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Multi-Award Winning and JUNO Award Nominated TORONTO TABLA ENSEMBLE Release Single, “Dream Symposium”

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The next generation of Canada’s Toronto Tabla Ensemble are front and centre in the multi-award winning and JUNO Award-nominated group’s newest single and video, “Dream Symposium” — available now!

Serving as a preview for their seventh and forthcoming album, “Dream Symposium” also lands ahead of TTE’s attendance at WOMEX 19 — the World Music Expo — in Tampere, Finland this October. The group recently won both a 2019 Global Music Award and 2019 Independent Music Award, and were nominated for another.

For over 25 years, Toronto Tabla Ensemble (TTE) has produced groundbreaking music that crosses cultures and borders. Led by award-winning and critically acclaimed Artistic Director and Canadian tabla master Ritesh Das, TTE compositions have been licensed for numerous commercials and films, including CBC Radio’s daily Metro Morning theme music, and screened at film festivals around the world.

The group have been long-lauded for introducing a myriad of musical styles to the mainstream public via Das’ groundbreaking, pioneering blend of world music influences — from Japanese Taiko, to Celtic, to Flamenco, to rock n’ roll with the Tea Party — all with traditional Hindustani instruments.

But to the newest members of Toronto Tabla Ensemble — featured throughout the song and video, it’s all just music — full-stop, plain and simple.

“They do not see themselves in a box of ‘Indian music’ or ‘World music’…,” says TTE manager, and music video director Melissa Das-Arp. “They are just regular, Canadian kids who love playing music and having fun.

“They are the next generation in the making for Toronto Tabla Ensemble. Watching them develop their skills and become artists in their own right is something I wanted to project on film.

“I wanted to show these kids being themselves, playing their instruments,” she adds. “But also daydreaming and being a bit mischievous… There’s a real sense of fantasy and humour throughout.”

“It’s based on a traditional Tabla composition that is usually taught at an early stage of learning,” says Das on the track’s origin. “I was influenced by the Toronto Symphony Orchestra, so it features many different percussion instruments which creates an orchestral feeling…”

MICAH BARNES hits #1 on iTunes Canada Jazz Chart with new single “That’s Life”

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Canadian jazz music star and one of the country’s best-loved vocal coaches Micah Barnes has debuted at #1 on the iTunes Canada Jazz Chart with the first single ahead of his upcoming Vegas Breeze album, “That’s Life”, giving fans an early taste of the album and showcasing his imitable style.

Micah was recently featured in the new book, Bad Singer, as the vocal coach that made the author’s singing much, much better, and gave advice to the Toronto Star and BT in Vancouver on how to become a powerful singer – great advice for the older audience who just want to sing and the younger YouTube generation who are looking for success through social media.

A Juno-nominated recording artist, Micah is also one of Canada’s best-known vocal, performance and career strategy coach and recording artist whose own career has included #1 Billboard hit Welcome To My Head as well as recording and performing internationally with the popular a capella group The Nylons. Micah is currently touring the country with his own solo cabaret show in support of his latest release New York Stories.

When his last album, New York Stories was re-released, it immediately hit the #1 jazz position on iTunes and stayed there for over a month – unheard of for a Canadian album on their jazz charts these days.

And if THAT wasn’t exciting enough, Micah’s friend and client Tatiana Maslany recently took home the Emmy and Canadian Screen Awards for best lead actress in a drama for her multiple roles in the sci-fi series “Orphan Black.”

Micah is a top industry coach used by Managers, Labels, Producers and Directors in the Canadian and U.S. through his Singer’s Playground company. His coaching credentials include Andrew Lloyd Webber’s hit CBC TV show How Do You Solve A Problem Like Maria and the original cast of Tomson Highways The Rez Sisters. He has coached cast members of Mirvish’s The Sound Of Music and Broadways Pricilla Queen Of The Desert as well as pop artists such as So You Think You Can Dance Canada’s” Blake McGrath.

Photo Gallery: Dean Brody with Dallas Smith, Chad Brownlee, Mackenzie Porter, Jimmie Allen and The Reklaws at Toronto’s Budweiser Stage

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All photos by Mini’s Memories. You can contact her at minismemories@hotmail.com

Dean Brody – Dallas Smith
Dean Brody – Dallas Smith
Dean Brody – Dallas Smith
Dean Brody – Dallas Smith
Dean Brody – Dallas Smith
Dean Brody – Dallas Smith
Dean Brody – Dallas Smith
Dean Brody – Dallas Smith
Dean Brody – Dallas Smith
Dean Brody – Dallas Smith
Dean Brody – Dallas Smith
Dean Brody – Dallas Smith
Dean Brody – Dallas Smith
Jimmie Allen
Jimmie Allen
Jimmie Allen
The Reklaws
The Reklaws
The Reklaws
The Reklaws

How Slot Machine Music and Sounds Are Chosen and Produced

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Cha-ching, bling, bling, bling… BLAM… BLAM… BLAM, dee-da-deet-deeee-dee-dee-da-deet-deeee-dee…

The sound of a reel clunking into place to trigger a feature. Reels spinning and clattering, jingling on their own, racking you up hundreds of credits. The background music of a jungle-themed game. And the loud craziness of a machine going-absolutely-bananas so as to embarrass you and attract a crowd when a jackpot is hit.

The sounds of a slot machine doing its thing are unmistakable.

Now, I know it’s not usually the genre of music that we cover here, but slot machine music and sounds are still designed, finessed, and produced – like any other music track would be.

Whether it’s on the casino floor, or you just have the sound up on your phone or laptop while playing slots online, the soundscapes of slots are unique. You can get a feel trying these no deposit and completely online slot games to see what I’m talking about if you’ve forgotten the exact style I’m talking about, or you’re not up to speed with modern-day slots symphonies.

While the music and sounds are all very “machine-like” to the ear, there’s a person behind the scenes making all that happen, very carefully placing each note.

Generally, each slots house has their very own writer/s and/or producer/s that will whip up the sounds and tunes for each new game. Each of these tunes and sounds may be all-new, or certain tunes and/or sounds may be recycled from other titles within the company.

And hey, it could be a new job if you’re already in the music biz – or trying to be. If you’re sick of slogging it out trying to get your tracks heard as a producer and want a day job that may even pay fat stacks, then slot machine music and sound production could be an excellent career move.

Wouldn’t making those sounds all day drive you crazy?

Think that developing sound for slots would be repetitive and boring? Well, it might be, depending on your level of imagination, and what sort of music you like to produce – and the type of work environment that you enjoy. And hey, if you’re a big fan of the circus then you would probably be right at home fine tuning sounds for use on the slots.

Jonathon Roberts wrote a piece back in ‘14 on his blog that detailed how his career progressed into a full time role at a slots house. His take on what he does for a crust? “This is a great job. I get to write in a wide range of styles, record live musicians in a professional in-house recording studio, work with the latest audio software and sample instrument libraries, and learn along with a team of accomplished and innovative composers, designers, and audio engineers.”

Sounds pretty interesting, don’t you think?

Building out the music

The first thing that is important to do when designing for a slot machine is to check the theme. A slot will come with a particular theme, let’s say ‘Jungle Princess’, plus graphics and the type of feature the game will have.

This will direct the flow of what the music designer should do for the game. They’ll check out all the info they have been given about the game, view all the graphics, and revisit what the type of feature will do.

Plus, if you have a specific licensed theme, like a Queen-themed slot, or James Bond, you might just be able to use some of the very familiar tunes of these bands and franchises.

And how about some science thrown in for good measure?

There have been studies conducted about the effect of sound on gamblers playing the slots. For instance, The Impact of Sound in Modern Multiline Video Slot Machine Play (2013) found that “sounds… caused players to significantly overestimate the number of times they won (vs. non-audio slot playing)”

Another study, Losses disguised as wins in multiline slots: using an educational animation to reduce erroneous win overestimates (2017) indicates that novice players overestimated the times they remembered winning over a play session when losses disguised as wins (LDWs) were part of the game. LDWs include flashing lights and interesting sounds on a loss. It’s a tricky little nuance of the game industry that can trip up players if they aren’t paying attention, and are simply pressing that spin button over and over.

A journey in sound

If you’re after a Fear and Loathing style take on the music of the slots, you’d be hard-pressed to go past the musings of Adrian Rew, in his rambling, poetic and in depth account of his fascination and encounters with the music of the slots. This man literally put out Slot Machine Music Vol 1 and Vol 2 on a record label. It’s some interesting stuff!

The article is a whirlwind of descriptiveness of casino floors, the varying types of games, a smattering of history, and references to some of the more famous “slot game noise” scenes in movies.

Slot machine music and sounds may not be as glamorous as the latest release by an up and coming indie artist, but they’re a part of the music industry, nonetheless. Like creating jingles for companies, it’s how plenty of musos make a crust while pursuing their passion projects that aren’t exactly raking in the funds. If you think you might be interested in pursuing slot machine sound design and creation, then why not check out the major players in the industry and see what roles they have on offer. You never know what you might find or where it might take you…

 

 

‘MOTOWN UNRELEASED: 1969’ Celebrates 60 Years Of Motown With 60 Previously Unreleased Songs Recorded By The Legendary Label In 1969

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To celebrate the 60th anniversary of the celebrated label, Motown/UMe today released MOTOWN UNRELEASED: 1969, a digital only collection that contains 60 previously unreleased studio recordings made during 1969 including songs by Diana Ross & the Supremes, The Temptations, Stevie Wonder, Marvin Gaye, Smokey Robinson & The Miracles, Gladys Knight & the Pips, and Jr. Walker & the All Stars and many more.

The collection captures the width and breadth of Motown’s iconic catalog, the richness of the label’s roster, and the diversity of material that was being produced at the time. The songs showcase a vision of the future that’s coming into focus, with seminal albums from Stevie Wonder, Marvin Gaye and The Temptations on the horizon.

Owing to the non-stop recording activity at Motown’s studios, more than half of the tracks on MOTOWN UNRELEASED: 1969 are never-before-heard compositions, including the heart-breaking-yet-hopeful “I Had a Dream (Opus I),” written and produced by Ashford & Simpson for Gladys Knight & The Pips, recorded a year after the assassination of Martin Luther King, Jr.; Stevie Wonder’s joyful “Mister Moon,” one of his first self-productions, infused with ecstatic falsetto harmonies; and “Pretty Little Brown Skin Girl,” a celebration of African-American beauty from The Temptations. Also among the jewels is “Touched by Love,” a Johnny Bristol production recorded by Bobby Taylor while he was grooming the Jackson 5 in advance of their first album.

Additional tracks are unique covers of previously released songs, including several by Ivy Jo Hunter, one of the great unsung Motown writers and producers who re-works the hits he had created for other artists including “Dancing in the Street” and “Ask the Lonely.” The Jackson 5, just two months from debuting with “I Want You Back,” lay down a thrilling, up-tempo version of the Miracles’ “What’s So Good About Goodbye,” providing a fresh take of a Smokey Robinson classic. Diana Ross & the Supremes deliver an achingly beautiful version of “For Once In My Life,” an historic session that marks the last time Ms. Ross, Mary Wilson and Cindy Birdsong are together in the studio.

On other tracks, UMe’s A&R executives and studio engineers were able to repair technical issues on the original recordings that had prevented Motown from releasing the songs, including Kiki Dee’s “While They Watch” and “You’re My World.”

The collection also includes five funky instrumental tracks by the Funk Brothers house band – surely highlighted by the Paul Riser production, “Moratorium” – recorded under the name of their indomitable leader, Earl Van Dyke.

All of the new collection’s tracks have been mastered for the first time at Studio 4 by Phil Nicolo from their original analog master tapes, which were individually selected by Motown A&R specialists from UMG’s secure storage facilities. Half the collection’s tracks were sourced from their original Motown mixes, while the rest were mixed for the first time for this release, by Obie O’Brien at Mixville USA and by John Morales at M+M Mix Studios.

MOTOWN UNRELEASED: 1969
1. Diana Ross & the Supremes / For Once In My Life
2. Stevie Wonder / Can’t Do Without Your Love
3. Ivy Jo / It’s Love I Need
4. Chris Clark / My World Is Empty Without You
5. The Temptations / Pretty Little Brown Skin Girl
6. The Volumes / Forever I’ll Love You
7. Jr. Walker & the All Stars / (Baby) I Need You
8. Frank Wilson / Look Out Your Window
9. Edwin Starr / I’ll Always Love You
10. Earl Van Dyke / Stone Soul Booster
11. Gladys Knight & the Pips / You Took Me This Far (Take Me All The Way)
12. Smokey Robinson & the Miracles / Won’t You Come and Fly With Me
13. Edwin Starr / Born Just To Be That Way
14. Smokey Robinson & the Miracles / What About Me
15. Jonah Jones / Too Many Fish In The Sea
16. Edwin Starr / Fan The Flame
17. Chris Clark / The Last Thing On My Mind
18. Smokey Robinson & the Miracles / Backfire (version 1)
19. Gladys Knight & the Pips / I Had A Dream (Opus I)
20. The Temptations / Why (Must We Fall In Love)
21. The Fantastic Four / What Becomes Of The Brokenhearted
22. Ivy Jo / Ask The Lonely
23. Ivy Jo / Yesterday’s Dreams
24. Ivy Jo / I Got To Get To California
25. The Originals / Blame It On War
26. The Stylists / The Jackpot
27. The Spinners / Don’t Think It’s Me
28. Michael Denton / MacArthur Park/Didn’t We
29. Michael Denton / Someone For My Own
30. The Volumes / One Lucky Day I Found You
31. The Rustix / Generation
32. Jr. Walker & the All Stars / Country Girl
33. Jr. Walker & the All Stars / Something You Got (studio version)
34. Bobby Taylor / At Last (I Found A Love)
35. Bobby Taylor / Love Is Here And Now You’re Gone
36. Jackson 5 / What’s So Good About Goodbye
37. Bobby Taylor / You’ve Really Got A Hold On Me – feat. the Jackson 5
38. Earl Van Dyke / The Stranger
39. Earl Van Dyke / I Wish It Would Rain
40. Stevie Wonder / Start Out A New Day
41. Gordon Staples & the Motown Strings / All the Many Shades In Between
42. Valerie Simpson / You Ain’t Livin’ Till You’re Lovin’
43. Edwin Starr / Pain From My Loneliness
44. Yvonne Fair / All I Could Do Was Cry
45. The Temptations / Home Is Where The Heart Is
46. Stevie Wonder / Mister Moon
47. Rare Earth / Your Heartaches I Can Surely Heal
48. Ivy Jo / Dancing In The Street
49. Marvin Gaye / I’ll Take Care Of Business
50. Ivy Jo / Pride, Foolish Pride
51. Earl Van Dyke / Moratorium
52. Kiki Dee / While They Watch
53. Terry Johnson / This Is The Beginning
54. Terry Johnson / I Blew My Mind
55. Earl Van Dyke / Chicken Little 69
56. Kiki Dee / You’re My World
57. Bobby Taylor / Touched By Love
58. Hearts of Stone / When Push Comes To Shove
59. Jimmy Ruffin / I Gotta Cover A Whole Lotta Ground
60. Terry Johnson / Tomorrow’s Child

The D’Addario Foundation Announces Back 2 School Benefit Featuring Jim James, Mandy Moore, John C Reilly, and more

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The D’Addario Foundation is proud to announce Back 2 School Class of 2019 which will take place at Los Angeles’s historic Palace Theatre on November 2nd. As a 501c3 non-profit, the money raised by The D’Addario Foundation at this benefit will provide kids access to amazing music programs, provide college assistance scholarships, and encourage more females through D’Addario’s Girls In Music Initiative.

In partnership with BGS and Kensington Presents, Back 2 School will feature house band The Watkins Family Hour with acclaimed songwriter, producer, and artist Mike Viola. Jim James, Mandy Moore, John C Reilly, LP, Langhorne Slim, Garfunkel & Oates, Blake Mills, and Inara George will all join Sara and Sean Watkins and their collaborative Family Hour crew on stage to raise money for The D’Addario Foundation. Fans should also keep an eye out for additional artist announcements in the coming weeks. Tickets, priced from $50 to $250, will be available here on Friday, September 20th, with a password-accessible pre-sale on Wednesday, September 18th. VIP ticket options are also available for those who wish to upgrade their Back 2 School experience.

As the philanthropic arm of D’Addario, the world’s largest manufacturer of music instrument accessories—The D’Addario Foundation utilizes up to 10% of D’Addario’s net earnings each year to fund over 200 non-profit programs. And D’Addario absorbs all operational costs, ensuring 100% of every dollar goes directly to support music programs globally. “What differentiates us is our efforts to support highly immersive music programs. On average our partners provide over 200 hours of instruction per student a year. Compare that to a student who might receive an hour instrument lesson once a week for the entire year. That is four times the exposure to music instruction and its cognitive and social benefits,” says executive director Suzanne D’Addario Brouder.

Back 2 School attendees will be contributing directly to The D’Addario Foundation’s mission to put music education back in the forefront and into the lives of those who otherwise might not have these opportunities. “The bottom line is kids need lots more music as part of their education and your support makes that possible,” adds Brouder to further emphasize their mission statement.

Fender Launches Non-Profit With Chris Stapleton, Avril Lavigne, Ashley McBryde, Panic! At The Disco’s Brendon Urie, Green Day’s Mike Dirnt, Fall Out Boy’s Pete Wentz

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Fender Musical Instruments Corporation (FMIC) today announced the launch of the Fender Play Foundation, the brand’s new non-profit intended to provide resources and music education opportunities to equip, educate and inspire young players. Over the next three years Fender Play Foundation will raise $3 million for educational institutions and organizations that provide youth with opportunities to learn how to play. To kick-start fundraising efforts, Fender will donate $1 million and use that initial donation to expand further fundraising. Support for music education programs will start in the brand’s own backyard near its Los Angeles, Calif., Nashville, Tenn. and Scottsdale, Ariz., offices with plans to expand to more cities and programs in 2020.

Fender has invited some of the most-inspiring musicians across genres, including Chris Stapleton, Avril Lavigne, Ashley McBryde, Panic! At The Disco’s Brendon Urie, Green Day bassist Mike Dirnt, and Fall Out Boy bassist Pete Wentz to serve as the Fender Play Foundation Artist Ambassadors for the 2019-2020 year, with others to be announced. Artist Ambassadors will partner with the Foundation to inspire youth through initiatives like surprise instrument drops and meet and greets in their local communities, donating signed gear and memorabilia for auction, appearing at galas, as well as providing guidance and direction on the Foundation’s overall direction to ensure youth are served in the best way possible. In turn, Fender will support artist ambassador charities that align with the Fender Play Foundation’s overall mission. Additional artists are slated to become artist ambassadors in 2020. The Fender Play Foundation will also support charities near and dear to artists, such as Notes For Notes, where applicable.

“When I was a kid, I picked up a guitar and found a whole new world at my fingertips,” said Chris Stapleton. “I’m proud to partner with the Fender Play Foundation to help kids from all walks of life find a whole new world of their own.”

“Fender has been so supportive of The Avril Lavigne Foundation since its inception, so I was honored when they asked me to be part of the launch of their own charitable efforts,” said Avril Lavigne. “Providing instruments to schools, camps and others who don’t have access to music on a daily basis is both necessary and inspiring, and I’m looking forward to working alongside my fellow Artist Advisors to deliver what is sure to be a lifetime of exciting memories!”

“I am so proud to partner with Fender,” said singer-songwriter and CMA Award-nominee/ACM Award-winner Ashley McBryde. “Getting instruments into the hands of music educators and kids who genuinely need them is such an honor. Inspiring the next generation of musicians and artists is some of the most important work I could ever be a part of. ”

“I’m excited to team up with the Fender Play Foundation to support the next generation of shredders,” said Brendon Urie of Panic! At The Disco. “Growing up in Vegas my music mentors and education were such a huge influence on my life, I hope through partnering with Fender, that I can help do the same for young musicians!”

“Give them instruments and they will change the world!” added Mike Dirnt, bassist of Green Day.

“I’m happy to be part of Fender’s initiative to inspire and help the next gen’s set of musicians,” said Pete Wentz, bassist of Fall Out Boy.

Fender Play Foundation works with organizations, educators and artists to support communities through equipment donations, personalized instruction and artist experiences. Operating under the belief that music is a universal language that empowers self-expression and community-building everywhere, the Fender Play Foundation strives to place these powerful tools in the hands of youth who aspire to play. The Foundation’s primary goals are to:

Equip: Create access points for youth learning, as well as provide gear for educational institutions, schools and organizations that will have the ability to apply for grants
Educate: Give students access to essential learning tools. Fender Play subscriptions will be provided with instrument drops and donations and the Foundation will work to subsidize the cost of instructors
Inspire: Work with Fender Play Foundation Artist Ambassadors, who will donate their time to inspire youth, focused on instrument drops and appearances in local communities. All artist ambassadors will donate signed instruments and memorabilia for auction to benefit the Foundation.

“Leo Fender believed that all artists are angels and his job was to give them wings to fly,” said Andy Mooney, Chief Executive Officer at Fender. “We view the Fender Play Foundation as an important vehicle to equip, educate and inspire the next generation of artists. Every child deserves access to music education opportunities and tools that give them ‘wings to fly.’ As an avid player, I can attest to the many benefits that come with playing an instrument and how the power of music can enrich your life.”

Fender Play Foundation (FPF) kicked off its first month by donating guitars, ukuleles and basses to Adopt the Arts, Notes for Notes, Musack, Young Musicians Foundation, and other organizations that share the Foundation’s belief in the power of music. By donating instruments, the Fender Play Foundation is empowering hundreds of members within these programs to begin and sustain their musical journey. To support players, instruments will be accompanied with a subscription to Fender Play, the complete learning app for guitar, bass and ukulele that gets beginners playing in minutes through guided paths and top-notch curriculum.

This month, Fender Play Foundation is partnering with the Boys & Girls Club of Metro Los Angeles, Watts-Willowbrook Clubhouse, to build and launch an interactive space, equipped with Squier guitars and basses, Rumble™ and Champion™ amplifiers, accessories and Fender Play™ e-learning stations for members to learn guitar, ukulele and bass. Watts Willowbrook has over 200 youth members and every day over 100 youth enjoy the Clubhouse facilities, making it the ideal space for members to learn how to play in a creative, safe environment during 44 weeks of instruction subsidized by the Foundation. Watts-Willowbrook Clubhouse is one of three Boys & Girls Club of Metro Los Angeles locations Fender is serving in 2019-2020 to create access for over 300 members to learn how to play. In September, Fender Play Foundation will also support long-time investor partner Servco’s Centennial Service Campaign by helping facilitate the donation of 2,000 California Coast Series ukuleles and 750 Classic Design and FA Series acoustic guitars, soft cases, and Fender Play subscriptions to public and charter schools in Hawaii. These instruments will be distributed to 55 schools throughout the Hawaiian Islands creating access for over 8,550 students.

Prior to launching, the Fender Play Foundation was quietly working with other Fender artists supporting causes important to them – such as Tom Morello and Grammy-award winning 1500 Or Nothin’ and its 1500 Sound Academy – designed to serve as a bridge between school and a potential career in the music business, teaching kids the necessary knowledge and tools they need to succeed in the modern-day. The collective goal is to get as many instruments as possible into the hands of youth and to collaborate with Fender artists who advocate for the benefits of music education. Research shows that music enhances learning and aids integrated sensory, attention, cognitive, emotional and motor capacities. In fact, students highly engaged in music are academically, on average, more than one year ahead of their peers not engaged in school.

With an illustrious history dating back to 1946, Fender has touched and transformed music worldwide and in nearly every genre. The Fender Play Foundation is the next chapter in Fender’s legendary history to positively impact the world through music and uplift the next generation of musicians for decades to come.

Musicians’ Tools: How To Care For And When To Upgrade Your Gear

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Just like how samurai warriors took pride in their swords, true musicians also respect their tools. When you’re still a beginner who is still fumbling around in a world of different equipment and techniques, you’re bound to get overwhelmed by all the things you need to keep in mind. Once you lock down an instrument and decide that it’s suitable for you, you need to treat it like it’s your life companion until you feel that you can upgrade and do better. The best music teachers teach young musicians to always take care of their instruments to instill responsibility in them. 

Maintenance’s value

When you start looking beyond the physical form of a music tool, you’ll be able to see how much your soul or the artist inside of you could gain from it. Depending on the instrument itself, special care needs to be applied to keep it in its best shape. Proper maintenance doesn’t only ensure that your instrument will perform well in musical sessions, but it will also increase the lifespan of your instrument. The art of caring for your instrument is a talent that’s gained with time and passion. You may not be doing great in terms of maintenance when you’re a beginner, but as you grow as a musician, you start understanding the true value of an instrument maintenance. Always keep in mind that no matter how refined and polished your instrument is, without proper maintenance it will lose a lot of the features that make it special.

Upgrading is commitment

When it comes to upgrading your tools, there are some considerations that you should keep in mind. A beginner has to know for sure that there will come a time where their skills or talents would be more suited toward a better or different instrument. The on-going debate is whether you should spend a lot of money at the beginning or save it for later when you’re more advanced. You’ll also notice that this decision is always on the mind of someone who teaches their children music. Children can change their minds more often than adults; they can decide to switch to a completely different instrument on impulse. This is why most stores have a section exclusive to beginner instruments as they are cheap and durable. The decision to upgrade your instrument must be made on concrete grounds so you don’t end up wasting money on something you don’t need or won’t use. Passion should be your guiding compass before purchasing anything. There is a fine line between taking care of your instruments and deciding to upgrade it. Here are some tips that can help you decide which to do and when.

Avoid showing off

A lot of people like to keep their musical instrument bare and visible to their visitors. While this adds some aesthetic appeal to the house, it can damage or ruin instruments. A lot of guests love to play around with any accessible instrument. The most sensitive instruments are stringed ones as simply putting the wrong pressure on the wrong place can easily ruin it. This is where casing proves to be useful. Putting your instruments in a case makes them mostly inaccessible to your guests or visitors while protecting them from dust, heat, and moisture. It’s also recommended to keep your instruments in their case at all times when you’re transporting it to a gig or a workshop, especially when you’re using public transport. You wouldn’t believe the amount of bumping and accidental falls that your instrument can go through by simply walking down the street or using the stairs. 

Mind the case

We’ve mentioned that the Case is the first line of defense against many damaging factors. If you take care of the case, you’ll also be taking care of the instrument inside. Any case wears out faster if it has been subjected to a lot of punishment. This causes the lifespan of the case to considerably decrease. You need to always keep an eye on any worn out or damaged areas of the case to catch and repair them as early as possible. Worn out areas can bring more worn out areas that accumulate easily over time and end up damaging your instrument slowly without you noticing. If you’re going to store the instrument in a case for a long duration, you should consider adding some insect-repelling elements to deter pesky pests like rats and cockroaches from invading the case. Whether the case is strong or not, you should always keep an eye on its condition because it’s directly related to the instrument inside. 

The case is not a personal bag

While making sure that your case is in perfect shape is extremely beneficial, cramming it with other stuff so you wouldn’t have to carry another bag is counterintuitive. Using any healthy ,high-quality case doesn’t mean that you’re using the right case. You should always use the specific case designed for your instrument. Some instruments are quite sensitive to pressure and items in the case can damage or scratch it easily. Try to manage your space well and use another bag for accessories, wires, and other items. Even the smallest items can jump around in the case while you’re carrying it and damage the instrument. Always choose a case that is spacious for your instrument and keep it that way because extra space is okay while tightness is not.

Avoid car trunks

If you have a car, you may be tempted to place an instrument in the trunk so it wouldn’t take over the back or front seats. The problem with trunks is that the climate, whether it’s hot or cold, is amplified and could be worse than you’d expect inside the trunk. The coldness, for example, can make wood less flexible and ruin the tuning of stringed instruments. On the other hand, heat can affect the viscosity of the glue and loosen parts of the instrument. Any collision from the back of the car and translate to huge damages to the instrument no matter how minor the collision is. It’s worth noting that insurance companies do not cover getting your instrument stolen by a thief who popped the trunk of the car.

Minding the temperature difference

Extreme temperature switches can be very damaging to your instruments, especially if they’re sensitive. When you’re traveling from a cold area to a hotter one, you should avoid exposing your instrument to the new temperature suddenly and instead leave it for a while in the case. If your case isn’t protected by padding or a hard-shell, you should cover it with any thick fabric to help it transition from extreme temperatures. You should keep any musical instrument in a dry place away from moist. If the temperature is too hot in your house you should consider using a dehumidifier to keep stringed instruments safe. Refrain from exposing your instruments to ambient coldness in the house by warming your house to a normal temperature so the instruments don’t get warped.

Extra care for stringed instruments

Stringed instruments are one of the most sensitive instruments among music tools. Never place your instrument with its strings facing downward even when it’s inside a hard-shell or padded case. When you’re cleaning or polishing your instruments, take extra care of the cleaning supplies you use. It’s recommended to purchase specific cleaning tools for your instrument and then test it on a small spot to see if there are any side-effects on the tool. The average lifespan of strings is 12 months, so it’s recommended to change them after 1 year at the most. When you’re replacing strings for the first time, you should do it with the help of an experienced teacher or at a music shop. When you’re replacing strings, don’t remove them all at once. Replace every string you remove to make sure you don’t imbalance the tension and damage the instrument. If you notice that your strings are constantly vulnerable and easily damaged, have a professional take a look at it and see if the nuts or joints are damaged.

Upgrading style

As you learn more about genres and instruments, you’ll find yourself starting to lean more towards a specific or developed style of choice. You start to notice very simple and almost unnoticeable details which can help you present your technique and style in the way you want. Different world-class brands are of extremely high-quality and you can’t objectively choose one over the other because of quality differences. One of the most popular solutions to develop a certain style is by using accessories or effects. You don’t buy a new thousand-dollar guitar to produce a sound which can be easily produced by certain guitar pedals in the market. What makes people so insistent on getting a specific brand or pedal are some feats that help them produce the style of music they have in mind. To choose one brand over the other requires experience and practice, so develop your style at your own pace.

Take your time before upgrading

If this is your first time to play an instrument, it can take you a year to fully realize the potential and limitations of such an instrument. If you upgrade too early, you may not even notice the difference since your ears are not trained enough to see the contrasts. You should focus on your technique and practice a lot so you could determine what kind of upgrade would suit you best. Sticking with an instrument for a while when you’re a beginner is a good sign which indicates that you won’t lose interest down the road and decide to switch to a completely different instrument. Once you decide that you’re ready for an upgrade, go for professional models; they may cost a lot, but you wouldn’t have to replace them often as you do with the beginner or mid-range models. The expensive professional equipment always pays off in the long term as it’s an investment in your ability and talent.

Think it through

People get so excited when they purchase items of high-interest. A lot of eager people fall into a common mistake which is choosing whatever that is in front of them instead of conducting actual research. You want to check out many stores, contact some sellers online and offline, and test any instrument that piques your interest. You may sometimes find great deals online and figure that it’s a bargain, but you should still for a store that offers the instrument and test it yourself so you’d know that what you’ve ordered online is what you expect. Don’t overestimate your budget thinking that the more expensive a tool is, the better it will be. While that may remain true to a certain budget or extent, it doesn’t always translate to better equipment. You don’t have to choose the most expensive instrument in the shop while ignoring all other factors. If you see an instrument that you are obsessed with but you’ll never be able to afford, consider buying used instruments.

Outgrowing your instrument

This seems intuitive, but many inexperienced musicians may not notice it. You may be used to playing on an instrument since your childhood and haven’t noticed that it’s becoming smaller as you’ve outgrown it literally. This usually happens with students using stringed instruments like violins and violas. If you notice that your form is suffering and you’re having a hard time playing notes, that were quite easy to play when you were younger, then it’s definitely time to buy a bigger and better instrument. Some equipment is designed to be played by adults as their size is too big for a small body to handle. You should get back to a professional to help you decide if it’s time to upgrade or play a certain instrument or not.

The world of music isn’t easily comprehended without experience and practice. Always free some time up to make sure that your instruments are working in tiptop condition. The decision to upgrade shouldn’t be made hastily and always consider the many factors at play before buying a new instrument.

 

Beastie Boys’ “Ill Communication” Turns 25

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Debuting at #1 upon its May 1994 release, Beastie Boys’ fourth album was an unstoppable force, pervading every aspect of pop culture. Its charge to the top of the charts was led by “Sabotage” and its legendary Spike Jonze/Nathanial Hornblower ’70s TV police drama tribute, as ROLLING STONE dubbed Ill Communication 1994’s “soundtrack for summer.” Crowds and critics alike were floored by highlights “Sure Shot,” “Root Down” and “Get It Together,” as a VIBE (RIP)—in the magazine’s first cover story on a white artist–hailed Beastie Boys as “perhaps the most consistently innovative musicians to emerge out of hip hop.” It was a claim that Ill Communication has justified for years to come, and 25 years later Ill Communication’s impact has resounded with generation after generation.

Surviving members Adam “Adrock” Horovitz and Michael “Mike D” Diamond sat down and reflected on the making of the album with Amazon Music’s Nathan Brackett.

The documentary also features archival footage and commentary from musical collaborators Mario Caldato Jr. and “Money” Mark Nishita.

Photo Gallery: Bastille at Toronto’s Budweiser Stage

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All photos by Mini’s Memories. You can contact her at minismemories@hotmail.com

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