As far as I can tell, my identity has not been compromised, my credit cards haven’t been maxed out, and my bank account has not been drained. I’m just not that interesting or lucrative a mark for the cyber criminals, at least not yet.
So I haven’t been in panic mode about the latest internet security flaw – Heartbleed – but I have been paying attention. And this IVPN blog post has the most sensible advice I’ve found so far. Check it out and change the passwords that need to be changed.
Dave Sarge is the go-to guy for amplifier repairs in this area, the guy that knows electronics, tubes, and speakers inside and out. You know the type – if he can’t fix it, then it ain’t broke. So, I felt both disheartened and relieved when, after checking on the status of my busted keyboard amp, he began his response with “Well, I certainly will not be charging this on an hourly basis.”
Apparently neither he nor the Traynor/Yorkville company amp tech in Canada has come across this particular issue of loud constant popping from the speakers whenever the amp is turned on.
(Cool, my amp is SO hipster).
So, whenever Sarge does get it figured out, I suspect there will be an addendum made to the Traynor K4 Service Manual, and I can feel happy that I was able to fund his latest opportunity to further contribute to the knowledge base of amplifier repair, and make the Universe a better place.
(For the record, I love this loud, aggressive, multi-featured keyboard amp and miss it terribly… It enables what happens on my side of the stage to be more than just support staff to the guitar-gods I’m fortunate enough to play with).
Most places do, and it directly benefits me. My songs are registered with BMI, and whenever I play them in a public venue, I fill out a form on the BMI website stating when, where, and what songs I performed. Then, twice a year, I receive a royalty check from them – just like Willie Nelson and Lady Gaga.
Now if you bought a CD or downloaded an mp3 for personal use, then you’ve already paid for it – play it however you want. But if you’re a commercial establishment playing recorded music for your customers, it’s kinda like having musicians play all day/night long. You wouldn’t expect a live band to play for free, any more than you should expect a bartender or cook to work for free. And it’s good to know that some of the money paid for licensing goes not only to the superstars, but also to the little guys like me.
Indie recording artist Nathan “Whitey” White got asked this question one too many times…
Sorry, this post is not about sex or politics – it’s about communication.
Twice weekly a small restaurant in my hometown hosts live music. Wednesdays a 4-piece all-acoustic group performs Classic Rock and Americana, Thursdays I play Piano-bar style Blues and covers. One weekend a year several Jazz duos or trios play there during a local festival. We’ve each been playing there since the restaurant opened about 4 years ago. Nice place, good food, good owners to work for.
So I was a bit surprised when the pub manager announced “Hey, we have two bands from Philadelphia coming up to play here next Tuesday. Be sure and tell everybody so they have a good turnout.” Bands? Ok, that’ll be different, but I’m all for live music, so bring ‘em on.
Tuesday arrived and I was out doing errands – walking the dogs, delivering a piano to the Beatlemania show, going to the bank, etc. For the evening I planned on stopping in to see the Philly groups a bit, then going to hear Carlos as John Lennon play my piano.
Then the call came. “JT, the bands are here, but they don’t have any mics.” I knew right away it was more than microphones they didn’t have. No mics = no mic stands = no mic cables = no mic mixer = no PA speakers. The bands showed up expecting a PA system to be at the club.
Nobody asked, and nobody told there was no house PA.
So I threw some equipment into my car, drove down to the club, and proceeded to set up my PA system. In the process, the band requested a keyboard stand and amplifier. Yes, I have them, so I drove home and brought those back.
But there was a bigger problem here from the start. As soon as the bands walked into the restaurant, they said “Oh no…” They realized it was the wrong venue for the music they play – hard-driving college party rock. As the manager watched them carry in guitar amplifiers and drums she said “Oh no…” Did they have to use amps? The regular Wednesday band uses no PA, no mics, no amps. Thursdays I bring one speaker for my vocals.
Nobody asked, and nobody told that the venue was primarily acoustic music.
But the show must go on, however, so the bands set up, and trying to be quiet, started to play. As several couples got up and moved their dinner outside to the deck, the first band finished their first song, and the manager, apologizing, told them it was way too loud for the room (which it was). So the drummer stepped out, the guitarists turned down, and they proceeded to play uncomfortably for only a few more songs before taking a break.
After setting up the keyboard amp and stand, the second group took the stage (sans drummer). Having had time to assess the sound of the room, they played a little quieter than the first band, and delivered a longer more enjoyable set. They finished their set, the five of us listening applauded and gave a few dollars in tips. The bands loaded out their gear, everybody thanked and apologized to each other, then the musicians hit the highway to continue their tour.
Nobody asked, nobody told what to do except show up and play.
So how did this happen, how did a pair of rock bands get booked into an acoustic venue? Ari Herstand, who blogs about the music business, mentions this in one of his posts, Book Your Own Tour. When looking for gigs, “get a feel for how your project could (or could not) fit in the venue.” Clearly, this was not done.
Nobody asked, nobody told whether the bands were right for the venue.
So there’s a little blame to go around here. First the booking agent, who cold-called the club and set up the show. A gig is a gig, any chance to perform, right? Second, the club manager who agreed to the deal without knowing anything about the bands. Two bands for the price of one? What a deal!
No, it was a bad deal for all parties. The bands didn’t get to play for the crowd they hoped for, the club didn’t have a crowd to make any money from. There was no relationship established for future bookings, no recommendation for the venue as a good room to play. The only good is a little education was shared, the bands and the venue each got a horror story, and I got a blog post.
So – Do Ask, Do Tell. You may lose a good story, but you’ll have fewer of those “Oh no…” moments.
In the current climate of polarized politics, why do we stick to our guns (pun intended), and demonize the other side? Why do we refuse to listen, debate, compromise, but only shout back at the other guys, calling them idiots and morons? Why are we so right and they are so wrong? Why do they want to ruin OUR country? Well…
“GIVEN THE POWER OF our prior beliefs to skew how we respond to new information, one thing is becoming clear: If you want someone to accept new evidence, make sure to present it to them in a context that doesn’t trigger a defensive, emotional reaction.”
Reblogged from Chris Mooney @ Mother Jones (yeah, I read that sometimes…)
Go ahead and read the whole thing here: