Q. Dear
Sound Chick,
I am considering a purchase of a powered PA system. Today I am
comparing the Mackie 808s with the Peavey 696f. I will be using
it for live performances with an acoustic vocal trio. What are
the pros and cons of these two units and how are they different
from one another?
A. The 696 is definitely Peavey's best stab at duplicating the functionality of the 808m. But they still miss the mark in two very important areas: 1. Price: It lists for $50.00 more than the 808m. I do not understand why they think they can ask this much for a unit that is still inferior to the product they are trying to compete with. They copied some of the 808's features (dual graphic EQ's, and 1200w) but that would indicate an equivalent pricetag. 2. Features: It lacks the all-important 'input level' knobs. In an effort to avoid installing this expensive feature, they have included a feedback detector/eliminator. My opinion is that feedback busting is best done during the gainstage setup or with the graphic equalizer. The feedback button was a lame effort to save them production cost and still retain their combination 'volume/gain' circuitry. Nice try, Peavey, but there are no shortcuts when it comes to good sound.
SoundChick Recommends:
For Powered Mixers:The Mackie 808M -list $679.00
For Rack Units: The QSC PLX series - list $700.00-1100.00 depending on wattage
For Monitors: Crown C-300A - about $300.00 on e-bay
For Headphones: The Crown D-45 - $345.00
Q. Hey SoundChick, I noticed you have a number of Mackie 808m Powered mixers. Are you that happy using them?
A. Yes, I am very happy with the Mackie 808m's. The reason they are better than any other brand of powered PA head is two-fold. 1) They employ a seperate gain vs. volume control. This becomes very important for fighting feedback and getting the cleanest signal possible. No other powered head has that that I know of. 2) They have a massive heatsink. Anyone who has ever had an amp shut down during an outdoor concert due to the sun beating on their amp can tell you they wish they'd had a bigger heatsink.
Q. Dear SoundChick: I want to buy a PA for an acoustic /trio playing small rooms: restaurants and the like. Probably wouldn't even need any monitors. In the back of my mind I have a future vision of a 5- piece group (Vox x 3, Guitar x 2, Bass, Drums, Keyboard) playing slightly larger venues. (no stadiums, spandex, eyeliner or big hair: at least not for the guys.) Do I need to get a rackmounted system, and if so , what components should I purchase?
A. Sounds like your 5-piece band will only take 8 channels anyway. I don't mean to sound like a corporate shill, but the Mackie 808M head is perfect for that and can entertain about 200 people outdoors with 1200 watts. If you are only entertaining 100 folks, you can even use 12" mains. The best performing 12" mains I have seen are the Yamaha SV112 club series. They list for $279 each, but can be bargained down. You can also buy them as pole-mounted wedges that double as monitors. Use one for a main and the other as a monitor for even smaller crowds. Since you are not mixing a stereo signal, there is absolutley nothing wrong with using one main at a gig! Takes up less space. Also,with the same kind of speaker as mains AND monitors, you can be confident that your EQ sounds the same to your crowd as it does to you.
Q. How much effect will the brand of power amp have on sound quality at mid-level volume?
A. Probably not much. Until you are heavily touring, and running 4,000w plus, you won't hear the difference between a Peavy and a Crown. The more important considerations are your speakers and your mics. It does no good to have a Crown amp pushing signal from a Radio Shack mic into equally cheesy speakers. Garbage in - garbage out. You're much better off singing into a Shure Beta 58 through a Peavy amp into JBL cabs or better. As you learn to listen closely to your system, better mics and speakers *will* reveal the differences in amp quality. The best sounding monitor amp I have heard is the old Crown DC-300A. You can get em on ebay for around $300.00 - a real bargain!
Lately, I've
been pretty impressed by Behringer. As the story goes, the engineers
who started Behringer came form Mackie and brought along a mic
preamp design still under patent by Mackie. Behringer lost the
suit, but not before they had manufactured thousands of boards
with Mackie circuitry. In case you didn't know, Behringers are
so cheap, you can throw them away when they break. If
your band is seriously financially challenged, consider trying
Behringer. There's
no shame in saving money if the gear gets the job done.
Performing Rights Organizations
Q. Both ASCAP
and BMI have two different options, to sign up as a songwriter
and/or to sign up as a publisher. As an independent artist, is
there benefit to signing up as both songwriter and publisher
since we will currently be publishing the first CD ourselves.
For that matter, even if we don't sign up as an ASCAP/BMI publisher
is there an advantage to at least coming up with a name for our
publishing 'company' and putting it on the CD?
A. I am a member of BMI, mostly because it was free. When I interviewed
Kim and Joe Johnston (hugely successful Christian writers in
Nashville), they had chosen to each sign up with a different
PRO so that they could compare royalty checks from both sides.
(Great choice since they co-write everything!) The difference
they came up with was that ASCAP pays less more often and BMI
pays more less often on the same songs.
I'm a member of BMI, but have yet to receive one red cent from my airplay, even though my catalog has been registered with them and played on the radio every single week for more than seven years. When my contract expires, I will be heading to ASCAP.
As far as logos on your CD, the publishing logo just makes it seem as if you're bigger than you are. The other thing it does is to let A&R people know you have representation and active copyright management. The down side to this is that it may scare off some smaller publishers who don't want to get into negotiation with another company if they want to buy your publishing. They' don't know that it's just you unless they ask, right? Will they bother to ask? - Depends on how much they like the song.
The chart below was pulled form the ASCAP website. Of course, they tout themselves as the better choice, but upon further research, it seems that the following comparison is accurate.
|
FULL NAME |
American Society of Composers, Authors and Publishers (ASCAP) | Broadcast Music, Incorporated (BMI) |
|
WHAT IT IS |
A membership association comprised of songwriters, composers, lyricists and music publishers. | A corporation with which writers and publishers are affiliated. |
| WHAT IT DOES |
Under U.S. Copyright Law, those who publicly want to perform copyrighted music (radio, TV, cable, bars, clubs, restaurants, shopping malls, concert halls, airlines, orchestras, websites, theme parks, etc.) must have the permission of the copyright owner. ASCAP licenses these users of music, collects the fees and pays its writer and publisher members their performance royalties. | Under U.S. Copyright Law, those who publicly want to perform copyrighted music (radio, TV, cable, bars, clubs, restaurants, shopping malls, concert halls, airlines, orchestras, etc.) must have the permission of the copyright owner. BMI licenses these users of music, collects the fees and pays its writer and publisher affiliates their performance royalties. |
| OWNERS | Writer and publisher members | Radio and television broadcasters. (The very organizations ASCAP and BMI license!) |
| TOTAL 2000 REVENUE |
Over $575 million - the greatest revenue of any performing rights society in the world. ASCAP's operating expenses are also among the lowest in the world. | Does not disclose its financial data to writers or publishers. Financial reports sent only to broadcaster stockholders. |
| YEAR FOUNDED | 1914 by writers and music publishers. | 1939 by the broadcasting industry. |
| LICENSE FEES DETERMINED BY |
Negotiation with music users. If any licensee and ASCAP cannot come to an agreement, a federal court is available to determine a reasonable fee for that customer's ASCAP license. | Negotiation with music users. Recent 1993 Consent Decree change allows court determination of reasonable license fees and interim license fees if negotiated agreement cannot be reached. |
| BOARD OF DIRECTORS |
12 writers and 12 publishers, elected every two years by the writer and publisher membership. Current President and Chairman of the Board is Academy and Grammy Award winning lyricist Marilyn Bergman. Past presidents include Pulitzer Prize-winning composer Morton Gould and Academy and Grammy Award winning lyricist Hal David. | Broadcast industry executives chosen by broadcaster stockholders plus one BMI employee |
| WRITER AND PUBLISHER CONTRACTS |
Writers and publishers sign identical contracts and may resign at the end of any year of the contract on three months advance written notice |
The standard writer contract is for two years and the standard publisher contract is for five years. Some writers and publishers negotiate shorter-term or co-terminous deals. The two- and five-year contracts continue to renew for additional two- and five-year periods if the termination date is missed. Termination notice must be by registered or certified mail within a specific window (for example, no sooner than six months and no later than 60 or 90 days prior to the end of the contract). |
| WHO CAN JOIN | Songwriters, composers, lyricists and music publishers, since 1914. | Open only to music publishers from 1939 to 1950; writers able to affiliate commencing 1950. |
| WRITER AND PUBLISHER ROYALTY PAYMENTS |
Four domestic and four incoming foreign distributions per year. Moneys from all U.S. licensed areas are distributed to writers and publishers every three months. 50% to writers and 50% to publishers. Clearly defined, objective and fair payment system. Guided by a "follow the dollar" principle in the design of its payment system. In other words, the money collected from a particular medium (TV, radio, etc.) is distributed on the basis of performances in that medium. Performances can be feature performances (visual vocal on TV, a song played on the radio, etc.), underscore (background music on a movie of the week or a weekly series), a theme song to a series, an advertising jingle, a promo or a logo. In radio, almost all performances are feature performances. On television, payments
are based on when a performance occurs (afternoon, evening, etc.),
where a performance occurs (network, cable, local television,
etc.), and how a composition is used Based on all of these factors, a performance will generate a certain number of credits which in turn are multiplied by a dollar value to arrive at a writer or publisher payment. |
Four domestic and four incoming foreign distributions per year to writers and publishers. Most U.S. moneys distributed quarterly. 50% to writers and 50% to publishers. Payment schedule lists minimum amounts due for some types of performances. Most writers' and publishers' royalties are in the form of one-time "voluntary" payments over and above the minimum payment-schedule rates. These "voluntary" payments may vary significantly from distribution to distribution and may also vary significantly between different types of performances. The size of each voluntary payment is determined each quarter by BMI management. These voluntary payments have ranged from 0% to more than 300% above the payment rate. May move moneys around
(e.g., radio royalties distributed on the basis of television
performances and vice versa). |
| AREAS LICENSED AND SURVEYED FOR PAYMENT TO MEMBERS |
Local commercial radio and television, the major television networks, non-commercial radio (including National Public Radio and college stations), non-commercial television, cable services, background and foreground music services, airlines, colleges and universities, "serious" music concerts, pop concerts, new media, Internet, certain ice shows and circuses; non-surveyed license fees distributed on the basis of feature performances on radio and all uses on television (background music, theme songs; etc.). ASCAP uses a three-pronged approach to surveys for highest levels of performance data accuracy. Surveys use a combination of the most advanced digital tracking technologies, data provided by licensees, and an in-house staff of music experts. In radio, ASCAP conducts separate surveys of country, Latin, jazz, urban contemporary, religious, classical, ethnic, and pop music stations so that the total moneys collected from those genre-specific stations are paid to the writers of works with performances on those stations. Specific distribution formulas applicable to all surveyed areas and for all types of performances. |
License same general areas as ASCAP No specific payment formula is set forth in the BMI payment schedule for any licensed area other than network television, local TV and radio |
| LIVE PERFORMANCE ROYALTIES |
Royalties are paid for all performances by headliners and opening acts in the 200 top-grossing U.S. concert tours, as well as selected other major live performance venues. Live performance payments commenced in 1993. | Commenced paying on live concert performances in 1996. |
| COLLEGE RADIO |
Has surveyed and paid on college radio performances since 1979. | Has surveyed and paid on college radio performances since 1989. |
| INTERNET |
The first American performing rights organization paying its composer, writer and publisher members for music performances on the Internet beginning in June 1997. ASCAP's EZ-Eagle™ Internet licensing tool identifies highest value music sites, captures song title information, identifies user and automatically sends licensing materials. EZ-Eagle™ can also decode watermarking technologies and provides a technical partnership with Cyveillance, the leader in intellectual property monitoring for the Internet. |
Some payments to affiliates made in 1998 for performances on the Internet. BMI MusicBot™ Version 2.0 links song titles found on the Web with the names of the works' songwriters and music publishers. |
| SPECIAL DISTRIBUTIONS |
Where substantial moneys are received in a current year for prior periods, ASCAP has included those moneys in special distributions. These are designed to direct the royalties received to those members who had performances in the years in question. Members of foreign societies participate in these distributions. Special distributions have been made from moneys received from the ABC, CBS and NBC television networks, local TV stations, MTV and HBO, among others. Specific explanations are forwarded to all members as to how their shares of the overall distribution were determined. | When retroactive moneys have been received by BMI, they generally have not been paid out in the form of special distributions to writers and publishers who had performances during the periods for which the moneys were due. Where special distributions have been made, little information has been provided as to how each writer's and publisher's royalties were determined. |
| FOREIGN PERFORMANCES |
Through agreements with foreign societies in the major countries of the world, ASCAP receives royalties for the performances of works written by ASCAP members which are performed in foreign countries. In 1999, ASCAP collected for its members $134 million in foreign performance income. ASCAP also collects for foreign society writers and publishers for performances of their works in the U.S. and forwards those moneys to foreign societies for distribution to their members. (See: The ASCAP International Advantage) | Has agreements with foreign societies for the payment to BMI of royalties due affiliates for their performances in foreign countries. Does not publish foreign financial data. Forwards U.S. money to foreign societies for distribution for U.S. performances. |
| RELATIONS WITH FOREIGN SOCIETIES |
Agreements with practically all foreign societies provide that ASCAP licenses their repertories except for works specifically excluded. | In most countries of the world, works go into BMI repertory only on specific request |
| WRITER AND PUBLISHER INVOLVEMENT |
Writers and publishers elect the Society's Board of Directors and a Board of Review. Writers and publishers sit on advisory committees which meet periodically in New York, Los Angeles, Nashville and Miami. Open membership meetings in New York, Los Angeles and Nashville. | Writers and publishers have no say in the running of BMI. |
| TREATMENT OF WRITERS AND PUBLISHERS |
All ASCAP writer and publisher members are treated alike, from the newest member to the most established member. Members are paid based on performances, not who they are. All similar performances are similarly credited. Members who have a complaint about the Society's distributions to them or the application of the Society's rules may seek relief from the Board of Review. (See: The ASCAP Advantage.) | No obligation to treat all writer or publisher affiliates alike. Affiliates aggrieved by rules may seek arbitration, with loser liable for both parties' legal fees. |
Watch this space for a comprehensive article on booking. It will take alot of time to get it written.
In the mean time, please enjoy this article I lifted from theJust Plain Folks newsletter. It's written by Derek Sivers (The president of CDBaby.com. I thought it was brilliant. It addresses the challenges of booking in the college market (a much overlooked revenue stream for touring musicians). Get yer coffee sugared up and give it a read!
WHO DOES THE HIRING AT COLLEGES:
One thing to get straight: don't confuse college radio with college gigs. The kids that run college radio are the real music fans. The ones deeply into music for music's sake. But the ones with the big budgets for entertainment and activities are called the "Student Activities Office."
These are usually made up of the girls in pink sweaters who won the election for Class Treasurer in high school. (Think Reese Witherspoon in the movie "Election.") It's a very play-it-safe environment because they want everyone (yes every last person) to be happy, so they can get reelected.
This means that the Student Activities Office wants to hire the most fun, safe, lively, crowd-pleasing entertainment possible. Whether it's a hypnotist, comedian, rubber sumo-wrestling suits, the guy that brings the exotic lizards, a famous talk-show host, hot-wax hands, a magician, or musician - they just want entertainment.
When approaching them, you need to emphasize what a safe bet you are. Your marketing should be filled with testimonial quotes like:"One of the finest performances we've had here all year!" - the College of St.Angus."...the crowd couldn't stop laughing at his lyrics!" - the Thirsty Whale."A real joy to work with - we can't wait to have her back!" - Siberian Sunbathers' Convention.
Your bio should mention all the awards you've won, and what big-mainstream-media sources have also recognized your talent.
IT'S NOT GLAMOROUS:
Ask anyone who's done over a dozen college gigs without a big track record. You often play at lunchtime for a depressing cafeteria of stressed-out students who are trying to study, and scowl at you for disturbing them. But at least you get paid afterwards. Some actual situations I've had:
Their contract said they had an adequate P.A. system but it turned out to be a tiny microphone that plugs into the wall for the principal to address all classrooms. (I did the gig anyway, and sang into it.)
We drove 22 hours for a $4500 gig in Arkansas, but they forgot we were coming, so we played to 8 people in a backyard in 40-degree weather. (Fingers numb.)
In a big echoey gymnasium, having to set up next to the noisy cotton-candy machine, because that's the only power outlet in the room.
AN EXAMPLE:
See my diary
from two typical weeks on the road, here:
http://www.hitme.net/tourdiary/
IT'S NOT A PERFECTLY-SCHEDULED TOUR:
The idea of a
real "tour," where you cross the country in a perfect
line, rarely happens. The way I was able to make a full-time
living out of it was by saying yes to everything.
Ohio on April 8.
Connecticut on April 9th.
Michigan on April 10th.
Maine on April 11th. No problem!
Play for 2 hours. Drive for 14. Play for 2. Drive for 16. Repeat
and fade....
Another scenario: You live in New York. You mail your flyer to colleges from Florida to Maine, imagining a nice long tour. Instead you only book two gigs: one from South Carolina, one from New Hampshire.
Because of this, doing the college circuit on the East Coast is a lot easier than doing the West Coast. There are 500 colleges within an 8-hour drive of New York City.
BUT YOU'RE A ROAD-DOG, RIGHT?
- You can perform in any situation, right?
- Your guitarist quits the night before a gig, and you've got another guitarist to take her place, right?
- You've got enough money to pay for your own transportation and hotel both ways, in case something goes wrong, right?
- After driving 14 hours, you're clean, lively, and friendly, right?
- When they change their mind at the last minute, and want you to perform at 11am instead of 11pm, you roll with it, right?
- When the drunk frat boys heckle you, and run their "play some Skynrd!" joke into the ground, you keep your cool and do your best show possible anyway, right?
- You know plenty of crowd-pleasing cover songs for emergencies, right?
- You've played in the cold with numb fingers, sang full-voice at 9am, and can do three 2-hour shows with no break in one day, right?
- If not, prima donna, this is not for you.
THEY USUALLY BOOK LONG IN ADVANCE:
Rule of thumb: they book the Spring semester in the Fall, and the Fall semester in the Spring.
Exceptions: I always booked a lot of April shows in February, and December shows in October. But these are usually the smaller "last-minute" shows.
Secret: June is a great month to contact the colleges. The staff-employee, the Director of Student Activities, is there working for the summer when things are quiet. This is a good time for her to book some "Welcome Week" entertainment for the end of August and beginning of September.
CONSIDER BEING FLEXIBLE IN YOUR SIZE:
I mainly got into the college market to promote my 5-piece funk band (Hit Me). But I figured since I was going to spend all that money on membership fees and marketing, I might as well make some other ways to book me, too. So I made:
for $1000, the
5-piece funk band
for $600, the acoustic two-person version (me & one other
band member)
for $450, me alone
and as an afterthought, I made the Professional Pests, where
I would run around campus in a black fabric bag, bothering people.
Price? $1500. See it here: http://www.agentbaby.com/artist/pests
(Of course the Professional Pests got as many bookings as my
musical acts.) Point being, I was able to work with any budget
they had. Of course I wish they could always book my $1000 full
band. But if not, I could always sell them on the scaled-down
version.
ABOUT NACA AND THEIR CONFERENCES:
There's an organization called the National Association of Campus Activities (NACA) that puts on conferences where all the Student Activities buyers can get together to check out showcasing talent. Their website is http://www.naca.org
It's VERY hard to get a showcase spot there. You're up against the best-of-the-best that are spending thousands on making a super-professional video submission. Artists on the Billboard charts, performers with 20 years of college experience, comedians from Saturday Night Live, etc. Everyone puts together a great 3-5 minute video of their live performance sampler. Quality matters. Edits matter. That's a whole 'nother subject, though. In short: your video needs to be amazing. Once a year (summer) you can submit it for showcase consideration. Out of ~250 submissions, they pick ~20.
And it's expensive to get involved!! First you have to be a NACA member (~$300) then buy a booth (~$200) then a registration (~$125) then a submission fee (~$50) and after all that the odds are 19 out of 20 that you'll be rejected. But if you get accepted, a showcase-acceptance fee (~$150), then the cost of going and playing (~$500). Now I'm not complaining. I don't think NACA is getting rich. This is just what it costs to do everything they do.
For my band, I submitted for three years, (and spent $20,000 doing it!) until I finally got a showcase spot. But once my band played on that mainstage showcase on the opening night, we booked 30 gigs at about $1000 each, right there on the spot. (Another 100 or so over the next year.) So it CAN all be worth it if you're really going to commit to this and really think it's your thing.
On the other hand, some people spend years trying to get a showcase, finally get one, and don't get any gigs from it. My band was a VERY fun-party-crowd-pleasing band. I think that's why we did so well.
NACA OR NO-NACA?
Every month, I would send out flyers to the Student Activities buyer at every college in my area. My advice on making a good college flyer is here: http://cdbaby.org/collegeflyer
Out of the 350 schools that hired me, I think over 200 of them came because of my flyers. Which made me think if I had to do it all over again, I might just skip the NACA conference completely, and save the money to spend on marketing methods that go directly to the college buyer.
You can see that in my older article, here: http://cdbaby.net/derek/college.htm
My advice: If you are considering doing the college scene, start with the mailing list and sending flyers. Get a few shows that way, and see what you think. If you love it, and want to commit years to doing it, no matter what the startup expense, then either join NACA or get a NACA-friendly booking agent.
TO GET THE MOST UPDATED DATABASE OF COLLEGES:
I still constantly maintain an updated database of 2880 colleges around the USA and the full contact info for the exact person at each school that is doing the hiring of entertainment. I sell it for $75, which includes free updates for as long as I have them.
Buy it here: https://www.cdbaby.com/artists/
TO GET A BOOKING AGENT, IF YOU DON'T WANT TO DO IT YOURSELF:
The booking agents
that work with the NACA scene are all listed right here:
http://www.naca.org/naca/servlet/dsite?Transaction=naca_MemberLinks
About Derek:
Derek Sivers
is the founder of CDBaby.com and Hostbaby.com. But then you probably
knew that by now! If you have a CD to sell and it's not on CDBaby,
check them out today!
Q. What's
your thoughts on booking agents in the Houston area? Who's good
and what's 'typical' fee they work for? Maybe more specific,
who'd be good for Jen's style of music?
A.
I haven't personally worked with a booking agent in Houston -
I've always done it myself.
But from what I gather from the pros is this:
1) Booking agents can range from 10-35% of your gig fee. Make sure they have a list of their current clients and venues to show you, and then call or e-mail those refernces to ask how they enjoy working with the agent. Does the agent actually visit the clubs they book? Do they have an exclusive agreement with that club? Will the agent be willing to work with contracts?
2) Most booking agents here in town aren't really into original music, but if she can stomach doing cover gigs for awhile, I'm sure they could get her placed into venues that will at least pay the bills.
3) Since she is a keyboard player, she will be able to get a referral to a reputable agent from the Piano Entertainers Guild here in town (if she joins). http://odin.prohosting.com/~peg2001/.
Q. "I want to play gigs outside of my usual area - how do I get started in booking myself to clubs and venues in other cities if I don't know anyone?"
A. My best suggestion is for you to surf the webpages of local artists similar to yourself. Take a look at where they are playing. Then submit your presskit to those clubs. If they like the other artist, they might be inclined to like you too.
You should also pursue radio play in those towns before you book your gigs. If you have no fan base and no history there, why in the world would a club owner book you there? If you at least had radio play, you could demonstrate to the owner that you are doing your homework on his market and putting forth the effort. Call that station (if they are not top 40) and try to arrange a live on-air performance. For a list of independent radio stations, visit the Texas Music Office's radio database located here.
The most important tool any touring musician has (next to their rolodex) is their presskit. Get one. If you don't know how to make one, take a look at my on-line kit here. Also read the section in the database about presskits. Now get to work!!!
Seek recommendations from other musicians. Don't pay more than 15%.
Learn to do this yourself before hiring someone to do it for you.
Visit the venue and ask yourself these questions:
- 1.Do they have
good service?
- 2. Is the venue really interested in promoting their acts\with real advertising?
- 3. Is this a place you would want your fans to come to?
- Then do the following:
- 1. Call the venue to ask who their entertainment director is, make an appointment to talk to that person when they are not slammed with work.
- 2. Ask for 10 minutes of their time and have a great looking press kit. They want to know that you will work as hard as they do to make the gig a success.
- 3. If you want to learn more about the booking business and touring in general, I recommend the book, "All Area Access" by Marc Davison. You can get it on Amazon.com. I refer to my copy all the time.
- 2. Is the venue really interested in promoting their acts\with real advertising?
"Songwriters' Capital Gains Tax Equity" Act Introduced Today
FOR IMMEDIATE
RELEASE
Wednesday, February 4, 2004
For More Information
Contact:
Barton Herbison (615) 256-3354 or (615) 390-5678
"Songwriters' Capital Gains Tax Equity Act" Introduced
Nashville Songwriters Association International promotes legislation to change age-old tax inequity
Washington, DC — Representative Ron Lewis (R-KY), a member of the House Ways and Means Committee, today introduced legislation to correct an age-old inequity and to allow songwriters to claim the Capital Gains Tax Rate when they sell their “song catalogue.” Senator Jim Bunning (R-KY), a member of the Senate Finance Committee, will introduce a companion bill in the United States Senate and serve as the lead Senate Sponsor. The “Songwriters' Capital Gains Tax Equity Act” will apply only when a songwriter sells the royalty stream on a group of songs (“song catalogue”) and will not apply to ordinary royalty income.
The Nashville Songwriters Association International (NSAI), established in 1967 and with more than 100 chapters around the country, is the world’s largest not-for-profit songwriter’s trade organization dedicated to serving songwriters of all genres of music.
“NSAI wants to thank Congressman Lewis, Senator Bunning and all of the lawmakers who have helped us get this important legislation introduced,” said hit songwriter and NSAI President Bob Regan. “This is something that should have really been changed fifty years ago, and something the songwriting profession needs.”
When songwriting first emerged as a profession in the 1920’s and 1930’s, almost all of America’s professional songwriters assigned their copyright to a music publisher. This means the songwriter did not own the song, receive any royalty payments from a song, nor were they required to participate in any expenses toward exploiting the copyright. Under that scenario songwriters receiving Capital Gains when a catalogue was sold was never an issue.
However, with the advent of radio in the 1930’s, and television and popular music in the 1940’s and 1950’s, the business model evolved dramatically. Today most successful songwriters will be involved in one of two business models. (1) The songwriter and music publisher are equal, joint-venture partners. This is called “co-publishing” and finds the writer and publisher equally sharing expenses to exploit the copyright (demo costs, legal fees, etc…) and equally sharing in any royalty income, or, (2) The songwriter IS the music publisher and bears ALL of the expenses toward exploiting the copyright. Under either scenario the songwriter should be eligible for Capital Gains just like music publishers.
“We have lost more than HALF of America’s songwriters over the past decade due to Internet piracy, corporate mergers and de-regulation of radio,” said NSAI’s Executive Director, Bart Herbison. “NSAI is focused on changing many age-old laws that unfairly impact songwriters.”
Songwriter royalty income is the only income stream in this country where the federal government both sets the amount of payment to a songwriter (for example: currently 8 cents each time a record is sold) and the only profession where the federal government says the royalties must be paid immediately after they are collected. A songwriter may go for years with little or no royalty income, have a big hit, then be subjected to disproportionate tax payments because they MUST receive their money immediately after it is earned. Unlike songwriters, book authors and other creators can NEGOTIATE their payments and spread payments out over a number of years for tax purposes.
“The average songwriters annual income is only $4,700,” Herbison continued. “Since songwriter royalty income is subject to such unique rules, we have to make Members of Congress understand our unique situation.”
.............................
(Original Signature of Member)
108TH CONGRESS
1ST SESSION H. R. __
To amend the Internal Revenue Code of 1986 to provide capital gains treatment for certain self-created musical works.
IN THE HOUSE OF REPRESENTATIVES
Mr. LEWIS of Kentucky introduced the following bill; which was referred to the Committee
A BILL
To amend the Internal Revenue Code of 1986 to provide capital gains treatment for certain self-created musical works.
Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled,
SECTION 1. CAPITAL GAINS TREATMENT FOR CERTAIN SELF-CREATED MUSICAL WORKS. (a) IN GENERAL.-Subsection (b) of section 1221 of the Internal Revenue Code of 1986 (relating to capital H.L.C. asset defined) is amended by redesignating paragraph (3) as paragraph (4) and by inserting after paragraph (2) the following new paragraph:
"(3) SALE
OR EXCHANGE OF SELF-CREATED MUSICAL WORKS.-At the election of
the taxpayer, paragraphs (1) and (3) of subsection (a) shall
not apply with respect to any sale or exchange of musical compositions
or copyrights in musical works by a taxpayer described in subsection
(a)(3).".
(b) LIMITATION ON CHARITABLE CONTRIBUTIONS.-
Subparagraph (A) of section 170(e)(1) of the Internal Revenue
Code of 1986 is amended by inserting "(determined without
regard to section 1221(b)(3))" after "long-term capital
gain".
(c) EFFECTIVE DATE.-The amendments made by this section shall
apply to taxable years beginning after the date of the enactment
of this Act.
Q. I guess my first question is about copywriting songs b/c I am paranoid about going to open mics or songwriter's meetings and having someone rip off my amazing ideas.
A. Formal copyright protection means less and less these days. It seems like artist's songs are being posted to file sharing services against their will, and there's not much you can do about it. That is the risk we take when we reproduce our music digitally.
However, in the case of open mic performances or songwriters meetings, the risk is quite small. Most of the songwriters who attend them are not there to swipe ideas or do anything more than display their works and garner applause. It is the songwriters who appreciate the risks of this exposure the most.
When you play at an open mic, you automatically generate a room full of people who can stand up and say they saw you sing it first. This is considered a form of 'publication'. After all, the best form of copyright protection is to be the first to be seen and heard playing the song!!
When you submit your song to a songwriters association for peer review or 'critique', the whole room understands that your works are protected. In fact, your name, idea and title of your songs would be published in that group's monthly newsletter. The Houston/Fort Bend Songwriters Association publishes crituque results in their newsletter that you can find here. In effect, they are certifying a copyright date *for* you.
Don't hide your light under a bushel. Let it shine for the benefit of us all!
The SoundChick Sez:
When you submit a song for copyright to the Library of Congress, send it via registered return receipt mail.
Hang onto the green receipt until you get your certificate back.
This receipt acts 'in lieu' of a certificate during the eight month backlog.
BTW - here is a link to the Library of Congress' Copyright office and the copyright form!
You can place 20 songs on a single form for $30.00!!
Songwriting Contests
No question was submitted for this category - I just felt like airing my pet peeves about SONGWRITING CONTESTS:
| After receiving about the 500th solicitation for a song contest, I came to the conclusion that most of them are a big rip-off because: | The SoundChick Recommends: To make it fair for everyone, here is how I would re-write the left: |
| 1) the value of the prizes often don't exceed the value of the entry fee (often up to $100.00 per entry!!) | 1) The entry fee should be low (no more than $10.00) and the prize money should be proportinate to the number of songs that are submitted. Of course, if corporate sponsorship is involved, this could be a better ratio. |
| 2) Contest prizes are usually a cheap guitar or a cheap recording device. (Which the songwriter probably already owns). | 2) What the songwriter wants is MONEY! |
| 3) Winning a songwriting contest does not open any doors in Nashville (or anywhere else) | 3) Openly state that winning a songwriting contest does not open any doors. |
| 4) Most contests take no consideration for other skills (vocal ability, production quality, instrumentation) | 4) The contest should award prizes for vocal ability, production ability, etc... share the wealth! It increases the odds of winning *something*! |
| 5) The judging criteria are rarely disclosed. Judges are undercompensated and overtaxed by thousands of entries. "Teams" of unpaid and unqualified judges cause inconsistency in evaluation quality. | 5) The judging criteria should be based on guidelines similar to those set forth by the Nashville Songwriters Association, (or other recognized entity) and provides these criteria with the entry form. Also, the number of judges should be limited and they should be paid on an hourly or per song basis. |
| 6) the Judges names and qualifications are not disclosed. | 6) The Judges names STILL not be disclosed, but their qualifications should. Judges can be harrased before, during and after the contest!! |
| 7) The distribution of contest entry fees is not disclosed. | 7) The distribution of contest entry fees should be completely explained. |
| 8) The contest administrators do nothing with the song once the contest is over, OR they may use the song without compensating the writer. | 8) The contest administrators assist the winner with whatever advice and distribution that they can, and offer the writer a contract for any use they may have in mind. |
| 9) Some contests have over 50,000 entries!! | 9) Limit the contest to the first 500 entries |
| 10) Writer ends up spending too much money on mulitple cassettes/CDs and postage. | 10) Writers could submit entries via MP3 format, instead of expensive mailers |
| 11) Writers never know how many submissions were made or who made them. | 11) A list of writers names and states be provided during contest |
| 12) Writers never find out why they lost. | 12) writers can ask for a critique for an additional fee or have some explanation why they lost (this is not as bad as it sounds -) |
Cover Vs. Original.
Hello TC,
I am part of an acoustic duo. We have been together about 6 months and have about 50 cover tunes. I never really got into songwriting. I was wondering if there are any songwriters out there who are not actual performers and/or who would be interested in having someone else sing their songs.
In order to recommend writers to you, I'd need to hear more what you sound like. The background clip on your site didn't have vocals on it, but your bio had some good references. If you could link an Mp3 to me, that would be helpful. I'm certain that most local writers would be delighted to have you perform their tunes, as long as you do two things:
1) if you record their music, you must pay them the standard eight cents per unit sold; and
2) mention who wrote the song after you perform it.
You can find lots of talented local writers by hanging out in the places that they do - at original music venues and open mics (more on that below). You can also join the local writers groups - The Houston Fort Bend Songwriter's Association The Houston Association of Acoustic Musicians, www.MyTexasMusic.com, www.OutboundMusic.com and the Houston Chapter of the Nashville Songwriters Association .
As far as music venues in Houston, - There are three kinds -
1) regular tavern gigs, (like Ron's) where the crowd has no patience for anything they don't already know. You can sneak some originals in, but they have to be every bit as slick as what they'll get from a juke box. Examples: Ron's Pub, The Bull and Bear Tavern, Big John's Ice House, and most restaurants.
2) listening rooms - Nearly 100% original material, and cover music is (can be) frowned on, unless it's so obscure that no one would know the difference. Examples: McGonigel's Mucky Duck, Anderson Fair, most house concerts, like the Songwriters Sanctuary.
3) hybrid venues where original music is accepted in varying ratios, depending on the tastes of the club's owner. Some of these places are happy with no more than 30% original, others can take up to 100%. Examples - JP Hops House, The Vintage Bar, Dan Electro's, Rudyard's.
In my opinion, there are more than enough music venues in Houston to keep everyone gainfully employed, but the trick is to make sure you know how much other bands are being paid. You don't want to underprice yourself just to get a gig, or other musicians will not be happy with you. The Houston msuic market is currently paying an average of 100.00 per band member per night. I cite one case of an open mic host who was having a hard time for several years. On his own, he drove the price of an open mic host from 150.00/night down to 40.00. We are still suffering from that.
The easiest way to get a gig from the clubs in categories 2&3 is to go play the open mic in that venue. A comprehensive list of those can be found at http://www.soundchick.net/openmic.html . Most venue owners work their bars 24/7 and cannot come out to see you and don't have time to review press kits. (Although a great press kit is absolutely necessary in many cases).
Critiques
My son is cranking up a music career singing Americana music. He and I both write. He sings well. I don't. He should be wrapping up a demo CD in the next 4 - 6 weeks (finally). I'll probably join HFBSA soon. I know that song reviews are something I can get there (and I need that). But I'd also like to help him find sources for honest performance critiques (for now, just the songs as recorded on the demo CD). Do you have any suggestions for me?
Hi there!
I can review your son's work. As a full time performer, I can
offer my opinions on stagecraft, commercial value, vocal delivery
and image. As a sound engineer, I can also offer feedback on
the production value of the recording and mastering. The HFBSA
can also assist, but you need to make sure they know the the
critique will be 'production only'. Otherwise they may suggest
song changes that you cannot (at this point) make!
You can also get free feedback from booking agents, club owners
and other performers. Just make sure your son is not in the room,
so that they are free to express what they really feel about
the music. There may be critisisms that artists find very hard
to accept. Just make sure to ask these folks for an appointment
during a time of day that they are not terribly busy. Post-lunch
seems the most obvious time to ask for.
Q. Is a home recording sufficient for submittal to Taxi.com or is it better to wait for a high quality sound and look?
A. Your home
recorded stuff will be just fine for demo submissions. Save your
commercially-packaged CDs for selling. If you must, burn a song
or two off the new recording and submit that with abbreviated
packaging. But like I said, don't spend the money on the Taxi
membership until you run across the 'perfect' listing. $300.00
is nothing to sneeze at.
Also, with each listing you will have to decide whether she is
submitting as a 'writer' or an 'artist'. Can't always be both
except for the singer/songwriter listings. Pick a hat and wear
it (for each listing).
Q. What recording
studio do you recommend for DEMO development? And what is considered
a fair price?
I can recommend the following studios for demo development (having
worked in all of them). White Cat Productions, Buzz Smith, Heights
Sound, Sonrise and Sugarhill. Hard to say what a 'fair price'
is for a song, since I don't know the level of production you
are after. (drums and backing vocals or just a guitar and vocal?)
Most simple voice/guitar demos will take about 1-2 hours to record,
maybe another hour to mix and master. If you are thinking about
bringing in session players, then songs will take longer - even
up to 15 hours depending on the arrangement. It really depends
on the speed and skill of the musicians you use. There is a reason
that Reba McIntyre doesn't use her road band for recording. Being
a session player is an art!
The SoundChick Sez
Before recording your demo,take the soundclass offered by White Cat Productions. It can save you thousands on the cost of a full length album project.
You don't want to go into the studio without being completely prepared. Time is money, folks!!
Before you spend ANY money on demos, be sure your songs are as good as they can possibly be. This is no time to let your pride get in the way. Take your songs to your local Songwriters Ass'n and get them critiqued. 50 heads are better than one!
Digital encoding
Q. How do you get a locally produced CD to look like a record company produced one when you put it in your computer cd player? How do you get the AMG information to show? What does it take to get it on CDDB and have this information available and triggered by the insertion of a local writer's CD?
A.CDDB (CD DataBase)
is an internet based application that displays artist, title,
tracklist, and other music-related information automatically
when you insert a music CD in your computer or DVD player. (A-la
Music Match, MP3.com or RealPlayer) Most commercial music CDs
do not contain any of this information on the CD itself, because
not every mastering or duplication house employs it. However,
if the same CD had been loaded to a specific database before,
the information may pop up as a result of another member's database
entry. When subsequent copies are burned by other users from
that database, the data will be imprinted on those CDs. When
you burn your production master, the information may be encoded
using Protools, or an Alesis Masterlink or similar device, but
the file name sizes are restricted to 8 characters.
There is a better naming convention available in RealPlayer,
which can also write to the AMD section, but I'm not sure I would
want to re-create a master in this fashion, even if it *is* all
1's and 0's. (digital).
Distribution
Q. I'm looking through the Oasis ad to see how to reproduce
what they do for their tools of promotion. One item on their
list is they say "National Distribution at Amazon.com, borders.com,
cdnow, target.com, waldenbooks.com and virginmega.com."
Sounds like a big list right? Well, turns out that -all- the
web sites listed are 'resellers' of Amazon.com. What's that mean?
It means this: I got Jen's CD on Amazon.com for the regular $29.95
annual fee and magically, we're also listed on borders.com, CDnow,
target.com, waldenbooks.com, and virginmega.com.
Amazon charges $29/yr, and to create your 'associate' account
you given them a bank account number so they can transfer funds
from sales at no cost (otherwise it's $8/check they write!) Now
Oasis says "'Free' tools of promotion" does that mean
they cover the $29/yr charge? Do they also create an associate
account for you (with your own bank account numbers??) or is
it through -their- associate account? Very interesting, what
does Oasis actually give you??
Note that the Oasis ad also lists CDBaby and CDstreet, both of
which appear to be separate from Amazon.com (and also have their
own fees structure)
A. Yeah, I've
read through their agreements more than once, and found that
you get very little for your 29.00. They will list your CD, and
hold your stock, but they do absolutely nothing to drive traffic
to your artist page. Distribution without promotion = zero. Why
would a customer click on her link if they had never heard her
before, or at least seen her picture or read a review? If Jen
were signed to a record label even on a development deal, she
would get more exposure than Amazon could give her. They have
to promote their artists in order to sell CDs. The $29.00 fee
covers the administrative cost of setting up the artist page.
99 percent of my CD's were purchased by folks who have seen me
perform, and they bought them from the edge of the stage, or
from my website. I have had a few sales through mytexasmusic.com
during the week that I was featured on their front page.
It seems bleak, but it takes time to develop your fan base, and
solicit radio time from radio stations. It's time for Jen to
reach out to the college radio market. I feel she fits very well
there, even if she's no longer in school.
Our FemTour for 2004 is designed to increase fan base, and booking
out of town. My situation is that everyone in Houston who is
interested in independent music has heard me and bought a copy
of my record. It's time to go after new listeners, even on a
short term loss.
Has she completed a press kit yet?
to answer more
directly - I do not believe that Oasis picks up the $29.00 fee.
I do not know why they can say that their promotional services
are free.
Q. Where can I find a good duplication facility?
A. Duplication choices abound on the 'net, but the cheapest and fastest is TripleDisc.com for runs of 1000 or more. When you get into these volumes, you are buying 'replication', which is to say, the CDs are stamped from a glass master that can be made from a half speed master. For short runs, you would be buying 'duplication', which is the same 'burning' you do on your computer at home.
If I decide not to do that myself, I use Church Cassette here in Houston- They have ultra-fast turnaround, and are offering as number of good specials this month. I don't get commissions from Church cassette.
The SoundChick Recommends:
For Short Runs (500 and less) diskfaktory.com
For Quick Turnarounds Church Cassette
For large runs and custom packaging: tripledisc.com
Q. I was planning to spend about $1500-$1800 for a PA system, including speaker cables and stands (I already have mic's), but I'll spend more if necessary to get what I want. Any help or advice you can give me will be greatly appreciated.
A. Total cost new for the system you described in your e-mail - Powered mixer/head - $699, 2 -12" mains (one used as montor)- $560 - 2 speaker cords - $60.00, 3 mic stands - $90.00, 3 mic cords -$75.00 1 speaker pole - $50.00 grand total of $1528.00.
If you found yourself in a bigger situation, you can use the passive 1/4" 'out' from the 808 to patch into an additional amp and speakers. Very upgradable.
Monitors are optional, but they sure help. You could start with only one monitor , as Gary and I have used that configuration too. It works just fine, but I'm a huge control freak about sound, and I'll bring anything that will fit into my trailer! Let me know if this helps.
The SoundChick Recommends:
Eventually you will learn that sound equipment is worth exactly what you pay. I have successfully shopped on e-bay for many items, but I always hold to this rule:
DON"T SKIMP ON THE BUDGET FOR MICS AND SPEAKERS!
Buy the best you can afford.
Always buy racks and cases for your components.
Q. I'm wondering if I should get one of those 8-channel boxes that will serve my needs for now and worry about bigger and better later on, or get a 12 to 16 channel board (Beringer, Mackie) w/ onboard effects and a 1200 w stereo power amp: stuff them in a road case to move them around. Both scenarios would include 2-way speaker cabs (Mackie, Yorkville, JBL) w/ a 12" or 15" woofer.
A. The decision to use a modular vs. powered mixer depends entirely on your level of comfort with hooking shit up. The two systems we've talked about are comparable in power and features.
The difference is that the Mackie box has all the effects and amps hardwired in. The other difference is price. Your QSC rack amp alone will cost you more than the Mackie box with all of its effects, routing and features. I should mention that there is nothing wrong with buying a Behringer board. The engineers who started Berhinger came from Mackie, and you can see that the Behringer board is a complete knockoff of the Mackie in appearance and design. The difference is that Behringer does not hold the patent on Mackie's super-quiet mic pre's - the trademark of that super-clean Mackie sound.
Q. I am a DJ with a standard setup(Technics, 3 ch. mixer). For sound, I have a Crown CE1000 and two powered JBL EON 15". My question is whether or not it is OK to run the signal from the mixer first to the Crown and then out to the JBL's. For my needs, the volume I get with the JBL's alone isn't sufficient. Using the amp I get better volume but I'm afraid I may have damaged the speakers becuase of it but I really don't know. Could you be so kind as to give me just a general rundown explaining the basics about how to achieve the loudest, cleanest sound with what I have. Also, what should I have the level set to on the amp and what is the best way to control the overall volume on the mixer?(ie. gains, input sliders, or master volume knob) How can I know if I have damaged the JBL's for sure? Help! I'm stressing with all this expensive crap that I'm afraid I'm destroying with my addiction to ear splitting volumes. Thank you so much fo! r your time.
I hate to say
it, but I think your speakers and/or your amp might be toast.
They are not meant to be used together.
Reason #1: The input jacks on your particular speakers are designed
to accept a 'line level' input, which is measured in milli-amps.
Your Crown amp pushes about 15 amps if run full-out, as opposed
to your mixer which delivers about 0.0015 amps. I am surprised
it worked at all.
Reason #2 - Your Eon spekers are already powered. They *are*
amplifiers. Run one amplifier into another and you get .... toast.
Your total volume is limited by the wattage of your amplifiers
(in this case, your Eon Speakers). It cannot be increased. However,
if your master output level is always higher than your channel
levels, then distortion is less likely. It would be cleaner this
way.
Sorry to give you bad news.
Q. I know you have been following this FCC stuff and so have I, to a point. From what I can guess from what little I have paid attention, is this all about preventing bigger radio companies from buying smaller ones? And/or is there more to it ? And, is there any pressure on KPFT to sell to a bigger company?
Hi - this is long - hope you have some time.
The FCC's role is to regulate the use of the public trust we call 'radio waves'. No one owns radio waves. But the government can regulate their use, since they can't physically control them. They do this to protect communications networks from unlicensed pirate signals, to prevent the neighbor kids' walkie talkies from transmitting over the heating element in your toaster-oven, or cell phones from disrupting radio traffic on airplanes, etc..However, it also protects you from evil independent musicians like me.
Every few years, radio stations are audited by the FCC to ensure that they are serving the communites from whence they derive their income. In this audit process, the radio stations must advertise when and where the public can make comment to the FCC regarding how well they are doing their jobs. Typically, the spots are made in the middle of the night as to discourage any real public input. They can't afford to have even one complaint, or the station has to have a real public hearing.
Slowly but surely, small TV and radio stations have been selling their licenses to larger companies that have stations and newspapers in the same broadcast area. In this way, most local retailers and businesses find themselves writing checks to the same entity for their advertising bills. Also, record companies find that if they select the right 'family' of radio stations, they are likely to get more radio play for their artists than if they had solicited small stations individually. They get more airtime for fewer ad dollars, since the ad packages often cover both AM and FM stations, and newspapers/magazines in the same market. That's why you only hear 17 different songs on a 'top 40' station. They select a different 17 songs every Tuesday, based on record sales numbers provided by SoundScan and the BillBoard record charts, in the hope that this type of music will help their advertisers to sell more beer or insurance. If a station bucks the format, the advertiser will take their dollars elsewhere.
Small radio stations cannot offer this 'bang for the buck' level of service. They die out pretty quick, but they can make alot of money in the end, because each radio license for a particular frequency is worth several hundred million dollars. They are worth this much because all of the available frequencies in major metropolitan areas are already in operation. There are a limited number of frequency licenses, a limited number of broadcasting minutes, and therefore high demand.
When this much money is at stake, media companies are unwilling to take a chance on any programming that is 'edgy' or takes any chance of falling outside the very lowest common denominator. Independent music pushes this envelope all the time, and is largely regarded by the media as being 'high risk'.
The June 4th decision made by the FCC allows major media to purchase up to 45% of radio waves in major market areas (up from 35%) as well as run any number of newspapers totalling 45% of circulation for that area. This means that nearly everything you see and hear is corporate owned and operated. Folks like Ted Turner are essentially in charge of how news is reported (or NOT reported). He also gets to pick what music you hear and what kind of beer you drink while dancing to it. Through this kind of media control, he can even tell you *how* to dance to it. This makes Big Brother very proud.
KPFT (through the Pacifica Foundation) is always under pressure to sell to big media. In today's market, the 5 Pacifica FM stations could be worth a billion dollars! Fortunately, Lew Hill (Pacifica Founder) saw this coming, and created the Pacifica Foundation, which is owned by itself and accountable only to it's listeners. If Pacifica went under, the whole shooting match would be sold and the proceeds would end up in a trust for wayward cats, or some such. As long as Pacifica can stay out of debt, little folkies like you and me have a shot at getting airtime.
So, contact your federal representative and complain. It's not too late to have the decision rescinded.
The next best thing is to hassle your local top 40 station to play local music.
Q. Some acoustic/electric guitars seem to be more prone to feedback during live performances. I've notice that some performers use a soundhole cover to limit feedback. It seems sort of counterintuitive to stuff something in the soundhole, but apparently it works. What has your experience been and are the other rememdies besides a soundhole cover? The problem seems to be aggravated with multiple mic setups - but are certain pickups/interior mic set-ups more prone to feedback than others?
A. Feedback is created when the resonant surface (the face) of the guitar vibrates in phase with the sound coming from a floor monitor or other loudspeaker. The cause of this sensitivity is excessive 'gain' recieved from the guitar's pickup or internal microphone.
There is a difference between 'volume' and 'gain'. When you turn either of them up, they both appear to make your guitar sound louder - and it does -but:
1) 'Gain' controls the amount of signal taken from the guitar and delivered to the mixing board (gain is also called 'input' level). If the gain is set too high, your guitar will feedback through the speakers even with the slightest amount of volume applied to the front of house or the monitor wedges. It will be most prevalent in the monitors.
The SoundChick Recommends:
If you have the budget, I love the LR BAGGS guitar Pre-amp.
Learn to use the notch filter. This way, you can turn your guitar up as loud as possible, during soundcheck and 'dial out' the offending frequency.
It also has XLR and 1/4" outputs, which are very nice when you find out you left your regular DI box at home.
SOLUTION #1
Cut back on your gain until the board reads 0db input (about
midway up the response meter), then slowly bring the 'volume'
up in the monitors and then the front of house. This is a very
effective way to eliminate feedback.
SOLUTION #2
Stuff something (like a rubber feedback buster) in the sound
hole. This works because a) you are interrupting the 'loop' by
preventing the intense sound from reaching the guitar's internal
mic or pickup. and; b) you are dampening the amount of vibration
created on the face of the guitar. This only goes so far though,
as sometimes the vibration is so intense that it is transmitted
directly to the bridge of the guitar and recylced through the
pickup without any assistance from the internal mic.
SOLUTION #3
If you are using a 'blender' type pickup, swing the blender all
the way to the 'pickup' end of the switch. Remember, the internal
mic is pointed directly at the monitor wedge. Would you point
your vocal mic at a wedge?...Didn't think so... I hate blender
pickups. The quality of sound you would get from the internal
mic is completely defeated when you are forced to turn the gain
back so far that the 'detail' frequencies are lost. Stick with
a pickup or outboard pre-amp.
If you simply *must* have a blender pickup, I can recommend the Highlander IPX-2. Pricey, but wow are you gonna love it. Otherwise, get a regular Highlander IPX-1 (no internal mic) Your soundman'll love it.
My personal pickup is a Fishman Pro-EQ outboard unit.
I wasn't asked about this, but I felt it was important anyway...
When I go shopping for used gear, I use a number of sources. I cruise local pawn shops, used gear departments at music stores, electronic repair places, e-bay, the newspaper, - all of the places you might find used gear. Trouble is, the gear is not guaranteed to work, and sometimes I have to have it serviced right after purchase.
You shouldn't be afraid to do this. In fact, there are some great pieces that just aren't made anymore. (e.g. the Ashly SC-68 8-channel parametric notch filter - *I grunt like Tim Allen when I look at it!*) You won't find these pieces in the Musician's Friend catalogue or the Sweetwater book.
For the sake of argument, let's say you're shopping for a 1984 MaxiBlast Steam-powered, Analogue Wheeze-eliminator. They used to cost $400.00 when they came out, but Maxi-Blast went out of business (let's hope!) and now you need one.
Start thinking like a pawnshop owner. Whack 75% off that price for the same piece used. So now you have a target area of $100.00 for the item, plus shipping (30.00) and repairs (100.00). If you are shopping in town, you can eliminate the 30.00 shipping charge.. Now you have a $200.00-230.00 total budget. See how fast 25% becomes 50%? You begin to understand....
The SoundChick Sez:
Buy the best you can afford.
Always buy racks and cases for your components.
Use the e-bay escrow service
Leave room in your budget for repairs
Stick to your budget
Can it wait? - THEN WAIT!
Will it improve your sound quality by at least 15%?
If you are using e-bay, begin by looking up your item by using the titles and descriptions check box. If you get several hits back, re-sort your search by the "ending first" filter. Enter each item page and click on the "Watch Item" link. Do it for all of them ( to a max of 30 items). You are not buying it yet, and don't worry, more will be posted - believe me!
Wait for all of the auctions to end (maybe 4 days) and revisit your "I'm watching" page. Record all of the ending prices, but exclude the items that did not get a bid.. Revisit each page and record what the shipping charges were. Then average the ending bids and shipping charges. This average will become your price ceiling for the item itself and for it's shipping. Period. Then research the item and bid on them one at a time at about 75% of your average estimate. Do not place concurrent bids, or you may end up owning two!!
Take advantage of the e-bay insurance plan and the escrow option for big ticket items.
Q. Everytime I try to fly to Nashville with my guitar, I have to argue with the ticket counter about putting the guitar on the plane, it even if I offer to give up my carryon bag. I have a hardshell case, but I still don't trust the baggage handlers to keep it in one piece. Is there a kind of flight case made that I can trust?
A. My flight case is made by Hafer Case in Richmond, Texas. They make all the tour cases for Destiny's Child and the Back Street Boys. Mine is ATA certified and has casters, a retractable handle and recessed hinger and latches. HOWEVER - if you can't get a case like this, you'll be pleased to hear that airlines can no longer prohibit you from carrying your guitar onto a plane. In fact, you get to keep your carryon too. Print the document here and take it with you. Some airlines like to pretend it doesn't exist, but they still have to recognize it. It's a memo from the Transportation Safety Administration that gives you the right to carry your instrument onto a plane. We can thank the American Federation of Musicians for this victory.
Q. All this PA gear is really heavy and I end up looking like crap right before I have to play. I would also like to keep the weight of any individual component to 50# or less. What can you recommend?
The SoundChick Sez:
For God's sake!! Get a Rock-n-roller cart!!
Fer Christ's sake Get a speaker pole bag! I hate it when those things fall off the cart during load-in.
Invest in dolly boards, and if you buy a trailer,try to get one with a ramp door and interior lighting. Also, the larger the tires, the softer the ride for your gear.
A. The mackie box we talked about in your e-mail weighs 36 pounds. Each speaker (4 incl monitors) weighs about 40 pounds for a total of 196 lbs. Takes about 10 minutes total to get the speakers on the sticks, and plug them into the back, add mic /guitar cords and YOU'RE DONE.
The modular system we talked about has a 21lb QSC PLX amp (pretty light!), but add the 30 lb gigrig, another 25 lbs of effects boxes, EQs, 4 speakers, Mixing board and you get a grand total of 246lbs. Add cord bag weight to both. Let's talk about time, too... Add 30 minutes to hook up your speakers, plug the mics/guitars into the board, the board into the eq, the sidechains into the board, the EQ into the amp, the amp into the speakers.
Did you remember to bring moist towlettes and hairspray?
A Better Way to String Your Guitar
Q. I got a question!!!! What books/websites/publications do you recommend for novice small houseconcert/coffeehouse producers/promoters???
I've been trying to search out some good books/websites/publications and so far have come up w/ very little. Mentoring is somewhat helpful, but I would also looooooove to have some reading material, esp some that include comprehensive checklists.
A. The House Concert Circuit has grown exponentially with the rise of the drivel we call 'top 40 radio'. Songwriters are clamoring for better venues to play, and their fans have risen to the occasion by offering up their own homes as showcase venues. Because house concert audiences are so discerning, you don't need much for good sound either. One example of a good system is described here.
There are a plethora of resources available to learn how to put on your own house concert, and here are a few:
http://www.houseconcert.us http://www.houseconcerts.org http://www.houseconcerts.com www.ifolk.org/hc/ www.jrp-graphics.com/houseconcerts/resources.html www.alihandal.com/body_house_concert_faq.html folk.mountaintracks.com.au/Folk_Australia/ article_links.html
If you're reading this, you can probably already sing. (Keep reading even if you can't). If you're reading this, you probably already have the nerve to get up and perform for the public. If you're still reading this, then you are probably having trouble with your voice.
Guess what? November/December is the worst allergy season for vocalists. It’s because of the cedar pollen released when Christmas Tress are cut in central and east Texas. I get laryngitis every year right around the holidays when my most high-profile gigs are scheduled. It never fails. In fact, I have rehearsal tonight and I am just croaking right now. But I'm not worried because I know how to beat an allergy, a virus, bacterial infections and fatigue/overuse.
Hoarseness and laryngitis are symptoms of your larger problem, which is dry and swollen vocal cords. Remember when you were a kid, and you could make a humming sound by blowing over a blade of grass? That’s exactly what happens when you sing. Your vocal cords are like a blade of grass in the shape of a long oval ring (like a rubber band). When you push air past them, they make a resonant, humming sound. The more relaxed and thick your vocal cords are, the lower the note. When you stretch them tight and thin, you bring the long part of two sides closer together and you get a high note. If they get swollen and you force a high note out, they touch, vibrate against each other, and can create a raspy, buzzing sound, and even nodes or calluses.
So, what produces the dryness and swelling? Well, dehydration and inflammation, of course!
For the dehydration, drinking tons of water isn’t enough. You need to hydrate your lungs, so that you will be using moist air. If you are croaking today like me, get into the shower and breathe steam for at least ten minutes. If your hot water doesn’t run out, stay in there! Alternately, you can use a humidifier, or drape a towel over your head and lean over your sink. When you’re not breathing steam, you should be sipping water constantly. Ignore myths you may have heard about avoiding cold water or ice water. None of it is true. Your throat will return to its normal temperature in minutes. I enjoy a simple hot tea with honey. Just leave off the lemon for now