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A Thought on Bands Who Cancel Gigs at the Last Minute

All this hype for no music...

Every musician has played some lousy gigs, and some more than others.  Small crowds, weak sound reinforcement, cramped space, short money, high drama, the list of the stuff that can make a gig lousy goes on and on, and is enough to keep some people from ever playing out.  Dealing with gigs that don’t cut it is as much part of the process as rehearsal, glory, and getting paid.

There are so many more bands than venues to play, and gigs are much harder to find than people to play them.   Maybe it’s because anyone can grab an instrument and book a gig.   Maybe people don’t care about integrity.  Or, as the skeptics say, maybe some people are just evolutionary dead ends.  Regardless of the circumstances of any gig, I am baffled that bands cancel gigs at the last minute without a reason involving well-being, or natural disaster.  I am talking about local gigs, which is a completely different game than being a touring musician, where routing and expenses can often cause tours to fall apart weeks before they get started.  I have compassion for the challenges of creating sustainable touring.

Imagine you’re at a venue.  People have paid a cover, bartenders are working, electricity is being guzzled almost as fast as beer.  Promoters and management are running around getting the room set for an evening of fun.  And a band calls at the last minute saying they don’t want to play, they’ve booked another gig, or they’ve changed their mind about playing.  Cue empty stage, disappointment form everyone involved, and another failed event.

This is the entertainment business.  Our job as musicians is to provide entertainment.  How upset would you be if you showed up at the movie theater and they decided at the last minute to not air the film… after you’ve bought your popcorn and soda?

While I agree that bands often get the short end of the stick, I don’t believe that justifies blowing off a commitment to provide entertainment when your job is an entertainer.  I’ve never seen a band forced to take a gig.  It seems obvious to me that if you agree to take a gig, you play it.  I’m unclear how people who don’t do that will ever draw 1,000 people per night, or perform regularly.

When a band changes their mind at the last minute and bails on an event, the impact is on the venue, the promoters, and the audiences;  in short, the entire music community in that area suffers for it.  It’s easy to say “Oh, but that’s a lousy gig, it doesn’t matter anyway,” and circumstantially that may be valid.   Any band that wants to be taken seriously might be interested in having an impeccable reputation as a professional.  I’ve seen many bands cancel at the last minute, or just not show up.

It is unprofessional to cancel a gig at the last minute.   People who get paid in the music business are called professionals.

As a semi-professional musician myself, I can understand why people are so hesitant to pay musicians for their work.  Perhaps if bands up the level of professionalism, they can command more.

Bottom Line:
If you don’t like a gig that’s presented to you, don’t take it.   Every time you leave someone scrambling to cover your mess, they remember your name.  And it’s a fact that people are ten times more likely to share a bad customer service experience than a  good one.

 

T-Racks 3 – Master the Possibilities of your Music

Spotted on: My harddrive.

T Racks 3 Screenshot

T Racks 3 Screenshot

One of the most important, yet often overlooked, elements of a professional recording is mastering. Mastering isn’t a part of mixing, it is the final stage before audio is duplicated, where the fidelity (punch, clarity and volume) are added to the track. Mastering is one of the separators between demo and pro recordings, and high quality mastering can literally separate a hit from just another song. IK Multimedia’s latest installment of the T-Racks Mastering Suite takes the art of digital mastering to a whole new level, bringing advanced signal processing and fidelity to the masses.. With T-Racks 3, anyone can get music mastered at the level of a professional mastering lab.

I’ve been a T-Racks user for years, and I recently had the opportunity to work with the new T-Racks 3 software. I thought T-Racks 3 was going to be a rehashed version of software I loved. I couldn’t have been farther from the truth. The interactivity, new plug ins, and sound quality blew my mind. I expected to see a familiar piece of software, with 4 signal processors popping up on the screen. When I opened the program and saw the 12 configurable slots for the signal chain, my first thought was “is this for real?” This didn’t even look like the program I have used for years. Once I started testing the program out on a final mix, I found it to be easy and fun to use. Within two hours I had three distinct masters to choose from, and each of them sounded sonically equal to almost any major label release I have heard.

T-Racks 3 is available for both Mac and Windows, and the plug ins can be loaded into almost any audio program as well as used as standalone software. The program is beautiful and the plug ins look real (and gorgeous). All the modules can be turned on and off individually (allowing you to actually hear the difference each plug-in makes to your master), and the 12 slots are configurable in a variety of ways. There is even a bypass button that lets you compare your original (plug in free) mix with the mastered version.

As if all that isn’t enough, the five new processors (available in the Deluxe version) are recreations of some of the most powerful and well-known studio equipment in history, including limiters, compressors, and equalizers. T-Racks brings the quality, equipment, and results of some of the finest mastering studios on the planet into your home studio, and the program clocks in at under $400. If you want your tracks to sound professionally mastered, and have the highest professional fidelity, then T-Racks 3 may be the best choice for your home studio.

Top 10 Indie Music Marketing Tools

syndicated from Hypebot:

Top 10 Indie Music Marketing Tools

Every week brings the launch of another online service to connect musicians and fans. Beyond spending endless hours on MySpace and Facebook, what are the best affordable online tools to communicate with fans and monetize the relationship? Here are our picks in no particular order:

1. BANDZOOGLEIt all starts with a great web site and these guys give you the tools to build one quickly. If your site doesn’t do everything Bandzoogle does, ask your designer why or switch.

Sonicbids_logo 2. SONICBIDS – Easily and affordable. Create a robust emailable electronic press kit (EPK) with bio, photos, mp3′s, videos and more.

3. CD BABY – The granddaddy of D.I.Y. music empowerment. Sell your CD’s and downloads in a large community that supports indie music.

Nimbitlogosquare_2 4. NIMBIT- A one stop shop to help you sell CD’s, DVD’s, downloads, merch. and e-tickets with very fair commissions. Plus great tools to spread the word.

5. GYDGET - Everybody’s got widgets, but these guys get it right by enabling you to grab your info, music, and video and spread it across the net. Free.

Reverbnation_logo 6. REVERBNATIONCommunicate with fans, build a street team, get widgets and Facebook apps, sell stuff. Tools do do it all and most of them free.

7. TUNECORE - Affordable flat rate digital distribution to all the major download sites worldwide with no strings attached.

8. TUBEMOGUL – You made a great video for a $23.57 budget. Now what do you do with it? Simultaneously upload to 18 sites including all the biggies then track performance. Basic service is free. (Bonus: A list of viral video sites.)

9. ARTISTDATA
Update tour dates on your website, MySace, Pure Volume, Last.fm, Jambase, Pollstar, Sonicbids and more all at once plus submit tour dates to local media.

10. MOZES, BAND TXT ALERTS (tie) You could use Twitter to communicate with fans, but not everyone wants an account. Every cell can accept text messages. Mozes is free (carrier rates apply) and robust, but pays for itself with ads that could upset some. Band TXT Alerts costs a little, but takes a way the ads.

bluhammock’s Jaylaan Shares “What Is Working?”

Syndicated from hypebot:

bluhammock’s Jaylaan Shares “What Is Working?”

In conjunction with US. independent music trade group A2IM (American Association Of Independent Music), we’re asking indie professionals: In this fractured media landscape, what is working? What outlets and tools are helping your artists build an audience?

In this third installment Jaylaan Ahmad-Llewellyn, the founder of indie label bluhammock music (KaiserCartel, Cary Brothers, Swati, Val Emmich and more) responds:

“I think that this is an interesting question because it begs the question of what do you consider ‘working.’ There is building an audience that buys music, an audience that attends shows, and simply building awareness that you even exist as an artist…

click here to read more…

City Skies November ’08 in Oakhurst, Atlanta.

Syndicated from:
The Secret Life blog

video of the city skies performance by rich & josh! whee!

above – Richard Devine & Johnny Blaze

Yours truly, threv, joined Jeremy Dickens (www.offnominal.com) and Secret Life bandmate Tricil (John Jacobus) at Kavarna in Oakhurst this past Saturday for the City Skies festival.

Hosted by the ever-smiling Jim Combs (jimcombs.com), it featured artists such as Richard Devine and Josh Kay (from Atlanta and Phoenecia), Collaboration with Sounds (from South Carolina), Don Hassler (from Atlanta), and Bribing The Buddha (from Atlanta).

Kavarna is an awesome little coffee/wine/sandwich shop in Oakhurst, which is a lot cooler IMO than Decatur, but whatever. Perfect little setup for a stage full of modular synths, a LEMUR, Tenori-On, Moogs, and macs-a-plenty.

We got there just as Collaboration with Sounds performed some noisy ditties w/her Moog Rogue & Macbook.

After she performed, Don Hassler tweaked a synthhead’s dream – an EMS Synthi A & Buchla Modular.

Closing out the night was Richard Devine & Josh Kay (of Schematic & Phoenecia) who jammed on a box of modular gear for about 1.25 hours. They projected Rich’s Reaktor patches on screen as Josh tweaked their modulars (heh, that’s what she said). Rich futzed around w/his JazzMutant Lemur, which was hooked up to Reaktor, as well as his Tenori-On.

most of the music of the night was self-similar, but you won’t hear us complaining. shit was dope, and overall an awesome night for live electronic music played by humans.


above: Rich & Josh’s modular setup

above: Don Hassler’s Synthi A & Buchla

above: Collaboration with Sounds

all images thanks to Jim Combs (www.myspace.com/cityskiesfestival)




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