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NEW YORK, N.Y. /Music Industry Newswire/ — The Pit Stop Players, a thirteen-member instrumental ensemble, will play its opening concert of the season on Monday, September 27 at 7:00 p.m., at New York’s Second Presbyterian Church, 6 W. 96th St. @ Central Park West. The eclectic, genre-defying group will perform works by William Bolcom, Anthony Barrese, Dmitri Shostakovich, and Igor Stravinsky. The concert, titled “Riches to Rags,” will also include world premieres by Michael Starobin, Steve Kenyon, David Chesky, and Joshua Rosenblum, the group’s founder and conductor. Violinist Tom Chiu will appear as guest soloist for Chesky’s Violin Concerto No. 2.
“Lots of contemporary classical composers, from Stravinsky to Bolcom, have been captivated by ragtime, and have written pieces that subvert, transform, or simply pay homage to the genre,” said Rosenblum. “I thought it would be fun to put several of those pieces together on a program. That, plus we’re performing four world premieres. It should be very exciting.”
In addition to the Chesky violin concerto, the group will be premiering Michael Starobin’s Sleipnir, Steve Kenyon’s Das Lied von der Subway, and Rosenblum’s What If Bernard Herrmann Had Written Eleanor Rigby?
The Pit Stop Players, who collectively have played in pit orchestras for over 100 Broadway productions, include Ed Matthew, woodwinds; Steve Kenyon, woodwinds; Chris Jaudes, trumpet; Wayne Goodman, trombone; Dan Culpepper, horn; Robin Zeh, violin; Paul Woodiel, violin; Alissa Smith, viola; Mairi Dorman-Phaneuf, cello; Garah Landes, piano; Jeff Carney, bass; Scott Kuney, guitar; and Greg Landes, percussion.
Rosenblum anticipates presenting three concerts with the Pit Stop Players this season, and says nearly any genre is fair game for their programs, including traditional and contemporary classical, jazz, rock, fusion, and film music. However, the primary emphasis will be on new compositions and arrangements, written and orchestrated specifically for the group.
Rosenblum, who was trained as a classical pianist, has led the orchestras for thirteen Broadway and Off Broadway shows, including Wonderful Town, Chitty Chitty Bang Bang, The Music Man, Miss Saigon and Dr. Seuss’s How the Grinch Stole Christmas. He is also the composer/creator of BUSH IS BAD, the hit Off Broadway satirical revue, and the composer/co-lyricist of Fermat’s Last Tango and Einstein’s Dreams. His instrumental music has been recorded on two CDs: Impetuosities and Sundry Notes, both on the Albany Records label. Rosenblum has written pieces on commission for Phil Smith, principal trumpeter of the New York Philharmonic; Ethel, America’s premiere post-classical string quartet; and the Chase Brock Experience dance troupe. He teaches Composing for Musical Theater at Yale University, his alma mater, and was recently awarded a grant from the Signature Theatre in Washington, D.C., as part of the American Musical Voices Project: The Next Generation.
Michael Starobin is an award-winning orchestrator and arranger working on Broadway and in Hollywood. He has orchestrated some of Broadway’s most innovative musicals, such as Falsettos, Sunday in the Park with George, Assassins (2004 Tony Award for Best Orchestrations) and Next to Normal (2009 Tony Award for Best Orchestrations). He was the conductor and orchestrator for Disney’s Hunchback of Notre Dame, and contributed orchestrations to Disney’s Once Upon a Mattress and the film versions of Chicago and Nine. Last year, the Queens Symphony performed the world premiere of his Sondheim Variations for string orchestra and percussion. Sleipnir is his second piece for the Pit Stop Players.
A three-time Grammy nominee is currently composer-in-residence for the National Symphony Orchestra of Taiwan. David Chesky’s works span both jazz and classical genres, and have earned him the distinction of being the only jazz composer ever to be nominated for a Grammy in the category of Best Contemporary Classical Composition. His operas and orchestral works have been performed all around the world. David has developed is own unique style of composition he calls Urban Orchestral. This music emanates from the sounds he hears on the streets of New York. Also a pianist, David performs with the Grammy-nominated group The Body Acoustic, an ensemble that performs a mixture of Latin jazz and 12-tone contemporary classical works. In addition to working with major classical orchestras, David has performed at the world-famous jazz club The Village Vanguard, as well as the Newport, JVC, and Monterey Jazz Festivals. Besides being a musician and composer, David is also known worldwide as one of the leaders in the advancement of technological research on high-resolution recording techniques. His comic chamber opera, The Pig, The Farmer, and The Artist, was performed to great acclaim as part of this past season’s NYC Fringe Festival.
Woodwind player and composer Steve Kenyon has led ensembles performing his original music at the Blue Note, Birdland, Carnegie Hall, and live on WNYC radio. He has performed throughout the U.S., Europe, and Asia with Maria Schneider, Toshiko Akiyoshi, Blood Sweat and Tears, Chuck Mangione, Rachel Z, Philip Glass, NYC Ballet, Brooklyn Philharmonic, NY Pops, American Symphony, NJSO, Aretha Franklin, Beyonce and A Prairie Home Companion. He is co-leader, composer, and lead saxophonist with the NewYorkestra big band and plays tenor with the NY Saxophone Quartet. He has performed with some 40 Broadway shows, numerous Encores! at City Center, and many Broadway cast recordings. Other recordings include his Quartet’s CD Fidel’s Nightmare, and albums with Mike Holober, Andy Middleton, NewYorkestra, Audra McDonald, Judy Collins, Maury Yeston, Ricky Ian Gordon, and Michael John LaChiusa. Television work includes Ed, Today Show, David Letterman, Wonder Pets, and many national jingles. He is currently lead woodwind for Broadway’s La Cage Aux Folles.
A noted champion of new music, groundbreaking violinist and composer Tom Chiu has performed over 150 premieres worldwide by influential composers such as David Chesky, Virko Baley, Joan La Barbara, Oliver Lake, Alvin Lucier, and Somei Satoh, among many others. His discography includes recordings for the Innova, Koch, Mode, Sombient, Tzadik labels, and his premiere recording of Chesky’s Violin Concerto No.1 was picked as “Record of the Month” by Stereophile Magazine. In a cross-discipline context Chiu has created new mixed-media works with choreographers Eun-Me Ahn and Shen Wei, audio-video artists Phill Niblock and Elise Kermani, sculptor Ernesto Neto, conceptual balloonist Judy Dunaway, and director Lee Breuer from avant theater troupe Mabou Mines. His extensive work in film further showcases his creative versatility: as composer (Boris), solo fiddler (I Sell The Dead), voice-over artist (Chandni Chowk to China), and actor (The Man With One Red Shoe, with Tom Hanks). As founder of the FLUX Quartet, he has led — for over a decade — a pioneering new-music group which has become “legendary for its furiously committed, untiring performances.” (Alex Ross, The New Yorker) Chiu holds degrees in chemistry and music from Yale, along with a doctorate from Juilliard. He appears frequently as a commentator on contemporary music and culture, and has served as panelist and consultant in a variety of artistic formats.
WHAT: Pit Stop Players Fall Concert
WHEN: Monday, September 27, 2010 at 7:00 p.m.
WHERE: Second Presbyterian Church
6 W. 96th St. @ Central Park West
TICKETS: $25 ($15 for Students with ID) at the door
INFO: rosenblummusic.com/pitstop.html .
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Cambridge, U.K. and Portland, Ore. /Music Industry Newswire/ — BLACKBOX RECORDER manufacturer JoeCo and Audinate, creators of the award-wining Dante(tm) digital media networking solution, have announced the start of a collaboration which will see Dante technology incorporated into a range of BLACKBOX RECORDER products.
The award-winning JoeCo BLACKBOX RECORDER is the first dedicated large-scale multi-channel recorder for audio acquisition and live performance capture. The rack-mounted device enables up to 24 channels of live audio to be recorded at 24 bit/ 96kHz in BWAV format onto a regular FAT32 formatted USB2 disk drive, USB flash drive or SDHC card, without the need of a computer. Recorded files can then be transferred to any Mac- or PC-based Digital Audio Workstation for mixing and re-purposing. Multiple BBR units can be linked together for large-scale recordings.
Audinate revolutionizes the way networks are connected by transporting high-quality media over standard IT networks. Its Dante products deliver a no-hassle, self configuring, true plug-and-play digital audio network that uses standard Internet Protocols. Dante offers a market leading solution today, while de-risking the future by providing a migration path to upgrade to new standards such as the IEEE Audio Video Bridging (“AVB”).
JoeCo is the latest pro audio manufacturer to announce an incorporation of Dante technology, under licence, in its products. “Successful capture and play back of large amounts of audio data in different live situations depends on sample accurate synchronisation and low latency”, comments Managing Director Joe Bull. “With BBR products increasingly used in broadcast, film and TV applications as well as live sound, it has become increasingly important to find a protocol that enables fast, reliable and integrated data transfer while keeping costs and complexity to a minimum. In this respect, Dante has proven itself to be the most effective networking technology currently available and we look forward to establishing a successful long-term partnership with Audinate”.
“We are pleased to have JoeCo join the list of leading audio equipment manufacturers who have already recognized the importance of Audinate’s Dante digital media networking technology. This not only gives JoeCo an immediate market advantage over existing audio networking solutions, but also protects their investment with our commitment to AVB readiness within our latest products,” says John McMahon, Audinate’s Vice President of Worldwide Sales & Support. “In addition we believe JoeCo’s Dante enabled BLACKBOX RECORDER begins a partnership for years to come and is only the first in a long line of Dante enabled products for JoeCo.”
Visit JoeCo at PLASA, Earls Court, London, September 12th-15th – Hall 1, Stand J16.
www.CapturingPerformance.com
About Audinate
Audinate revolutionizes the way that AV systems are connected by transporting high-quality media over standard IT networks. Using Audinate’s patented networking solution, digital media networking just got easy. Audinate’s solution has been licensed by customers across the AV industry and can be found in installations and live sound applications globally. Audinate is a Promoter Member of the AVnu Alliance(tm). Audinate offices are located in US and Australia.
Visit www.audinate.com/for the latest news and information on the company.
About JoeCo
JoeCo was established in 2007 by Joe Bull, former owner and Managing Director of SADiE. Based near the beautiful university city of Cambridge in the UK, the company’s research and development activity has focussed on its innovative BLACKBOX RECORDER for capturing live multi-track performance. JoeCo is currently represented in over 30 countries via a network of international distributors.
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New York City, N.Y. /Music Industry Newswire/ – Renegade Media Group, a leading sample library company founded by producers Josh Harris and Bobbybass, announces BLAST: Modern Urban Production Tools Vol. 1 and 2, two new sample libraries chock full of kits, sounds, and loops. Bobbybass himself used sounds from this very library on the #1 billboard, 3x platinum single Jay Sean’s “Down” featuring Lil Wayne and “Do You Remember” featuring Sean Paul and Lil Jon.
“With so many bad libraries flooding the market, our goal was to provide street-certified sounds that are actually usable in productions,” said Bobbybass. “How do I know the content in BLAST is up to the task? I use it in my own work with some of the top artists in the industry today.”
BLAST Vol. 1 contains more than 500 Hip Hop, R-n-B, Southern, Crunk, and Tribal sounds that includes full construction kits, single drum shots, and keyboard loop idea starters and building blocks. This massive library totals more than 4GB of content. BLAST Vol. 2 picks up where Vol. 1 left off and continues with more than 450 total sounds and nearly 3GB of total content. Both BLAST Vol. 1 and 2 are available in Acidized Wave Files, Apple Loops, Rex2, and Reason Refill formats.
Bobbybass is one half of the award-winning production duo Orange Factory Music (OFM). They’ve produced or written for some of the hottest acts in pop music, including Jay Sean, JLS, Cody Simpson, Joe Jonas, Britney Spears, Justin Timberlake, Beyonce, Seal, Usher, Birdman, Fabolous, Janet Jackson, and Shakira.
Pricing and Availability:
BLAST: Modern Urban Production Tools Vol. 1 and Vol.2 are available for $79.99 USD each. Product information, audio samples, and ordering information are available at www.renegademediagroup.com.
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Music Software That Makes Learning The Piano Easy And Fun!
Fun Music Software.
CHAMPAIGN, Ill. /Music Industry Newswire/ — Sound designers, composers, sound artists, film makers, game designers, researchers and others sharing an intense interest in sound will be convening in Vienna Austria from the 24th through 26th of September to immerse themselves in sound design and music for three days of discussions, concerts, demos and courses at the annual Kyma International Sound Symposium (KISS2010): www.tonsalon.at.
The Kyma International Sound Symposium (KISS) is an annual conclave of current and potential Kyma practitioners who come together to learn, to share, to meet, to discuss, and to enjoy a lively exchange of ideas, sounds, and music! The preliminary program is now available online: bit.ly/9wXW7h
Who should attend
Anyone having a passion for sound design and computer music will find people and events to inspire and stimulate their creative sound work at KISS2010. If you are curious about Kyma, a beginning Kyma user or an expert who’s been using Kyma professionally for years, KISS2010 is an unparalleled opportunity to see Kyma in action, meet with the hardware/software designers, participate in serious discussions on sound design and music, be among the first to hear pre-announcements of new features, interact with other professional and avocational sound designers and musicians, hear some electronic music concerts, attend a 5-hour Kyma masterclass, and still make a little time for yourself to explore some of the musical sites in Vienna.
The venues
Lively discussions, electronic/computer music performances, demos, workshops, and paper sessions will be held in the newly renovated Casino Baumgarten, a spectacular 19th century ballroom, and the Rhiz Bar Modern, a showcase for experimental media located beneath the famous City Railway of Vienna.
Casino Baumgarten (bit.ly/aFNfNy)
Linzer Straße 297 – 1140 Vienna
Rhiz Bar Modern (bit.ly/dvzEjI)
Gürtelbogen 37&38 – 1080 Vienna
To register for KISS2010:
You can register at any time up to and including the first day of the symposium, but the deadline for the discounted rate is 13 September 2010! The participation fee of ¤ 90 (¤ 40 for students) includes the 3-day symposium, morning/afternoon refreshments, and 2 evening concerts. To register, please visit: bit.ly/buf4Pd
Background
Kyma is a sound design environment created by Symbolic Sound Corporation (www.symbolicsound.com).
This year, the KISS symposium is being organized by Wiener Klangwerkstatt in cooperation with Symbolic Sound and with the support of Analog Audio Association Austria, Preiser Records, and the Austrian Federal Ministry of Science and Research.
Conference Contact Information:
Barbara Kopf
KISS 2010 Conference office
Telephone: +43 (0)650 212 1646
Web: www.tonsalon.at/KISS2010 .
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So if you are a music transcriber or a session musician. Maybe you are a photographer or a graphic artist that specializes in working on projects for the music industry. No matter what unless you are really good or just plain really lucky then there is a time where you could use a little more cash in your bank account and you are going to be on the lookout for more or better paying jobs.
So where can you locate this type of employment? If you are like most people you have your standard jobs that you rely on for the meat of your income from music. Maybe you play or sing on jingles for a local radio station a few times a week. It could be that your standard money making gig is teaching guitar to the kids in the neighborhood.
Either way you can find yourself pretty well set in your ways of making money. There are times when it pays to shift your paradigm and think outside the box as they say. There are lots of ways to generate income with your talent. You just need to find those professional music jobs in your particular area.
Aside from the usual things like web searches and visiting places that specialize in matching people with needs, places like myMusicCircle for example, you should tally up your skills and see what other jobs might earn you some money. These may be things that you never considered. Like I said, think outside the norm.
If you’re a guitar picker, check out the local coffee house, maybe they’d like to throw you a bone and a few bucks to play the lunch crowd. That could be cash, tips and some free Joe. Or if you’re an artistically inclined individual, have you considered touching base with the bands and seeing if they need some help?
There is a good chance that there are literally hundreds of jobs out there in your back yard where peeps are looking to hire a music industry professional and unless you let them know you are there, it’s never going to be you!
Greg Wilson is a prominent creative writer and music veteran with over 20 years of music industry professional experience. His knowledge and expertise extends from all aspects of the music industry including production, audio and video, promotion, music business strategy, music industry philosophy and music industry economics.
Music Industry Newswire COLUMN: Getting information about songwriting and music publishing is easier than ever because of the Internet but the problem is that the Internet presents more information than anyone can assimilate. Compounding the problem, some of the information is just plain wrong.
PHOTO: Josh Feingold
That’s one reason it is so helpful for songwriters to affiliate with one of the three performance rights organizations (PROs) here in the United States: ASCAP, BMI and SESAC. You know, quite apart from the fact that they are your way to collect performance income from your songs.
In addition to posting a lot of information on their sites, each of these organizations stage conferences involving lectures, workshops and presentations covering a wide variety of topics relating to the business of music.
The most recent event was by SESAC and it was notable for being free for attendees. Held at the Skirball Center and under the leadership of SESAC’s James Leach, this was a day-long affair with speeches, panels, commentary, insight and presentations from experts in the business. Maddy Madsen (5 Alarm Music and Rescue Records) was interviewed by SESAC’s Ashley Miller about the ins and outs of licensing music for film and TV. The tracking of licensed songs was expertly covered by SESAC’s Hunter Williams and Greg Riggle. Music in games was handled by Woody Jackson (co-composer of Red Dead Redemption), Kim Nieva (Wave Group), J.P. Shub (X-Play), and Jody Whitesides (songwriter/composer).
Other subjects dealt with at the conference included music publishing (Michael Eames of Pen Publishing), lyric writing (Pamela Oland), vocal training (Jan Linder-Koda) songwriting (Greg Curtis and Trevor Gale), and management (Berko Pearce from Rm64, and Judy Stakee).
Fitting in nicely with the keynote address from music technology evangelist Ted Cohen of TAG Strategic was a seminar on technology tools available to today’s songwriters and performers presented by Josh Feingold, SESAC Associate Director of Writer-Publisher Relations. In addition to the usual suspects (Facebook, YouTube, MySpace and Twitter), Feingold and Cohen had quite a few recommendations:
* Pandora
* Slacker
* Rdio
* Rhapsody
* Pitchfork
* Foursquare
* Tunecore
* InGrooves
* Big Fish
* Ioda
* Iris
* BetterThanTheVan
* MOG
* TopSpin
* Skype
* ReverbNation
* Nimbit
* Slingbox
* Vivo
* Bandcamp
* Last(dot)fm
* UStream
* PureVolume
* Ping(dot)fm
* Vimeo
* EchoNest
* MoodAgent
Yes, that is quite a list. But wait, there’s more:
* Roku – Cohen says this service “gives you Netflix, Pandora, Facebook on your TV” which will be great for now but watch out because”TV sets will have built-in apps soon.”
* Sonos – Cohen notes that advances “got music off your computer desktop and into your home and Sonos is a wireless way to access your music via Rhapsody, Pandora, Sirius, Slacker, Clear Channel – it literally is the world of music at your fingertips.”
* ThePublicRecord – Feingold likes “the interactive opportunities” as you collaborate on remixing tracks from current artists.
* Mobile – Cohen feels this is going to be major as we enter the era of “the connected automobile, with 3G and 4G stereo systems in your dashboard so you won’t even need a hard drive in your car.”
* Magnet(dot)tv – Cohen recommends trying this to “sell your music on your own web page.”
* DamnTheRadio – Feingold suggests this as something “that compliments your use of Facebook.”
* Video – Cohen is a big fan of “Flip cameras and camera phones because now you can easily create and share music videos almost instantly.”
* Klout – Feingold recommends trying this “to go along with your use of Twitter because it helps identify who you are reaching.”
* Hello Music – It’s hard to resist Cohen’s description that “It’s like the Beverly Center of music services.”
To which any independent artist, songwriter or music publisher can say “Terrific! Great! Neat! Nifty! Wonderful! And thanks for the superb list!
One teeny tiny question: if we delve into all these services, when do we have time left to create new music?
Article is Copr. © 2010 by John Scott G.
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NEW YORK, N.Y. /Music Industry Newswire/ — ASCAP this week announced a new mobile app for Apple’s iPod touch, iPhone,and iPad. The new app allows members to view royalties, membership info, catalog data, as well as ASCAP’s entire repository of over 8.5 million copyrighted musical works, and up-to-the-minute news about ASCAP and the music business.
According to ASCAP, “You no longer have to be sitting at your computer to access your ASCAP Membership. Just grab your mobile device, log in through our secure portal and you’re plugged in to all your ASCAP business!”
The app is free and can be downloaded from the App Store (size: 1.9MB for version 1.0).
What Is ASCAP?
ASCAP is a membership association of more than 390,000 U.S. composers, songwriters, lyricists, and music publishers of every kind of music. Through agreements with affiliated international societies, ASCAP also represents hundreds of thousands of music creators worldwide. ASCAP is the only U.S. performing rights organization created and controlled by composers, songwriters and music publishers, with a Board of Directors elected by and from the membership.
ASCAP protects the rights of its members by licensing and distributing royalties for the non-dramatic public performances of their copyrighted works. ASCAP’s licensees encompass all who want to perform copyrighted music publicly. ASCAP makes giving and obtaining permission to perform music simple for both creators and users of music.
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Miami Beach, Fla. /Music Industry Newswire/ — Safta Consulting has announced the latest update to their Gigastudio/Gigasampler sound file player, G-Player 1.2.4, is now available. For those not familiar with the product, G-Player was created to emulate the Gigastudio sound as close as possible. According to the company, “When other samplers can only improve their Gigastudio file import, we work directly on the audio engine until we get a perfect result. For example, G-Player is the only sampler that emulates the 3 velocity curves of Gigastudio (linear, non-linear and special).” You may know the publisher as the developer of the popular CDXtract.
This new version includes the following improvements and corrections:
- New stack editor
- 2 new stack modes: Velocity and Random
- Stack key switch can be placed on the right side of the instruments
- Each instrument in a stack can be transposed
- Fixed a bug that prevented G-Player to load many giga files on Windows
- The sample pre-loading can be set down to 0.2 second for super fast loading
- Good news, the Mac 64 bit version is almost finished.
- We also have a beta version that runs on the MUSE Receptor.
More information: www.soundlib.com/gplayer/ .
For new users, the product is $149. It loads most Gig files perfectly, however will not open fully encrypted files like some BFD libraries, or Larry Seyer drums (or other files requiring iLok key or dongle). It does not require GSIF drivers!
I have been testing this product on my new Mac 8-core machine (purchased copy), as a long-time Gigastudio™ user, and will post a review on MusicIndustryNewswire.com soon.
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