there. In the last year I’ve gone from fiddling about on the computer to producing my own material and getting enough stuff together to put out my first EP release.

Most of my contacts have been made through Twitter and I found an artist to do all the artwork for my EP. You don’t need to spend a lot of money; it’s really up to you on what you can afford.

Nobody is going to tell you that you need to cough up a few grand to reap the rewards. That’s the beauty of the internet; all your promo isn’t going to cost you a penny! At some point you will start selling more than you make and have dedicated followers.

Whatever you do, don’t stop gigging or getting out and meeting other bands at their gigs. Nothing can replace the personal touch.

Interact and support the bands on the circuit with you, it’s not a competition. We’re a community and we should all be willing to help each other out if we can. I’ve noticed that many musicians still feel they shouldn’t interact with the “competition”; more fool them for being so up themselves! Doing the DIY musician route doesn’t mean guaranteed success; it requires just as much work and dedication as any other art form. At least this way, you have more control over it and have the freedom to go as far as you want. If a record company is worth their salt, they will see what you’ve done and be interested in making you a genuine offer. In the meantime, get on with enjoying making your music, your way.

Who is..?

Name:

Ames JC About: Ames has been singing since she was 8; writing songs and banging drums for over 10 years, playing the guitar for over 15 and the violin for a matter of months (on which she is currently about to master 3 Blind Mice). She plays the odd acoustic gig around Edinburgh while her band prepares itself for the live music scene. In attempting to make music her life’s work - she’s been learning all about the fascinating world of DIY musicians...

DOGTOP TENS THE

MUSICPRESENTS

E

arl Grey and the Loose Leaves have been regularly creeping out, fresh from the Edinburgh underground, since 2008. Purveyors of sweaty, sincere, bluessoaked, choons, they are: Andy Stockdale (vox and guitar), Corey Gibson (vox and harmonica), Hugo Pengelley (drums), and Malcolm Mack (bass). Weaving together strands of the dustbowl ballad of hell-for-leather bass grinding snare smashing commitment and the odd reflexive, politically aware tuneful foray; the Loose Leaves are always keen to have people come dance with them and to help apply a little musical lotion to the week’s sores and pains. myspace.com/earlgreyandthelooseleaves

1 Earl Grey

Good aristocratic - in the original sense of the word kind of vibe. A sup o’ this stuff and you can channel the bergamot boogie.

2 Breakfast (wee drap ay milk)

Earl GREY Loose and the

LEAVES

Top10

BREWS

The brew of the masses and the band’s steamy staple NEVER put the milk in first.

One of the Leaves did that once; he’s never lived it down.

3 Matcha Green

This is the gear. Get your tea bowls and bamboo whisks out and get busy with the powdered green goodness. A wee tea ceremony will centre your chaotic mind, no bother.

Be the tea.

4 Lapsang Souchong

With little leaves blacker than the night, this heady brew is the peaty whisky of the tea world - like sucking on a smokestack.

5 Iced

Got a drouth? Chill out with the ice cold variety; quench your blues just like your thirst. This is what you get when you cross Blind Lemon Jefferson with Albert ‘The Ice Man’ Collins.

6 Lemon

Being sour-faced isn’t the same as having the blues... but both can help you howl.

7 Mint

Money, coinage, culinary herbs, a condition of perfection or newness... all these things are important when folk put together live sounds. Fresh breath is just a fringe benefit.

8 Yerba Mate

This tea sounds like a tiny dialogue by itself - like a bass guitar and a drum kit deep in conversation: ‘Yerba?’ ‘...Mate!’

Bitter, South American and grassy; you drink the stuff from a gourd. Cool.

9 Assam

This malty, fruity fella is the one that makes up your breakfast tea. Be it Scottish, English, or Irish, it’s all rockin’ down from the plains of Assam, Northeast India. ‘Assam-body knockin’ on my doooor...’

10 Oolong

We’ve all got our origin myths.

The Loose Leaves met through a series of mundane chances and coincidences. But Oolong, dried loose leaf tea, was discovered when a tea-pickin’ genius got distracted by a deer and left his leaves in the sun.

Oooh, mama!

In conclusion, tea is great.

But coffee’s best... and whisky’s better.

AUTUMN 2011 THE DOG 53

DOG LIVE THE

MUSICPRESENTS

Hair of the Dog Sundays All events start at 3pm

• • • • • • • •

Sun 24th JULY

• • • • • • • •

Suspire

Hair of the Dog Days are over...

W

ell, sort of.

Not really.

Not at all...

It’s merely undergoing a much needed revamp (we like to keep you on your toes, see?). We’ll be carrying on with our weekly unplugged Hair of the Dog Sunday sessions up until the end of October before embarking upon what we like to call “The Big Merge” (honestly, I just made that up on the spot. Nobody calls it that.) Anyway, instead

Single Launch) • • • • • • • • Sun 31st JULY • • • • • • • •

Suspire launch their new single on Sun 24th July.

of our weekly shows, we’re going to host Hair of the Dog Sundays on the first Sunday of every month. I know what you’re thinking: “But that’s when the Hair of the Dog Sundays Open Couch Session takes place!” Fret not, Red Dog Music lovers; we’ve decided to merge these two ridiculously cool things together to form one big, ridiculously cool day of music on the first Sunday of every month.

Wild style.

Precious and Grace SuN 7th AUG • • • • • • • •

• • • • • • • •

Open Couch Session • • • • • • • •

Sun 15th AUG

• • • • • • • •

Three Long Words • • • • • • • •

Sun 21st AUG

• • • • • • • •

Jump Press: A • • • • • • • •

Sun 28th AUG

• • • • • • • •

Sun 4th SepT

• • • • • • • •

Rachel Morrisson • • • • • • • •

Open Couch Session • • • • • • • •

Sun 11th SepT

• • • • • • • •

Run/Lucky/Free • • • • • • • •

Sun 18TH SepT

• • • • • • • •

Iona Bain • • • • • • • •

Sun 25th SepT

• • • • • • • •

Collar Up • • • • • • • •

Sun 2nd OcT

• • • • • • • •

Open Couch Session

Tune of

The Week Did you know that we send out a weekly e-newsletter to everybody on our Dog mailing list?

And in this newsletter, we feature a Tune of the Week?

We’d like you to send in your music to our Red Dog

54 THE DOG AUTUMN 2011

Music DropBox at www. soundcloud.com/red-dogunleashed. If it tickles us, we’ll feature it and folk all over the UK could be listening to your music. Sign up to our mailing list at www.reddogmusic.co.uk

• • • • • • • •

Sun 9th Oct

• • • • • • • •

Sun 16th Oct

• • • • • • • •

Tom Vevers • • • • • • • •

Young O’Reilly • • • • • • •

Thurs 27th OCT

• • • • • • •

The Dog’s

First Birthday Party

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For those about to rock, Red Dog Music salutes you.