﻿<?xml version='1.0' encoding='UTF-8'?><rss version="2.0" xmlns:dc="http://purl.org/dc/elements/1.1/"><channel><title>Producer's Edge Magazine / Producer's Edge Magazine Forums / General Music Discussion </title><generator>InstantForum.NET v4.1.4</generator><description>Producer's Edge Magazine</description><link>http://forum.producersedgemagazine.com/</link><webMaster>forum@producersedgemagazine.com </webMaster><lastBuildDate>Fri, 18 May 2012 04:33:32 GMT</lastBuildDate><ttl>20</ttl><item><title>Canibus Vs. Dizaster</title><link>http://forum.producersedgemagazine.com/Topic2122-8-1.aspx</link><description>&lt;P style="TEXT-ALIGN: center; MARGIN: 0in 0in 0pt; mso-layout-grid-align: none" class=MsoNormal align=center&gt;&lt;B style="mso-bidi-font-weight: normal"&gt;&lt;SPAN style="FONT-SIZE: 26pt"&gt;&lt;FONT face="Times New Roman"&gt;KING OF THE DOT &lt;?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/B&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: center; MARGIN: 0in 0in 0pt; mso-layout-grid-align: none" class=MsoNormal align=center&gt;&lt;B style="mso-bidi-font-weight: normal"&gt;&lt;SPAN style="FONT-SIZE: 26pt"&gt;&lt;FONT face="Times New Roman"&gt;FRESH COAST PRESENTS VENDETTA: BATTLE ROYALE&lt;o:p&gt;&lt;/o:p&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/B&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: justify; MARGIN: 0in 0in 0pt" class=MsoNormal&gt;&lt;SPAN style="FONT-SIZE: 10pt"&gt;&lt;o:p&gt;&lt;FONT face="Times New Roman"&gt; &lt;/FONT&gt;&lt;/o:p&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: center; MARGIN: 0in 0in 0pt; mso-layout-grid-align: none" class=MsoNormal align=center&gt;&lt;SPAN style="FONT-FAMILY: Cambria; FONT-SIZE: 14pt"&gt;Battle Royale Will Take Place 6-9-2012 At Exchange LA &amp;amp; Main Event Features Canibus Vs. Dizaster &amp;amp; Undercard Features Illmaculate Vs. Arsonal &lt;o:p&gt;&lt;/o:p&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: center; MARGIN: 0in 0in 0pt; mso-layout-grid-align: none" class=MsoNormal align=center&gt;&lt;SPAN style="FONT-FAMILY: Cambria; FONT-SIZE: 14pt"&gt;&lt;o:p&gt; &lt;/o:p&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: center; MARGIN: 0in 0in 0pt; mso-layout-grid-align: none" class=MsoNormal align=center&gt;&lt;I style="mso-bidi-font-style: normal"&gt;&lt;SPAN style="FONT-FAMILY: Cambria; FONT-SIZE: 14pt"&gt;VIP &amp;amp; General Admission, PPV (UStream) Tickets Are Available Now&lt;o:p&gt;&lt;/o:p&gt;&lt;/SPAN&gt;&lt;/I&gt;&lt;/P&gt;&lt;P style="MARGIN: 0in 0in 0pt" class=MsoNormal&gt;&lt;o:p&gt;&lt;FONT size=3 face="Times New Roman"&gt; &lt;/FONT&gt;&lt;/o:p&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: justify; MARGIN: 0in 0in 0pt; tab-stops: 2.75in" class=MsoNormal&gt;&lt;STRONG&gt;&lt;SPAN style="FONT-FAMILY: Cambria; FONT-SIZE: 11pt"&gt;War:&lt;/SPAN&gt;&lt;/STRONG&gt;&lt;SPAN style="FONT-FAMILY: Cambria; FONT-SIZE: 11pt"&gt; A consequence of our natural tendency to dominate. A physical manifestation of our innate desire to crush the competition. An evolutionary examination intended to single out “The Best”.&lt;SPAN style="mso-spacerun: yes"&gt;  &lt;/SPAN&gt;On June 9&lt;SUP&gt;th&lt;/SUP&gt; 2012 war will be waged and history will be made. &lt;o:p&gt;&lt;/o:p&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: justify; MARGIN: 0in 0in 0pt; tab-stops: 2.75in" class=MsoNormal&gt;&lt;SPAN style="FONT-FAMILY: Cambria; FONT-SIZE: 11pt"&gt;&lt;o:p&gt; &lt;/o:p&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: justify; MARGIN: 0in 0in 0pt; tab-stops: 2.75in" class=MsoNormal&gt;&lt;SPAN style="FONT-FAMILY: Cambria; FONT-SIZE: 11pt"&gt;In the Hip-Hop world, battling is perceived to be the rawest form of the culture; after all, it is one of the foundations on which the art was formed. Two rappers go head to head with each other and come up with their best insults, while flexing their lyrical, rhythmic, and artistic muscles in an attempt to discredit the artist opposing them. Over the years, battling has moved away from the streets into the mainstream; moving to larger venues with larger crowds packed around the "ring" to see their favorite artists perform. The atmosphere at these larger venues is similar to that of MMA matches: the crowd reacts and feeds off the hard hitting punch lines, as laughter ricochets off the walls when the crowd roars with approval after a joke is used to embarrass a participating emcee. The larger venues have also helped expand the popularity of battling, as it is not strictly an underground event anymore. With the rising popularity of Youtube (KOTD now has over 60,000 subscribers that have generated over 22 million total views) and online Pay Per View outlets, battling has grown into a sizable and prospering entity, with organized events run by sponsored leagues all over the world. &lt;o:p&gt;&lt;/o:p&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: justify; MARGIN: 0in 0in 0pt; tab-stops: 2.75in" class=MsoNormal&gt;&lt;SPAN style="FONT-FAMILY: Cambria; FONT-SIZE: 11pt"&gt;&lt;o:p&gt; &lt;/o:p&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: justify; MARGIN: 0in 0in 0pt; tab-stops: 2.75in" class=MsoNormal&gt;&lt;SPAN style="FONT-FAMILY: Cambria; FONT-SIZE: 11pt"&gt;"King of the Dot" is one of the most recognizable leagues in the entire world. It's creator and President Organik, along with his partner and current CEO Avi Rex, has lead the Toronto based organization from obscurity into an internationally acclaimed force that has seen artists from over a half dozen countries – ranging from Norway, to the UK to Australia – compete under its banner. Using a written a cappella format, the league received some of its biggest endorsement in November of 2011 and Jan 2012, as Drake co-hosted a battle between bitter rivals DNA and Dizaster, and Reakwon hosted a battle between Hollohan and Cortez. Now, King of the Dot is set to have one of the most accomplished battle artists in the world grace its stage: Canibus.&lt;o:p&gt;&lt;/o:p&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: justify; MARGIN: 0in 0in 0pt; tab-stops: 2.75in" class=MsoNormal&gt;&lt;SPAN style="FONT-FAMILY: Cambria; FONT-SIZE: 11pt"&gt;&lt;BR&gt;Canibus and battling go hand in hand! He is best known for his feud with LL Cool J that began in 1997 and reached its zenith when Canibus released the song "Second Round K.O." Fittingly, former heavyweight champion boxer of the world Mike Tyson appeared in the video for Canibus’ “Second Round K.O.” Canibus and Tyson both possess a brute earnestness and world-weary sincerity, and the expansive gap between their “rise” and “fall” has allowed each to be truly honest in regards to their statuses as individuals and celebrities. Tyson once said of Canibus to the New York Times: “He’s so intelligent, that’s the reason I like him. He’s fresh, he’s new, and his delivery is perfect. He never makes mistakes.”&lt;BR&gt;&lt;BR&gt;Presented by King of the Dot Entertainment, Dizaster and Canibus are set to battle on June 9&lt;SUP&gt;th&lt;/SUP&gt; 2012 in Los Angeles. This will be the first time Canibus has taken to the stage for a one-on-one battle; while Dizaster, who has flown all over the world performing and perfecting his craft, is one of the most well-respected battle emcees of his respective era. These men will have three rounds (with no time limits) to claim and demonstrate their superiority, while exhibiting the skills that made them legends in their fields.&lt;o:p&gt;&lt;/o:p&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: justify; MARGIN: 0in 0in 0pt; tab-stops: 2.75in" class=MsoNormal&gt;&lt;SPAN style="FONT-FAMILY: Cambria; FONT-SIZE: 11pt"&gt;&lt;BR&gt;The outcome of this epic battle is anyone’s guess, but one thing is for certain: on June 9&lt;SUP&gt;th&lt;/SUP&gt; 2012, fans worldwide will be tuning in to KOTD's Ustream page (&lt;A title=http://www.ustream.tv/kingofthedot href="http://www.ustream.tv/kingofthedot"&gt;http://www.ustream.tv/kingofthedot&lt;/A&gt;) to witness a very historic event in Hip-Hop!&lt;o:p&gt;&lt;/o:p&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: justify; MARGIN: 0in 0in 0pt; tab-stops: 2.75in" class=MsoNormal&gt;&lt;SPAN style="FONT-FAMILY: Cambria; FONT-SIZE: 11pt"&gt;&lt;o:p&gt; &lt;/o:p&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: justify; MARGIN: 0in 0in 0pt; tab-stops: 2.75in" class=MsoNormal&gt;&lt;SPAN style="FONT-FAMILY: Cambria; FONT-SIZE: 11pt"&gt;Leading up to the event on June 9&lt;SUP&gt;th&lt;/SUP&gt;, I will have Canibus, Dizaster, Illmaculate &amp;amp; Arsonal available for press to discuss their upcoming battles.&lt;/SPAN&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: justify; MARGIN: 0in 0in 0pt; tab-stops: 2.75in" class=MsoNormal&gt;&lt;SPAN style="FONT-FAMILY: Cambria; FONT-SIZE: 11pt"&gt;&lt;/SPAN&gt; &lt;/P&gt;&lt;P style="TEXT-ALIGN: justify; MARGIN: 0in 0in 0pt; tab-stops: 2.75in" class=MsoNormal&gt;&lt;SPAN style="FONT-FAMILY: Cambria; FONT-SIZE: 11pt"&gt;&lt;o:p&gt;&lt;SPAN style="FONT-FAMILY: Cambria; FONT-SIZE: 11pt; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-family: 'Times New Roman'; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA"&gt;Video Promo for Battle Announcement: &lt;A title=http://www.youtube.com/watch?v=RSX1_FxXTiA href="http://www.youtube.com/watch?v=RSX1_FxXTiA"&gt;http://www.youtube.com/watch?v=RSX1_FxXTiA&lt;/A&gt;&lt;/SPAN&gt;&lt;/o:p&gt;&lt;/SPAN&gt;</description><pubDate>Thu, 10 May 2012 12:59:04 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>Musician Coaching - The Art of Co-Writing</title><link>http://forum.producersedgemagazine.com/Topic2120-8-1.aspx</link><description>&lt;TABLE style="PADDING-BOTTOM: 0px; BORDER-RIGHT-WIDTH: 0px; MARGIN: 0px; PADDING-LEFT: 0px; WIDTH: 100%; PADDING-RIGHT: 0px; BORDER-TOP-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; BORDER-LEFT-WIDTH: 0px; PADDING-TOP: 0px"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="VERTICAL-ALIGN: top" width="99%"&gt;&lt;H1 style="PADDING-BOTTOM: 6px; MARGIN: 0px"&gt;&lt;A style="FONT-FAMILY: Georgia, Times New Roman, serif; COLOR: #888; FONT-SIZE: 22px; FONT-WEIGHT: normal; TEXT-DECORATION: none" title="http://musiciancoaching.com/&amp;#10;(http://musiciancoaching.com)" href="http://musiciancoaching.com"&gt;Musician Coaching - The Art of Co-Writing&lt;/A&gt; &lt;BR&gt;&lt;A title=http://fusion.google.com/add?source=atgs&amp;amp;feedurl=http://feeds.feedburner.com/musiciancoaching href="http://fusion.google.com/add?source=atgs&amp;amp;feedurl=http://feeds.feedburner.com/musiciancoaching"&gt;&lt;IMG style="PADDING-TOP: 6px" title=http://fusion.google.com/add?source=atgs&amp;amp;feedurl=http://feeds.feedburner.com/musiciancoaching border=0 alt="" src="http://gmodules.com/ig/images/plus_google.gif"&gt; &lt;/A&gt;&lt;/H1&gt;&lt;/TD&gt;&lt;TD width="1%"&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;HR style="BORDER-BOTTOM: #ccc 1px solid; BORDER-LEFT: #ccc 1px solid; PADDING-BOTTOM: 0px; MARGIN: 0px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: #ccc 1px solid; BORDER-RIGHT: #ccc 1px solid; PADDING-TOP: 0px"&gt;&lt;TABLE id=itemcontentlist&gt;&lt;TBODY&gt;&lt;TR xmlns=""&gt;&lt;TD style="LINE-HEIGHT: 1.4em; MARGIN-BOTTOM: 0px"&gt;&lt;P style="MARGIN: 1em 0px 3px"&gt;&lt;A style="FONT-FAMILY: Georgia, Times New Roman, serif; FONT-SIZE: 16px" title=http://feedproxy.google.com/~r/musiciancoaching/~3/2_ICpPdWA8Q/?utm_source=feedburner&amp;amp;utm_medium=email href="http://feedproxy.google.com/~r/musiciancoaching/~3/2_ICpPdWA8Q/?utm_source=feedburner&amp;amp;utm_medium=email" name=1&gt;The Art of Co-Writing&lt;/A&gt; &lt;/P&gt;&lt;P style="LINE-HEIGHT: 140%; MARGIN: 9px 0px 3px; FONT-FAMILY: Georgia, Helvetica, Arial, Sans-Serif; COLOR: #555; FONT-SIZE: 13px"&gt;&lt;SPAN&gt;Posted:&lt;/SPAN&gt; 09 May 2012 06:20 AM PDT&lt;/P&gt;&lt;DIV style="LINE-HEIGHT: 140%; MARGIN: 0px; FONT-FAMILY: Georgia, Helvetica, Arial, Sans-Serif; COLOR: #000000; FONT-SIZE: 13px"&gt;&lt;STYLE type=text/css&gt;#leftcontainerBox {float:left;position: fixed;top: 60%;left: 70px;}#leftcontainerBox .buttons {float:left;clear:both;margin:4px 4px 4px 4px;padding-bottom:2px;}#bottomcontainerBox {height: 30px;width:50%;padding-top:1px;}#bottomcontainerBox .buttons {float:left;height: 30px;margin:4px 4px 4px 4px;}&lt;/STYLE&gt;&lt;P&gt;Jason Reeves is an ASCAP award-winning singer/songwriter who, aside from successfully building a career as a DIY artist has also proven that collaboration can be incredibly powerful for artists that want to find new ways to reach fans and get their music heard. Reeves has co-written many songs, including the Billboard chart-topping “Bubbly” and “I Never Told You,” with the Grammy-award-winning  Colbie Caillat. He also wrote “The Show” with Australian pop artist Lenka and most recently worked with A Rocket To The Moon and Hot Chelle Rae. Like many other artists, Reeves threw himself into music early, picking up piano at five, then drums and guitar in his teens. He cites his major influences as Bob Dylan, Led Zeppelin and James Taylor. In late 2004/early 2005, Jason was contacted by producer Mikal Blue who had heard his self-created work on CD Baby and invited Reeves to record in his L.A. studio. It was there that Blue connected him to Caillat, and a career-altering partnership was born. Reeves self-released four albums and an EP before signing to Warner Bros. Records in 2008 and returned to the DIY world in 2011 with his album &lt;EM&gt;The Lovesick&lt;/EM&gt;. His next album, &lt;EM&gt;Songs are Silent Films&lt;/EM&gt; will be released next month.&lt;/P&gt;&lt;P&gt;&lt;A title=http://musiciancoaching.com/wp-content/uploads/2012/05/reeves2.jpeg href="http://musiciancoaching.com/wp-content/uploads/2012/05/reeves2.jpeg"&gt;&lt;IMG class="aligncenter size-medium wp-image-3507" title="http://musiciancoaching.com/wp-content/uploads/2012/05/reeves2.jpeg&amp;#10;reeves2" alt="" src="http://musiciancoaching.com/wp-content/uploads/2012/05/reeves2-221x300.jpg" width=221 height=300&gt;&lt;/A&gt;&lt;/P&gt;&lt;P&gt;I recently got to talk to Jason about co-writing, the process of building up a national touring base and the importance of staying focused on your vision as an artist if you want to have a successful, long-lasting career in music.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Thanks so much for taking the time to talk, Jason. Tell me how you got started as a musician/singer/songwriter.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;JR:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;When I was living in Iowa, I had just graduated from high school. I had started writing songs and putting out records on my own at the end of high school. And when I went to college right away, as most people do, I had no idea why I was going or what I was doing. All I was doing was writing music and not going to class. So, I dropped out in order to not waste my time or my parents’ money.&lt;/P&gt;&lt;P&gt;I decided I was just going to go for it, which led me to California, which turned a lot of things on for me and opened a lot of doors. For example, I met Mikal Blue and Colbie Caillat. They were my first two friends when I first came out here. And everything has come from that. But the whole time, I’ve just been trying to write as much music as I can and see where it takes me.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Correct me if I’m wrong: At the time, you were 19 or 20 and moving out to California on your own. How did you go about networking to even find artists of that caliber? How did that come about?&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;JR:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Honestly, Mikal Blue, the producer, is the reason I came out there. He invited me to come record with him. At the time, I’d only ever recorded in little basement studios in the country in Iowa – nothing that resembled a real studio. And I’d never really been to the West Coast. So, I was really excited. And Colbie had just had her first guitar lesson and had just written her first song when I met her. Neither of us had ever co-written a song before. All of a sudden, we met, started writing songs, and it turned into what it did. We didn’t expect that, and it wasn’t our goal. That’s really how crazy it’s been.&lt;/P&gt;&lt;P&gt;Ever since that happened, I’ve just been able to write with other people. And it’s been amazing. I know I’ve been very lucky.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;You said you were putting out your own records. How did Blue come across you? Iowa is not exactly a music business hot spot, unless it’s changed since the last time I’ve been there.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;JR:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Not at all. He found it on CD Baby. I still actually use them. But this was before I knew what MySpace, Facebook and all those things were. CD Baby was really the only place I knew to put my music, and that was where he found it. It’s crazy how the Internet has been changing everything.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;For sure. Tell me about what the process of co-writing has been like for you. I know most artists I work with are initially a bit hesitant. They find it a bit awkward and feel like songwriting is a fairly personal thing to share with someone they don’t know that well. I’m assuming you and Colbie weren’t that tight when you initially started writing songs together. Was it an easy process for you, or was it something you had to work to get comfortable with?&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;JR:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;It’s something you have to learn, for sure. But the more you do it and figure out how it works, the better you get at it. I think being comfortable is one of the most important things, because what you said about people not liking to do it because it feels strange initially or too intimate is true. If you’re not comfortable enough to share exactly how you feel or what you think with someone, you’re not going to get the best song. That’s why I, for the most part, write with people I’m already really good friends with and work well with. That makes the process fun and easy.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;It sounds like your career was something that you built initially based on your success as a co-writer.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;JR:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;That’s definitely what has brought a lot of attention to my own music. I’ve been touring a lot for the past three or four years. I did do a lot of promotion with my songs, so it’s a balance between the two. It’s about half co-writing and half putting out my own music.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;You were signed to a major label and have also put out records on your own. Tell me a little bit about that process.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;JR:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;I was on Warner Bros. Records until last year. Before I was on the label, I put out about an album a year. But the important part for me was that, when I was doing it myself, I could put out music whenever I wanted to. Warner was good to me, and I liked being on the label. But in all honesty, I didn’t get very much done. In fact, it kind of slowed me down. So, the fact that I’m not on the label anymore just means I can actually put out the music I have that’s just sitting around. Because, I write so many songs, it’s hard to even keep up with myself. That’s why I’ve been really excited to be able to have people who are willing to help me do this. It’s amazing. I have a feeling a lot of work is going to get done just in these next couple months by a few people than it did the whole time I was on that label.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;I first came up in the Atlantic Records system. And I would watch what I called “The Shiny Shirt” phenomenon happen over and over again. What would happen was, after Hootie &amp;amp; the Blowfish, Atlantic seemed to be mining the Southeast region for the next Hootie. They signed all these bands from the Carolinas and Tennessee and Florida.  These bands would be doing all this local promotional, getting on local radio, then putting together regional touring.&lt;/P&gt;&lt;P&gt;Then, the label would come in and say, “This is all great. Quit your jobs. We’re just getting this release together.” And these musicians tended to all stop, say, “Cool, we’re rock stars now” and wait. They would be waiting on the photographer for the photo shoot, for the mastering engineer who was going to spend $20,000 of the band’s money to make the record sound marginally better, or for the publicist to show up and say, “Singer? We’re going to get you into the gym, have you lose a little weight. Bass player? Cut your hair, because you’ll really be cute when we have this whole makeover/reveal thing together.” The guitarist would wear leather pants instead of jeans, and everyone would get shiny shirts as opposed to flannel. That was almost all I saw really change. Then, they would throw it at radio, and it would mostly miss.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;JR:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;That’s an amazing description.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;That was just my experience. But, you’re in the vast majority of people I know that have had a major label experience where they saw their name with a major label imprint next to it, and it just didn’t quite deliver the way they expected it to.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;JR:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Yes. It was frustrating.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Let’s get down to some nuts and bolts. I think a lot of people have the tendency to say, “Okay, I’m going to leave my hometown, and then what?” How did you go about building a national touring base?&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;JR:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;It started around the time I put out my album &lt;EM&gt;The Magnificent Adventures of Heartache&lt;/EM&gt;, which was in 2007. It was in about 2008 that I decided I needed to tour. I got two guys I met in L.A. – a bass player and a drummer – and we just rehearsed and did a residency at Hotel Café for a month. After that, we just started touring as much as we could. Eventually, they got really long. One of the tours we had was 37 shows in a row. It was more than circling the U.S. once. It was totally amazing, but crazy. It goes up and down, depending on the day and is really hard to predict how things will go. But the more you play cities, the more people come back to see you. And you just hope you can keep their attention.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Obviously you regularly get feedback on which songs work and which don’t. Other than just playing well, is there anything else you’ve learned about how to keep people’s attention?&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;JR:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;I think for somebody that’s touring the way I do, it really comes down to the songs and if they connect to people. At my level, it’s not necessarily mainstream media that’s promoting my music, so people aren’t finding out about me that way. They’re hearing about me through word of mouth and Internet. I’m sure that’s how most music is. But at the end of the day, it’s about a song connecting to the person that’s listening to it enough that they want to tell their friends and come to the shows. Other than that, I think it’s a mystery. My main goal is to write the best songs I can.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;It’s something that a lot of musicians lose, for sure. I notice you’re active with Instagram and Facebook. What online marketing strategies have worked the best for you?&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;JR:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;It’s so crazy how much is happening with all that and how it just keeps changing and getting more intricate. I can’t even keep up with it, honestly. There are too many for me. So, I try to just utilize a few the best I can. I just got Instagram, because until recently, I didn’t have an iPhone. I just kept holding out and telling myself I didn’t need one. I didn’t realize how amazing they actually are, even though it scares me terribly to own one. But with Twitter, Facebook and everything else, there are so many different tools now.&lt;/P&gt;&lt;P&gt;The fact that you can connect immediately to people anywhere in the world is very wild and futuristic. And it’s happening right now. Obviously, the whole music industry and everything about music today has been changed by it. So, I’m still learning just like everyone else is what all these things mean.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;If you had to give yourself advice as you were releasing records in high school, based on what you have now experienced, what would you tell yourself about what to expect, what to avoid, or what to prioritize?&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;JR:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;I would say, you have to be more patient than you can even imagine. Also, it needs to be about the music the whole time. That’s still one of my main goals, and I think it’s what being a songwriter should be about. I think it’s about trying to keep everything you do as real and as honest as you can make it.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Do you feel like you ever lost sight of that along the way?&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;JR:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;I don’t think I did. It’s just something that I have to keep working on. There are so many things pulling people away from the music and being honest, at all times. And if you are somebody that wants to stay true to the vision of what you want to represent, you have to stand strong on certain things and not give in.&lt;/P&gt;&lt;P&gt;To learn more about Jason Reeves and his music, you can visit him on &lt;A title=http://www.facebook.com/JasonReevesMusic href="http://www.facebook.com/JasonReevesMusic"&gt;Facebook&lt;/A&gt; or follow him on &lt;A title=https://twitter.com/JasonReeves href="https://twitter.com/JasonReeves"&gt;Twitter&lt;/A&gt;. His album &lt;EM&gt;Songs Are Silent Films&lt;/EM&gt; will release in June 2012.&lt;/P&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Thu, 10 May 2012 12:56:31 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>The Importance of Career Flexibility</title><link>http://forum.producersedgemagazine.com/Topic2118-8-1.aspx</link><description>Source: &lt;A href="http://musiciancoaching.com/music-as-a-career/the-importance-of-career-flexibility/?utm_source=feedburner&amp;amp;utm_medium=email&amp;amp;utm_campaign=Feed%3A+musiciancoaching+%28Musician+Coaching%29"&gt;http://musiciancoaching.com/music-as-a-career/the-importance-of-career-flexibility/?utm_source=feedburner&amp;amp;utm_medium=email&amp;amp;utm_campaign=Feed%3A+musiciancoaching+%28Musician+Coaching%29&lt;/A&gt;&lt;/P&gt;&lt;H1&gt;The Importance of Career Flexibility&lt;/H1&gt;&lt;DIV class=top-tools&gt;Posted By &lt;SPAN&gt;Musician Coaching&lt;/SPAN&gt; on &lt;SPAN&gt;May 2nd, 2012&lt;/SPAN&gt; 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HEIGHT: 28px"&gt;&lt;IFRAME style="BORDER-BOTTOM: medium none; BORDER-LEFT: medium none; WIDTH: 225px; HEIGHT: 28px; OVERFLOW: hidden; BORDER-TOP: medium none; BORDER-RIGHT: medium none" id=f3d021595ad2c54 class=fb_ltr title="Like this content on Facebook." src="http://www.facebook.com/plugins/like.php?api_key=125029517579627&amp;amp;channel_url=http%3A%2F%2Fstatic.ak.facebook.com%2Fconnect%2Fxd_arbiter.php%3Fversion%3D5%23cb%3Df244f0c89513ce4%26origin%3Dhttp%253A%252F%252Fmusiciancoaching.com%252Ffa2a9eca5fa81e%26domain%3Dmusiciancoaching.com%26relation%3Dparent.parent&amp;amp;extended_social_context=false&amp;amp;font=arial&amp;amp;href=http%3A%2F%2Fmusiciancoaching.com%2Fmusic-as-a-career%2Fthe-importance-of-career-flexibility%2F&amp;amp;layout=standard&amp;amp;locale=en_US&amp;amp;node_type=link&amp;amp;sdk=joey&amp;amp;send=false&amp;amp;show_faces=false&amp;amp;width=225" name=fbea5b0b7d1fe8 scrolling=no&gt;&lt;/IFRAME&gt;&lt;/SPAN&gt;&lt;/fb:like&gt;&lt;/DIV&gt;&lt;P&gt;Shele Sondheim is an accomplished producer, songwriter and guitarist and the president/CEO of CSM Words and Music, a Los Angeles-based music production and publishing company focused on the development of competitive materials and artists in  pop, R&amp;amp;B, rock and dance music, worldwide. Shele got his start in the music business as a guitarist playing in bands throughout junior high and high school. He eventually found his way to Berklee School of Music, where he co-founded Berklee’s flagship jazz fusion band Catharsis. After graduating with honors with a degree in guitar performance and jazz composition, he moved to Las Vegas where he became an in-demand guitarist working with cabaret superstars like Lola Falana, Wayne Newton, Paul Anka and Flip Wilson. Soon, he began producing corporate music events with the Las Vegas Convention Trade Bureau while performing nightly in mainroom orchestras and producing TV and radio music spots. He also appeared on HBO and Showtime concert specials with major artists and in arena concerts with Catharsis alongside Spyro Gyra. Shele toured worldwide juggling multiple roles of music director, guitarist, writer/producer and arranger. As a session musician in L.A., he worked with artists like Natalie Cole and Little Richard on commercial jingles, TV and film dates. He trained at competitive studios on both coasts to fine-tune his skills as a lyricist, songwriter, vocal arranger and music producer working in the digital landscape and is the originator of the electronic dance music (edm) remix brand westcoasteuro. He recently wrote the hit song “Donne Le Moi” for the record of the EMI-affiliated project started by Phil Collins called The Little Dreams Band. Through CSM Words and Music, he is also collaborating with Collins, Brian Ferry and Lara Fabian on the upcoming single, which he wrote and produced, from emerging artist Lica de Guzman and working with brothers 2 Kuel from Belize of Georgia, who have been building a name for themselves across Eastern Europe.&lt;/P&gt;&lt;P&gt;&lt;A &amp;#111;nclick="pageTracker._trackPageview('/downloads/wp-content/uploads/2012/05/SheleBW.jpg');" href="http://musiciancoaching.com/wp-content/uploads/2012/05/SheleBW.jpg"&gt;&lt;IMG class="aligncenter size-medium wp-image-3493" title=SheleBW alt="" src="http://musiciancoaching.com/wp-content/uploads/2012/05/SheleBW-300x208.jpg" width=300 height=208&gt;&lt;/A&gt;&lt;/P&gt;&lt;P&gt;I had the opportunity to talk to Shele about his incredibly diverse experiences during his more than 30 years in the industry and how they have helped him evolve. He also shared some valuable tips for aspiring artists, producers and music industry professionals hoping to build successful and personally-rewarding careers in music.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Thanks so much for taking some time to talk to me, Shele. Tell me a bit about how you got started in the music industry.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SS:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;It all started on guitar. I was playing guitar and had a band throughout junior high school and high school. I liked to emulate my heroes:  Carlos Santana; George Benson; John McLaughlin; Jimi Hendrix – all the great guitar players. I enjoyed  playing guitar and the camaraderie of a band. In those days, it was very peaceful for me. We’d be in the garage or at somebody’s party on a  Friday night playing.&lt;/P&gt;&lt;P&gt;Guitar came into my life in that way. And I was very lucky because I gained some early teachers and mentors that really helped to shape my views about music. One was Jorge Strunz of Strunz &amp;amp; Farah. Another was Les McCann, a famous jazz musician. One was John Handy at San Francisco State. I had the fortune to have a lesson with Mike Bloomfield of the original Electric Flag.&lt;/P&gt;&lt;P&gt;There were a lot of other fantastic guitarists/teachers that came into my life. And those experiences really got me quite connected to the guitar. I didn’t really aspire to be the Van Halen or the ultimate shredder guy. I just loved guitar. I particularly loved funk music, like Herbie Hancock and that Bay Area sound.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Well, and Sly and the Family Stone is my absolute favorite.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SS:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;And, I grew up on that music. I lived a lot of places and moved a lot because of my family’s dynamic. My father was in the television business, so we had a chance to move a lot. I lived on the East Coast, West Coast, in the Bay Area and in the Pacific Northwest. And I also had a lot of musical influences. My brother was a huge influence on me. He turned me onto the whole CTI Jazz and George Benson and Herbie Hancock. I got into that stuff very early.&lt;/P&gt;&lt;P&gt;Eventually, I went to San Francisco State, which was fantastic for me. I got to have John Handy as my teacher and mentor. I played in a lot of funk bands and knew the Tower of Power guys. Cold Blood played at my high school. I traveled in that circle. But the problem was that I really didn’t know music theory. And I was very apparent and evident to anybody who did – other musicians or teachers. I could jam, but I had no idea what I was doing.&lt;/P&gt;&lt;P&gt;It was John Handy who suggested I go to Berklee College of Music. He talked to my parents. I was failing miserably at San Francisco State University and just wasn’t happy there. We’d go study classical music, and then I’d go back to my dorm room and put on Weather Report. There was a real disconnect.&lt;/P&gt;&lt;P&gt;The summer of ’76 changed it all. I went to Boston as a California kid. And I went to my first couple classes. It was James Taylor analyzing his lyrics, and Tower of Power analyzing their horn chart. And then, we got to work with Chicago. And I knew I had found home. I got into that school and locked myself  up for five years.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Wow. So, how did you wind up making a living after Berklee, and at what point did you get into production?&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SS:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Berklee was really transformational for me. I’ve always done things a little bit differently. “Success in my own way” has been my mantra, which is a more mature way of saying what I was back then, which was a “rebel with a cause.”&lt;/P&gt;&lt;P&gt;So, at Berklee I had a jazz fusion band that incorporated vocals called Catharsis, which had a Gino Fanelli or Santana kind of vibe. It became Berklee’s flagship band. We played at the Village Gate in New York and Patrick Rains who was then handling Al Jarreau was our manager. We represented Berklee on television and at all the city events and on radio. We became the “big thing” at Berklee and were the first band that ever played on the Berklee Performance Center stage. We sold it out at 1226 seats, which is kind of a proud memory of mine.&lt;/P&gt;&lt;P&gt;I was really deeply into jazz fusion. And come graduation time, I thought, “Where do I go?” I didn’t know about having a jazz fusion career so to speak. So, my mom lived in Vegas, where it was warm. And I had a constant cold/flu from  September, to May for five years living in Boston and freezing. I would go see my mom sometimes on the break, it was always warm, and there were showgirls and casinos. I thought, “I’m moving to Vegas.”&lt;/P&gt;&lt;P&gt;The day I graduated, I got into a one-way truck that the lead singer of my band and I rented, and we drove out to Vegas. I started my career in music. Part of that career was about unlearning a lot of the things I’d learned at Berklee. Because, Las Vegas was not a sophisticated jazz fusion place. It was a cabaret show place, where you play the same five songs over and over again. It depends on which star you’re playing with or which lounge gig you get. Work started for me as a guitar guy for hire in Las Vegas.&lt;/P&gt;&lt;P&gt;I really struggled for the first year or year and a half I was in Vegas, but then I got a break, which means I created a break through all the work, sitting in and hustling, making friendships, networking and doing what I’d known I needed to do in the music business since junior high school.&lt;/P&gt;&lt;P&gt;A friend helped me, and I got in with a wonderful performer named Lola Falana. She worked with people like Sammy Davis, Jr. and Wayne Newton and was named First Lady of Las Vegas. I toured all around the world with Lola, first as her guitar player. Then I worked my way up to being her music director. That door opened up a tremendous amount of doors working with people like Roy Clark, Flip Wilson and Paul Anka. And I was doing all kinds of corporate gigs and what we called showcase gigs. I had things like “A Night at the Dunes” and “A Night at the Maxim.” I became the constant on-call guitar guy and got to travel around the world, which was really an incredible period of my life.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Sounds like it. Obviously, you knew theory, because you went to Berklee and studied it and you had a love for your instrument, so you spent quality time with it and honed your craft. But from a business standpoint, what were some of the things you did as a guitar player, that other people weren’t doing, that got you a gig with Lola Falana?&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SS:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;I think we can call it inspiration/desperation. I think I did more than most, because I really wanted a job. It was a very confusing time for me in my life, because I was so well trained, had my equipment constantly by the door and a tuxedo rented; I was ready to go, but I had no fortune in my life. I couldn’t even get a bad graveyard shift country/western duo gig. So, I did everything. I sat in at the Musicians’ Union. I started at the top of the Strip, and worked my way all the way down. I went into every club, lounge and got to know the musicians. I made really good friends (who are still some of my best friends today). I constantly stayed on it. I called, worked, sat in and did whatever I possible could to put myself out there and never gave up.&lt;/P&gt;&lt;P&gt;For me, those were the specific strategies. It was basically the “never give up” approach. Philosophically at that time, I also needed some extra spiritual power. So, I got into Buddhism and started chanting. And I linked that spiritual program with my professional goals. I decided I would chant and take action, based on those solid prayers to actually show proof in my life, which was at the time sorely lacking, much to my parents’ discontent. They said, “Hey, I just paid all this for Berklee, and you can’t even get a job.” It was a tough one. So, when I finally broke through, I felt a rainfall of benefit and victory.&lt;/P&gt;&lt;P&gt;But, you know the career. It’s the music business, and once you get into it, the rollercoaster starts. Sometimes, you’re really working and making money, and you’re booked back to back. Other times, you have nothing.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;That’s very true.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SS:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;The real crossroads came when, as I was succeeding at this, I wasn’t happy. I had conquered the call of being one of the top-three guitar guys in Vegas, was making money, and everything was amazing in that way. But I wasn’t happy, because I was always a writer. I wrote all the music in Catharsis, even though it was jazz fusion/instrumental. The whole explosion of U2, Police, Echo and the Bunnymen and Berlin all happened, and here I was playing “I Love the Nightlife” and “New York, New York” in another lounge band or with a celebrity. And I came to a big fork in the road and decided I just couldn’t do it anymore.&lt;/P&gt;&lt;P&gt;I decided to go back to Los Angeles, where I was raised and become a songwriter. That was a really big turning point in my life, to have that kind of courage to leave it all behind and go to a place to find another area that I could excel in.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;And what was that reinvention like? It must’ve been about taking a few steps back, and a few steps forward.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SS:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Absolutely. And when I came into L.A., my natural default was “guitar guy.” I got fortunate and started doing sessions around L.A., casuals, Bar Mitzvahs and club gigs. And I managed to start working with Natalie Cole, Little Richard and Billy Preston. I became a guitar guy again, but it was far more competitive than it had been in Vegas. There were great guys here, and I knew I wasn’t going to be the guy that had the cart with 30 AXes and all that. I could read, I could play, but I was not going to be someone like Tommy Tedesco or Joe DiBlasi – people who were really controlling the session work.&lt;/P&gt;&lt;P&gt;Also, the truth in my heart was that I didn’t want to be that guy. I wanted to be on the other side of the glass – the producer and the writer side – not sitting there as a session musician. If I was going to do that, I might as well just go back to Las Vegas where it’s an easier community, I was kind of famous and made really good money. So, I knew at that time I had to stop thinking about doing things like going on the road with people like The Pointer Sisters or Diana Ross. I just didn’t want to do that work anymore.&lt;/P&gt;&lt;P&gt;My tradeoff was that I knew I had to get a job to fund my demo habit and fund the development of my songwriting classes. I joined every group in Los Angeles, like the Songwriters’ Guild, etc. And I went to all the classes and networking events, doing my demos. And I got a job driving a limousine and started to build a business in the transportation industry. And this was a real left turn for me, because I was working outside of music to make money to fund my music career, which really consisted of just doing demos. I did that for almost a decade.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Wow. I didn’t know that about you.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SS:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;I appreciate being able to share that side of it, because there’s a message in there. It’s one that I was reminded of by Johnny K, a Grammy® Award-winning producer who came into Columbia College in Chicago last year when I did my residency there. As I interviewed Johnny, we talked about this part of your career as a musician – when you work outside of music. And he talked about his job at restaurants, and how he got some of his first gigs through working in those restaurants.&lt;/P&gt;&lt;P&gt;The point is, I knew a lot of musicians and a lot of studios. So, it was very normal for me to be able to call all the cool musicians to do my demos. And my songs got better, though it took a while. My first songs were seven-minute, lava-lamp/Jethro Tull jams on a minor, and I’d say, “That’s perfect for Whitney Houston.”&lt;/P&gt;&lt;P&gt;I got better when I started to really study the songwriters, like Diane Warren, Glen Ballard and Babyface. I just really dug into learn about writing songs.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;It’s a funny thing:  A lot of musicians are of the opinion that songwriting is not something you practice or can learn. A lot of people have this notion that it’s an inborn thing, which clearly by your story proves that is not the case, at least for you.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SS:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;And that’s a good point. I practice yoga now. And as the yoga teachers will say, “It’s your practice on your mat … not what someone is doing next to you. It’s not a ‘one size fits all’ practice.” And that’s so true, because you’re all at different levels of being able to stretch and do the moves. Everybody has their way of doing this.&lt;/P&gt;&lt;P&gt;When I had Les McCann as a close friend and teacher, I knew that he was not of the “schooled” approach. Whereas John Handy as a teacher was a hard bop, reading saxophone man. That was why he really pushed me into a music college – to learn the craft of music.&lt;/P&gt;&lt;P&gt;Everybody in the songwriting world has their own way. But I had no other way to learn it except the way that I handled my guitar work at Berklee, which was, “Dig in and study.” And I started to discover that all the clues were on the table. I studied all these great writers and listened to a lot of cool songs throughout the ‘90s, like Teddy Riley writing New Jack Swing, and Rodney Jerkins before he was so massive. I listened to the material produced by all these teams, and the more I studied, the more I realized what a “Three Minute Picasso” means, with the hooks and the verses and the keys and the lyrics. I really took it seriously.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Could you distill some of the pieces of advice that you think were the most valuable to you that you learned from all the classes and seminars you attended and all the studying you did? What moments changed you the most?&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SS:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;One of my major “a-ha” moments was MIDI. When that came along, the whole concept of music changed. My orientation around doing music had been five or six guys in a room:  a bassist; guitar player; drummer; keyboard player; sax player. That’s how you did music. Then came the whole idea of electronic music production and the ability to have things like Band in a Box.&lt;/P&gt;&lt;P&gt;Because that was one of the biggest moments for me, and I ended up going back to school at the Grove School of Music here in L.A., which doesn’t exist anymore. I took a four-year class in one year:  electronic music production. I met guys who were brilliant at sequencing. Back then, it was Q-Bass on the Atari and some of the very early programs before what is now Pro Tools HD where you can make a barking dog sound like Whitney Houston. You can basically make anything sound like anything these days. And I like that freedom. But it wasn’t that when it first started.&lt;/P&gt;&lt;P&gt;When I went back to school, I started to try to understand how to harness the power of electronic music production. I tried to understand Band in the Box and having two guys in front of a computer be the whole band. That really changed my concept of writing songs as well, because the teams and pros I got to see out there doing it and getting serious cuts were just two guys doing this incredible music with a singer. I knew that was going to be the future of how I would travel as a songwriter. And I knew my skills as a guitar player and my developing skills as a lyricist and vocal producer would be valuable in this electronic music world.&lt;/P&gt;&lt;P&gt;My route was to find collaborators – people who were really good at the technical side, at mixing, mastering, computer, MIDI, programming. I buddied up with them as writer/producer friends, and that’s when it started for me.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;I think of you as a producer. Was that the point at which you became more of a producer than just a songwriter?&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SS:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Absolutely. For me, at that point, the production and the writing were seamless and the same thing. We could produce the same song with different vibes, different beats and in different genres. Because of the technology that was available to us, we could do it in so many different ways. That’s when I truly began to believe that production and songwriting were the same animal.&lt;/P&gt;&lt;P&gt;Again, I was faced with the difficulty of wanting to turn this into a career and monetize these skills. Nobody was buying my songs. I wasn’t becoming a famous songwriter or getting cuts on big records or any records at all. No publishers were investing in me. I wondered, “What do I do?”&lt;/P&gt;&lt;P&gt;So, I reinvented what my own game was. How many times can you hear, “No” on Sunset Boulevard? I started to look at the entire world as my playing field. I thought, “There has to be a Christina Aguilera, a Nickelback and a Leeann Rimes in The Netherlands, Belgium, Korea and Sweden. I’m going to go find them and convince them to hire me to write and produce songs for them.” That was when I first started traveling internationally – in 2000. And I got a client, which changed everything for me. And, one became three, three became six, six became 12.&lt;/P&gt;&lt;P&gt;I can now state that in the last 12 years, I’ve established my reputation and name with a substantial international clientele of artists, companies, investors and people who come to me to write and produce songs for them and help them build their career identity through the production of my original music. It’s a very proud thing to be able to share.&lt;/P&gt;&lt;P&gt;Now with &lt;EM&gt;American Idol&lt;/EM&gt;, &lt;EM&gt;The Voice&lt;/EM&gt; and the plethora of obvious talent  around the world, we see that in every country there are artists that are seeking professional development opportunities. Not everyone gets to be the American Idol winner, because they only choose one. But what about the 400,000 who tried out? Certainly within that group, there is a pool of serious artists that want to have careers and great material. And they need someone like me. I’ve made it my business to go out into the world and find them.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;For those wanting to be successful musicians, producers or songwriters, what very practical, simple advice would you give, if you had to give a bullet-point list of five things to do?&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SS:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;I think there are one or two or three things to do and not to do that I can put simply. When I worked at Columbia College as their master producer and artist in residence, I got in front of several thousands of young people. I did this last year, the year before, and I was hired again this upcoming year. It’s been this really wonderful and prestigious opportunity. Aside from me, it’s been people like Mike Stern, Benny Goldman, Paula Cole, Kevin Eubanks. It’s really a neat thing. My particular programming is very unique. I’m combining four different areas:  recording; the music department;  the music business management people and their record label. So, we’re doing the master classes, sessions, songwriting and performance. It’s a really comprehensive 10-day program that everyone’s been thrilled with.&lt;/P&gt;&lt;P&gt;When I’m in front of those young people talking about my experience, and this same question will be asked, I will say that the three things on the to-do list are, &lt;STRONG&gt;#1&lt;/STRONG&gt;, &lt;STRONG&gt;“It’s a lifelong campaign.”&lt;/STRONG&gt; It’s a never-give-up campaign. You constantly have to be at this. The people who are serious and are winning at whatever they are doing are at it full on. If music is to be a hobby, or something to enjoy in the church or in your family or in the community, that’s a great place to leave your music. Be a veterinarian or a brain surgeon – something else. But if the goal is to have a  professional career in the music industry, it requires that you must be 100% full on.&lt;/P&gt;&lt;P&gt;Now, &lt;STRONG&gt;for #2&lt;/STRONG&gt;:  What 100% full on means is, &lt;STRONG&gt;“Create success in your own lane.”&lt;/STRONG&gt; That means not everybody will be famous. Not everybody will be a celebrity or win a Grammy®. That’s not the point, truthfully. The point is that for you to have a career in  music means that you have to be great at what you do and create your own niche and your own sound. For a musician, that means create your own sound and network that sound where that sound fits. If you’re a monster funk guitar player, you should know all the Princes and the R. Kellys in the world. There’s no need to take that funk sound to Toby Keith or Vince Gill, because that’s not their thing. If you’re a singer, are you going to be an artist, a session singer, a voice over, a touring singer? You have to create success in your own lane and then really pursue that lane.&lt;/P&gt;&lt;P&gt;I think &lt;STRONG&gt;#3&lt;/STRONG&gt;, if anything, is, &lt;STRONG&gt;“Be very, very flexible and moldable enough to enjoy life’s process.”&lt;/STRONG&gt; As I told you, I had jobs outside of the music industry, and they were very rewarding. I made money, I made a new set of contacts and developed a new set of business skills that translate into my core career as a music entrepreneur.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;And what should people who want to find success in the music industry &lt;EM&gt;not&lt;/EM&gt; do?&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SS:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;As we are all artists and aspiring entrepreneurs,&lt;STRONG&gt; #1&lt;/STRONG&gt; is, &lt;STRONG&gt;“Don’t compare yourself to other people.”&lt;/STRONG&gt; It’s degrading and ridiculous to compare what you’re doing to what somebody else has or hasn’t. So, put no energy whatsoever into comparing your worth to the worth of somebody bigger, or the worth of someone who is struggling. Base your worth on yourself each day, in front of the mirror, God, whoever. Account for yourself to yourself each day.&lt;/P&gt;&lt;P&gt;And &lt;STRONG&gt;#2&lt;/STRONG&gt; is, &lt;STRONG&gt;“Don’t underestimate the importance of building relationships.”&lt;/STRONG&gt; You hear this, and it sounds very over used. But what I am specifically talking about is networking and building a reputation, a name, a brand and credentials that come to people’s minds when your name is mentioned. I’m hoping – and I’m very determined and dedicated – that at this time in my life, when my name is being mentioned, it is being mentioned with a certain level of competitive product, a level of communication, availability and accessibility, and a certain responsibility to other people. The gap for slander and negativity has been closed through my own hard efforts to build my brand.&lt;/P&gt;&lt;P&gt;That goes with &lt;STRONG&gt;#3&lt;/STRONG&gt;, which is,&lt;STRONG&gt; “Don’t be that miserable, negative, slanderous person.”&lt;/STRONG&gt; Because, it attracts nothing except more misery. This is a punching-bag business, like many are. If you have two Quiznos sandwich shops on opposite corners, they’re punching each other out. Business can be about that, but there is a way to do it so you’re always choosing the high road. That doesn’t mean not being tough and strict, or not negotiating hard and getting things done. But there’s a way to do it and still foster the humanism and the heart in it. I think everybody responds to that in every country. Everybody understands sincerity.&lt;/P&gt;&lt;P&gt;To learn more about Shele Sondheim and the work he does globally, visit the &lt;A &amp;#111;nclick="pageTracker._trackPageview('/outgoing/www.csmwordsandmusic.com');" href="http://www.csmwordsandmusic.com/"&gt;CSM Words and Music&lt;/A&gt; website.&lt;/P&gt;&lt;/DIV&gt;</description><pubDate>Thu, 03 May 2012 12:09:46 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>Fallout Shelter Radio Show on IndieRock FM</title><link>http://forum.producersedgemagazine.com/Topic2115-8-1.aspx</link><description>&lt;DIV class=post-header&gt;&lt;H1&gt;Fallout Shelter Radio Show on IndieRockFM&lt;/H1&gt;&lt;/DIV&gt;&lt;DIV class="entry clear"&gt;&lt;DIV&gt;&lt;DL&gt;&lt;DT&gt;&lt;A href="http://indierock.fm/"&gt;&lt;IMG title="Fallout Shelter Radio Show" alt="Fallout Shelter Radio on IndieRock.fm" src="http://dynamicsplus.files.wordpress.com/2012/04/facebook-wallpaper-fallout-cover-size.jpg?w=600&amp;amp;h=222" width=600 height=222&gt;&lt;/A&gt;&lt;/DT&gt;&lt;DD&gt;Tune in, Get Turned on as we Turn it out!&lt;/DD&gt;&lt;/DL&gt;&lt;/DIV&gt;&lt;br&gt;&lt;br&gt;The &lt;STRONG&gt;Fallout Shelter&lt;/STRONG&gt; hits your airwaves starting on Friday, April 27&lt;SUP&gt;th &lt;/SUP&gt;from 8 to 10 pm. Every Friday night &lt;STRONG&gt;Griffin Avid&lt;/STRONG&gt;, &lt;STRONG&gt;Drew Spence&lt;/STRONG&gt;, &lt;STRONG&gt;Domino Grey&lt;/STRONG&gt; and &lt;STRONG&gt;Xodus Phoenix&lt;/STRONG&gt; mix up anything with a groove that makes the needle move. From electronica to experimental hip hop, it’s a radio show unlike anything you’ve ever heard.&lt;br&gt;&lt;br&gt;Guest DJs drop in to the &lt;STRONG&gt;Fallout Shelter Radio Hour&lt;/STRONG&gt; and spin the best in electronic music. We’re on IndieRock.FM. Point your browser to the &lt;A title=http://indierock.fm/ href="http://indierock.fm/" target=_blank&gt;number one international independent online Platform&lt;/A&gt; for hearing the best underground music from around the world. It’s Lower East Side radio blasted by the Fallout Shelter!&lt;br&gt;&lt;br&gt;Tune in, Get Turned on as we Turn it out!&lt;br&gt;&lt;br&gt;&lt;A title=http://indierock.fm/ href="http://indierock.fm/" target=_blank&gt;IndieRock.FM&lt;/A&gt;&lt;br&gt;&lt;br&gt;LRS.FM | Live Radio Shows |was founded in 2011 and will be providing quality radio to the public. Located in the heart of the Music Industry in New York City, the Lower East Side.&lt;DIV&gt;&lt;DL&gt;&lt;DT&gt;&lt;A href="http://indierock.fm/"&gt;&lt;IMG title=INDIEROCKFM alt="IndieRock FM" src="http://dynamicsplus.files.wordpress.com/2012/04/indierockfm.jpg?w=600&amp;amp;h=337" width=600 height=337&gt;&lt;/A&gt;&lt;/DT&gt;&lt;DD&gt;Fallout Shelter Radio Show on IndieRock FM&lt;/DD&gt;&lt;/DL&gt;&lt;/DIV&gt;&lt;/DIV&gt;&lt;br&gt;&lt;br&gt;&lt;A href="http://producersedge.wordpress.com/2012/04/27/fallout-shelter-radio-show-on-indierock-fm/"&gt;http://producersedge.wordpress.com/2012/04/27/fallout-shelter-radio-show-on-indierock-fm/&lt;/A&gt;&lt;br&gt;&lt;br&gt;Show archive&lt;br&gt;&lt;br&gt;[url=http://www.youtube.com/watch?v=jTsu_ib1WpE]http://www.youtube.com/watch?v=jTsu_ib1WpE[/url]&lt;br&gt;&lt;br&gt;</description><pubDate>Fri, 27 Apr 2012 17:22:35 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>Musician Coaching - Choosing a Digital Music Distributor</title><link>http://forum.producersedgemagazine.com/Topic2109-8-1.aspx</link><description>&lt;TABLE style="PADDING-BOTTOM: 0px; BORDER-RIGHT-WIDTH: 0px; MARGIN: 0px; PADDING-LEFT: 0px; WIDTH: 100%; PADDING-RIGHT: 0px; BORDER-TOP-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; BORDER-LEFT-WIDTH: 0px; PADDING-TOP: 0px"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="VERTICAL-ALIGN: top" width="99%"&gt;&lt;H1 style="PADDING-BOTTOM: 6px; MARGIN: 0px"&gt;&lt;A style="FONT-FAMILY: Georgia, Times New Roman, serif; COLOR: #888; FONT-SIZE: 22px; FONT-WEIGHT: normal; TEXT-DECORATION: none" title="http://musiciancoaching.com/&amp;#10;(http://musiciancoaching.com)" href="http://musiciancoaching.com"&gt;Musician Coaching - Choosing a Digital Music Distributor&lt;/A&gt; &lt;BR&gt;&lt;A title=http://fusion.google.com/add?source=atgs&amp;amp;feedurl=http://feeds.feedburner.com/musiciancoaching href="http://fusion.google.com/add?source=atgs&amp;amp;feedurl=http://feeds.feedburner.com/musiciancoaching"&gt;&lt;IMG style="PADDING-TOP: 6px" title=http://fusion.google.com/add?source=atgs&amp;amp;feedurl=http://feeds.feedburner.com/musiciancoaching border=0 alt="" src="http://gmodules.com/ig/images/plus_google.gif"&gt; &lt;/A&gt;&lt;/H1&gt;&lt;/TD&gt;&lt;TD width="1%"&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;HR style="BORDER-BOTTOM: #ccc 1px solid; BORDER-LEFT: #ccc 1px solid; PADDING-BOTTOM: 0px; MARGIN: 0px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: #ccc 1px solid; BORDER-RIGHT: #ccc 1px solid; PADDING-TOP: 0px"&gt;&lt;TABLE id=itemcontentlist&gt;&lt;TBODY&gt;&lt;TR xmlns=""&gt;&lt;TD style="LINE-HEIGHT: 1.4em; MARGIN-BOTTOM: 0px"&gt;&lt;P style="MARGIN: 1em 0px 3px"&gt;&lt;A style="FONT-FAMILY: Georgia, Times New Roman, serif; FONT-SIZE: 16px" title=http://feedproxy.google.com/~r/musiciancoaching/~3/3hktFMoV4BI/?utm_source=feedburner&amp;amp;utm_medium=email href="http://feedproxy.google.com/~r/musiciancoaching/~3/3hktFMoV4BI/?utm_source=feedburner&amp;amp;utm_medium=email" name=1&gt;Choosing a Digital Music Distributor&lt;/A&gt; &lt;/P&gt;&lt;P style="LINE-HEIGHT: 140%; MARGIN: 9px 0px 3px; FONT-FAMILY: Georgia, Helvetica, Arial, Sans-Serif; COLOR: #555; FONT-SIZE: 13px"&gt;&lt;SPAN&gt;Posted:&lt;/SPAN&gt; 25 Apr 2012 07:36 AM PDT&lt;/P&gt;&lt;DIV style="LINE-HEIGHT: 140%; MARGIN: 0px; FONT-FAMILY: Georgia, Helvetica, Arial, Sans-Serif; COLOR: #000000; FONT-SIZE: 13px"&gt;&lt;STYLE type=text/css&gt;#leftcontainerBox {float:left;position: fixed;top: 60%;left: 70px;}#leftcontainerBox .buttons {float:left;clear:both;margin:4px 4px 4px 4px;padding-bottom:2px;}#bottomcontainerBox {height: 30px;width:50%;padding-top:1px;}#bottomcontainerBox .buttons {float:left;height: 30px;margin:4px 4px 4px 4px;}&lt;/STYLE&gt;&lt;P&gt;Steve Corn is the CEO and co-founder of BFM Digital, an independent music company specializing in digital distribution, marketing and promotions. A graduate of Berklee College of Music, where he studied jazz piano and composition, he got his start in the business as a film composer and performing musician. His company Corn Music Services, Inc. pioneered the licensing of master recordings, sound effects and images to global mobile providers and was one of the first companies to work with ringtones, ringbacks and wallpaper on mobile devices. Through that company, he provided consulting and licensing services for clients like Universal Studios, Fox Interactive and MySpace. During his diverse career, Steve has also worked as a music distributor, new media and licensor, as Executive Vice President of Licensemusic.com, the first all-inclusive online music licensing service. Additionally, he was Vice President and General Manager of Megatrax Production Music, a production music library that worked with many major entertainment companies worldwide. Prior to founding BFM Digital, he worked for many years at LIVE Entertainment (now Artisan Entertainment), where he was responsible for negotiating soundtrack deals and managing the publishing rights for both theatrical and home video releases. He has over two decades of business and management experience in music supervision and media licensing.&lt;/P&gt;&lt;P&gt;&lt;A title=http://musiciancoaching.com/wp-content/uploads/2012/04/SC-Headshot-BFM-032.jpeg href="http://musiciancoaching.com/wp-content/uploads/2012/04/SC-Headshot-BFM-032.jpeg"&gt;&lt;IMG class="aligncenter size-medium wp-image-3480" title="http://musiciancoaching.com/wp-content/uploads/2012/04/SC-Headshot-BFM-032.jpeg&amp;#10;SC Headshot BFM-032" alt="" src="http://musiciancoaching.com/wp-content/uploads/2012/04/SC-Headshot-BFM-032-200x300.jpg" width=200 height=300&gt;&lt;/A&gt;&lt;/P&gt;&lt;P&gt;I recently got to talk to Steve about his experience in the industry and how BFM Digital and its competitors help musicians navigate the digital music landscape. He also shared some insight about how artists can go about choosing the distribution partner that is right for them.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Thanks so much for taking the time to talk, Steve. How did you get into the music business, and what led you to start BFM Digital?&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SC:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;I am a former self-unemployed film composer. I went to Berklee College of music, then moved out to L.A. and basically did every music odd job any musician could do to support themselves. I was very proud that I was making my living entirely in music until I had my first baby. I was a keyboardist, programmer, player and worked with MIDI before there even really was MIDI. Because I needed to earn a living, I had to understand exactly how the money flows. I took Deep Throat’s advice to heart and followed the money, which was in some of these digital elements.&lt;/P&gt;&lt;P&gt;Eventually, I found myself on the licensing side of things, both as a licensor and a licensee. I was VP and general manager of one of the largest indie music production libraries – Megatrax – as well as running the music department for a small film company called Live Entertainment. I’ve seen your background, and I think you and I probably have some of the most diverse backgrounds. You might rival me in the number of roles you’ve had.&lt;/P&gt;&lt;P&gt;I started BFM after spending a couple years with the first – and I still think the best – music licensing company, which was Licensemusic.com. I was their EVP. It was definitely a company too early for its time. Shortly after I left that company, I engaged in what I call “forced entrepreneurship.” I got involved with ringtone licensing on the masters side. I had a good friend – Steven Weber – who is my co-founder and partner at BFM Digital. He made a good living from it for about 14 years setting up international licensing deals for domestic  indie labels and vice versa – bringing indie labels into the U.S.&lt;/P&gt;&lt;P&gt;Just about the time iTunes started, post-Napster, his business was suffering, because CDs were tanking, and licensing CDs and albums was a dying industry. So, he had the label relations, I had the dot-com experience, and he and I decided to found BFM Digital. The original name of the company was “Big Fish Media.” While that name is gone, the guiding principle remains:  “big fish, small pond.” We played the classic chicken-and-the-egg situation:  How do you get distribution deals with iTunes, Rhapsody, etc. without the content, and how do you get the content without the deals. We did both simultaneously. I naively thought back then – eight years ago – that 50,000 tracks would be the goal of a good distributor. But now we have close to 250,000 tracks, and we’re still considered boutique.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;I never understand how the aggregators that have continued to grow, whose initial battle cry was, “We’re specialty. We’re boutique. We’ll take care of your music and your rights and be able to give you attention,” work. I’ve watched the shift and seen these companies become large, with catalogs that are often larger than some of the major labels. I don’t fully understand how they have the bandwidth to take care of anything beyond shooting the content out to the distributors.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SC:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;That’s essentially what’s happening with some of the companies that started as boutique companies now. Yet, they still have the “partnership” model – the revenue share (rev-share) model. And this is wonderful if you’re aligned with the artist:  If they win, you win and vice versa.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Having skin in the game motivates people, for sure.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SC:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Exactly. And I’m not sure how some of them justify a rev-share model when they’re, for the most part, as much about mass-produced distribution as TuneCore is. I don’t see a way they can provide the level of service they started out offering and still profess to offer when everything is dashboard operated, and it’s very difficult to get a brainstorming session with your label representative. As an example, people who sign up for TuneCore – or CD Baby, who has a similar mindset even though they combine a set up fee with a reduced rev share – know the company is not professing to be a company dedicated to getting your message out. They admit to doing things the way they do them, charging a fee for it and that’s that, for better or worse. Some of these other “full-service” companies are in somewhat of a downward spiral in their rev share percentages in order to keep them more competitive, when in reality they aren’t offering the services they advertise, even if they really do want to offer these services.&lt;/P&gt;&lt;P&gt;We’ve always had the philosophy from Day One that we’re going to curate the content we represent in the manner of a true distributor. And by the way, if you noticed, in a recent &lt;A title=http://www.hypebot.com/hypebot/2012/03/does-size-really-matter-consolidation-in-the-digital-distribution-business.html href="http://www.hypebot.com/hypebot/2012/03/does-size-really-matter-consolidation-in-the-digital-distribution-business.html"&gt;blog entry&lt;/A&gt;, I felt obligated to clarify the use of the word “aggregator” vs. the use of the word “distributor.” Because, I do believe TuneCore is much more of an aggregator model. When I think of the distributor model, I think of in terms of companies that use old-fashioned business models that would develop spiff programs, sales programs and help you try to promote, package and place your content with PAP (price and positioning). Placing is so important, now more than ever before. And I’m not even talking about discounting; I’m talking about holding the price point. A distributor is the proactive partner of a label in working with retail outlets. An aggregator is someone who accumulates content. TuneCore is an aggregation model, and they charge a fee.&lt;/P&gt;&lt;P&gt;When I look at myself and some of my competitors, we all profess to be a distributor model in which we offer a true partnership-level interaction. However, you’re absolutely right:  When you now have a combined catalog of something close to four or five million tracks – and if I’m wrong, I apologize to them – there’s no way that can be done using a true distributor model.&lt;/P&gt;&lt;P&gt;At BFM, we’ve always been selective about the people we represent. And I’m not saying we represent the world’s greatest art in the music industry, because we represent stuff that sells that I’m still mystified as to why it sells. But we work with our partners. We are available to brainstorm, and we do a lot of active strategizing. We’re not dashboard oriented. We’re people oriented.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Obviously, as a guy with a licensing background, I’m going to guess you guys have an in-house licensing department. And you’ve already talked about PAP – price and positioning. If you’re an artist shopping around for a distribution deal, wondering if there’s a rev-share model that would make sense for you, what are the qualities and services you should be looking for in a potential partner?&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SC:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Actually, I think that’s the wrong approach. You shouldn’t be looking for the services, because when you put the services down on a piece of paper, they can all appear generic. I think the two things you’re most shopping for when you’re trying to partner up with a distributor – and this also applies to when you’re trying to decide if you want to go the TuneCore route or some other route – is, first, the access to knowledge. So, in the case of my company, you’re looking for access to my information and my track record of ten years of being in the digital music business, the information of having made every single mistake a distributor can make so you don’t have to. So, you’re looking for access to that knowledge and then a company that can help tell your story. If you feel it’s important to get your product either featured, placed or if you want to submit it to specific programs – for example, Amazon will have a “Genre of the Month” program, etc. – you also need a distributor who can help get your story told, which is about who you are, what your release is and why anyone should care about it. And &lt;EM&gt;how&lt;/EM&gt; the distributor does that is not as important as whether or not they &lt;EM&gt;can&lt;/EM&gt; do that. The methodology can vary greatly. The success of what they do is the true measure.&lt;/P&gt;&lt;P&gt;I like to joke that in the beginning, we didn’t have a dashboard-type technology at BFM, because, quite frankly, we couldn’t afford it. We were completely bootstrapped and self financed. And now we choose not to have one, because we don’t like the concept. I don’t want people uploading and clicking a check box; that can be done through a spreadsheet. I want people to say something a little different about the process.&lt;/P&gt;&lt;P&gt;I’ll give you a real-life example. There’s a well-known artist from the 60’s and we released his first U.S. album in 20-25 years last month. He’s been recording in Germany – where he’s really big – all throughout the ‘80s and ‘90s. He has a catalog of 16 albums, and we’ve been discussing how to release that catalog. Of course, we’re going to put the albums up as they are. But he’s looking for ways to release his catalog that really preserve his legacy and his career. He was thinking about coming up with different compilations or different periods, in a similar way to how The Beatles put out their &lt;EM&gt;Red&lt;/EM&gt; and &lt;EM&gt;Blue&lt;/EM&gt; albums from the ‘60s.  He’s looking for something that can capture the same kind of developmental art throughout his career. And he’s a digital novice. He doesn’t know what’s available and what’s possible. And we’re looking at his catalog and trying to figure out what’s going to be best for him, his career, his wishes.&lt;/P&gt;&lt;P&gt;We do that for artists of all ilks, not just for someone of his stature. You also might have an artist that has an album where half of its done, he has a video for one single, and he’s coming to us saying, “What should I do? Should I release a single or an EP? Should I wait until the album’s done? Should I put out a video?” If an artist has management or PR, we’re just another part of the advisory team. We help them decide how to put out their music in a way that makes the best sense. We also look at timing scheduled – what’s needed for a promotion on iTunes, what’s coming up in three months on Amazon, whether Rhapsody is doing a special feature, etc.? In that respect, we really earn our percentage. If a project succeeds, we succeed. And if it doesn’t, it’s usually no fault of anyone’s in particular. It’s the risk we’re willing to take.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;You guys are a little different from a lot of your competitors, because you curate. You don’t accept everyone who knocks on your door. If I put myself in the mind of an aspiring musician in the beginning phases of my career, and I’m just trying to figure things out, my questions for a distributor are probably going to be, “This is who I am, this is what I do. Can you get me these deals on Amazon and iTunes? And is there any point in going to the distributors that represent less than five-percent of the marketplace? What kind of in-house services do you have that are going to support the efforts I’m already making in terms of licensing, etc.?” Obviously, getting guidance on questions about whether they go physical or digital is going to be a given for artists coming to a company like yours. But, I think my question, if I were an artist especially, would be about the rest of the support that is available to me.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SC:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;There are so many moving parts to that equation. If you’re a completely unknown artist with your first release, and you have no gigging plans and nothing scheduled, then we have to figure out how hard you’re going to work. We don’t work with artists that give us an album and say, “Go ahead and break me. And, by the way, only keep your 20 percent.” Because, let’s face it – labels get 80 or 90 percent, because they’re spending money and they’re – arguably – earning their keep. I’m not going to break an artist for 20 percent. That flips the model, and there’s no reason for that.&lt;/P&gt;&lt;P&gt;If an artist is willing to work hard, I’m willing to match their effort. So, if they have the right market drivers, then we can tell them what services might be amenable to featuring them. If they have the right kind of song that might have a place or opportunity in TV, film or commercials, we can present that option. But as you know, you can’t count on a licensing placement to break your career.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Of course not.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SC:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Everything we do has to be considered complimentary to what an artist does. It doesn’t mean an artist has to have management, PR, a booking agent, touring or a gigantic team. We work with some artists that are incredible DIY people, but they prefer to go with us because they want us to put together their one-sheets presented to service or they want our advice on release schedules. Even if they’re doing a short, one-week tour in, let’s say, Italy, we’ll pick up the phone and call the services in Italy and see if we can do an in-house.&lt;/P&gt;&lt;P&gt;All the services that we offer come down to the same generic categories: marketing; promotion; design; copywriting; social media. Everyone that has a rev share model claims to have these types of services. And we have everything everyone else has. It’s how you apply it that makes the difference. Many of our competitors apply it through a dashboard of widgets and services that give you great access but still force you to do it all yourself. I don’t quite understand that mentality. If you’re going to do that, then don’t profess to be a partner, because people can find that on their own.&lt;/P&gt;&lt;P&gt;It may sound anachronistic, but we don’t have a dashboard to go and create a widget. We have partnerships with companies that create widgets, or we can help you create the widget yourself.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;The one thing I know because I’ve come from the label system and have done both coaching and freelance product management is that I’ve never seen a widget break an artist, ever.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SC:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Yes. That’s probably one of the most apt statements I’ve ever heard. Yet, they’re so cool, you need them.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;They’re helpful. You don’t want to make it more difficult for anybody to absorb your music and your message, but I have yet to hear the conversation:&lt;/P&gt;&lt;P&gt;“How did you get to the top, Lady Gaga?”&lt;/P&gt;&lt;P&gt;“I had an email widget.”&lt;/P&gt;&lt;P&gt;That’s just not going to happen.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SC:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;That’s really true.&lt;/P&gt;&lt;P&gt;But that’s an excellent point, even though there are some great services out there. Last night I was looking over the panels for NARM, and I was making some comments. One of the panels was on outsourcing as an artist or a label. The tools available out there are so amazing.&lt;/P&gt;&lt;P&gt;Sometimes, we’re hired just to coordinate all these tools. An artist might come to us and say, “I really love Onesheet.com,” or “I really love FanBridge. But I don’t have the time to manage it.” We offer such coordination services – and that usually involves a modest fee if there’s a time commitment. But a lot of times, we’re that fifth band member whose role it is to manage all the band’s social media and online presence. We do have a whole suite of label services if someone needs it. We can push radio, write copy, do design, create and modify and update social media, create marketing programs. We can do any and all or none of the above.&lt;/P&gt;&lt;P&gt;It’s kind of laughable now, but we spent six months designing pre-built marketing packages when we launched our marketing department a couple years ago – silver, gold and platinum levels. We’ve only sold one of those, because every package had to be customized.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:  &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Speaking to your earlier point, I think digital technology has put a lot of people in business in musician and label services. And it has made them think they can templatize something that by its nature defies being shoved into a box. I appreciate how difficult it is to scale a company like that. But I think it’s problematic to think the same suite of services are going to apply to one artist and also the next. I’ve seen that play out many times, and I’m glad to hear that it’s more a la carte for you guys now.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SC:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;You touched on scalability, which is a really interesting point to me. In my recent blog entry about the IODA/Orchard merger, I talked about what some might consider to be the benefits of scaling up two large companies into one larger company. Often times when that happens in any industry, the larger company might have additional buying power to get better rates and pass on the savings. I think Big Lots or Wal-Mart operate on that philosophy.&lt;/P&gt;&lt;P&gt;But in the music industry, scalability only benefits the VC investors. It doesn’t benefit the labels. That’s because there is a general tendency for all the digital services to make their deals as uniform as possible. So, the rates that a companies like, for example, The Orchard and IODA are getting from iTunes, Rhapsody, Spotify are the same rates we’re getting. And they already have ten times as many tracks as we have. Having 20 times as many tracks isn’t going to help them get a better rate. Sometimes they have a better advance or setup fee, but then they get into the realm of the Majors. And, I just read that Weird Al is suing Sony. One of the claims is that they didn’t pay him his pro-rated share of advances they got from different services. Getting advances or set up fees isn’t actually a benefit to the labels. Being larger – and scaling higher – doesn’t create any efficiencies or benefits to labels.&lt;/P&gt;&lt;P&gt;Shortly after the merger between IODA and The Orchard recently, it was announced that both companies were laying off people. I’m paraphrasing this, but they said they were reducing the number of staff in order to provide more efficient client services. That doesn’t quite make sense to me:  Fewer people, better service? It doesn’t add up.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;I think you’re right. When big money becomes involved with art, you cease looking at songs as songs. You start looking at them as pieces of copyright that you can trade on. I think if you put yourself as the gatekeeper between artists having access to rights like that, the potential breakage becomes the benefit of the gatekeeper and not the people standing in front of the gate.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SC:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;And to be honest, as a company that has larger numbers than most of my labels, I tend to benefit from Spotify as a whole a little bit better than any individual label. But on the other hand, we are still on the same side of the table as our labels.&lt;/P&gt;&lt;P&gt;I may have disagreements with the flat-fee model. And honestly, I think a lot of TuneCore’s public standing seems to be in support of indie artists, when in fact, it’s quite arguable that they make way more money on most of their releases than the artist does. But at least they don’t profess to offer something they’re not offering.&lt;/P&gt;&lt;P&gt;It really does come down to the fact that if you’re in the music business, you need to spend a little money to make a little money. You should subscribe to &lt;EM&gt;Billboard&lt;/EM&gt;. There is $200 per year that you’re not necessarily going to recoup, but it’s okay to spend some money. There are some things you have to invest in. It’s just that if you have certain needs in your digital distribution that you want your distributor to meet, you have to be very careful you’re making the right investments, because you could be penny wise and pound foolish.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;When do you advise someone to go after a distribution partner vs. a flat-fee model?&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SC:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Probably one of the best examples of that would be this guitarist that I tried to sign and didn’t – a very well-known guitarist. I met him a few years ago at Midem. He just happened to be invited to a dinner I was part of, and I was sitting across the table from him in my “I’m not worthy” mode. I’m in Valley Village, Studio City in California. And he lives very close by. We had an earnest talk about using us vs. TuneCore. He said, “Hey listen, I have my fan base. I put out anything, and everybody that wants to buy it will know it’s available and come buy it. I don’t need anybody to tell my story.” He has a rabid fan base, and he doesn’t need me to come up with promotional features. He’ll get features. Even if he doesn’t, his fans know where to find him.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Oh, I know what you mean. I was the A&amp;amp;R guy for Dream Theater. That just involved saying, “Sounds like the last one. The same 250,000 people will buy this one too.”&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;SC:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Exactly. For him, the argument to have a rev-share model wasn’t quite as compelling as it might be to most people. If I flip back to that ‘60’s artist, who also has a fan base, but that’s a slightly different story. His fan base is not digital. They may not even be online or may just be getting online. And he is the type of guy that needs an active digital partner. If he went to TuneCore, he would not have his story told and would probably not be as discoverable.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;So, you have two legacy, prominent artists. With one, there’s a great case for a flat fee, the other a great case for a rev share. I would say there’s a time and place for everything. Unfortunately, most artists and labels who are releasing material really do need help in deciding how to release it and how to get their message out. And those people really aren’t well served by a flat-fee model.&lt;/P&gt;&lt;P&gt;Unfortunately, we can’t service hundreds of thousands of artists like TuneCore or CD Baby. That’s why we’re selective. And when artists come to us, we have to like the music and figure out if we can be of service to them. Usually, when it comes to us vs. another rev-share model like IODA, etc., then the selling proposition becomes “access,” “brain trust,” “past successes,” etc. When it’s compared against a flat-fee model, it’s usually about what someone needs. And sometimes they don’t need us. And that’s okay, because there’s room for all of us in the digital landscape.&lt;/P&gt;&lt;P&gt;To learn more about Steve Corn and how his company works with artists, check out the &lt;A title=http://bfmdigital.com/ href="http://bfmdigital.com/"&gt;BFM Digital&lt;/A&gt; website.&lt;/P&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Thu, 26 Apr 2012 09:38:26 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>XLN Audio This MIDI Pak is just waiting to take you on a funky inspirational journey with a slight fusion twist</title><link>http://forum.producersedgemagazine.com/Topic2106-8-1.aspx</link><description>&lt;TABLE width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;FONT color=#111111&gt;&lt;IMG border=0 align=left src="http://i.anp.se/XLN_Audio/XLN_Audio_logo.gif"&gt; &lt;BR&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;TD width=10&gt;&lt;FONT color=#111111&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;TD style="TEXT-ALIGN: right"&gt;&lt;P style="FONT-FAMILY: Verdana; COLOR: #ffffff; FONT-SIZE: 12pt"&gt;&lt;FONT color=#111111&gt;2012-04-19 &lt;/FONT&gt;&lt;/P&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE style="MARGIN-TOP: 15px; MARGIN-BOTTOM: 15px; FONT-SIZE: 0px; BORDER-TOP: #cccccc 1px solid"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="FONT-SIZE: 0px" width=520&gt;&lt;FONT color=#111111&gt;  &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;H2 style="FONT-FAMILY: Arial; COLOR: #ff9900; FONT-SIZE: 17px; FONT-WEIGHT: bold"&gt;&lt;SPAN style="FONT-FAMILY: Arial; COLOR: #ff9900; FONT-SIZE: 17px; FONT-WEIGHT: bold"&gt;&lt;FONT color=#111111&gt;ALL ABOUT THE MIDI PAKS &lt;/FONT&gt;&lt;/SPAN&gt;&lt;/H2&gt;&lt;P style="FONT-FAMILY: Arial; COLOR: #ffffff; FONT-SIZE: 10pt"&gt;&lt;FONT color=#111111&gt;This month we're having a MIDI Pak extravaganza with a brand new product and a great offer that makes it cheaper than ever to expand your rhythm library. But how are MIDI Paks made? We sat down with Fredrik Sandsten, one of the session drummers behind our popular INDIE Rock MIDI Pak, to ask him what makes a great MIDI Pak. We also spoke to producer and sound engineer Bernard Löhr who explained why Addictive Drums is one of his favorite song writing and production tools. &lt;/FONT&gt;&lt;/P&gt;&lt;TABLE width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;A title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.xlnaudio.com%2Fen%2Fproducts-addictive_drums-midipaks-funkd_up href="http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.xlnaudio.com%2Fen%2Fproducts-addictive_drums-midipaks-funkd_up"&gt;&lt;FONT color=#111111&gt;&lt;IMG title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.xlnaudio.com%2Fen%2Fproducts-addictive_drums-midipaks-funkd_up border=0 align=left src="http://i.anp.se/XLN_Audio/20120406/Funk_d_Up_banner_c.jpg"&gt;&lt;/FONT&gt;&lt;/A&gt;&lt;FONT color=#111111&gt; &lt;BR&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;H2 style="FONT-FAMILY: Arial; COLOR: #ff9900; FONT-SIZE: 17px; FONT-WEIGHT: bold"&gt;&lt;SPAN style="FONT-FAMILY: Arial; COLOR: #ff9900; FONT-SIZE: 17px; FONT-WEIGHT: bold"&gt;&lt;FONT color=#111111&gt;NEW MIDI PAK - FUNK'D UP &lt;/FONT&gt;&lt;/SPAN&gt;&lt;/H2&gt;&lt;TABLE width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;P style="FONT-FAMILY: Arial; COLOR: #ffffff; FONT-SIZE: 10pt"&gt;&lt;FONT color=#111111&gt;This MIDI Pak is just waiting to take you on a funky inspirational journey with a slight fusion twist. Just have a listen to the amazing audio demos on our site and the video with Opolopo jamming with Addictive Drums and the Funk’d Up MIDI Pak. Enjoy! &lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;/TD&gt;&lt;TD width=10&gt;&lt;FONT color=#111111&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;TD&gt;&lt;A title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.xlnaudio.com%2Fen%2Fproducts-addictive_drums-midipaks-funkd_up href="http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.xlnaudio.com%2Fen%2Fproducts-addictive_drums-midipaks-funkd_up"&gt;&lt;FONT color=#111111&gt;&lt;IMG title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.xlnaudio.com%2Fen%2Fproducts-addictive_drums-midipaks-funkd_up border=0 align=left src="http://i.anp.se/XLN_Audio/20120406/opolopo.jpg"&gt;&lt;/FONT&gt;&lt;/A&gt;&lt;FONT color=#111111&gt; &lt;BR&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;P align=right&gt;&lt;A title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.xlnaudio.com%2Fen%2Fproducts-addictive_drums-midipaks-funkd_up href="http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.xlnaudio.com%2Fen%2Fproducts-addictive_drums-midipaks-funkd_up"&gt;&lt;SPAN style="FONT-FAMILY: Verdana; COLOR: #ff9900; FONT-SIZE: 10pt; TEXT-DECORATION: underline" title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.xlnaudio.com%2Fen%2Fproducts-addictive_drums-midipaks-funkd_up&gt;&lt;FONT color=#111111&gt;Get Funk'd Up! &lt;/FONT&gt;&lt;/SPAN&gt;&lt;/A&gt;&lt;/P&gt;&lt;TABLE style="MARGIN-TOP: 8px; MARGIN-BOTTOM: 4px; FONT-SIZE: 0px; BORDER-TOP: #cccccc 1px solid"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="FONT-SIZE: 0px" width=520&gt;&lt;FONT color=#111111&gt;  &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;A title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.xlnaudio.com%2Fen%2Fshop%2Fmidipak href="http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.xlnaudio.com%2Fen%2Fshop%2Fmidipak"&gt;&lt;FONT color=#111111&gt;&lt;IMG title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.xlnaudio.com%2Fen%2Fshop%2Fmidipak border=0 align=left src="http://i.anp.se/XLN_Audio/20120406/MIDI_Deal_liten.jpg"&gt;&lt;/FONT&gt;&lt;/A&gt;&lt;FONT color=#111111&gt; &lt;BR&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;P style="FONT-FAMILY: Arial; COLOR: #ffffff; FONT-SIZE: 10pt"&gt;&lt;FONT color=#111111&gt;During April you get two MIDI Paks for the price of one. This is a time limited offer so don't miss out on this great opportunity. Buy one MIDI Pak and choose the extra Pak in “My Account” after purchase. &lt;/FONT&gt;&lt;/P&gt;&lt;P align=right&gt;&lt;A title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.xlnaudio.com%2Fen%2Fshop%2Fmidipak href="http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.xlnaudio.com%2Fen%2Fshop%2Fmidipak"&gt;&lt;SPAN style="FONT-FAMILY: Verdana; COLOR: #ff9900; FONT-SIZE: 10pt; TEXT-DECORATION: underline" title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.xlnaudio.com%2Fen%2Fshop%2Fmidipak&gt;&lt;FONT color=#111111&gt;Get Yourself Some Nice MIDI Paks! &lt;/FONT&gt;&lt;/SPAN&gt;&lt;/A&gt;&lt;/P&gt;&lt;TABLE style="MARGIN-TOP: 8px; MARGIN-BOTTOM: 4px; FONT-SIZE: 0px; BORDER-TOP: #cccccc 1px solid"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="FONT-SIZE: 0px" width=520&gt;&lt;FONT color=#111111&gt;  &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;H2 style="FONT-FAMILY: Arial; COLOR: #ff9900; FONT-SIZE: 17px; FONT-WEIGHT: bold"&gt;&lt;SPAN style="FONT-FAMILY: Arial; COLOR: #ff9900; FONT-SIZE: 17px; FONT-WEIGHT: bold"&gt;&lt;FONT color=#111111&gt;ARE YOU INTERESTED IN BETA TESTING UPCOMING XLN AUDIO PRODUCTS? &lt;/FONT&gt;&lt;/SPAN&gt;&lt;/H2&gt;&lt;P style="FONT-FAMILY: Arial; COLOR: #ffffff; FONT-SIZE: 10pt"&gt;&lt;FONT color=#111111&gt;We have a team of dedicated testers around the world, but are always looking for more talent! &lt;BR&gt;&lt;BR&gt;We're mainly looking for people with previous beta testing experience who dislike bugs as much as we do. &lt;BR&gt;&lt;BR&gt;Once you sign up as a beta tester you will be placed in a validation queue. Signing up is no guarantee to become a tester. If we select you as a beta tester you will get an e-mail welcoming you to our team of beta testers. &lt;/FONT&gt;&lt;/P&gt;&lt;P align=right&gt;&lt;A title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.xlnbeta.com%2Fbeta%2Findex.php%3Fapp%3Dcore%26module%3Dglobal%26section%3Dregister href="http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.xlnbeta.com%2Fbeta%2Findex.php%3Fapp%3Dcore%26module%3Dglobal%26section%3Dregister"&gt;&lt;SPAN style="FONT-FAMILY: Verdana; COLOR: #ff9900; FONT-SIZE: 10pt; TEXT-DECORATION: underline" title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.xlnbeta.com%2Fbeta%2Findex.php%3Fapp%3Dcore%26module%3Dglobal%26section%3Dregister&gt;&lt;FONT color=#111111&gt;Sign Up To Become An XLN Beta Tester &lt;/FONT&gt;&lt;/SPAN&gt;&lt;/A&gt;&lt;/P&gt;&lt;TABLE style="MARGIN-TOP: 8px; MARGIN-BOTTOM: 4px; FONT-SIZE: 0px; BORDER-TOP: #cccccc 1px solid"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="FONT-SIZE: 0px" width=520&gt;&lt;FONT color=#111111&gt;  &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;H2 style="FONT-FAMILY: Arial; COLOR: #ff9900; FONT-SIZE: 17px; FONT-WEIGHT: bold"&gt;&lt;SPAN style="FONT-FAMILY: Arial; COLOR: #ff9900; FONT-SIZE: 17px; FONT-WEIGHT: bold"&gt;&lt;FONT color=#111111&gt;XLN AUDIO MEETS - FREDRIK SANDSTEN AND BERNARD LÖHR &lt;/FONT&gt;&lt;/SPAN&gt;&lt;/H2&gt;&lt;H2 style="FONT-FAMILY: Arial; COLOR: #ffffff; FONT-SIZE: 16px; FONT-WEIGHT: bold"&gt;&lt;SPAN style="FONT-FAMILY: Arial; COLOR: #ffffff; FONT-SIZE: 16px; FONT-WEIGHT: bold"&gt;&lt;FONT color=#111111&gt;From Makers To Producers &lt;/STYLE&gt;&lt;/FONT&gt;&lt;/H2&gt;&lt;P style="FONT-FAMILY: Arial; COLOR: #ffffff; FONT-SIZE: 10pt"&gt;&lt;FONT color=#111111&gt;It's always fun for us to see how artists, producers and musicians make and use our tools. How the creative process unfolds and songs are created. Some are big hits, others humbler productions, but always personal and beautifully crafted by talented artists. We love the idea of being part of these songs, and we take great pride in providing the ideal tools for creating music. &lt;BR&gt;&lt;BR&gt;We met with Fredrik Sandsten and Bernard Löhr to talk about their experiences with Addictive Drums and our MIDI Paks. &lt;/FONT&gt;&lt;/P&gt;&lt;TABLE width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;P style="FONT-FAMILY: Arial; COLOR: #ffffff; FONT-SIZE: 10pt"&gt;&lt;FONT color=#111111&gt;Fredrik Sandsten is best known as the drummer of Soundtrack of Our Lives. He started drumming when he was 11 years old and played in many different bands as a teenager. In the 90's he moved to Gothenburg and started a band called Whipped Cream. Soon after they split in '94 he joined Soundtrack of Our Lives and they have been playing together ever since. Besides that he is also a studio musician and has recorded songs both in Sweden and Internationally. &lt;/FONT&gt;&lt;/P&gt;&lt;/TD&gt;&lt;TD width=10&gt;&lt;FONT color=#111111&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;TD&gt;&lt;FONT color=#111111&gt;&lt;IMG border=0 align=left src="http://i.anp.se/XLN_Audio/20120406/Fredrik3.jpg"&gt; &lt;BR&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;P style="FONT-FAMILY: Arial; COLOR: #ffffff; FONT-SIZE: 10pt"&gt;&lt;FONT color=#111111&gt;Fredrik was the session drummer for the INDIE ADpak and one of the drummers for the INDIE Rock MIDI Pak. One year after the recording we look back and ask him about how he prepared for that epic session. &lt;BR&gt;&lt;BR&gt;"I started by choosing the right drum kit. After lots of testing I went for the drum kit that I actually have been playing live and recording with for the past 5 years. This set proved to be the best under such tough treatment and managed to stay tuned throughout the whole recording." &lt;BR&gt;&lt;BR&gt;The custom ICE drum kit Fredrik selected for the INDIE recording sessions was created using the finest craftsmanship for Soundtrack of Our Lives' performance at the Polar Music Prize gala. This was the year when Led Zeppelin got the prize and the kit was built after John Bonhams setup. &lt;BR&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;TABLE width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;P style="FONT-FAMILY: Arial; COLOR: #ffffff; FONT-SIZE: 10pt"&gt;&lt;FONT color=#111111&gt;"When recording the MIDI Pak for INDIE, I chose to play beats that are ideal to use as a base in composing indie music, but that are versatile enough to be used in other genres as well. &lt;BR&gt;&lt;BR&gt;I like virtual drums and feel they are a positive and useful tool for artists and aspiring musicians since a big recording studio is not needed. This has always been a big dilemma for a lot of musicians, since most music is created at home nowadays. Drummers can also rehearse at home with a great sound without annoying the neighbors or blowing their ears off. &lt;BR&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;/TD&gt;&lt;TD width=10&gt;&lt;FONT color=#111111&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;TD&gt;&lt;FONT color=#111111&gt;&lt;IMG border=0 align=left src="http://i.anp.se/XLN_Audio/20120406/Fredrik_trummar_liten2.jpg"&gt; &lt;BR&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;P style="FONT-FAMILY: Arial; COLOR: #ffffff; FONT-SIZE: 10pt"&gt;&lt;FONT color=#111111&gt;Virtual and real drums complement each other. Because even if an artist created a song by using great beats with a drum tool, a skilled and talented drummer is still needed to play those beats live on stage." &lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;TABLE width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;FONT color=#111111&gt;&lt;IMG border=0 align=left src="http://i.anp.se/XLN_Audio/20120406/Bernard_240_top3.jpg"&gt; &lt;BR&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;P style="FONT-FAMILY: Arial; COLOR: #ffffff; FONT-SIZE: 10pt"&gt;&lt;FONT color=#111111&gt;After talking to Fredrik we met with producer, mixer and songwriter Bernard Löhr at his studio in Stockholm. He has been mixing hits for Backstreet Boys, Westlife, Celine Dion, Britney Spears and many more. He also worked closely together with Benny Andersson of ABBA on the music for the movie Mamma Mia. Bernard is also the main sound engineer at Mono Music Studio in Stockholm. ( &lt;/FONT&gt;&lt;A title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.monomusic.se href="http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.monomusic.se"&gt;&lt;SPAN style="FONT-FAMILY: Verdana; COLOR: #ff9900; FONT-SIZE: 10pt; TEXT-DECORATION: underline" title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.monomusic.se&gt;&lt;FONT color=#111111&gt;www.monomusic.se &lt;/FONT&gt;&lt;/SPAN&gt;&lt;/A&gt;&lt;FONT color=#111111&gt;) &lt;BR&gt;&lt;BR&gt;"I have been using Addictive Drums for about two years now. Before that I was programming my own drums and using my own sound library that I've built up over the years. But after a while I grew tired of them and was on the lookout for new and exciting sounds. Then I found Addictive Drums and I've been using it ever since. It's great to always be provided with fresh new sounds and beats. &lt;BR&gt;&lt;BR&gt;When writing and producing music, drums always come first. I usually start thinking in beats and then translate that into a recording. I always know what kind of bass drum pattern I want and use Addictive Drums to find the right drum sound for the song. I then go through the MIDI files to find something that matches the beat in my head. &lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;/TD&gt;&lt;TD width=10&gt;&lt;FONT color=#111111&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;TD&gt;&lt;FONT color=#111111&gt;&lt;IMG border=0 align=left src="http://i.anp.se/XLN_Audio/20120406/Bernard_right2.jpg"&gt; &lt;BR&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;FONT color=#111111&gt;&lt;IMG border=0 align=left src="http://i.anp.se/XLN_Audio/20120406/Bernard_240_botten2.jpg"&gt; &lt;BR&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;P style="FONT-FAMILY: Arial; COLOR: #ffffff; FONT-SIZE: 10pt"&gt;&lt;FONT color=#111111&gt;I'm left with a four or eight bar loop that I can add the rest of the instruments to. I go back to the drum track to change the groove or maybe add some rimshots in the verse and fills to the chorus. The snare drum is really important to me, so I spend a lot of time on finding the perfect one for that particular production." &lt;BR&gt;&lt;BR&gt;There you have the whole chain. From the making of our kits and MIDI Paks to how the producers and musicians use them. For us it is all about new beats, fresh sounds and exciting music! &lt;BR&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;TABLE style="MARGIN-TOP: 8px; MARGIN-BOTTOM: 4px; FONT-SIZE: 0px; BORDER-TOP: #cccccc 1px solid"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="FONT-SIZE: 0px" width=520&gt;&lt;FONT color=#111111&gt;  &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE width=520&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD width=170 align=left&gt;&lt;A title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.facebook.com%2Fpages%2FXLN-Audio%2F284677618259214 href="http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.facebook.com%2Fpages%2FXLN-Audio%2F284677618259214"&gt;&lt;FONT color=#111111&gt;&lt;IMG title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.facebook.com%2Fpages%2FXLN-Audio%2F284677618259214 border=0 src="https://www.anp.se/upload/XLN_Audio/socialmediabuttons/facebook.jpg" width=105 height=35&gt;&lt;/FONT&gt;&lt;/A&gt;&lt;/TD&gt;&lt;TD width=180 align=middle&gt;&lt;A title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.youtube.com%2Fxlnaudio href="http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.youtube.com%2Fxlnaudio"&gt;&lt;FONT color=#111111&gt;&lt;IMG title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Fwww.youtube.com%2Fxlnaudio border=0 src="https://www.anp.se/upload/XLN_Audio/socialmediabuttons/youtube.jpg" width=91 height=35&gt;&lt;/FONT&gt;&lt;/A&gt;&lt;/TD&gt;&lt;TD width=170 align=right&gt;&lt;A title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Ftwitter.com%2Fxlnaudio href="http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Ftwitter.com%2Fxlnaudio"&gt;&lt;FONT color=#111111&gt;&lt;IMG title=http://tr.anp.se/track?t=c&amp;amp;mid=1506876&amp;amp;uid=244853565&amp;amp;&amp;amp;&amp;amp;http%3A%2F%2Ftwitter.com%2Fxlnaudio border=0 src="https://www.anp.se/upload/XLN_Audio/socialmediabuttons/twitter.jpg" width=105 height=35&gt;&lt;/FONT&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE style="MARGIN-TOP: 15px; MARGIN-BOTTOM: 15px; FONT-SIZE: 0px; BORDER-TOP: #cccccc 1px solid"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="FONT-SIZE: 0px" width=520&gt;&lt;FONT color=#111111&gt;  &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;P style="FONT-FAMILY: Verdana; COLOR: #cccccc; FONT-SIZE: 10pt"&gt;&lt;FONT color=#111111&gt;Stay Addicted! &lt;BR&gt;// XLN Audio &lt;/FONT&gt;&lt;/P&gt;&lt;/SPAN&gt;</description><pubDate>Mon, 23 Apr 2012 11:59:57 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>Adobe: Introducing new CS6 Master Collection</title><link>http://forum.producersedgemagazine.com/Topic2105-8-1.aspx</link><description>&lt;TABLE style="BACKGROUND-COLOR: #f5f5f5" border=0 cellSpacing=0 cellPadding=0 width="100%" bgColor=#f5f5f5&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="BORDER-BOTTOM: #d8d8d8 1px solid; BORDER-LEFT: #d8d8d8 1px solid; PADDING-BOTTOM: 30px; BACKGROUND-COLOR: #ffffff; BORDER-RIGHT: #d8d8d8 1px solid" bgColor=#ffffff width=648&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=648 align=center&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD vAlign=top&gt;&lt;IMG style="BACKGROUND-COLOR: #ff0000; DISPLAY: block; VERTICAL-ALIGN: top" border=0 hspace=0 alt=Adobe src="http://success.adobe.com/assets/en/images/email/templates/adobe.corp.email.red-tag.50x64.png" width=50 height=64&gt;&lt;/TD&gt;&lt;TD vAlign=top&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=598&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 10px; FONT-SIZE: 10px" vAlign=top&gt;&lt;IMG style="DISPLAY: block; VERTICAL-ALIGN: top" border=0 hspace=0 alt=Adobe src="http://success.adobe.com/assets/en/images/email/templates/adobe.corp.email.topborder.598x10.png" width=598 height=10&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="PADDING-BOTTOM: 15px; LINE-HEIGHT: 13px; FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #323232; FONT-SIZE: 11px" align=right&gt;&lt;DIV style="MARGIN-RIGHT: 11px"&gt;New CS6 Master Collection is almost here. &lt;A style="COLOR: #447099" title=http://click.mail.adobesystems.com/?qs=4a688a383d0c068be4b93729be322c7ffa682fbce2c8cad7c1aee1b3575c1e8d49811b8cfb270ee5 href="http://click.mail.adobesystems.com/?qs=4a688a383d0c068be4b93729be322c7ffa682fbce2c8cad7c1aee1b3575c1e8d49811b8cfb270ee5" target=_blank&gt;Learn more&lt;/A&gt; | &lt;A style="COLOR: #447099; TEXT-DECORATION: underline" title=http://click.mail.adobesystems.com/?qs=4a688a383d0c068bbaeb67fe7c93f5312ca97699be1993ef0f4c452c0c10ab8f7e1fa7ad4bc4e66a href="http://click.mail.adobesystems.com/?qs=4a688a383d0c068bbaeb67fe7c93f5312ca97699be1993ef0f4c452c0c10ab8f7e1fa7ad4bc4e66a" target=_blank&gt;Read Online&lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD align=right&gt;&lt;DIV style="MARGIN-RIGHT: 11px"&gt;&lt;IMG style="DISPLAY: block; VERTICAL-ALIGN: top" border=0 hspace=0 alt="Adobe Creative Suite 6 Master Collection" src="http://s7d9.scene7.com/is/image/AdobeDemandCreative/adobe-rwf-logotypeRS?fmt=png&amp;amp;wid=376&amp;amp;hei=28&amp;amp;d_text=Adobe%C2%AE Creative Suite%C2%AE 6 Master Collection" width=376 height=28&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=626 align=center&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD align=left&gt;&lt;!--RegionStart[ socialslot:"Adobe_ShareThis", title:"Get ready for new CS6.", description:"The full lineup of new Adobe Creative Suite 6 desktop software is brimming with breakthroughs in performance and efficiency. Membership to new Adobe Creative Cloud gives you everything in CS6, plus an array of innovative tools and services. Learn more at http://adobe.com/go/creativesuite", csskey:"style_Adobe"]--&gt;&lt;LINK rel=image_src href="http://image.mail.adobesystems.com/lib/fe9d157073640c7e75/m/2/adobe_fb.png"&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="PADDING-TOP: 11px"&gt;&lt;A style="COLOR: #447099" title=http://click.mail.adobesystems.com/?qs=4a688a383d0c068b370ae8e7e53725dfe56ab857b85620d0c1e8b7554b42aa9be261fed257243a9c href="http://click.mail.adobesystems.com/?qs=4a688a383d0c068b370ae8e7e53725dfe56ab857b85620d0c1e8b7554b42aa9be261fed257243a9c" target=_blank&gt;&lt;IMG style="DISPLAY: block; VERTICAL-ALIGN: top" title=http://click.mail.adobesystems.com/?qs=4a688a383d0c068b370ae8e7e53725dfe56ab857b85620d0c1e8b7554b42aa9be261fed257243a9c border=0 hspace=0 alt="" src="http://success.adobe.com/assets/en/images/email/demand/cs6/adobe.corp.email.cs6-ccm-mc.white.626x122.jpg" width=626 height=122&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;A style="COLOR: #447099" title=http://click.mail.adobesystems.com/?qs=4a688a383d0c068b370ae8e7e53725dfe56ab857b85620d0c1e8b7554b42aa9be261fed257243a9c href="http://click.mail.adobesystems.com/?qs=4a688a383d0c068b370ae8e7e53725dfe56ab857b85620d0c1e8b7554b42aa9be261fed257243a9c" target=_blank&gt;&lt;IMG style="DISPLAY: block; VERTICAL-ALIGN: top" title=http://click.mail.adobesystems.com/?qs=4a688a383d0c068b370ae8e7e53725dfe56ab857b85620d0c1e8b7554b42aa9be261fed257243a9c border=0 hspace=0 alt="Every tool for every creative need" src="http://success.adobe.com/assets/en/images/email/demand/cs6/adobe.corp.email.cs6-ccm-mc.white.626x98.jpg" width=626 height=98&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;A style="COLOR: #447099" title=http://click.mail.adobesystems.com/?qs=4a688a383d0c068b370ae8e7e53725dfe56ab857b85620d0c1e8b7554b42aa9be261fed257243a9c href="http://click.mail.adobesystems.com/?qs=4a688a383d0c068b370ae8e7e53725dfe56ab857b85620d0c1e8b7554b42aa9be261fed257243a9c" target=_blank&gt;&lt;IMG style="DISPLAY: block; VERTICAL-ALIGN: top" title=http://click.mail.adobesystems.com/?qs=4a688a383d0c068b370ae8e7e53725dfe56ab857b85620d0c1e8b7554b42aa9be261fed257243a9c border=0 hspace=0 alt="With new Adobe Creative Suite 6 Master Collection, you can design at lightning speed, create immersive content for the iPad and other tablet devices, build standards-based websites and apps with adaptive layouts, and edit video in native formats. Or download and install all the latest CS6 desktop software, plus access additional groundbreaking tools and services*, with a membership to new Adobe Creative Cloud." src="http://success.adobe.com/assets/en/images/email/demand/cs6/adobe.corp.email.cs6-ccm-mc.white.626x140.jpg" width=626 height=140&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;A style="COLOR: #447099" title=http://click.mail.adobesystems.com/?qs=4a688a383d0c068bd66eb15c1f9288df8630438fb122daee6ebe3f6a1ff377804b45a1addfa942be href="http://click.mail.adobesystems.com/?qs=4a688a383d0c068bd66eb15c1f9288df8630438fb122daee6ebe3f6a1ff377804b45a1addfa942be" target=_blank&gt;&lt;IMG style="DISPLAY: block; VERTICAL-ALIGN: top" title=http://click.mail.adobesystems.com/?qs=4a688a383d0c068bd66eb15c1f9288df8630438fb122daee6ebe3f6a1ff377804b45a1addfa942be border=0 hspace=0 alt="Learn more" src="http://success.adobe.com/assets/en/images/email/demand/cs6/adobe.corp.email.cs6-ccm-mc.white.626x68.jpg" width=626 height=68&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;A style="COLOR: #447099" title=http://click.mail.adobesystems.com/?qs=4a688a383d0c068b0c96baa74b14b6f9441e81fa33fc4312559b31dac304176920faa1c3b7253983 href="http://click.mail.adobesystems.com/?qs=4a688a383d0c068b0c96baa74b14b6f9441e81fa33fc4312559b31dac304176920faa1c3b7253983" target=_blank&gt;&lt;IMG style="DISPLAY: block; 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VERTICAL-ALIGN: top" title=http://click.mail.adobesystems.com/?qs=4a688a383d0c068beeab437d8c0cde1f7313e3db77fd2872191c9125225a52e6f9de8570ec3ff021 border=0 hspace=0 alt=LinkedIn src="http://success.adobe.com/assets/en/images/email/linkedin.png" width=16 height=16&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Mon, 23 Apr 2012 11:58:13 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>Korg Announces the microMadness Video Contest</title><link>http://forum.producersedgemagazine.com/Topic2095-8-1.aspx</link><description>&lt;TABLE border=0 cellSpacing=0 cellPadding=5 align=center&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;A title=http://cts.vresp.com/fbl?9258ae105f/e8437ebc96/http%3A%2F%2Fhosted-p0.vresp.com%2F211972%2F9258ae105f%2FARCHIVE%23like href="http://cts.vresp.com/fbl?9258ae105f/e8437ebc96/http%3A%2F%2Fhosted-p0.vresp.com%2F211972%2F9258ae105f%2FARCHIVE%23like"&gt;&lt;IMG title=http://cts.vresp.com/fbl?9258ae105f/e8437ebc96/http%3A%2F%2Fhosted-p0.vresp.com%2F211972%2F9258ae105f%2FARCHIVE%23like border=0 src="http://img-ak.verticalresponse.com/social_sharing/social_sharing.placeholder.facebook.png"&gt;&lt;/A&gt; 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&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE cellSpacing=0 cellPadding=0 width=720 align=center height=417&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;IMG border=0 src="http://pr.ak.vresp.com/5501fea9a/korg.com/services/newsletters/2012/april/microMADNESS_Eblast.jpg" width=720 height=417 useMap=#Map&gt; &lt;MAP name=Map&gt;&lt;!-- Korg --&gt;&lt;AREA href="http://cts.vresp.com/c/?KORGUSA/9258ae105f/e8437ebc96/b827e7b7f3" shape=rect alt=http://cts.vresp.com/c/?KORGUSA/9258ae105f/e8437ebc96/b827e7b7f3 target=_blank coords=1,3,717,413&gt;&lt;/MAP&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Sun, 08 Apr 2012 12:43:44 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>Musician Coaching - EMI, Pandora and Union Musician News</title><link>http://forum.producersedgemagazine.com/Topic2091-8-1.aspx</link><description>The debate over the EMI sale continued this past week as artists and other music industry organizations spoke out against the potentially damaging effects of the deal. Also, the co-founder of Pandora and musicians painted different pictures of the current and future state of artist employment within the music business.&lt;/P&gt;&lt;P&gt;&lt;A title=http://musiciancoaching.com/wp-content/uploads/2011/08/News-Microhpone2.jpg href="http://musiciancoaching.com/wp-content/uploads/2011/08/News-Microhpone2.jpg"&gt;&lt;IMG title="http://musiciancoaching.com/wp-content/uploads/2011/08/News-Microhpone2.jpg&amp;#10;On Stage" alt="" src="http://musiciancoaching.com/wp-content/uploads/2011/08/News-Microhpone2-300x197.jpg" width=300 height=197&gt;&lt;/A&gt;&lt;/P&gt;&lt;INPUT id=gwProxy type=hidden&gt; &lt;P&gt;&lt;STRONG&gt;Critics of the EMI Split:  “Concentration Can Be a Dead End”&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Record labels, consumer groups and artists continued to speak out against Universal Music Group’s bid of $1.9 billion on EMI Group last week, according to &lt;A title=http://www.politico.com/news/stories/0412/74758.html href="http://www.politico.com/news/stories/0412/74758.html"&gt;Politico&lt;/A&gt;. Moving over artists like Lady Gaga, Katy Perry, The Beatles and the Rolling Stones would bring Universal’s share in recorded music up to 43 percent. Critics have been voicing their discontent to lawmakers since news of the potential sale broke months ago, stating that the combination of two major labels could give them too much power over radio and store promotions and too much of an advantage when negotiating deals with iTunes, Spotify and other digital platforms. One of the main complaints voiced by musicians and industry organizations has been that giving too much clout to one company within any industry can kill the innovation necessary for growth. Communications director of public interest group Public Knowledge, Art Brodsky said, “Concentration can be a dead end for innovators and consumers.”&lt;/P&gt;&lt;P&gt;Federal Trade Commission (FTC) regulators and Universal spokespeople have been virtually silent about whether or not the transaction could violate antitrust laws. Universal’s Peter LoFrumento said only, “We are working closely with the commission and are confident that we will secure the necessary clearance.” However, Sony, Warner, Universal and EMI currently control 90% of the recorded music industry worldwide, which is already troubling for independent record labels, non-major-label artists and trade organizations. The strength of Universal/EMI would be even greater – 51 percent – in terms of the Billboard Hot 100. According to Nielsen SoundScan, the new combined label would also control 60% of rap and 45% of Latin, country and R&amp;amp;B music. However, Universal protests that the numbers actually include independent record labels for which the company is a mere distributor.&lt;/P&gt;&lt;P&gt;Even former Warner Music Group Chairman CEO Edgar Bronfman, Jr. has spoken out against major labels making deals like the one being struck with EMI. In January, he said,  “It strikes me as hubris … What it will do is create a super-major that will have far too much power … When Universal goes up over 40 percent market share, I don’t see how reasonable regulators can countenance. It will impact not just labels but artists and cultural diversity.” He went onto state that Warner intends to protest the deal, and he hopes others within the business will join the fight. In December, Warner brought on four lobbyists from Brownstein Hyatt Farber Schreck.&lt;/P&gt;&lt;P&gt;Musicians have also had many questions about the merger and how it will affect their ability to make a living as well as their relationships with their fans. Casey Rae-Hunter, deputy director of a national non-profit organization designed to protect the rights of artists and musicians, the Future of Music Coalition and a recording artist said, “We are frankly enormously skeptical that mergers and acquisitions in our industry will result in positive benefits for creators … and consumers.” And this criticism extends to potential the potential EMI publishing arm deal with Sony, as it could limit the power of publishers and  songwriters. Musicians have already felt the strain of trying to transition profitably into the digital market. Despite many claims that piracy rates have decreased, only 37% of music is legally obtained, says the market research firm NPD. And the recording industry is half the size it was in 1999, down $7 billion from $14 billion.&lt;/P&gt;&lt;P&gt;Those who oppose the EMI acquisitions continue to note the possibility that consumers will not have access to some music on new digital services and even that future new digital services would not be able to emerge if Universal gets too big:  “If they don’t like a digital distributor, they don’t like a business model, by withholding their content, they could make it impossible for that business to get into the market,” said Mark Cooper, research director at Consumer Federation of America. Universal wasthe second label (after EMI) to sign a deal with Google’s new music service and the first label to sign onto Spotify in the U.S.&lt;/P&gt;&lt;P&gt;But will a high market share guarantee disagreements over pricing? Bert Foer, president of the American Antitrust Institute said that is one of the questions the FTC seeks to answer, as well as whether or not the new EMI/Universal combination will have “so much market power it will be able to call its own shots without having to worry about competition.” The European Commission (EU)’s antitrust regulators started their own investigation of both the Sony/EMI and the Universal/EMI deal on March 23 and has set  deadline of August 8 to make their final decision about the deals.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;Artists Will “Actually Make a Living” in the Future, According to Pandora Founder&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Pandora Media Inc. co-founder and CEO Tim Westergren spoke recently at the SXSW conference, to &lt;EM&gt;Entrepreneur &lt;/EM&gt; and in a series of other lectures and interviews about his biggest hope for the future – that being a professional musician could become a “respectable middle class job” for everybody, stated an article in &lt;A title=http://www.theepochtimes.com/n2/business/pandora-founder-westergren-is-bullish-on-musical-careers-213500.html href="http://www.theepochtimes.com/n2/business/pandora-founder-westergren-is-bullish-on-musical-careers-213500.html"&gt;The Epoch Times&lt;/A&gt;. And he wants Pandora to be a part of this process:  “Pandora thrives on the little-known and yet-to-be-discovered … Things are going to change for musicians, whether they are successful pop stars or starving. You’re going to have a much more democratic and inclusive form of radio that a lot of musicians can access.”&lt;/P&gt;&lt;P&gt;To this end, the company started the Music Genome Project in 2000, which allows musicians – including independent and unsigned artists – to submit songs via mp3 or CD so they can be categorized by melody, harmony, rhythm, instrumentation, lyrics, arrangement and vocal harmony. This allows for songs from artists at all levels to be played alongside each other in the same “genome.” Westergren believes this project is helping to give much-needed exposure to lesser-known musicians that will help grow their careers and help them  “actually make a living” by giving them the ability to locate their largest fan bases so they can plan tours, live shows and targeted marketing efforts. He added, “We can really help build a middle class. There are going to be two billion people on Pandora one day, and we’re going to plug artists by the tens of thousands into that.”&lt;/P&gt;&lt;P&gt;From February 2011, to February 2012, Pandora listenership grew from 31 million to 49 million, and listener hours grew by over 100 percent. Pandora also signed partnerships with 23 car companies this past year, including Acura and Kia, which Pandora executives feel will help artists gain even more exposure:  “The car is one of the most popular venues for radio listening … making Pandora as easy and natural as listening to traditional radio,” asserted Jessica Steel, EVP of Pandora’s business and corporate development.&lt;/P&gt;&lt;P&gt;And Panos Panay, CEO and founder of Sonicbids – a company that helps connect indie artists and bands with promoters looking to book them – and creator of the report “Rethinking Music:  The Future of Making Money as a Performing Musician” has agreed that consumers’ preferences about how they listen to music has changed considerably in recent years:  “Music listeners are moving away from the mass-produced music consumption habits of the broadcast media to the more tailored and personalized experiences of the social media age.” However, he noted that the amount of revenue accrued from new habits that will actually reach musicians and which form it will take are still uncertainties:  “But whatever industry attracts money and talent will inevitably succeed … and there’s a lot of money going into personalized internet radios.” (Check out the &lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt; interview with Panay from last year in which he elaborated on some of his predictions &lt;A title=blocked::../../../../../music-career/ten-years-of-sonicbids/ href="../../../../../music-career/ten-years-of-sonicbids/"&gt;here&lt;/A&gt;.)&lt;/P&gt;&lt;P&gt;Of course, artists of all shapes and sizes have been complaining about the money they are (or are not) making from streaming services like Spotify, MOG, Rdio and Pandora. &lt;EM&gt;Rolling Stone&lt;/EM&gt; writer Steve Knopper produced a report “The New Economics of the Music Industry” in which he provided an example:  If a song gets streamed 60 times, the songwriter gets 9.1 cents of royalty payments, whereas the performer gets 38 cents. However, Westergren said he thinks this will eventually change:  “I think the big guys are still in control, but that control is slipping … Indie artists, it’s a whole different world for them now … They have the opportunity to compete in a way they never have before. The foundation has been laid.”&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;Union Musicians Forced to Rethink Careers&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;While Pandora’s executives have a positive view of the possibilities the music industry will provide for artists, many union musicians are finding it hard to make a living wage thanks to the increasing use of pre-recorded music in live theatrical performances, states a recent article in&lt;A title=http://www.crainsnewyork.com/article/20120401/ARTS/304019970 href="http://www.crainsnewyork.com/article/20120401/ARTS/304019970"&gt; &lt;EM title=http://www.crainsnewyork.com/article/20120401/ARTS/304019970&gt;Crain’s&lt;/EM&gt;&lt;/A&gt;. A few weeks ago, members of the New York City Opera orchestra found themselves locked out of rehearsal’s by management due to continuing labor negotiations, a month after they protested the use of canned music in the one-month run of &lt;EM&gt;Swan Lake&lt;/EM&gt;. On Broadway, the musicians’ union is waiting for a hearing to discuss its battle with &lt;EM&gt;Priscilla Queen of the Desert&lt;/EM&gt;, which also partially uses recorded music. Other companies, including the Paul Taylor Dance Company, recently had to perform for the first time accompanied by music on tape because its musicians were on strike.&lt;/P&gt;&lt;P&gt;Sara Cutler, principal harpist for the New York City Ballet Orchestra said, “We are in a war, and are taking it battle by battle.” Other orchestras are scaling back, and many musicals and dance productions in New York and beyond are using fewer and fewer live musicians, leaving musicians – many who studied for many years at schools like Julliard and Berklee College of Music – without jobs. Some are creating lives as freelance players, taking on rigorous private teaching schedules or leaving the business for other pursuits. In the course of the past ten years, the number of members of the local New York City union – one of the largest in the country – has decreased from 15,000, to 8,500. President of the union Tino Gagliardi, a trumpet player on Broadway said, “There are fewer opportunities for musicians, and as the work diminishes, people move on.”&lt;/P&gt;&lt;P&gt;Long-time musicians like Don Batchelder, first-chair trumpet player for the New York City opera Orchestra said he has gone from playing 116 shows to 16:  “I’m in my mid-50s, and I had expected the position at City Opera would be a solid foundation to plan the rest of my working career around … I have to scramble now.” And Brian Doherty, who was formerly the drummer for the long-standing band They Might Be Giants and went onto work as a percussionist on Broadway said he has all but given up on having a professional career as a performer. He recently decided to become a public music school teacher at C.S. 66 in the South Bronx:  “People aren’t really looking to live music anymore – you can hire a second keyboard player to activate a percussion sequence, so you don’t need a percussion player … It’s like being a Catskills ventriloquist. You’re all trained, but no one really gives a damn.”&lt;/P&gt;&lt;P&gt;Some Broadway and classical musicians blame pop culture for their hardship. Now that the emphasis is on rock shows, there are very few productions for classically-centered instrumentalists, like harpists. &lt;EM&gt;Priscilla’s&lt;/EM&gt; producers claimed they have used recorded music because the show revolved around ‘80s music, which needs a “synthetic pop flavor.” The Palace theater – where the production is housed – is required by contract to use a minimum of 18 musicians but has only employed nine.&lt;/P&gt;&lt;P&gt;Why is the situation so dire for these musicians? In the case of the &lt;EM&gt;Priscilla&lt;/EM&gt; example, the creative team and the producers believe they are using the right amount of musicians for the show. However, other Broadway producers have claimed they have had to cut musicians because of decreasing budgets for the Arts across the board. John Tomlinson, executive director of Paul Taylor said using live musicians for its three-week season would have cost almost half a million dollars, and that raising that much money proved impossible in the current economic climate.&lt;/P&gt;&lt;P&gt;Many producers also get rid of musicians in favor of “glitzy” sets that they hope will sell more tickets in a time when ticket sales have been down. However, performing arts advocates state that live music is the last thing that should be cut:  “We are in danger of undermining the quality of one of America’s great contributions to the world of the arts,” said Michael Kaiser, president of the Kennedy Center.&lt;/P&gt;&lt;P&gt;While many musicians are leaving the industry, an equal number have stayed behind to protect their jobs. In 2003, Broadway musicians went on strike when producers tried to get rid of pit orchestras. And unions have worked hard to educate audiences about how much production quality suffers when there are no live musicians. The union created a “Save Live Music on Broadway” campaign in 2010, which has garnered 20,000 fans on Facebook.</description><pubDate>Sun, 08 Apr 2012 12:36:14 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>Steinberg events (March 17-29, 2012)</title><link>http://forum.producersedgemagazine.com/Topic2050-8-1.aspx</link><description>&lt;TABLE style="TEXT-ALIGN: left; MARGIN: 0px" border=0 cellSpacing=0 cellPadding=0 width=618 align=left&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD width=36&gt;&lt;/TD&gt;&lt;TD class=content colSpan=2&gt;&lt;IMG style="MARGIN-RIGHT: 10px" title="Club Cubase" alt="Club Cubase" align=left src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=114220&amp;amp;name=club_cubase.jpg" width=133 height=52&gt; &lt;P&gt;Club Cubase is a free interactive support group for users of all Steinberg software and hardware who meet at regularly scheduled times to share tips, tricks and insights into the world's most advanced digital audio workstation. There are chapters in cities all over North America where the informal and supportive atmosphere benefits both seasoned Cubase pros as well as the newest users. There is usually no charge for these meetings.&lt;/P&gt;&lt;/TD&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=114220&amp;amp;name=spacer.gif" width=36 height=16&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;!-- ############################### END CONTENTBLOCK ########################### --&gt;&lt;TR&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=114220&amp;amp;name=spacer.gif" width=36 height=18&gt;&lt;/TD&gt;&lt;TD colSpan=2&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=114220&amp;amp;name=spacer.gif" width=10 height=18&gt;&lt;/TD&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=114220&amp;amp;name=spacer.gif" width=36 height=18&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;!-- ############################### CONTENTBLOCK ############################### --&gt;&lt;TR&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=114220&amp;amp;name=spacer.gif" width=36 height=16&gt;&lt;/TD&gt;&lt;TD class=content colSpan=2&gt;&lt;H2&gt;&lt;STRONG&gt;Check out these dates:&lt;/STRONG&gt;&lt;/H2&gt;&lt;UL&gt;&lt;LI&gt;&lt;STRONG&gt;Los Angeles CA, March 17, 2012, &lt;/STRONG&gt;at 1 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgm.d2764mg4kf href="http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgm.d2764mg4kf"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;West LA Music&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;Steinberg North America and West LA Music are pleased to announce the start of a monthly 'meet a rep' session. This is a way to learn some great tips and tricks on Steinberg software and hardware. The first session will be on Saturday March 17 at 1 p.m at West LA Music located at 1345 Santa Monica Blvd. Los Angeles CA 90025.&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;Chicago IL, March 19, 2012, &lt;/STRONG&gt;at 7 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgl.0lb2s958a4 href="http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgl.0lb2s958a4"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;Guitar Center Burbank&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;SPAN class=Stil1&gt;&lt;FONT size=1&gt;Club Cubase Chicago is pleased to announce a special Steinberg seminar to be held at Guitar Center South Chicago at 7 p.m. This meeting will cover all of the new features of Cubase 6.5 as well as the new hardware including UR interfaces and the range of CMC controllers. Guitar Center Burbank is located at 7250 S. Cicero Ave. Bedford Park IL 60629. More info on Club Cubase Chicago can be found at their &lt;/FONT&gt;&lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgr.2j0nhhat98 href="http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgr.2j0nhhat98"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023 size=1&gt;Yahoo group&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;FONT size=1&gt;.&lt;/FONT&gt;&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;LI&gt;&lt;STRONG&gt;Los Angeles CA, March 20, 2012, &lt;/STRONG&gt;at 7 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgq.l0vhkqs1a9 href="http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgq.l0vhkqs1a9"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;SAE Institute Los Angeles&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;This month we will take a look at Cubase 6.5 and also have product specialist from Ilio showcasing the latest software from Spectrasonics. SAE Institute is located at 6565 Sunset Blvd. Los Angeles CA 90006.&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;Chicago IL, March 20, 2012, &lt;/STRONG&gt;at 6 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgp.o00kibwjhf href="http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgp.o00kibwjhf"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;Gand Music and Sound&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;SPAN class=Stil1&gt;&lt;FONT size=1&gt;Club Cubase Chicago is pleased to announce a special clinic at Gand Music and Sound at 6 p.m. on March 20. This meeting will cover all of the new features of Cubase 6.5 as well as the new hardware including UR audio interfaces and the range of CMC controllers. Gand Music and Sound is located at 780 West Frontage Road Northfield, IL 60093. More info on Club Cubase Chicago can be found at their &lt;/FONT&gt;&lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgr.2j0nhhat98 href="http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgr.2j0nhhat98"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023 size=1&gt;Yahoo group&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;FONT size=1&gt;.&lt;/FONT&gt;&lt;/SPAN&gt;&lt;BR&gt;&lt;LI&gt;&lt;STRONG&gt;Orlando FL , March 20, 2012, &lt;/STRONG&gt;from 6:30 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbb8.1nn7hppx91 href="http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbb8.1nn7hppx91"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;YRS MIDI Systems&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;YRS MIDI Systems is located at 172 Oxford Road Fern Park, Florida 32730.&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;Richmond VA, March 22, 2012, &lt;/STRONG&gt;at 7 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgo.6ii66vinxw href="http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgo.6ii66vinxw"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;In Your Ear Studios&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;Club Cubase Richmond is pleased to announce their next meeting to be held on March 22 at 7 p.m. at In Your Ear Studios in Richmond. This month we will take a detailed look at the new Cubase 6.5 including the Padshop and Retrologue VSTis, new comping tool, new audio quantize, SoundCloud, FLAC and 64bit Rewire. In Your Ear Studios is located at 1813 East Broad Street Richmond, VA 23223.&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;Atlanta GA, March 22, 2012, &lt;/STRONG&gt;at 7:30 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbbe.pro5niql1k href="http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbbe.pro5niql1k"&gt;&lt;/A&gt;Murray Sound Lab&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;Club Cubase Atlanta is pleased to announce their next meeting to be held on March 22 at 7:30 p.m. at Murray Sound Lab. This month we will take a detailed look at the new Cubase 6.5 including the Padshop and Retrologue VSTis, new comping tool, new audio quantize, SoundCloud, FLAC and 64bit Rewire. Murray Sound Lab is located at 1275 Stanley Road Northwest Kennesaw GA 30152.&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;Miami FL, March 27, 2012, &lt;/STRONG&gt;at 7:30 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgk.uwmhnerjlm href="http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgk.uwmhnerjlm"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;Red Rock Studios&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;Club Cubase Miami is pleased to announce their next meeting to be held on March 27 at 7:30 p.m. at Red Rock Studios in Miami. This month Greg Ondo from Steinberg will be on hand to demonstrate the latest features in Cubase 6.5. This month we will take a detailed look at the new Cubase 6.5 including the Padshop and Retrologue VSTis, new comping tool, new audio quantize, SoundCloud, FLAC and 64bit Rewire. Red Rock Studios is located at 14055 Southwest 143rd Court #13 Miami, FL 33186.&lt;/SPAN&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;Nashville TN, March 27, 2012, &lt;/STRONG&gt;at 7 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgg.z5gjmb0qhd href="http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgg.z5gjmb0qhd"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;SAE Institute Nashville&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;SPAN class=Stil1&gt;&lt;FONT size=1&gt;Club Cubase Nashville is pleased to announce their next meeting to be held on March 27 at 7 p.m. at SAE Institute in Nashville. This month the group will take a look at all of the new features found in Cubase 6.5. SAE Institute is located at 7 Music Cir N, Nashville, TN 37203. More info on the group can be found at their &lt;/FONT&gt;&lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgh.me62s9iciy href="http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgh.me62s9iciy"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023 size=1&gt;Facebook page&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;FONT size=1&gt;.&lt;/FONT&gt;&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;LI&gt;&lt;STRONG&gt;Dallas TX, March 27, 2012, &lt;/STRONG&gt;from 7 p.m. at the Addison Theatre Centre&lt;BR&gt;&lt;SPAN class=Stil1&gt;&lt;FONT size=1&gt;Club Cubase Dallas is pleased to announce their next meeting to be held on March 27 at 7 p.m. at the Addison Theatre Centre. We will review various Cubase functions as well as address questions. Pizza and beverages after the meeting were a big hit last time so once again we will adjourn around 8:30 p.m. or so and go to BJs one block over from the theatre. The Addison Theatre Centre is located at 15650 Addison Road, Addison TX 75001. More info on the group can be found at their &lt;/FONT&gt;&lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgn.acncoapdz3 href="http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgn.acncoapdz3"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023 size=1&gt;Facebook page&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;FONT size=1&gt;.&lt;/FONT&gt;&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;LI&gt;&lt;STRONG&gt;Orlando FL , March 28, 2012, &lt;/STRONG&gt;from 6:30 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbb8.1nn7hppx91 href="http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbb8.1nn7hppx91"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;YRS MIDI Systems&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;Club Cubase Orlando is pleased to announce their next meeting to be held on March 28 at 6:30 p.m. at YRS MIDI Systems in Fern Park. This month Greg Ondo from Steinberg will be on hand to demonstrate the latest features in Cubase 6.5. This month we will take a detailed look at the new Cubase 6.5 including the Padshop and Retrologue VSTis, new comping tool, new audio quantize, SoundCloud, FLAC and 64bit Rewire. YRS MIDI Systems is located at 172 Oxford Road Fern Park, Florida 32730.&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;Tampa FL , March 29, 2012, &lt;/STRONG&gt;from 7:30 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgj.aooxi7gbjy href="http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgj.aooxi7gbjy"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;Sam Ash Music&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;SPAN class=Stil1&gt;&lt;FONT size=1&gt;Club Cubase Tampa is pleased to announce their next meeting to be held on March 29 at 7:30 p.m. at Sam Ash Music in Tampa. This month Greg Ondo from Steinberg will be on hand to demonstrate the latest features in Cubase 6.5. This month we will take a detailed look at the new Cubase 6.5 including the Padshop and Retrologue VSTis, new comping tool, new audio quantize, SoundCloud, FLAC and 64bit Rewire. Sam Ash Music in Tampa is located at 13133 N Dale Mabry Hwy, Tampa, FL 33618. More info on the group can be found &lt;/FONT&gt;&lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgi.tosb4iby94 href="http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbgi.tosb4iby94"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023 size=1&gt;here&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;FONT size=1&gt;.&lt;/FONT&gt;&lt;/SPAN&gt;&lt;BR&gt;&lt;/LI&gt;&lt;/UL&gt;&lt;/TD&gt;&lt;TD width=36&gt;&lt;FONT size=1&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=114220&amp;amp;name=spacer.gif" width=36 height=16&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;!-- ############################### END CONTENTBLOCK ########################### --&gt;&lt;TR&gt;&lt;TD width=36&gt;&lt;FONT size=1&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=114220&amp;amp;name=spacer.gif" width=36 height=18&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;TD style="BORDER-BOTTOM: #b4b4b4 1px solid" colSpan=2&gt;&lt;FONT size=1&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=114220&amp;amp;name=spacer.gif" width=18 height=18&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;TD width=36&gt;&lt;FONT size=1&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=114220&amp;amp;name=spacer.gif" width=36 height=18&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD width=36&gt;&lt;FONT size=1&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=114220&amp;amp;name=spacer.gif" width=36 height=18&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;TD colSpan=2&gt;&lt;FONT size=1&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=114220&amp;amp;name=spacer.gif" width=10 height=18&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;TD width=36&gt;&lt;FONT size=1&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=114220&amp;amp;name=spacer.gif" width=36 height=18&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;!-- ################################################################ END CONTENT TO EDIT #################################################################### --&gt;&lt;TR&gt;&lt;TD width=36&gt;&lt;FONT size=1&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=114220&amp;amp;name=spacer.gif" width=36 height=16&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;TD colSpan=2 align=left&gt;&lt;P&gt;&lt;STRONG&gt;Did you know:&lt;/STRONG&gt; you can find video tutorials on Steinberg's official &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbbq.a461ta2c8c href="http://rdir.steinberg.net/r.html?uid=fx.2g4s.47k2.9qbbq.a461ta2c8c"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;YouTube&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt; channel.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;Your Steinberg Online Team&lt;/STRONG&gt;&lt;BR&gt;&lt;A title="http://www.steinberg.net/&amp;#10;steinberg.net" href="http://www.steinberg.net"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;http://www.steinberg.net&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;/P&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Tue, 20 Mar 2012 03:15:16 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>Steinberg events (April 1-15, 2012)</title><link>http://forum.producersedgemagazine.com/Topic2085-8-1.aspx</link><description>&lt;TABLE style="TEXT-ALIGN: left; MARGIN: 0px" border=0 cellSpacing=0 cellPadding=0 width=618 align=left&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=content vAlign=top colSpan=2&gt;&lt;P&gt;If you feel like exchanging practical knowledge about Steinberg products with fellow users, please check out these events taking place in &lt;STRONG&gt;the first half of April.&lt;/STRONG&gt;&lt;/P&gt;&lt;/TD&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=115012&amp;amp;name=spacer.gif" width=36 height=16&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;!-- ############################### END CONTENTBLOCK ########################### --&gt;&lt;TR&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=115012&amp;amp;name=spacer.gif" width=36 height=18&gt;&lt;/TD&gt;&lt;TD colSpan=2&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=115012&amp;amp;name=spacer.gif" width=10 height=18&gt;&lt;/TD&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=115012&amp;amp;name=spacer.gif" width=36 height=18&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;!-- ############################### CONTENTBLOCK ############################### --&gt;&lt;TR&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=115012&amp;amp;name=spacer.gif" width=36 height=16&gt;&lt;/TD&gt;&lt;TD class=content colSpan=2&gt;&lt;IMG style="MARGIN-RIGHT: 10px" title="Club Cubase" alt="Club Cubase" align=left src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=115012&amp;amp;name=club_cubase.jpg" width=133 height=52&gt; &lt;P&gt;Club Cubase is a free interactive support group for users of all Steinberg software and hardware who meet at regularly scheduled times to share tips, tricks and insights into the world's most advanced digital audio workstation. There are chapters in cities all over North America where the informal and supportive atmosphere benefits both seasoned Cubase pros as well as the newest users. There is usually no charge for these meetings.&lt;/P&gt;&lt;/TD&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=115012&amp;amp;name=spacer.gif" width=36 height=16&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;!-- ############################### END CONTENTBLOCK ########################### --&gt;&lt;TR&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=115012&amp;amp;name=spacer.gif" width=36 height=18&gt;&lt;/TD&gt;&lt;TD colSpan=2&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=115012&amp;amp;name=spacer.gif" width=10 height=18&gt;&lt;/TD&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=115012&amp;amp;name=spacer.gif" width=36 height=18&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;!-- ############################### CONTENTBLOCK ############################### --&gt;&lt;TR&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=115012&amp;amp;name=spacer.gif" width=36 height=16&gt;&lt;/TD&gt;&lt;TD class=content colSpan=2&gt;&lt;H2&gt;&lt;STRONG&gt;Check out these dates:&lt;/STRONG&gt;&lt;/H2&gt;&lt;UL&gt;&lt;LI&gt;&lt;STRONG&gt;Orlando FL, April 2, 2012, &lt;/STRONG&gt;at 6:30 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qthj.wmxqdl0r0o href="http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qthj.wmxqdl0r0o"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;YRS MIDI Systems&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;YRS MIDI Systems is located at 172 Oxford Rd., Fern Park, FL 32730.&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;Indianapolis IN, April 3, 2012, &lt;/STRONG&gt;at 7 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qti2.n0j20hb7h4 href="http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qti2.n0j20hb7h4"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;Sam Ash Music&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;The clinic will feature the latest Steinberg software and hardware including Cubase 6.5, CMC controllers and the UR series of audio interfaces. Steinberg representatives will be on hand to answer all of your Steinberg related questions. Sam Ash Music in Indianapolis is located at 8284 Center Run Rd., Indianapolis, IN 46250.&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;New Haven CT , April 3, 2012, &lt;/STRONG&gt;at 7 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qti2.n0j20hb7h4 href="http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qti2.n0j20hb7h4"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;Sam Ash Music&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;This month we will take a look at the new features in Cubase 6.5 including Padshop, Retrologue, enhanced comping, audio quantize, FLAC, SoundCloud and much more. Steinberg representatives will be on hand to answer any of your Steinberg related question. Sam Ash Music in New Haven is located at 95 Amity Rd. #1, New Haven, CT 06515.&lt;/SPAN&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;Boston MA , April 4, 2012, &lt;/STRONG&gt;at 5 p.m. at the &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qti4.8r15ghv8li href="http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qti4.8r15ghv8li"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;Together Festival&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;Steinberg North America is pleased to announce a special Steinberg seminar at the Together Festival. Steinberg representatives will be on hand to showcase cutting edge technologies including Cubase 6.5 and the CMC controllers and UR audio interfaces. Don’t miss this special opportunity to see these exciting products in action.&lt;/SPAN&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;St. Louis MO, April 4, 2012, &lt;/STRONG&gt;at 7 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qti3.z15itngecc href="http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qti3.z15itngecc"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;Blasingame Audio Productions&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;This month the group will discuss tips and tricks for recording bluegrass music. Blasingame Audio Productions is located at 2750 Benne Drive, Florissant, MO 63031.&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;New York NY, April 5, 2012, &lt;/STRONG&gt;at 6 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qthh.437didn66y href="http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qthh.437didn66y"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;Guitar Center Manhattan&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;SPAN class=Stil1&gt;&lt;FONT size=1&gt;Steinberg representatives will be on hand showcasing the latest Steinberg hardware and software technologies including Cubase 6.5, CMC controllers and the UR series of audio interfaces. Guitar Center in Manhattan is located at 25 W. 14th St., Manhattan, NY 10012.&lt;/FONT&gt;&lt;/SPAN&gt; &lt;BR&gt;&lt;LI&gt;&lt;STRONG&gt;Washington DC, April 7, 2012, &lt;/STRONG&gt;at 2 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qthn.9vodgl5g3d href="http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qthn.9vodgl5g3d"&gt;&lt;/A&gt;the &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qthl.l5ds7np46y href="http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qthl.l5ds7np46y"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;Washington Music Center&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;Steinberg representatives will be on hand showcasing the latest Steinberg hardware and software technologies including Cubase 6.5, CMC controllers and the UR series of audio interfaces. Washington Music Center is located at 11151 Veirs Mill Rd., Wheaton, MD 20902.&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;Phoenix AZ, April 10, 2012, &lt;/STRONG&gt;from 7-9 p.m.&lt;BR&gt;&lt;SPAN class=Stil1&gt;&lt;FONT size=1&gt;This time, we’ll look at the creative use of multi-band compression along with our usual Feature of the Month, Project of the Month, Mix of the Month and Studio RX. For agenda, location details and directions, please &lt;/FONT&gt;&lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qthr.zlkkzbkdot href="http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qthr.zlkkzbkdot"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023 size=1&gt;sign up to become a member&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;FONT size=1&gt;.&lt;/FONT&gt;&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;LI&gt;&lt;STRONG&gt;New Jersey, April 11, 2012, &lt;/STRONG&gt;at 7 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qthp.gjkr0op4et href="http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qthp.gjkr0op4et"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;Guitar Center&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;Steinberg representatives will be on hand showcasing the latest Steinberg hardware and software technologies including Cubase 6.5, CMC controllers and the UR series of audio interfaces. Guitar Center Totowa is locatded at 1 U.S. 46, Totowa, NJ 07512.&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;/LI&gt;&lt;/UL&gt;&lt;/TD&gt;&lt;TD width=36&gt;&lt;FONT size=1&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=115012&amp;amp;name=spacer.gif" width=36 height=16&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;!-- ############################### END CONTENTBLOCK ########################### --&gt;&lt;TR&gt;&lt;TD width=36&gt;&lt;FONT size=1&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=115012&amp;amp;name=spacer.gif" width=36 height=18&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;TD style="BORDER-BOTTOM: #b4b4b4 1px solid" colSpan=2&gt;&lt;FONT size=1&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=115012&amp;amp;name=spacer.gif" width=18 height=18&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;TD width=36&gt;&lt;FONT size=1&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=115012&amp;amp;name=spacer.gif" width=36 height=18&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD width=36&gt;&lt;FONT size=1&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=115012&amp;amp;name=spacer.gif" width=36 height=18&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;TD colSpan=2&gt;&lt;FONT size=1&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=115012&amp;amp;name=spacer.gif" width=10 height=18&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;TD width=36&gt;&lt;FONT size=1&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=115012&amp;amp;name=spacer.gif" width=36 height=18&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;!-- ################################################################ END CONTENT TO EDIT #################################################################### --&gt;&lt;TR&gt;&lt;TD width=36&gt;&lt;FONT size=1&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=115012&amp;amp;name=spacer.gif" width=36 height=16&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;TD colSpan=2 align=left&gt;&lt;P&gt;&lt;STRONG&gt;Did you know:&lt;/STRONG&gt; you can find video tutorials on Steinberg's official &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qti1.xv1f2e4a51 href="http://rdir.steinberg.net/r.html?uid=fx.2gqs.47k2.9qti1.xv1f2e4a51"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;YouTube&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt; channel.&lt;/P&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Tue, 03 Apr 2012 07:08:38 GMT</pubDate><dc:creator>Griffin Avid</dc:creator></item><item><title>Mastering the Recording Studio</title><link>http://forum.producersedgemagazine.com/Topic2082-8-1.aspx</link><description>&lt;SPAN style="COLOR: #000000"&gt;Mike Flannery is a composer, producer, engineer and children’s recording artist in New York City. A classically-trained musician since childhood, he got his start in rock playing in the NJ underground scene in the ‘90s. As a major label artist with LAVA/Atlantic in the early 2000s, he toured alongside major artists including Outkast, My Morning Jacket, LL Cool J and Ludacris. Around this time he also opened his own recording studio in Maine and started honing his craft as a producer, engineer and mixer. Eventually, Mike branched out into advertising and began to compose custom music for several high-profile national campaigns. In early 2012 he opened a new studio in New York City and continues to compose for brands, record with artists and also share his expertise on various music-industry-related topics through speaking engagements.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;A &amp;#111;nclick="pageTracker._trackPageview('/downloads/wp-content/uploads/2012/03/MikeFlannery.jpg');" href="http://musiciancoaching.com/wp-content/uploads/2012/03/MikeFlannery.jpg"&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;IMG class="aligncenter size-medium wp-image-3366" title=MikeFlannery alt="" src="http://musiciancoaching.com/wp-content/uploads/2012/03/MikeFlannery-300x200.jpg" width=300 height=200&gt;&lt;/SPAN&gt;&lt;/A&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;I recently got to talk to Mike about his background as an artist and producer and how artists can prepare to do high-quality work in the studio. He also shared some really solid tips for those who want to build long-lasting, fulfilling careers in music.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;Thanks so much for taking some time to talk. First of all, how did you get started in music, and what led you to want to make a career out of it?&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;MF:&lt;/STRONG&gt;&lt;STRONG&gt;&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;My aunt was friends with Loretta Long, who played the character of Susan on &lt;EM&gt;Sesame Street&lt;/EM&gt;. She got my folks and me onto the set to watch a taping when I was four years old. There was a segment in which “Bob” McGrath talked with some young Suzuki students and had them play violin on the show. I asked my parents if I could play violin too, and they took me out the next day and got me a tiny fiddle and some lessons.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;I decided to make a career of music not when I got a &lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/music-career/get-a-record-deal/"&gt;record deal&lt;/A&gt;&lt;/SPAN&gt; back in 2001, but when we got dropped and I went back to school to become a lawyer in 2004. I will always remember when a bunch of great lawyers at a non-profit for which I volunteered sat me down and listed all of the reasons why I should not be a lawyer. The intervention worked. Thanks again, LSNJ-LAW hotline!&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;You’ve produced and played and collaborated with a lot of big-name artists and have enjoyed a lot of your own success as a composer and recording artist. How did your career as a musician segue into and then fit in with your career in recording/engineering/producing?&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;MF:&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;I’ve approached music from a recording standpoint ever since I installed Digital Orchestrator Pro on my PC in high school. The first Little T and One-Track Mike recordings were all done DIY on that PC. And when we signed with LAVA/Atlantic in 2001, I asked the label to give me the recording budget so that I could piece together a studio and they let me do my thing. The first record that we did was almost entirely tracked in Little T’s grandparents’ beach house on Long Beach Island in New Jersey. Being self taught works out a lot better when you’re learning on your own material.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;You ran a successful recording studio for seven years in Maine. Who are some of the artists you worked with there?&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;MF:&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;Most of the money I made in Maine came from New-York-based firms. I did a ton of stuff for the mobile media industry that included TV ads, bulk processing of ring tones and a bunch of video tones that, for a moment, seemed to be the next big thing. But what I really loved about having a studio on Main Street in Bangor was recording the local folks who just came in off the street. There were a bunch of really memorable sessions: One guy was a real estate lawyer in his sixties who came in with his guitar and recorded some incredibly beautiful original songs in this great gravelly voice. Another was an awesome Irish bar band called the Bar Stewards. And then I worked with a Franciscan Friar, who was also a great magician, and wanted sound effects for a few of his tricks. I also recorded a wicked-good blues harpist named Merlan who would stop by when he was in town, and an incredibly charming woman from Quebec who plays accordion and sings old songs from Quebec. (I think she once paid me with a delicious rum cake.)&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;Some notable cats who came through were Nigel Hall, Mark Tipton, Sara Richardson, Ryan Zoidis, The Bay State and Andrew Clifford, all of who have roots in Maine.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;That’s a pretty interesting mix of folks. What led you to make the decision to get a recording space in New York City this year? Which type of artists do you work with, and what are some of your goals for the studio?&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;MF:&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;Aside from my workload getting to be too much for a home recording set up, I think that working on ads and other corporate music projects from my apartment became too insular a lifestyle. I want to work with as many different people in as many different genres as possible and be consistently involved in that great symbiosis between artist and producer that gets me so jazzed about my work. A professional atmosphere is vital to facilitating that type of interaction.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;That said, being able to crank the subwoofers doesn’t hurt either. Eventually, I’d like to expand out from one room and have a small suite of rooms that I can keep booked.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;Because you’ve had a lot of experience composing music for the advertising space and have built brands through music and have also been a major label artist who has worked in a lot of other parts of the industry, you have a pretty unique perspective. What are some of the things you think composers and artists need to be doing to get people in the advertising space to be receptive to their work? What have you seen that has worked and has not worked for those interested in marketing their music in that particular space?&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;MF:&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;It’s important to show that what you do is more valuable than what, say, a music library does. I find that for me this has taken the form of a trust between my clients and myself built over years of working together. They know that when they call me for a job, I will respond immediately. I will not only be open to any and all ideas that they have for a piece, but will also be able to translate those ideas into a musical composition that we can then change and tweak together until it is perfectly aligned to their vision. When I get a call from a client, I’m not just ready to jump when they say, “jump” – I’m already in the air when I pick up the phone. I try to anticipate my clients‘ needs and be ready to meet them as close to the word “go” as possible. Not only that, but the answer is always “yes” no matter what the request. I know that I’ll be able to figure it out after the fact, but during that conversation, I can do anything I’m asked to do and sooner than they actually need it done.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;What doesn’t work for people who decide to make it in a creative field is a lack of confidence. If you are not totally self-confident and if you tend to question whether you are the right person for the job, well, the next guy is going to get it. Creative directors have absolutely no time, and they definitely have no time for your insecurities.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;That’s pretty solid advice. You’ve obviously worked with a lot of artists in the studio on the production side of things and have done a lot of recording as an artist. I know a lot of bands and artists go into the studio not having a clue what they’re doing. What do you think bands should be doing before starting to work with a producer? Are there specific elements they should have planned out in advance?&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;MF:&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;Artists need to know who they are. I know this sounds obvious, but unless an artist comes to me with a clear vision of who they are and what they want to express, they might end up feeling as though their producer has imposed a vision onto their work that will be hard for them to feel good about owning. It’s important to always have that ideal to fall back on, like a core mission statement.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;For instance, my kid’s music group, the Flannery Brothers, has a goal in mind when we write and record songs. We are always honest; we only write about things that we actually think about and do as adults. As soon as we start to tread on ground that comes from a place of remembrance – for instance singing about getting a “boo-boo” at recess (ugh) – we throw that right out the &amp;#119;indow. Since we have this simple axiom against which we can hold up all of our artistic decisions, we always sense when something isn’t right. We will even look at each other in the studio, say, “Is this honest?” and if the answer is “no” for either one of us, the idea gets squashed immediately.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;As far as the mechanics are concerned – like planning things out or figuring out your ensemble – I find that the process is different for everyone. I do tend to think that it’s important to play songs live before recording them, because they will change and evolve in front of an audience. Also, it’s important to know what your budget is and understand how much you can actually afford to do. If you can’t splurge for renting that 1965 Rickenbacker 12-string, maybe you don’t need that one song to sound exactly like “A Hard Day’s Night.”&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;What should bands/artists be looking for when they are trying to find a producer that’s a good fit?&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;MF:&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;Give me a call, I’ll let you know.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;Seriously though, I think it’s all about personality. Sure you want someone you can trust to give you a great product within your budget – that’s a given. But really, you’re hiring someone to sit in a tiny room with you for days or weeks. If you don’t dig each other, why would you put yourself in that position? There’s one example that comes to mind of the lead singer of a very popular band who needed to get incredibly drunk before singing. If his producer had had a problem with that, the record wouldn’t have been nearly as good.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;Undoubtedly, you’ve witnessed some changes on the production side of the music business in the past 10-15 years. What are some of the specific changes you’ve seen as an engineer/producer? Do you feel it’s more challenging to be a producer than it was 10-15 years ago?&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;MF:&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;I think the main difference between right now and the turn of the millennium is the quality of production that you’re seeing from home studios. You used to have to be pretty savvy to get a great recording out of your living room. My ProTools Mix Plus rig would have been prohibitively expensive if I hadn’t had label backing, and now my current rig – although probably about one-third of the cost – is much more beautiful sounding and powerful. Also, the options that we now have for soft synths and samplers are just incredible. I’m in love with the new Native Instruments Komplete bundle and find that I use something from it on almost every session.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;The accessibility of these new levels of processing power coupled with the new way that music is distributed has been a total game changer. A lot of great studios have suffered because of it.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;That said, nothing can really take the place of a solid understanding of audio.  A common complaint that I hear from my friends who work on records is that the quality of the recordings they receive for mixing and mastering has gone way downhill – sometimes to the point of being almost unworkable. Here’s a tip: When you record digital audio, do it at a high bit rate and record at low levels. Your mix engineer will thank you for it.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;As far as how challenging it is to produce music, it really hasn’t gotten any easier or any more difficult, and it never will. No matter which equipment you have at your disposal, it will always be about what you do with it not what it can do. The job will always be creating the vision that the artist or creative director, or modern dance choreographer or whoever has in their mind. They don’t care what equipment you have. In fact, most of my clients in advertising have never seen my rig. They just want something that sounds good.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;That’s all really helpful stuff for people to know. Thanks for sharing all that.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;You’ve experienced being an artist on a major label. What was that experience like for you? If you could go back – knowing what you know now – is there any advice you would’ve given to yourself prior to getting a &lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/music-career/get-a-record-deal/"&gt;record deal&lt;/A&gt;&lt;/SPAN&gt; that you think would’ve helped you?&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;MF:&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;“Mike! Save your damn money and try to sleep with more hot girls while you still have all your hair!” Hindsight is 20/20, Ooh La La…&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A href="http://musiciancoaching.com/"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;: &lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;I’ve definitely never gotten that response before, but I bet a lot of people who have been in the label system might agree with that if they were being honest!&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;Just one more question, also likely related to hindsight. The fact that you have been consistently working on both the recording side and the performing side of the music industry throughout your entire career gives you a unique perspective. Do you have any parting words of advice for artists trying to build successful careers in the current market? What about advice for those trying to build careers as producers/engineers?&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;&lt;STRONG&gt;MF:&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;There are audiences for everyone- it’s just a matter of finding them.  One of my favorite articles on this subject is called &lt;A &amp;#111;nclick="pageTracker._trackPageview('/outgoing/www.kk.org/thetechnium/archives/2008/03/1000_true_fans.php');" href="http://www.kk.org/thetechnium/archives/2008/03/1000_true_fans.php"&gt;&lt;SPAN style="COLOR: #000000"&gt;“1,000 True Fans,” by Kevin Kelly&lt;/SPAN&gt;&lt;/A&gt;. The article describes an excellent way to approach any career in the Arts and is always on my mind in all of my business dealings.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;Most importantly though, it’s vital to remember how lucky you are to be struggling to make ends meet as an artist or working crazy hours in a studio. We don’t do this to make huge amounts of money or for the fame. That’s a long shot that not many people ever get to live. We do this for the love of the music, and for the great experiences that come out of doing what we love. I’ve met so many bitter, failed rock star types who now teach guitar, work as engineers, work as managers, or book clubs. Every time I have some negative interaction with one of these types, I am reminded of what an awesome thing it is to always create, and to enjoy what I do on such a deep level. If music is your compulsion, then first and foremost, you’d better enjoy it.&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;SPAN style="COLOR: #000000"&gt;For more information about Mike Flannery and the work he does, you can visit his &lt;A &amp;#111;nclick="pageTracker._trackPageview('/outgoing/mrflannery.com/');" href="http://mrflannery.com/"&gt;&lt;SPAN style="COLOR: #000000"&gt;website&lt;/SPAN&gt;&lt;/A&gt;. Also be sure to check out the &lt;A &amp;#111;nclick="pageTracker._trackPageview('/outgoing/flannerybrothers.com/');" href="http://flannerybrothers.com/"&gt;&lt;SPAN style="COLOR: #000000"&gt;Flannery Brothers&lt;/SPAN&gt;&lt;/A&gt;, an original, kid-friendly band he started with his brother, Dan.&lt;/SPAN&gt;</description><pubDate>Fri, 30 Mar 2012 12:04:35 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>Musician Coaching - Your Music and the Media</title><link>http://forum.producersedgemagazine.com/Topic2079-8-1.aspx</link><description>&lt;TABLE style="PADDING-BOTTOM: 0px; BORDER-RIGHT-WIDTH: 0px; MARGIN: 0px; PADDING-LEFT: 0px; WIDTH: 100%; PADDING-RIGHT: 0px; BORDER-TOP-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; BORDER-LEFT-WIDTH: 0px; PADDING-TOP: 0px"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="VERTICAL-ALIGN: top" width="99%"&gt;&lt;H1 style="PADDING-BOTTOM: 6px; MARGIN: 0px"&gt;&lt;A style="FONT-FAMILY: Georgia, Times New Roman, serif; COLOR: #888; FONT-SIZE: 22px; FONT-WEIGHT: normal; TEXT-DECORATION: none" title="http://musiciancoaching.com/&amp;#10;(http://musiciancoaching.com)" href="http://musiciancoaching.com"&gt;&lt;FONT color=#111111&gt;Musician Coaching - Your Music and the Media&lt;/FONT&gt;&lt;/A&gt;&lt;FONT color=#111111&gt; &lt;BR&gt;&lt;/FONT&gt;&lt;A title=http://fusion.google.com/add?source=atgs&amp;amp;feedurl=http://feeds.feedburner.com/musiciancoaching href="http://fusion.google.com/add?source=atgs&amp;amp;feedurl=http://feeds.feedburner.com/musiciancoaching"&gt;&lt;FONT color=#111111&gt;&lt;IMG style="PADDING-TOP: 6px" title=http://fusion.google.com/add?source=atgs&amp;amp;feedurl=http://feeds.feedburner.com/musiciancoaching border=0 alt="" src="http://gmodules.com/ig/images/plus_google.gif"&gt; &lt;/FONT&gt;&lt;/A&gt;&lt;/H1&gt;&lt;/TD&gt;&lt;TD width="1%"&gt;&lt;FONT color=#111111&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;FONT color=#111111&gt;&lt;HR style="BORDER-BOTTOM: #ccc 1px solid; BORDER-LEFT: #ccc 1px solid; PADDING-BOTTOM: 0px; MARGIN: 0px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: #ccc 1px solid; BORDER-RIGHT: #ccc 1px solid; PADDING-TOP: 0px"&gt;&lt;/FONT&gt;&lt;TABLE id=itemcontentlist&gt;&lt;TBODY&gt;&lt;TR xmlns=""&gt;&lt;TD style="LINE-HEIGHT: 1.4em; MARGIN-BOTTOM: 0px"&gt;&lt;P style="MARGIN: 1em 0px 3px"&gt;&lt;A style="FONT-FAMILY: Georgia, Times New Roman, serif; FONT-SIZE: 16px" title=http://feedproxy.google.com/~r/musiciancoaching/~3/qck3qis71CM/?utm_source=feedburner&amp;amp;utm_medium=email href="http://feedproxy.google.com/~r/musiciancoaching/~3/qck3qis71CM/?utm_source=feedburner&amp;amp;utm_medium=email" name=1&gt;&lt;FONT color=#111111&gt;Your Music and the Media&lt;/FONT&gt;&lt;/A&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P style="LINE-HEIGHT: 140%; MARGIN: 9px 0px 3px; FONT-FAMILY: Georgia, Helvetica, Arial, Sans-Serif; COLOR: #555; FONT-SIZE: 13px"&gt;&lt;FONT color=#111111&gt;&lt;SPAN&gt;Posted:&lt;/SPAN&gt; 28 Mar 2012 06:29 AM PDT&lt;/FONT&gt;&lt;/P&gt;&lt;DIV style="LINE-HEIGHT: 140%; MARGIN: 0px; FONT-FAMILY: Georgia, Helvetica, Arial, Sans-Serif; COLOR: #000000; FONT-SIZE: 13px"&gt;&lt;STYLE type=text/css&gt;#leftcontainerBox {float:left;position: fixed;top: 60%;left: 70px;}#leftcontainerBox .buttons {float:left;clear:both;margin:4px 4px 4px 4px;padding-bottom:2px;}#bottomcontainerBox {height: 30px;width:50%;padding-top:1px;}#bottomcontainerBox .buttons {float:left;height: 30px;margin:4px 4px 4px 4px;}&lt;/STYLE&gt;&lt;P&gt;&lt;FONT color=#111111&gt;Katie Hasty is the managing editor at HitFix.com, a consumer entertainment news site. She first got involved with the music business while in college at Northwestern University, where she wrote for a variety of entertainment periodicals, websites and trade publications including Stop Smiling, Venus Zine, &lt;EM&gt;Punk Planet&lt;/EM&gt; and Kirkus Reviews. For five years, she worked at Billboard, where she was an online editor and columnist and also ran the “Now Hear This”/”Billboard Underground” section, which focused specifically on unsigned/independent/DIY artists. Throughout her 10-year career, Katie has held many different positions within the music industry including music supervisor, A&amp;amp;R consultant, music contest judge radio correspondent and concert promoter. She is also the main songwriter, singer and guitarist in the Brooklyn-based band &lt;/FONT&gt;&lt;A title=http://www.numbersandlettersmusic.com/ href="http://www.numbersandlettersmusic.com/"&gt;&lt;FONT color=#111111&gt;Numbers and Letters&lt;/FONT&gt;&lt;/A&gt;&lt;FONT color=#111111&gt;.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;A title=http://musiciancoaching.com/wp-content/uploads/2012/03/KatieHasty.jpg href="http://musiciancoaching.com/wp-content/uploads/2012/03/KatieHasty.jpg"&gt;&lt;FONT color=#111111&gt;&lt;IMG class="aligncenter size-medium wp-image-3408" title="http://musiciancoaching.com/wp-content/uploads/2012/03/KatieHasty.jpg&amp;#10;KatieHasty" alt="" src="http://musiciancoaching.com/wp-content/uploads/2012/03/KatieHasty-300x222.jpg" width=300 height=222&gt;&lt;/FONT&gt;&lt;/A&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;I recently got to talk to Katie about the experience of being on both sides of the music business and what catches her attention as a music journalist when she is looking for artists to cover. She also shared some tips about what bands need to do in order to create a solid media presence and turn more people onto their music.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;&lt;FONT color=#111111&gt;Musician Coaching&lt;/FONT&gt;&lt;/A&gt;&lt;/SPAN&gt;&lt;FONT color=#111111&gt;:&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;Thanks for taking the time to chat, Katie. How did you wind up in the music business?&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;FONT color=#111111&gt;KH:&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;I wrote about music and entertainment prior to joining the work force. I was a contributing writer and editor for magazines like Stop Smiling and Venus Zine while I was in college at Northwestern University. I knew I wanted to get into entertainment feature writing while I was in college, and I switched from being a magazine major to an online major during my last year. You didn’t have to specify one or the other, but I was convinced my life was going to be in magazines until I started taking HTML classes and also saw that there was more growth in the online market.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;The very first job I got was also the very first job I ever applied and interviewed for, which was online editor for &lt;EM&gt;Billboard Radio Monitor&lt;/EM&gt;. It had a couple different names at the time, but it was the radio arm of &lt;EM&gt;Billboard&lt;/EM&gt; magazine. My interest in radio initially came from my dad, who worked in the radio industry for more than 30 years in Kansas City. And then that interest in commercial and non-commercial radio grew further while I was in college. I worked with &lt;EM&gt;Billboard Radio Monitor&lt;/EM&gt; for about a year, and then I was bumped up to associate editor at Billboard.com in my second year. I was at Billboard for almost five years total. I also worked with &lt;EM&gt;Billboard&lt;/EM&gt; magazine during that time, which obviously provided me with a very informative business perspective. And Billboard.com was purely geared towards the consumer side, so I was exposed to an even mix of two major parts of the industry.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;About three and a half years into my time at Billboard, I started working on and running the “Now Hear This” section, which was the unsigned band section. It eventually became the “Billboard Underground” and had a whole video series attached to it. We concentrated on artists that had formed their own labels, self released their own music or found some other way of making money playing music on their own in an industry where that was becoming increasingly difficult. Because, as you know, you don’t just put out a CD and immediately make money off it.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;I ran that section for about a year and a half and then transitioned out of Billboard. I worked for a few weeks for Michael Goldstone over at Mom and Pop Records as it was finding its feet and launching. I was working as an A&amp;amp;R consultant. I would go to shows, and he and I would sit down and talk about music. That was what I did in the interim between Billboard and HitFix. Doing that was just not something I could do long-term for Goldie, but it was gave me some really good insight, because I got to see what the process of starting a label looked like. It was eye opening to see what he was looking for along with the qualities artists need to have and what they need to do on the branding and business side before they even consider working with labels of any type.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;Then, I moved onto HitFix. I got that job through an old professional cohort, Melinda Newman, who used to be the L.A. bureau chief for Billboard. She had been doing part-time work for HitFix writing about music, and they needed somebody to run the music section right away, so I joined them in 2009. I’ve moved from full-time freelancer to full-time employee as the company has grown. When I started working with them, there were five full-time employees, and now there are over two dozen.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;&lt;FONT color=#111111&gt;Musician Coaching&lt;/FONT&gt;&lt;/A&gt;&lt;/SPAN&gt;&lt;FONT color=#111111&gt;:&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;And you’re also a musician and play in a band called Numbers and Letters.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;FONT color=#111111&gt;KH:&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;Yes. It’s based off my songwriting, and I play guitar and sing. I’ve had the project for about five years. We put out an EP in 2008, and since then, we’ve been putting together a full-length album. Right now, we are finishing up mixes, and we have plans for a music video. We are going to see what kind of partnerships or other creative things can come from this record within the next few months. This summer, we’re going to start really pushing live shows, tours, etc. We toured in Scotland in October and have toured the Southeast, parts of the West and bigger cities in the Northeast like Boston and Portland. We’ve had little fits and starts.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;Having a full-time job but being able to work from home is extremely flexible and very helpful when I have a creative project I really want to do something with. But then again, I still have a full-time job, so I still have to work for a certain number of hours in the day. I know other bands that aren’t committed to jobs or have part-time positions are often able to get out albums quicker or play more shows. But for us, it’s all about making sure it’s good timing for everyone. If I’m going to put out a full-length record and have any kind of support for it, I want it to be on my terms and done right.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;I feel like my perspective has really been changed by my work at Billboard and with Goldie. Even as we speak, Spotify is blowing up, people are working more with Facebook, etc. How people hear music is changing on a daily basis, and I’m very much aware of it.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;&lt;FONT color=#111111&gt;Musician Coaching&lt;/FONT&gt;&lt;/A&gt;&lt;/SPAN&gt;&lt;FONT color=#111111&gt;:&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;The reason I wanted to speak to you is because you are a musician and have also had experiences on the business side. You are someone who has been a gatekeeper and has insight as to why certain things get written about and others don’t. I have a lot of people who approach me and ask whether I do PR, which I don’t. A common statement they make is, “I want to be in Pitchfork.” And I’m not saying that Pitchfork is the Holy Grail, but it’s one of the bigger periodicals. In your opinion, how to press stories grow? How does a story get noticed by a periodical the size of Billboard or HitFix?&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;FONT color=#111111&gt;KH:&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;When you get written up on Pitchfork or by any of the bigger magazines or blogs, the results you see from that exposure vary. It may not add up to much, although it is helpful when you want a good pull quote to have accolades from certain websites or writers. The results could just depend on the day or what picks up and runs and feels viral. That has to do with who you choose as a publicist, for starters. I think there are a lot of publicists out there who base their experience on the fact that they have an impressive number of clients. But what they actually generate for those clients what you need to look at. If a publicist has 200 clients but can’t get them any traction, the publicist is making money but the artist is not.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;So, part of making stories grow is getting a publicist that has a good roster and can commit to whatever your publicity cycle is, whether you want to generate excitement about an album pre release in a short period of time like two months or you want to accomplish that in three months, six months or nine months including a tour. That could end up costing a lot of money. But if your publicist has a good voice and a good rapport with writers and has people working under them or with them that are courteous and can answer questions and hit people back quickly, this can be critical.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;Successful exposure starts with the publicist and the personalities you choose to work with. When it comes to getting the attention of a journalist, I know I first look at which publicists have the best roster. Then going from there, I look to see if there is a compelling story and if you can hear that story in the music and really connect the dots. I also look for emails with really succinct subject lines that find a unique but clear way to say, “Here’s the reason you’ll listen to this artist.” That reason could be, “This artist sounds like so and so, and I know you like so and so,” “This artist opened for another well-known artist,” or “This artist worked with this really important music video director.” No matter what, it has to be more interesting than, “This artist has worked really hard, and we think their songs are good.” I don’t think there’s any artist out there that won’t tell that story about themselves. I want to see a unique angle and something I haven’t seen already – something that I know people will be excited about when they hear it.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;As an artist, you want to make yourself stand out. That can’t be reiterated enough.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;&lt;FONT color=#111111&gt;Musician Coaching&lt;/FONT&gt;&lt;/A&gt;&lt;/SPAN&gt;&lt;FONT color=#111111&gt;:&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;When you were doing the “Now Hear This” section of Billboard, you were dealing with people who were really under the radar. How can artists get your attention when they can’t afford a publicist, besides just having great music?&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;FONT color=#111111&gt;KH:&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;I look at fan response. MySpace numbers obviously haven’t mattered for a long time. But you can see people’s responses to a band on Facebook and the kind of enthusiasm they generate. And this applies to artists that have publicists and those that don’t and artists that have legal representation and publishers but no other deal in place. It’s easy to pull up the fan response. Facebook is a good example of a place where you can get an immediate response. Whenever a band puts something out, you can immediately see the kind of impression they’re making.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;It also has to do with pace makers outside of labels. If an artist’s music has gotten placement without having a traditional model, that means a lot. Joe Purdy and Skybox are both good examples of that. There are a lot of bands who don’t have the need for a label because they’ve been able to generate enthusiasm outside of the realm of just putting out records.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;The “Now Hear This” section was always a really unique section, because it was geared specifically towards unsigned artists in a business-oriented magazine. Bands that read that section and were familiar with Billboard in general would send me really specific pitches. These pitches would be geared towards this column or towards my specific tastes and interests.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;&lt;FONT color=#111111&gt;Musician Coaching&lt;/FONT&gt;&lt;/A&gt;&lt;/SPAN&gt;&lt;FONT color=#111111&gt;:&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;So, clearly someone who has done their homework on you and the periodical that pitched you with a reason why you might find their story compelling would get your attention.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;FONT color=#111111&gt;KH:&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;Exactly. If your aim is Pitchfork or specific blogs that you personally read and enjoy, cater your pitch or your subject line or what you’re sending specifically towards that publication. Working at HitFix, I know I am working for one of many general consumer interest entertainment online magazines, so I don’t expect a love letter. But I do expect bands to know they shouldn’t just say, “Why don’t you do a full feature on me?” We are a news site. If you want a feature, we’re going to need some media to run along with it. There are assets that are important to me. I rarely have an hour and a half in my busy day to write up 900 words on a band I think is amazing, with no media. I’m going to need assets like an MP3 or a  SoundCloud – something I can grab onto and run with.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;Asset management is really important. If you’re an artist and send me a zip file full of your assets, and I’ve never heard of you, I’m not going to take time to download and put that into my iTunes to listen to it. Just send me a link to a few MP3s that I can stream. If I want the record, you need to give me an easy way to listen to it. Don’t send me the whole record in the attachment of your first email. That’s not the way I want to listen to music.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;I still get tons of mailers from publicists, and I listen to about 95% of the ones I get. While I was at Billboard, I got about 100 CDs per week. Now it’s more like 30 a week. With MP3s, I’m much more prone to listening to a stream on a SoundCloud or a Facebook page than I am to download an MP3 from an email, wait for that to download and then load it into iTunes. I don’t necessarily want to give part of my hard drive to a band I don’t know. Streaming music is quick and to the point. If your music is so good, give it to me up front.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;Some publicists spend more time making sure their signature is tricked out and their press page is looking awesome than they spend sending me an MP3 or a stream of their artist’s tunes:  “Will you write about this artist? We didn’t include a link to their music, but, hey – they’re really well liked.”&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;All of us are busy. We want a tight pitch, a pitch that is specific to our site and the assets up front.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;&lt;FONT color=#111111&gt;Musician Coaching&lt;/FONT&gt;&lt;/A&gt;&lt;/SPAN&gt;&lt;FONT color=#111111&gt;:&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;When people come to me and say, right off the bat, “I want to get written up in &lt;EM&gt;Rolling Stone&lt;/EM&gt;/Billboard/Pitchfork,” I usually say they should start with more entry-level blogs to get pull quotes and then work their way up. And I might be wrong. Is there a snowball effect?&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;FONT color=#111111&gt;KH:&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;Absolutely. People at Pitchfork and other major periodicals and sites are taste makers in their space. It’s their job to stay informed. And they do sometimes pull artists out of thin air. I think it’s easier to pitch the small sites, not because they have nothing better to do, but because they might have specific interest in your particular type of music. When you start small, there is a stronger possibility you will have an intimate interaction with the actual blogger him/herself. And it’s also easier to get that contact information. A lot of bigger websites that don’t run the emails of the editors themselves – HitFix included.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;And, like you said earlier, Pitchfork isn’t the Holy Grail, but it can help determine the difference between a Kanye West and a band that is totally unsigned and just has a lot of buzz. People started writing about Lana Del Rey last summer, and then there was just a groundswell; very organic enthusiasm grew. If a few websites start screaming about an artist that they like, the bigger websites are going to pay attention.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;&lt;FONT color=#111111&gt;Musician Coaching&lt;/FONT&gt;&lt;/A&gt;&lt;/SPAN&gt;&lt;FONT color=#111111&gt;:&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;From your perspective as a performing musician, is there anything you’ve learned about playing around a major city like New York and putting together tours that you wish you’d known when you first started?&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;FONT color=#111111&gt;KH:&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;I’ve been a performing musician and a professional music writer at the same time for the past five years, and I know you can often get silence from the other end, whether you’re not getting the turnout you want at a show or aren’t getting someone to email you back. But you shouldn’t take that too personally. Silence on the other end does not mean rejection. Having a lower turnout than expected does not mean people don’t like you.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;As a critic, a writer and a music fan, there’s just so much out there and so much saturation, especially in the New York market. There are 20,000 people screaming for your attention. And just because things are tough here doesn’t mean that your creation has been rejected. It’s about plugging away at your craft, being persistent and having total faith in the material.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;You should also be aware of the saturation. In New York and other large markets, you have to keep a level head and keep moderated expectations because of that saturation. I was recently watching that new NBC show &lt;EM&gt;Smash&lt;/EM&gt;. Everyone who wants to move to New York and perform on Broadway has to know it’s going to be hard as hell, and it’s the same with the music market here. I and a lot of other New York City-based artists could go and move to a small city in the U.S. or even overseas and be a superstar in that city. It’s going to be a lot harder in a bigger city, and you’re going to be surrounded by a lot more pressure to succeed.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;It’s about making what you have as good as it can be – making sure that every song, every performance and every bit of press is you and the very best version of you. Because there are a lot of labels, fans and people who love music enough to call, “Bullshit” on something that is not worth their time. In New York, L.A. or Austin, just being okay isn’t going to fly. For example, you might have great songs but no presence. You just have to work a little bit harder.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;But on the other hand, I think the difficulty of getting heard here is why people, myself included, enjoy the energy around here. I like the energy of people who are making creative works and succeeding. That is a reminder that there is a possibility for my work to be accepted and to be passed on to other people by fans who love Americana, alt-country or folk music. It’s about finding an audience in a huge population. They’re there. You just have to find them.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt; &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#111111&gt;To learn more about Katie Hasty and the music writing work she does, visit the &lt;/FONT&gt;&lt;A title=http://www.hitfix.com/ href="http://www.hitfix.com/"&gt;&lt;FONT color=#111111&gt;HitFix.com&lt;/FONT&gt;&lt;/A&gt;&lt;FONT color=#111111&gt; website.&lt;/FONT&gt;&lt;/P&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Thu, 29 Mar 2012 09:59:12 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>New York Interest: Meet Pro Tools|HDX and Pro Tools 10 in person</title><link>http://forum.producersedgemagazine.com/Topic2075-8-1.aspx</link><description>&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=650&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;IMG style="DISPLAY: block" src="http://images.info.avid.com/eloquaimages/clients/Avid/%7B01c5e413-4a87-4e9a-a304-0983d2b24ec8%7D_header.jpg" width=650 height=375&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="BACKGROUND: #000000" height=10&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="BACKGROUND-COLOR: #000" vAlign=top&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=650&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="TEXT-ALIGN: left; PADDING-BOTTOM: 0px; LINE-HEIGHT: 20px; BACKGROUND-COLOR: #000; PADDING-LEFT: 56px; PADDING-RIGHT: 30px; FONT-FAMILY: Arial, sans-serif; COLOR: #c4c4c3; FONT-SIZE: 10.5pt; PADDING-TOP: 0px" vAlign=top&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=188 align=right&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="TEXT-ALIGN: left; LINE-HEIGHT: 20px; FONT-FAMILY: Arial, sans-serif; COLOR: #c4c4c3; FONT-SIZE: 10pt" vAlign=top width=40&gt;&lt;/TD&gt;&lt;TD style="TEXT-ALIGN: left; LINE-HEIGHT: 20px; FONT-FAMILY: Arial, sans-serif; COLOR: #c4c4c3; FONT-SIZE: 10pt" vAlign=top&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=148&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="FONT-FAMILY: Arial, sans-serif; COLOR: #fff; FONT-SIZE: 18px"&gt;&lt;TABLE style="BACKGROUND: #0687c5" border=0 cellSpacing=0 cellPadding=0 width=148&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD vAlign=top width=4 align=left&gt;&lt;IMG style="DISPLAY: block" src="http://images.info.avid.com/eloquaimages/clients/Avid/%7B52caf29a-ab75-44df-8dba-0ad8039a361b%7D_btn_corner_01.gif" width=4 height=4&gt;&lt;/TD&gt;&lt;TD height=4&gt;&lt;/TD&gt;&lt;TD vAlign=top width=4 align=right&gt;&lt;IMG style="DISPLAY: block" src="http://images.info.avid.com/eloquaimages/clients/Avid/%7B82bc21a6-3cf6-4550-93e2-5e639ce4b802%7D_btn_corner_02.gif" width=4 height=4&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="BACKGROUND-COLOR: #0687c5" height=16 width=4&gt;&lt;/TD&gt;&lt;TD style="TEXT-ALIGN: center; PADDING-BOTTOM: 0px; LINE-HEIGHT: 16px; BACKGROUND-COLOR: #0687c5; PADDING-LEFT: 10px; PADDING-RIGHT: 10px; FONT-FAMILY: Arial, sans-serif; FONT-SIZE: 10pt; PADDING-TOP: 0px" class=button height=16&gt;&lt;A style="COLOR: #fff; TEXT-DECORATION: none" title=http://app.info.avid.com/e/er?elq_mid=5719&amp;amp;elq_cid=4023867&amp;amp;s=774&amp;amp;lid=5733&amp;amp;elq=15829cc01ccc4a4daf0f8bc10f7338fa href="http://app.info.avid.com/e/er?elq_mid=5719&amp;amp;elq_cid=4023867&amp;amp;s=774&amp;amp;lid=5733&amp;amp;elq=15829cc01ccc4a4daf0f8bc10f7338fa"&gt;RSVP Now&lt;/A&gt;&lt;/TD&gt;&lt;TD height=16 width=4&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD vAlign=bottom width=4 align=left&gt;&lt;IMG style="DISPLAY: block" src="http://images.info.avid.com/eloquaimages/clients/Avid/%7B57d03918-a3c7-4e15-a59f-1ed2810b23ad%7D_btn_corner_04.gif" width=4 height=4&gt;&lt;/TD&gt;&lt;TD height=4&gt;&lt;/TD&gt;&lt;TD vAlign=bottom width=4 align=right&gt;&lt;IMG style="DISPLAY: block" src="http://images.info.avid.com/eloquaimages/clients/Avid/%7B2e39ca53-f9d1-4ffc-81a2-8c272ac82ed3%7D_btn_corner_03.gif" width=4 height=4&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD height=6&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;BR&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="TEXT-ALIGN: left; FONT-FAMILY: Arial, sans-serif; COLOR: #fff; FONT-SIZE: 18px"&gt;When&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;April 3&lt;BR&gt;6pm – 9pm&lt;BR&gt;&lt;BR&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="TEXT-ALIGN: left; FONT-FAMILY: Arial, sans-serif; COLOR: #fff; FONT-SIZE: 18px"&gt;Where&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;GC Pro NYC&lt;BR&gt;25 West 14th St&lt;BR&gt;New York, NY 10011&lt;BR&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="TEXT-ALIGN: left; LINE-HEIGHT: 20px; FONT-FAMILY: Arial, sans-serif; COLOR: #c4c4c3; FONT-SIZE: 10pt" vAlign=top&gt;&lt;/TD&gt;&lt;TD style="TEXT-ALIGN: left; LINE-HEIGHT: 20px; FONT-FAMILY: Arial, sans-serif; COLOR: #c4c4c3; FONT-SIZE: 10pt" vAlign=top&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="TEXT-ALIGN: left; FONT-FAMILY: Arial, sans-serif; COLOR: #fff; FONT-SIZE: 18px"&gt;Witness a Gigantic Leap in Sound and Speed&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;BR&gt;Come see what all of the buzz is about. You're invited to a special Avid&lt;SUP style="LINE-HEIGHT: 9pt; FONT-SIZE: 8pt"&gt;®&lt;/SUP&gt; event to meet our newest additions to the Pro Tools&lt;SUP style="LINE-HEIGHT: 9pt; FONT-SIZE: 8pt"&gt;®&lt;/SUP&gt; family—the blazing fast, DSP-accelerated Pro Tools|HDX system and Pro Tools 10 software. Join Avid and GC Pro NYC and see how these latest tools can help you achieve success faster and easier than ever, whether you work in music or audio post production. &lt;UL&gt;&lt;LI&gt;See what 5x more power with Pro Tools|HDX can do for your workflow&lt;BR&gt;&lt;BR&gt;&lt;LI&gt;Discover better sound, faster performance, and ease with Pro Tools 10&lt;BR&gt;&lt;BR&gt;&lt;LI&gt;Get a walkthrough of the new features, with tracks from Alicia Keys and the movie &lt;EM&gt;Kick-***&lt;/EM&gt;&lt;BR&gt;&lt;BR&gt;&lt;LI&gt;Witness new timesaving workflows that'll speed up your music and post sessions &lt;/LI&gt;&lt;/UL&gt;Join the fun, get your questions answered, and mingle with your peers over hors d'oeuvres and cocktails. Space is limited, so &lt;A style="COLOR: #0687c5" title=http://app.info.avid.com/e/er?elq_mid=5719&amp;amp;elq_cid=4023867&amp;amp;s=774&amp;amp;lid=5733&amp;amp;elq=15829cc01ccc4a4daf0f8bc10f7338fa href="http://app.info.avid.com/e/er?elq_mid=5719&amp;amp;elq_cid=4023867&amp;amp;s=774&amp;amp;lid=5733&amp;amp;elq=15829cc01ccc4a4daf0f8bc10f7338fa"&gt;RSVP today&lt;/A&gt; to reserve your spot.&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Wed, 28 Mar 2012 13:02:21 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>Disc Makers</title><link>http://forum.producersedgemagazine.com/Topic2071-8-1.aspx</link><description>&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD align=middle&gt;&lt;A title=http://links.mkt845.com/ctt?kn=2&amp;amp;ms=Mzg5OTY2MzYS1&amp;amp;r=MzAzNjc3MDUxS0&amp;amp;b=0&amp;amp;j=MTM3MDEwMTIwS0&amp;amp;mt=1&amp;amp;rt=0 href="http://links.mkt845.com/ctt?kn=2&amp;amp;ms=Mzg5OTY2MzYS1&amp;amp;r=MzAzNjc3MDUxS0&amp;amp;b=0&amp;amp;j=MTM3MDEwMTIwS0&amp;amp;mt=1&amp;amp;rt=0" name=Banner1&gt;&lt;IMG title="http://links.mkt845.com/ctt?kn=2&amp;amp;ms=Mzg5OTY2MzYS1&amp;amp;r=MzAzNjc3MDUxS0&amp;amp;b=0&amp;amp;j=MTM3MDEwMTIwS0&amp;amp;mt=1&amp;amp;rt=0&amp;#10;Free Guide to Touring!&amp;#13;&amp;#10;Touring as an Indie: Strategies for booking, promoting, and thriving on the road." border=0 alt="Free Guide to Touring!&amp;#13;&amp;#10;Touring as an Indie: Strategies for booking, promoting, and thriving on the road." src="http://www.discmakers.com/html_email/images/a1213image.jpg" width=712 height=244&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;!--Main image --&gt;&lt;TR&gt;&lt;TD&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;!--Body Copy --&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="93%" bgColor=#ffffff align=center&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD align=left&gt;&lt;SPAN style="LINE-HEIGHT: 19px; FONT-STYLE: normal; FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #666666; FONT-SIZE: 12px"&gt;Touring as an Indie offers expert advice on how to tour, including sections on booking strategies, time management, maximizing earnings, and much more. Going on tour is one of the most exciting times an indie musician can have and Touring as an Indie will get you pointed in the right direction. &lt;BR&gt;&lt;BR&gt;&lt;STRONG&gt;Includes helpful sections that detail topics such as:&lt;/STRONG&gt;&lt;BR&gt;• Are you ready to tour? &lt;BR&gt;• Booking Strategies &lt;BR&gt;• Using Social Media &lt;BR&gt;• Getting resourceful with accommodations &lt;BR&gt;• Maximizing your earnings&lt;BR&gt;• Budgeting for your tour&lt;BR&gt;• And much more&lt;BR&gt;&lt;BR&gt;Ready to take your show on the road? &lt;A style="COLOR: #eb8107; FONT-WEIGHT: normal; TEXT-DECORATION: underline" title=http://links.mkt845.com/ctt?kn=3&amp;amp;ms=Mzg5OTY2MzYS1&amp;amp;r=MzAzNjc3MDUxS0&amp;amp;b=0&amp;amp;j=MTM3MDEwMTIwS0&amp;amp;mt=1&amp;amp;rt=0 href="http://links.mkt845.com/ctt?kn=3&amp;amp;ms=Mzg5OTY2MzYS1&amp;amp;r=MzAzNjc3MDUxS0&amp;amp;b=0&amp;amp;j=MTM3MDEwMTIwS0&amp;amp;mt=1&amp;amp;rt=0" name=Body1&gt;Download your free copy now.&lt;/A&gt; &lt;/SPAN&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Wed, 28 Mar 2012 12:55:28 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>Musician Coaching - Rhapsody, A2IM and Billy Corgan News, March 24, 2012</title><link>http://forum.producersedgemagazine.com/Topic2064-8-1.aspx</link><description>&lt;TABLE style="PADDING-BOTTOM: 0px; BORDER-RIGHT-WIDTH: 0px; MARGIN: 0px; PADDING-LEFT: 0px; WIDTH: 100%; PADDING-RIGHT: 0px; BORDER-TOP-WIDTH: 0px; BORDER-BOTTOM-WIDTH: 0px; BORDER-LEFT-WIDTH: 0px; PADDING-TOP: 0px"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="VERTICAL-ALIGN: top" width="99%"&gt;&lt;H1 style="PADDING-BOTTOM: 6px; MARGIN: 0px"&gt;&lt;A style="FONT-FAMILY: Georgia, Times New Roman, serif; COLOR: #888; FONT-SIZE: 22px; FONT-WEIGHT: normal; TEXT-DECORATION: none" title="http://musiciancoaching.com/&amp;#10;(http://musiciancoaching.com)" href="http://musiciancoaching.com"&gt;Musician Coaching - Rhapsody, A2IM and Billy Corgan News, March 24, 2012&lt;/A&gt; &lt;BR&gt;&lt;A title=http://fusion.google.com/add?source=atgs&amp;amp;feedurl=http://feeds.feedburner.com/musiciancoaching href="http://fusion.google.com/add?source=atgs&amp;amp;feedurl=http://feeds.feedburner.com/musiciancoaching"&gt;&lt;IMG style="PADDING-TOP: 6px" title=http://fusion.google.com/add?source=atgs&amp;amp;feedurl=http://feeds.feedburner.com/musiciancoaching border=0 alt="" src="http://gmodules.com/ig/images/plus_google.gif"&gt; &lt;/A&gt;&lt;/H1&gt;&lt;/TD&gt;&lt;TD width="1%"&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;HR style="BORDER-BOTTOM: #ccc 1px solid; BORDER-LEFT: #ccc 1px solid; PADDING-BOTTOM: 0px; MARGIN: 0px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; BORDER-TOP: #ccc 1px solid; BORDER-RIGHT: #ccc 1px solid; PADDING-TOP: 0px"&gt;&lt;TABLE id=itemcontentlist&gt;&lt;TBODY&gt;&lt;TR xmlns=""&gt;&lt;TD style="LINE-HEIGHT: 1.4em; MARGIN-BOTTOM: 0px"&gt;&lt;P style="MARGIN: 1em 0px 3px"&gt;&lt;A style="FONT-FAMILY: Georgia, Times New Roman, serif; FONT-SIZE: 16px" title=http://feedproxy.google.com/~r/musiciancoaching/~3/Qyn_UZ4VBJI/?utm_source=feedburner&amp;amp;utm_medium=email href="http://feedproxy.google.com/~r/musiciancoaching/~3/Qyn_UZ4VBJI/?utm_source=feedburner&amp;amp;utm_medium=email" name=1&gt;Rhapsody, A2IM and Billy Corgan News, March 24, 2012&lt;/A&gt; &lt;/P&gt;&lt;P style="LINE-HEIGHT: 140%; MARGIN: 9px 0px 3px; FONT-FAMILY: Georgia, Helvetica, Arial, Sans-Serif; COLOR: #555; FONT-SIZE: 13px"&gt;&lt;SPAN&gt;Posted:&lt;/SPAN&gt; 24 Mar 2012 08:10 AM PDT&lt;/P&gt;&lt;DIV style="LINE-HEIGHT: 140%; MARGIN: 0px; FONT-FAMILY: Georgia, Helvetica, Arial, Sans-Serif; COLOR: #000000; FONT-SIZE: 13px"&gt;&lt;STYLE type=text/css&gt;#leftcontainerBox {float:left;position: fixed;top: 60%;left: 70px;}#leftcontainerBox .buttons {float:left;clear:both;margin:4px 4px 4px 4px;padding-bottom:2px;}#bottomcontainerBox {height: 30px;width:50%;padding-top:1px;}#bottomcontainerBox .buttons {float:left;height: 30px;margin:4px 4px 4px 4px;}&lt;/STYLE&gt;&lt;P&gt;Two industry leaders shared their perceptions about the realities of making a living in music this past week as the founder of Rhapsody claimed the cost of music piracy has been overblown since the late ‘90s, and the head of A2IM as well as other industry leaders laid out the many reasons artists should be diversifying their income at SXSW. Also, experienced artist Billy Corgan talked about why an industry-wide obsession with fame is ruining music.&lt;/P&gt;&lt;P&gt;&lt;A title=http://musiciancoaching.com/wp-content/uploads/2011/08/News-Microhpone2.jpg href="http://musiciancoaching.com/wp-content/uploads/2011/08/News-Microhpone2.jpg"&gt;&lt;IMG title="http://musiciancoaching.com/wp-content/uploads/2011/08/News-Microhpone2.jpg&amp;#10;On Stage" alt="" src="http://musiciancoaching.com/wp-content/uploads/2011/08/News-Microhpone2-300x197.jpg" width=300 height=197&gt;&lt;/A&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;Piracy is an Exaggerated Threat, According to Rob Reid&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Rob Reid, inventor of the first paid music streaming service Rhapsody outlined what he believes to be the real impact of piracy on the music industry in a short speech at &lt;A title=http://youtu.be/GZadCj8O1-0 href="http://youtu.be/GZadCj8O1-0"&gt;TED 2012&lt;/A&gt;, a gathering for political and business leaders. And according to him, piracy’s effects have been neither as great nor as negative as other experts have claimed. He expounded upon his analysis in interviews with trade publication &lt;EM&gt;&lt;A title=http://arstechnica.com/tech-policy/news/2012/03/copyright-math-vies-with-string-theory-for-most-complex-profitable-potentially-ridiculous-theory-vid.ars href="http://arstechnica.com/tech-policy/news/2012/03/copyright-math-vies-with-string-theory-for-most-complex-profitable-potentially-ridiculous-theory-vid.ars"&gt;Ars Technica&lt;/A&gt;&lt;/EM&gt; and &lt;EM&gt;&lt;A title=http://www.pcworld.com/article/251930/the_8_billion_ipod_entrepreneur_rob_reid_ridicules_music_piracy_claims.html href="http://www.pcworld.com/article/251930/the_8_billion_ipod_entrepreneur_rob_reid_ridicules_music_piracy_claims.html"&gt;PC World&lt;/A&gt;&lt;/EM&gt;.&lt;/P&gt;&lt;P&gt;Reid stated that the figures that have been presented and pushed at politicians in an effort to get them to pass laws that would protect artists and other creators from having their works stolen have been over dramatized and were initially based on poorly-constructed conjecture. As he told &lt;EM&gt;Ars Technica&lt;/EM&gt;, it was the stubbornness of the music industry itself that inadvertently welcomed piracy and allowed it to take over. Rhapsody was the first music service to sign up all (at the time) five major labels, but this did not happen until 2002 – years after digital music had taken root: “By refusing to sell their music online for years, the labels gave piracy a monopoly on all of the great things that the Internet can enable for music lovers … This meant that hundreds of millions of people discovered music downloads through pirate services, so piracy was utterly entrenched by the time we were finally allowed to compete with it.”&lt;/P&gt;&lt;P&gt;And Reid added, “In embargoing their music from legal services, and greeting almost every element of today’s online music experience with lawsuits – not just MP3 players, but locker services, interactive radio services, and much more – the labels gave piracy a half-decade monopoly on awesomeness.” He went onto say that he thinks the music industry would currently have close to double its revenues in the U.S. if it had not “blasted itself in the foot, shin, hip, torso, and chest” by denying that consumers were embracing the Digital Age.&lt;/P&gt;&lt;P&gt;At TED, Reid laid out his theory “Copyright Math,” which is the term he uses to explain the often confusing and intangible numbers cited by the two major organizations within the entertainment industry – the Motion Picture Association of America (MPAA) and the Recording Industry Association of America (RIAA) – in an effort to get others to rally against piracy. And it is these numbers that have been used to justify a number of policies, including the recently-proposed SOPA bill.&lt;/P&gt;&lt;P&gt;What are these numbers? The RIAA regularly claims that $150,000 in revenue is lost for every illegal song copy. But as Reid pointed out, if this is true, an iPod could hold as much as $8 billion in illegal music. And the MPAA has presented similar numbers, stating that film piracy costs the economy more than $58 billion each year and has brought about the loss of 370,000+ jobs in the U.S. Reid stated that real numbers point to the reality that the film industry’s profitability has not dropped in the past decade. And music industry revenue has decreased since 2000, but not by anywhere close to the $58 billion that has been declared.&lt;/P&gt;&lt;P&gt;While Reid slammed many organizations in the music industry for misrepresenting the reality of music piracy, he agreed it is still an on-going problem. And he presented some constructive suggestions to &lt;EM&gt;PC World &lt;/EM&gt;regarding how the RIAA and other groups could help curb digital theft:  “I think the right answer is that there is nothing you can do to enforce prohibition in any area. The only solution is to make legal services so compelling that it is ludicrous to do it any other way.”&lt;/P&gt;&lt;P&gt;And he pointed to services like Spotify, which he stated will be the way to take the pain out of acquiring music legally:  “Any real music lover will appreciate Spotify:  They can sample songs and taste different genres … They would never choose a cumbersome, download-one-song-after-another trench warfare approach over Spotify. It’s a simple interface, click and play, with immediate access. That’s how you fight piracy.”&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; For Artists in 2012, Diversification is Key&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Rich Bengloff, head of the indie label trade group the American Association of Independent Music (A2IM) declared that the modern music industry is about “micro-pennies” at SXSW last week. And according to a blog post in the &lt;EM&gt;&lt;A title=http://latimesblogs.latimes.com/music_blog/2012/03/sxsw-2012-artists-you-have-42-different-ways-to-make-money.html href="http://latimesblogs.latimes.com/music_blog/2012/03/sxsw-2012-artists-you-have-42-different-ways-to-make-money.html"&gt;Los Angeles Times&lt;/A&gt;&lt;/EM&gt; music blog “Pop and Hiss,” the phrase struck a particular chord with the 2,000 artists and professionals attempting to get noticed at the 2012 conference in Austin.&lt;/P&gt;&lt;P&gt;As Bengloff declared, “Access and getting noticed is harder because everyone has access.” Even artists with the support of major labels are finding it harder and harder each year to get noticed at increasingly-glutted festivals and conferences. For example, Warner Music Group-signed LP, a new folk/rock artist had a team of label representatives handing out CD samplers. Still, despite having support by one of the world’s biggest corporations, she did not seem to have an advantage over even unsigned acts and played a short set on a small stage.&lt;/P&gt;&lt;P&gt;And Bengloff said this is because “you’re not going to make a living” anymore in the music business if you just focus on the three previously-standard streams of income:  touring;  albums and merchandise:  “You need to be much more diversified.”&lt;/P&gt;&lt;P&gt;And many artists of all sizes are already thinking outside traditional business models.  Experimental electronic musician and indie label head Nicolas Jaar debuted his “Prism” – a tiny box that holds up to a 12-song album and retails for $40. It charges via USB port on a computer and has two headphone jacks, which as Jaar said, encourages fans to share their music with others (which in turn helps artists increase their fan bases):  “The point is that you’re listening to the music, and if you’re listening to it alone, then someone is missing.”&lt;/P&gt;&lt;P&gt;And many experts note that as music gets more accessible (and more digital with the development of more sophisticated hard drives and cloud services), making an emotional connection with fans and selling real products has become difficult. Alex Asseily, founder of the audio company Jawbone pointed out, “What is the equivalent of a cheer, a scream, on a computer? Those moments when you have those emotions, that’s what you can monetize.”&lt;/P&gt;&lt;P&gt;However, Bengloff and others note that earning a livable income has become particularly challenging for artists in the Digital Age, the Digital Age has also brought about many more ways for artists to make money. At SXSW, the artist lobbying group The Future of Music Coalition unveiled the results of its two-year study about how artists make money, which uncovered 42 different revenue streams available to musicians. Over 5,000 musicians participated in the study, and nine provided detailed financials from careers spanning anywhere from four, to 12 years. The research revealed that no single artist is using all these 42 (and that not all have access to all 42), but there are this many. For example, a classical artist may only be able to leverage two or three streams, while a singer/songwriter could get a tangible benefit out of 25.&lt;/P&gt;&lt;P&gt;What are these streams? Obviously, there is still merch, concert ticket sales or, with symphony musicians, gainful employment. However, money can also be made from teaching, speaking engagements, fan funding, acting, persona licensing, session musician work, YouTube partnerships and many national and international publishers. The average artist income was determined to be just over $55,000 per year. The Future of Music Coalition will continue to collect data in the coming years in hopes of providing some real, artist-centric data for policy makers to go alongside the industry/business data that has been brought forward by groups like A2IM and the RIAA. Project architect Jean Cook said, “[Policy makers] come to us and say, ‘We’re hearing this from the RIAA, but what are you hearing from musicians?’ It’s a big data gap.”&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;Billy Corgan:  Being Famous is a Dangerous Goal&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Billy Corgan shared his thoughts about the real price of fame within the current music industry in a one-on-one conversation entitled “The End of Business As Usual” with author Brian Solis last week at SXSW. As outlined in a post on &lt;A title=http://www.billboard.biz/bbbiz/industry/digital-and-mobile/smashing-pumpkins-billy-corgan-goes-off-1006436552.story href="http://www.billboard.biz/bbbiz/industry/digital-and-mobile/smashing-pumpkins-billy-corgan-goes-off-1006436552.story"&gt;Billboard.biz&lt;/A&gt;, the Smashing Pumpkin’s leader declared his place in music history and highlighted what he believes to be a shallow rising class of new artists.&lt;/P&gt;&lt;P&gt;Corgan is currently in the midst of recording his self-released album &lt;EM&gt;Teargarden by Kaleidyscope&lt;/EM&gt;, a 44-track record that will be released serially. While talking with Solis, he revealed his belief that the quality of Alternative Rock has declined, and YouTube and other online venues for artists cannot be trusted. He also outlined the intense struggles artists need to go through today just to get a few people to hear them. As he said, if he was an artist just coming up today, he might have to set himself on fire on YouTube just to get noticed. And because of the industry’s obsession with the power of fame and a de-emphasis on talent, that might still not be enough, because artists are being sent flawed messages about success:  “[Artists that break through now] have grown up thinking that being famous is the goal, not to be respected – not to be dangerous … [once you make that deal] you’re just the fresh stripper.”&lt;/P&gt;&lt;P&gt;While he had harsh words for the industry of the 2000s, he admitted that the system was not perfect when he was first getting into music:  “I knew I was being exploited, but there was a Faustian bargain to be made.” And he had some kind words for Lana Del Rey, as he feels she “crashed and burned” on Saturday Night Live because she was not experienced enough as a performer to handle the fame that was forced on her by her label:  “She wasn’t ready for it.”&lt;/P&gt;&lt;P&gt;The theme of Corgan’s discussion was that both musicians and technology are perpetuating the idea that fame, not artistry is the goal and the ultimate measure of success:  “Don’t call it rock and roll. I was part of a generation that changed the world – and it was taken over by poseurs.”&lt;/P&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Mon, 26 Mar 2012 02:53:27 GMT</pubDate><dc:creator>Griffin Avid</dc:creator></item><item><title>I m New To The Forum</title><link>http://forum.producersedgemagazine.com/Topic1926-8-1.aspx</link><description>Hi This is Alice Havelock. I am a native of San Francisco, California, A former professional game designer; working on a collection of free games. I would recommend the website that containing wide range of [url=http://www.gamesoid.com/]free online games[/url] with new games added every day.</description><pubDate>Wed, 30 Nov 2011 04:30:33 GMT</pubDate><dc:creator>Alicehavelock</dc:creator></item><item><title>11 Improvisation Tips to Help You Make Music in the Moment</title><link>http://forum.producersedgemagazine.com/Topic2026-8-1.aspx</link><description>&lt;A href="http://blog.discmakers.com/2012/02/11-improvisation-tips-to-help-you-make-music-in-the-moment/?utm_source=DMAudio&amp;amp;utm_medium=Email&amp;amp;utm_campaign=EA1210"&gt;http://blog.discmakers.com/2012/02/11-improvisation-tips-to-help-you-make-music-in-the-moment/?utm_source=DMAudio&amp;amp;utm_medium=Email&amp;amp;utm_campaign=EA1210&lt;/A&gt;&lt;/P&gt;&lt;DIV class=headline_area&gt;&lt;H1 class=entry-title&gt;11 Improvisation Tips to Help You Make Music in the Moment&lt;/H1&gt;&lt;P class=headline_meta&gt;by &lt;SPAN class="author vcard"&gt;&lt;A class="url fn" href="http://blog.discmakers.com/author/michael-gallant/"&gt;Michael Gallant&lt;/A&gt;&lt;/SPAN&gt; on &lt;ABBR class=published title=2012-02-21&gt;February 21, 2012&lt;/ABBR&gt; · &lt;SPAN&gt;&lt;A href="http://blog.discmakers.com/2012/02/11-improvisation-tips-to-help-you-make-music-in-the-moment/#disqus_thread" rel=nofollow data-disqus-identifier="9127 http://blog.discmakers.com/?p=9127"&gt;14 Comments&lt;/A&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P class=headline_meta&gt;in &lt;SPAN&gt;&lt;A title="View all posts in Fast Forward" href="http://blog.discmakers.com/category/fast-forward/" rel="category tag"&gt;Fast Forward&lt;/A&gt;,&lt;A title="View all posts in Recording &amp;amp; Mastering" href="http://blog.discmakers.com/category/recording-mastering/" rel="category tag"&gt;Recording &amp;amp; Mastering&lt;/A&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;/DIV&gt;&lt;DIV class="format_text entry-content"&gt;&lt;DIV class=bottomcontainerBox&gt;&lt;DIV style="MARGIN: 4px; WIDTH: 85px; PADDING-RIGHT: 10px; FLOAT: left; HEIGHT: 30px"&gt;&lt;?xml:namespace prefix = fb /&gt;&lt;fb:like class=" fb_edge_widget_with_comment fb_iframe_widget" layout="button_count" data-text="11 Improvisation Tips to Help You Make Music in the Moment" show_faces="false" send="false" href="http://blog.discmakers.com/2012/02/11-improvisation-tips-to-help-you-make-music-in-the-moment/" action="like"&gt;&lt;SPAN&gt;&lt;IFRAME style="BORDER-BOTTOM: medium none; 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WIDTH: 80px; PADDING-RIGHT: 10px; FLOAT: left; HEIGHT: 30px"&gt;&lt;IFRAME style="WIDTH: 110px; HEIGHT: 20px" class="twitter-share-button twitter-count-horizontal" title="Twitter Tweet Button" src="http://platform.twitter.com/widgets/tweet_button.1331069346.html#_=1331072352938&amp;amp;count=horizontal&amp;amp;id=twitter-widget-0&amp;amp;lang=en&amp;amp;original_referer=http%3A%2F%2Fblog.discmakers.com%2F2012%2F02%2F11-improvisation-tips-to-help-you-make-music-in-the-moment%2F%3Futm_source%3DDMAudio%26utm_medium%3DEmail%26utm_campaign%3DEA1210&amp;amp;size=m&amp;amp;text=11%20Improvisation%20Tips%20to%20Help%20You%20Make%20Music%20in%20the%20Moment&amp;amp;url=http%3A%2F%2Fblog.discmakers.com%2F2012%2F02%2F11-improvisation-tips-to-help-you-make-music-in-the-moment%2F" frameBorder=0 allowTransparency scrolling=no&gt;&lt;/IFRAME&gt;&lt;/DIV&gt;&lt;DIV style="MARGIN: 4px; WIDTH: 85px; PADDING-RIGHT: 10px; FLOAT: left; HEIGHT: 30px" class=stumbleButton&gt;&lt;IFRAME style="BORDER-BOTTOM: 0pt; BORDER-LEFT: 0pt; PADDING-BOTTOM: 0pt; MARGIN: 0pt; PADDING-LEFT: 0pt; PADDING-RIGHT: 0pt; OVERFLOW: hidden; BORDER-TOP: 0pt; BORDER-RIGHT: 0pt; PADDING-TOP: 0pt" id=iframe-stmblpn-widget-1 height=18 src="http://badge.stumbleupon.com/badge/embed/1/?url=http%3A%2F%2Fblog.discmakers.com%2F2012%2F02%2F11-improvisation-tips-to-help-you-make-music-in-the-moment%2F" frameBorder=0 width=74 allowTransparency scrolling=no&gt;&lt;/IFRAME&gt;&lt;/DIV&gt;&lt;/DIV&gt;&lt;DIV style="CLEAR: both"&gt;&lt;/DIV&gt;&lt;DIV style="PADDING-BOTTOM: 4px"&gt;&lt;/DIV&gt;&lt;P&gt;&lt;A href="http://www.ciottiindustries.com/gallery/?Qwd=./Life/2010-1-16%20DM%20Palooza/Wilson&amp;amp;Qif=Wilson9.jpg&amp;amp;Qiv=thumbs&amp;amp;Qis=L"&gt;&lt;IMG class="alignright size-full wp-image-9237" title="Photo by Ahren Ciotti, Ciotti Industries" alt="Photo by Ahren Ciotti, Ciotti Industries" src="http://blog.discmakers.com/wp-content/uploads/2012/02/improv.jpg" width=333 height=253&gt;&lt;/A&gt;Whether you’re turned on by Phish jamming through the night, Miles Davis conjuring wistful melodies in space, or Stevie Ray Vaughn wailing something &lt;EM&gt;nasty&lt;/EM&gt;, you just can’t argue with the fact that skillful improvisation is a powerful thing.&lt;/P&gt;&lt;P&gt;Learning to create music spontaneously in the moment is not a simple task, and any experienced improviser will tell you that it’s not nearly as straightforward as “just making it up.” In fact, some of the musicians who make improvisation look the most effortless are the ones who have put the most time into practice and study.&lt;/P&gt;&lt;P&gt;That said, even if you’ve never improvised a lick in your life, becoming a fluent improviser is an entirely attainable goal. Here are some tips to help you grow in that direction, and to make your own impromptu musical stories shine.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;Believe that you &lt;EM&gt;can&lt;/EM&gt; improvise&lt;/STRONG&gt;&lt;BR&gt;The ability to improvise on stage or in the studio isn’t some magical facility only bestowed upon the lucky. Rather, like nearly everything in music, it’s a skill that can be learned.&lt;/P&gt;&lt;P&gt;In 2009, I had the privilege of interviewing legendary jazz pianist McCoy Tyner for &lt;EM&gt;Keyboard&lt;/EM&gt; magazine. When I asked him how he practices improvising, his response was: “I don’t actually practice that much. I compose.” He went on to say that, in many ways, improvising and writing music are two sides of the same coin – only one happens more slowly while the other happens very quickly, in the moment.&lt;/P&gt;&lt;P&gt;In other words, if you can craft a melody, hammer out a bass line, or write a cool set of chord changes, you have what it takes to improvise – even if the idea of creating music instantaneously, in front of a crowd, seems terrifying.&lt;/P&gt;&lt;P&gt;“Improvising is just a more spontaneous, sped-up, real-time version of the same process,” agrees Jordan Scannella, a New York bass player and leader of the hip-hop-tinged &lt;A href="http://www.jorscan.com/"&gt;JORSCAN&lt;/A&gt;. “When you’re trying to write a song, you want to create something that’s memorable, and that people can take home with them. Why should your improvs be any different?”&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;Play along with records&lt;/STRONG&gt;&lt;BR&gt;A great way to get your toes wet, build confidence, and gain experience as an improviser is to jam along with your favorite recorded music. Regardless of whether you’re a metal guitarist or a blues harmonica player, finding how your sound and style fits in with the albums you love can take you far.&lt;/P&gt;&lt;P&gt;Just find a space and time when you’ll be alone, put on some of your favorite music, and make noise that you feel dances nicely with what you’re hearing. Try different approaches – perhaps play through the same song repeatedly, adding only a few notes here or there at first, and then playing much more densely and aggressively. Similarly, you can try playing parts that blend nicely into the background and enrich the overall texture of the recording, and then play something that’s loud and cutting, placing your improv in front of your favorite band. Most importantly, experiment far and wide and go by what &lt;EM&gt;you&lt;/EM&gt; think sounds good.&lt;/P&gt;&lt;P&gt;“I used to play along with hip-hop records when I was coming up,” says Scannella. “Hip-hop grooves can often be static and repetitive, so playing along with albums of that genre can give beginning improvisers a great opportunity to work within a basic set of parameters.&lt;/P&gt;&lt;P&gt;And remember – if you’ve never improvised before, the more hours you log playing along with your favorite records, the easier it will be to come up with something cool and compelling when there’s a live band and audience involved.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;Mess with the melody&lt;/STRONG&gt;&lt;BR&gt;“If you look back at the roots of contemporary improvisation, which hearken back to players like Louis Armstrong and Bix Beiderbecke in the 1920s, their improvisations were often ornamentations of the song they were playing,” says Scannella,. “They played the melodies, and then they played their interpretations of the melody.”&lt;/P&gt;&lt;P&gt;When you’re learning to improvise, remember that, just like Bix and Louis, you don’t need to stray far from the melody to say something profound. “I encourage bass students I work with, no matter whether they’re doing jazz, rock, funk, or anything else, to learn the melody – and learn the guitar part and other aspects of what’s going on in every tune they play,” says Scannella. “When it comes time to do your improvisation, you can use all those elements to inform what you’re playing.”&lt;/P&gt;&lt;P&gt;When messing with a melody, try changing just a note here or there, leaving a note or two out, or adding your own ornamentation to a certain lick or phrase. You’ll likely be surprised by how much personality even a simple variation can create.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;Mess with the rhythm&lt;/STRONG&gt;&lt;BR&gt;“When it comes to improvising and making a melody your own, rhythm is king,” describes Scannella. “There are only so many different notes you can play, but there’s endless variation available when it comes to rhythm. Blues players, for example, don’t generally play a whole lot of different notes from song to song and solo to solo. There’s so much that they can do with rhythm and feel to make one tune vary from another.”&lt;/P&gt;&lt;P&gt;Again, start by making minor shifts in the rhythm of a melody you’re already playing. Even hitting a single right note earlier or later than expected can create a significant impact on your listeners.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;Learn music theory&lt;/STRONG&gt;&lt;BR&gt;While studying music theory is not absolutely essential when it comes to learning to improvise, it can sure help along the way. “Learning jazz theory was a great asset for me when it came to understanding harmony, and how all of the elements of a piece of music work together,” says Scannella. “It expanded the range of tools I could use when it came time for me to improvise.”&lt;/P&gt;&lt;P&gt;Regardless of how much or little theory you decide to study, don’t fall into the trap of fearing that learning more will make your playing less raw or &lt;EM&gt;real&lt;/EM&gt;. “You never want to limit yourself,” Scannella continues. “Just because you know theory doesn’t mean you always have to use it.”&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;Try reacting to what’s around you&lt;/STRONG&gt;&lt;BR&gt;In 2006, I was lucky to catch one of Phish’s explosive final shows (or so we all thought) at Coney Island. It rained during the outdoor concert and, at one point, the highly-improvisational band seemed to channel the flow of the weather through their playing. As the rain drenched us all the harder, the jam intensified, becoming denser and more aggressive; as the rain lightened up, the groove became more airy and peaceful.&lt;/P&gt;&lt;P&gt;Regardless of whether you have a rainstorm to inspire you or not, the lesson is there’s always something going on that you can use as creative fodder for your improvisation. Is someone talking loudly at the table next to the stage? Try imitating the rhythm or phrasing of their speaking in your playing. Is there a friend hanging at the bar that you’d like to catch up with? Begin the conversation with your instrument.&lt;/P&gt;&lt;P&gt;Playing off of what’s going on around you may feel silly or awkward at first, but try it anyway. Sometimes even the most unlikely of inspirations can give you the creative fuel you need to improvise something powerful.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;Embrace the accident&lt;/STRONG&gt;&lt;BR&gt;Sometimes the coolest moments in a performance can come from something you had absolutely no intention of playing. When I was recording the song “&lt;A href="http://soundcloud.com/aurical/autumn-leaves"&gt;Autumn Leaves&lt;/A&gt;” for my first album with Aurical, I slipped in the middle of the piano solo and accidentally hit two notes, a half-step apart, instead of one. I cringed in the moment, but kept playing, and when I listened back, the dissonance worked quite well in the context of the song – who would have guessed? Since then, I’ve remembered that unexpected minor-second chord, and intentionally put similar dissonance into my solos when I perform that song live.&lt;/P&gt;&lt;P&gt;In short, don’t be afraid to try something different and risky when you improvise. Only by pushing your comfort boundaries in the moment can you really discover just how far you can go creatively.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;Don’t judge yourself in the moment&lt;/STRONG&gt;&lt;BR&gt;“There’s an old adage that says &lt;EM&gt;if you’re thinking you’re stinking,&lt;/EM&gt;” says Scannella. “For any aspect of your playing – groove, intonation, note choice, whatever – too much analysis in the moment can be detrimental. Especially if you’re improvising and feeling like you’re sucking, putting that feeling into your consciousness isn’t going to have a good effect. You practice to be prepared for those moments, but when you play, just &lt;EM&gt;play&lt;/EM&gt;.”&lt;/P&gt;&lt;P&gt;Learning to ignore the self-critical voice when you’re improvising can be tricky, though. In a 2011 interview with Chick Corea for &lt;EM&gt;Keyboard&lt;/EM&gt;, the iconic musician told me that, as he approached his seventh decade, he had finally “cut that terrible habit out. It’s a very non-productive way of doing anything. It just slows you down to a snail’s pace.” He continues:&lt;/P&gt;&lt;DIV style="MARGIN: 0px 25px 20px"&gt;&lt;EM&gt;[Playing without judging yourself] is nothing that can be achieved mechanically by practicing. It’s in the realm of the spirit, in the realm of an ability to be comfortable with your band mates, with an audience, and with yourself, really. Some of it is a matter of confidence, being secure in your abilities, being able to have the courage to realize your own thoughts. Every musician has his or her own taste and goals, and the challenge in life is to bring that forth when you’re on stage and actually performing, to follow that through to its final conclusion without any barriers or considerations except for achieving that. That doesn’t tell you how to do it, but that’s what I think is the ideal.&lt;/EM&gt;&lt;/DIV&gt;&lt;P&gt;&lt;STRONG&gt;Review after the fact&lt;/STRONG&gt;&lt;BR&gt;“It’s always enlightening to hear what you played after the gig, whether it be encouraging or humbling,” says Scannella. “Often what we hear on the bandstand in real time is not the same as what the audience hears, so listening to yourself recorded can be a big help.”&lt;/P&gt;&lt;P&gt;Record your improvs on an iPhone or other handy digital device, note what works and what doesn’t, forgive yourself for any mistakes made, and bring that newfound knowledge to your next opportunity to improvise – you’ll be that much more skillful and assured in your playing the next time around.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;Say something&lt;/STRONG&gt;&lt;BR&gt;“As a listener, I want to hear people tell stories through their improvisations,” Scannella describes. “Blowing tons of notes up and down is impressive, but over a whole set of music, it gets boring. I’d much rather hear someone explore ideas, develop melodies, and work with musical motifs to really take the listener on a journey.”&lt;/P&gt;&lt;P&gt;The stories you tell through your improvs don’t have to be Shakespearean epics. Rather, you can “talk” about what you had for breakfast, that news story you saw on TV that made you happy or angry, something cute your dog did this morning – or even the experience of improvising music in the very moment you happen to be occupying. Just make sure that whatever story you’re trying to tell through your playing is something that brings out your own emotions – if you’re feeling something, chances are the audience will feel something, too.&lt;/P&gt;&lt;/DIV&gt;&lt;DIV style="BORDER-BOTTOM: medium none; TEXT-ALIGN: left; BORDER-LEFT: medium none; BACKGROUND-COLOR: rgb(255,255,255); COLOR: rgb(0,0,0); OVERFLOW: hidden; BORDER-TOP: medium none; BORDER-RIGHT: medium none; TEXT-DECORATION: none"&gt;&lt;BR&gt;Read more: &lt;A style="COLOR: #003399" href="http://blog.discmakers.com/2012/02/11-improvisation-tips-to-help-you-make-music-in-the-moment/#ixzz1oNUfVPNf"&gt;11 Improvisation Tips to Help You Make Music in the Moment | Disc Makers’ Echoes – Insight for Independent Artists&lt;/A&gt; &lt;A style="COLOR: #003399" href="http://blog.discmakers.com/2012/02/11-improvisation-tips-to-help-you-make-music-in-the-moment/#ixzz1oNUfVPNf"&gt;http://blog.discmakers.com/2012/02/11-improvisation-tips-to-help-you-make-music-in-the-moment/#ixzz1oNUfVPNf&lt;/A&gt;&lt;BR&gt;&lt;/DIV&gt;</description><pubDate>Tue, 06 Mar 2012 17:22:42 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>New Micro Series and Mad Savings at Groove3.com!</title><link>http://forum.producersedgemagazine.com/Topic2052-8-1.aspx</link><description>&lt;TABLE border=0 cellPadding=5 width=800&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD width=604&gt;&lt;IMG src="http://www.groove3.com/images/gbox2/banners/newsletter/GrooveNews-Topper-v2-600x52.jpg" width=600 height=52&gt;&lt;/TD&gt;&lt;TD vAlign=top rowSpan=7 width=170&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=8 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;DIV align=center&gt;&lt;A title=http://www.facebook.com/groove3inc?v=wall href="http://www.facebook.com/groove3inc?v=wall"&gt;&lt;IMG title=http://www.facebook.com/groove3inc?v=wall border=0 src="http://www.groove3.com/images/gbox2/logo/facebook_35x35.jpg" width=35 height=35&gt;&lt;/A&gt;  &lt;A title=http://www.twitter.com/groove3inc href="http://www.twitter.com/groove3inc"&gt;&lt;IMG title=http://www.twitter.com/groove3inc border=0 alt="" src="http://www.groove3.com/images/gbox2/logo/Twitter_35x35.jpg" width=35 height=35&gt;&lt;/A&gt;  &lt;A title=http://www.youtube.com/groove3inc href="http://www.youtube.com/groove3inc"&gt;&lt;IMG title=http://www.youtube.com/groove3inc src="http://www.groove3.com/images/gbox2/logo/YoutubeButton35x35.jpg" width=35 height=35&gt;&lt;/A&gt; &lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;H2 align=center&gt;Got Suggestions?&lt;/H2&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;P&gt;Do you have some training you really want to see, or a suggestion you think would improve the site? &lt;BR&gt;[&lt;A title=https://www.groove3.com/str/help.php?section=contactus&amp;amp;mode=update href="https://www.groove3.com/str/help.php?section=contactus&amp;amp;mode=update"&gt;&lt;STRONG title=https://www.groove3.com/str/help.php?section=contactus&amp;amp;mode=update&gt;click here&lt;/STRONG&gt;&lt;/A&gt;]&lt;/P&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;H2 align=center&gt;Share Your Thoughts...&lt;/H2&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;P&gt;If you have some time to share your feedback on a Groove 3 product, check out any product page on the site and leave a comment. 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Without it, we wouldn't be here making your favorite pro audio videos!&lt;/P&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;P&gt;&lt;STRONG&gt;&lt;A title=http://www.groove3.com/ href="http://www.groove3.com/"&gt;&lt;IMG title=http://www.groove3.com/ src="http://www.groove3.com/images/gbox2/banners/newsletter/March-Madness-12-Training-Sale-News-Banner.jpg" width=600 height=122&gt;&lt;/A&gt;&lt;BR&gt;&lt;BR&gt;We've Gone Mad&lt;/STRONG&gt;&lt;BR&gt;This month's prices have been slashed site wide so you can stock up on the titles you've always wanted. Hurry though, the sale ends on March 31st!&lt;/P&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;P&gt;&lt;STRONG&gt;&lt;A title=http://www.groove3.com/str/access-it-all.html href="http://www.groove3.com/str/access-it-all.html"&gt;&lt;IMG title=http://www.groove3.com/str/access-it-all.html src="http://www.groove3.com/images/gbox2/banners/newsletter/1Year124-News-Banner-12.jpg" width=600 height=115&gt;&lt;BR title=http://www.groove3.com/str/access-it-all.html&gt;&lt;/A&gt;&lt;BR&gt;1 Year All-Access Web Pass&lt;/STRONG&gt;&lt;BR&gt;Even the powerhouse "1 Year All-Access Web Pass" is on sale, 50% off to be exact! Now you can watch EVERY video on the Groove 3 website and ANY videos that get added from your start date, for 365 days in a row!&lt;/P&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;H2&gt;New Releases&lt;/H2&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;IMG alt="Right-click here to download pictures. To help protect your privacy, Outlook prevented automatic download of this picture from the Internet.&amp;#10;" src="/str/skin1/images/spacer.gif" width=1 height=3&gt; &lt;TABLE border=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD width=222 align=middle&gt;&lt;A title=http://www.groove3.com/str/sidechaining-in-live.html href="http://www.groove3.com/str/sidechaining-in-live.html"&gt;&lt;IMG title=http://www.groove3.com/str/sidechaining-in-live.html border=0 alt="" src="http://www.groove3.com/str/images/P/Sidchaining-in-Live-200x186.jpg" width=200 height=186&gt;&lt;/A&gt;&lt;/TD&gt;&lt;TD width=368 align=left&gt;&lt;H2&gt;&lt;A title=http://www.groove3.com/str/sidechaining-in-live.html href="http://www.groove3.com/str/sidechaining-in-live.html"&gt;&lt;FONT class=style3 title=http://www.groove3.com/str/sidechaining-in-live.html&gt;Sidechaining in Live&lt;/FONT&gt;&lt;/A&gt;&lt;/H2&gt;&lt;P&gt;Use Live? Want to know how to get the perfect compressed sound? Look no further! Ableton Certified Trainer Craig McCullough shows you how to use the elusive technique of sidechaining in Live to make things fit better and have that "fitted" type of sound.&lt;/P&gt;&lt;P&gt;In under 30 minutes you will learn how to use Sidechaining in your productions.&lt;/P&gt;&lt;P&gt;&lt;SPAN style="TEXT-DECORATION: line-through"&gt;&lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #bb5b06" class=ProductCartPrice&gt;$14.99&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/SPAN&gt; | &lt;STRONG&gt;Sale:&lt;/STRONG&gt; &lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #009933" class=ProductCartPrice&gt;$11.99&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;A title=http://www.groove3.com/str/sidechaining-in-live.html href="http://www.groove3.com/str/sidechaining-in-live.html"&gt;Click Here to Learn More&lt;/A&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;BR&gt;&lt;TABLE border=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD width=222 align=middle&gt;&lt;A title=http://www.groove3.com/str/massive-sounds-vol-1.html href="http://www.groove3.com/str/massive-sounds-vol-1.html"&gt;&lt;IMG title=http://www.groove3.com/str/massive-sounds-vol-1.html border=0 alt="" src="http://www.groove3.com/str/images/P/Massive-Sounds-V1-200x186.jpg" width=200 height=186&gt;&lt;/A&gt;&lt;/TD&gt;&lt;TD width=368 align=left&gt;&lt;H2&gt;&lt;A title=http://www.groove3.com/str/massive-sounds-vol-1.html href="http://www.groove3.com/str/massive-sounds-vol-1.html"&gt;&lt;FONT class=style3 title=http://www.groove3.com/str/massive-sounds-vol-1.html&gt;Massive Sounds Vol 1&lt;/FONT&gt;&lt;/A&gt;&lt;/H2&gt;&lt;P&gt;Are you an aspiring electronica producer? Want to know how they get those sounds on all the chart hits?&lt;/P&gt;&lt;P&gt;This series from Massive guru Laurence Holcombe of Rebel Sonix will show you the tricks of the sonic trade, and get you those sounds you're after in under an hour!&lt;/P&gt;&lt;P&gt;In volume one, Laurence shows you how to first create a Deadmau5 style progressive house chord sound, then an awesome dirty dutch style lead, and finally the classic dub step wobble bass sound.&lt;/P&gt;&lt;P&gt;&lt;SPAN style="TEXT-DECORATION: line-through"&gt;&lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #bb5b06" class=ProductCartPrice&gt;$9.99&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/SPAN&gt; | &lt;STRONG&gt;Sale:&lt;/STRONG&gt; &lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #009933" class=ProductCartPrice&gt;$7.99&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;A title=http://www.groove3.com/str/massive-sounds-vol-1.html href="http://www.groove3.com/str/massive-sounds-vol-1.html"&gt;Click Here to Learn More&lt;/A&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;H2&gt;Recent and Hot Products&lt;/H2&gt;&lt;/TD&gt;&lt;TD vAlign=top&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;TABLE class=ProductTwoBox border=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=item_products&gt;&lt;TABLE class=noborder&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=PListImgBox&gt;&lt;DIV style="VERTICAL-ALIGN: top" class=PListImgBox&gt;&lt;A title="http://www.groove3.com/str/massive-explained.html&amp;#10;Live Explained - Vol 1" href="http://www.groove3.com/str/massive-explained.html"&gt;&lt;IMG title=http://www.groove3.com/str/massive-explained.html src="http://www.groove3.com/str/images/T/Massive-Explained-75x70.jpg" width=75&gt; &lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD class=ProductText vAlign=center&gt;&lt;P&gt;&lt;A title="http://www.groove3.com/str/massive-explained.html&amp;#10;Live Explained - Vol 1" href="http://www.groove3.com/str/massive-explained.html"&gt;&lt;FONT style="FONT-SIZE: 15px" class=ProductTitle title=http://www.groove3.com/str/massive-explained.html&gt;Massive Explained&lt;/FONT&gt; &lt;/A&gt;&lt;BR&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;&lt;FONT style="TEXT-DECORATION: line-through"&gt;&lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #bb5b06" class=ProductCartPrice&gt;$39.99&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/FONT&gt; | &lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #009933" class=ProductCartPrice&gt;$29.99&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P&gt;&lt;BR&gt;&lt;/P&gt;&lt;DIV class=container_hide_text&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD class=center&gt;&lt;/TD&gt;&lt;TD&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD class=separate&gt; &lt;/TD&gt;&lt;TD class=item_products&gt;&lt;TABLE class="noborder right"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=PListImgBox&gt;&lt;DIV style="VERTICAL-ALIGN: top" class=PListImgBox&gt;&lt;A title="http://www.groove3.com/str/mixing-with-sonar-x1.html&amp;#10;AmpliTube Explained Training Videos for IK Multimedia" href="http://www.groove3.com/str/mixing-with-sonar-x1.html"&gt;&lt;IMG title=http://www.groove3.com/str/mixing-with-sonar-x1.html border=0 src="http://www.groove3.com/str/images/T/Mixing-with-SONAR-X1-75x70.jpg" width=75&gt; &lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD class=ProductText vAlign=center&gt;&lt;P&gt;&lt;A title="http://www.groove3.com/str/mixing-with-sonar-x1.html&amp;#10;AmpliTube Explained Training Videos for IK Multimedia" href="http://www.groove3.com/str/mixing-with-sonar-x1.html"&gt;&lt;FONT style="FONT-SIZE: 15px" class=ProductTitle title=http://www.groove3.com/str/mixing-with-sonar-x1.html&gt;Mixing with SONAR&lt;/FONT&gt;&lt;/A&gt;&lt;BR&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;&lt;FONT style="TEXT-DECORATION: line-through"&gt;&lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #bb5b06" class=ProductCartPrice&gt;$39.99&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/FONT&gt; | &lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #009933" class=ProductCartPrice&gt;$29.99&lt;/FONT&gt;&lt;/SPAN&gt; &lt;/SPAN&gt;&lt;/A&gt;&lt;/P&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD class=center&gt;&lt;/TD&gt;&lt;TD&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE class=ProductTwoBox border=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=item_products&gt;&lt;TABLE class=noborder&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=PListImgBox&gt;&lt;DIV style="VERTICAL-ALIGN: top" class=PListImgBox&gt;&lt;A title="http://www.groove3.com/str/reverb-explained.html&amp;#10;Live Explained - Vol 1" href="http://www.groove3.com/str/reverb-explained.html"&gt;&lt;IMG title=http://www.groove3.com/str/reverb-explained.html border=0 src="http://www.groove3.com/str/images/T/Reverb-Explained-75x70.jpg" width=75&gt; &lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD class=ProductText vAlign=center&gt;&lt;P&gt;&lt;A title="http://www.groove3.com/str/reverb-explained.html&amp;#10;Live Explained - Vol 1" href="http://www.groove3.com/str/reverb-explained.html"&gt;&lt;FONT style="FONT-SIZE: 15px" class=ProductTitle title=http://www.groove3.com/str/reverb-explained.html&gt;Reverb Explained&lt;/FONT&gt; &lt;/A&gt;&lt;BR&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;&lt;FONT style="TEXT-DECORATION: line-through"&gt;&lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #bb5b06" class=ProductCartPrice&gt;$39.99&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/FONT&gt; | &lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #009933" class=ProductCartPrice&gt;$29.99&lt;/FONT&gt;&lt;/SPAN&gt; &lt;FONT style="COLOR: #bb5b06; FONT-WEIGHT: normal" class=ProductPrice&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/A&gt;&lt;/P&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD class=center&gt;&lt;/TD&gt;&lt;TD&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD class=separate&gt; &lt;/TD&gt;&lt;TD class=item_products&gt;&lt;TABLE class="noborder right"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=PListImgBox&gt;&lt;DIV style="VERTICAL-ALIGN: top" class=PListImgBox&gt;&lt;A title="http://www.groove3.com/str/synths-explained.html&amp;#10;AmpliTube Explained Training Videos for IK Multimedia" href="http://www.groove3.com/str/synths-explained.html"&gt;&lt;IMG title=http://www.groove3.com/str/synths-explained.html border=0 src="http://www.groove3.com/str/images/T/Synths-Explained-75x70.jpg" width=75&gt; &lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD class=ProductText vAlign=center&gt;&lt;P&gt;&lt;A title="http://www.groove3.com/str/synths-explained.html&amp;#10;AmpliTube Explained Training Videos for IK Multimedia" href="http://www.groove3.com/str/synths-explained.html"&gt;&lt;FONT style="FONT-SIZE: 15px" class=ProductTitle title=http://www.groove3.com/str/synths-explained.html&gt;Synths Explained&lt;/FONT&gt;&lt;/A&gt;&lt;BR&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;&lt;FONT style="TEXT-DECORATION: line-through"&gt;&lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #bb5b06" class=ProductCartPrice&gt;$39.99&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/FONT&gt; | &lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #009933" class=ProductCartPrice&gt;$29.99&lt;/FONT&gt;&lt;/SPAN&gt; &lt;/SPAN&gt;&lt;/A&gt;&lt;/P&gt;&lt;P&gt;&lt;BR&gt;&lt;/P&gt;&lt;DIV class=container_hide_text&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD class=center&gt;&lt;/TD&gt;&lt;TD&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE class=ProductTwoBox border=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=item_products&gt;&lt;TABLE class=noborder&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=PListImgBox&gt;&lt;DIV style="VERTICAL-ALIGN: top" class=PListImgBox&gt;&lt;A title="http://www.groove3.com/str/mixing-rock.html&amp;#10;Live Explained - Vol 1" href="http://www.groove3.com/str/mixing-rock.html"&gt;&lt;IMG title=http://www.groove3.com/str/mixing-rock.html src="http://www.groove3.com/str/images/T/Mixing-Rock-75x70.jpg" width=75&gt; &lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD class=ProductText vAlign=center&gt;&lt;P&gt;&lt;A title="http://www.groove3.com/str/mixing-rock.html&amp;#10;Live Explained - Vol 1" href="http://www.groove3.com/str/mixing-rock.html"&gt;&lt;FONT style="FONT-SIZE: 15px" class=ProductTitle title=http://www.groove3.com/str/mixing-rock.html&gt;Mixing Rock&lt;/FONT&gt;&lt;/A&gt;&lt;BR&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;&lt;FONT style="TEXT-DECORATION: line-through"&gt;&lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #bb5b06" class=ProductCartPrice&gt;$49.99&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/FONT&gt; | &lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #009933" class=ProductCartPrice&gt;$39.99&lt;/FONT&gt;&lt;/SPAN&gt; &lt;FONT style="COLOR: #bb5b06; FONT-WEIGHT: normal" class=ProductPrice&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/A&gt;&lt;/P&gt;&lt;P&gt;&lt;BR&gt;&lt;/P&gt;&lt;DIV class=container_hide_text&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD class=center&gt;&lt;/TD&gt;&lt;TD&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD class=separate&gt; &lt;/TD&gt;&lt;TD class=item_products&gt;&lt;TABLE class="noborder right"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=PListImgBox&gt;&lt;DIV style="VERTICAL-ALIGN: top" class=PListImgBox&gt;&lt;A title="http://www.groove3.com/str/mixing-electronic-music.html&amp;#10;AmpliTube Explained Training Videos for IK Multimedia" href="http://www.groove3.com/str/mixing-electronic-music.html"&gt;&lt;IMG title=http://www.groove3.com/str/mixing-electronic-music.html border=0 src="http://www.groove3.com/str/images/T/Mixing-Electronic-Music-75x70.jpg" width=75&gt; &lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD class=ProductText vAlign=center&gt;&lt;A title="http://www.groove3.com/str/mixing-electronic-music.html&amp;#10;AmpliTube Explained Training Videos for IK Multimedia" href="http://www.groove3.com/str/mixing-electronic-music.html"&gt;&lt;FONT style="FONT-SIZE: 15px" class=ProductTitle title=http://www.groove3.com/str/mixing-electronic-music.html&gt;Mixing Electronic Music&lt;/FONT&gt;&lt;/A&gt;&lt;BR&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;&lt;FONT style="TEXT-DECORATION: line-through"&gt;&lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #bb5b06" class=ProductCartPrice&gt;$49.99&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/FONT&gt; | &lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #009933" class=ProductCartPrice&gt;$39.99&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/SPAN&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Tue, 20 Mar 2012 03:19:23 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>AmpliTube Updated! Lowest Prices On T-RackS &amp; Total Workstation!</title><link>http://forum.producersedgemagazine.com/Topic2049-8-1.aspx</link><description>&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=584&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD colSpan=3 align=left&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=600&gt;&lt;TBODY&gt;&lt;TR bgColor=#ffffff&gt;&lt;TD colSpan=3&gt;&lt;A title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ek3.y4s7a3x4wh href="http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ek3.y4s7a3x4wh"&gt;&lt;IMG style="WIDTH: 605px; HEIGHT: 60px" title="http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ek3.y4s7a3x4wh&amp;#10;IK Multimedia" border=0 alt="IK Multimedia" src="http://www.ikmultimedianews.com/image?ci=1&amp;amp;mi=625&amp;amp;name=ik_logo_grayBg7.gif"&gt; &lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;!-- Cover Image --&gt;&lt;TD bgColor=#ffffff colSpan=3 align=middle&gt;&lt;A title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ek5.clica4segm href="http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ek5.clica4segm"&gt;&lt;IMG title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ek5.clica4segm border=0 alt="T-RackS 3 Group Buy" src="http://www.ikmultimedianews.com/image?ci=1&amp;amp;mi=737&amp;amp;name=TRPromo_2000Users_Image_2.jpg" width=600 height=540&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;!-- 50 px left margin --&gt;&lt;TR&gt;&lt;TD bgColor=#ffffff width=26&gt; &lt;/TD&gt;&lt;TD bgColor=#ffffff width=555 align=left&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=555&gt;&lt;!--5 px vertical space --&gt;&lt;TBODY&gt;&lt;!--5 px vertical space --&gt;&lt;TR&gt;&lt;TD height=5&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;!--Introduction Text --&gt;&lt;TR&gt;&lt;TD&gt;&lt;DIV style="TEXT-ALIGN: justify"&gt;&lt;FONT style="LINE-HEIGHT: 15px; FONT-SIZE: 11px" color=#000000 size=2 face=Helvetica,Arial,Verdana,sans-serif&gt;We’re pleased to announce that the T-RackS 3 Deluxe Double Deal Group Buy has reached the final goal of 2,000 registered users. That means that for as low as $99/€74* excl. VAT (&lt;A style="COLOR: rgb(255,0,51); FONT-WEIGHT: bold" title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.eld.dcfnt15m7v href="http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.eld.dcfnt15m7v"&gt;*Crossgrade price&lt;/A&gt;) IK customers who buy T-RackS 3 Deluxe from February 1st through the end of March 2012 will get an additional T-RackS White 2A AND Black 76!! That’s 12 T-RackS Single outboard compressors, EQs and other analog modeled effect plug-ins all for the price of one!&lt;/FONT&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;!--5 px vertical space --&gt;&lt;TR&gt;&lt;TD height=5&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;!-- End of Share Section: Cover Image--&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=555&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD width=499 align=middle&gt;&lt;!--Cover Image Social Buttons--&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;A title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ek7.6flot3aalv href="http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ek7.6flot3aalv"&gt;&lt;IMG title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ek7.6flot3aalv border=0 alt="More Info" src="http://www.ikmultimedianews.com/image?ci=1&amp;amp;mi=720&amp;amp;name=MOREINFO.jpg" width=114 height=25&gt;&lt;/A&gt;&lt;/TD&gt;&lt;TD width=50&gt; &lt;/TD&gt;&lt;TD&gt;&lt;A title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.eka.723s4tl978 href="http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.eka.723s4tl978"&gt;&lt;IMG title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.eka.723s4tl978 border=0 alt="Buy Regular" src="http://www.ikmultimedianews.com/image?ci=1&amp;amp;mi=737&amp;amp;name=BuyRegular.jpg" width=114 height=25&gt;&lt;/A&gt;&lt;/TD&gt;&lt;TD width=50&gt; &lt;/TD&gt;&lt;TD&gt;&lt;A title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.eka.723s4tl978 href="http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.eka.723s4tl978"&gt;&lt;IMG title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.eka.723s4tl978 border=0 alt="Buy Crossgrade" src="http://www.ikmultimedianews.com/image?ci=1&amp;amp;mi=737&amp;amp;name=Crossgrade_Button.jpg" width=114 height=25&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;!-- horizontal line break --&gt;&lt;TD height=30&gt;&lt;HR style="PADDING-BOTTOM: 0pt; MARGIN: 0pt; PADDING-LEFT: 0pt; PADDING-RIGHT: 0pt; PADDING-TOP: 0pt" color=#999999 SIZE=1 noShade&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=555&gt;&lt;COLGROUP&gt;&lt;COL width=125&gt;&lt;COL width=25&gt;&lt;COL width=350&gt;&lt;/COLGROUP&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;!-- News Item 1--&gt;&lt;TD&gt; &lt;/TD&gt;&lt;TD colSpan=3 align=left&gt;&lt;IMG border=0 alt="AmpliTube Custom Shop Updated" src="http://www.ikmultimedianews.com/image?ci=1&amp;amp;mi=737&amp;amp;name=AT_Update_Header.jpg" width=415 height=23&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD height=1 colSpan=3&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD vAlign=top width=140&gt;&lt;A title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.elf.4dwyrh85u8 href="http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.elf.4dwyrh85u8"&gt;&lt;IMG title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.elf.4dwyrh85u8 border=0 alt="AmpliTube Custom Shop Updated!" src="http://www.ikmultimedianews.com/image?ci=1&amp;amp;mi=737&amp;amp;name=AT_Update_Image.jpg" width=125 height=122&gt;&lt;/A&gt;&lt;/TD&gt;&lt;TD width=15&gt; &lt;/TD&gt;&lt;TD class=standard vAlign=top width=395 align=left&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD width=395&gt;&lt;DIV style="TEXT-ALIGN: justify"&gt;&lt;FONT style="LINE-HEIGHT: 13px; FONT-SIZE: 11px" color=#000000 size=2 face=Helvetica,Arial,Verdana,sans-serif&gt;The leading guitar amp and effects software, AmpliTube 3 Custom Shop, has been updated to be more efficient and powerful. It now takes 30-35% less in CPU and RAM usage giving you more effects power than ever before. Build your own rig adding top brand amps, stomp boxes, rack effects and more inside the acclaimed all in one system. If you don’t have AmpliTube 3 Custom Shop already what are you waiting for? Try it for free!&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;!-- News 1 Links --&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD width=8&gt;&lt;IMG title="" border=0 alt="" src="http://www.ikmultimedianews.com/image?ci=1&amp;amp;mi=628&amp;amp;name=red-triangle.jpg" width=8 height=9&gt;&lt;/TD&gt;&lt;TD width=4&gt; &lt;/TD&gt;&lt;TD width=180&gt;&lt;FONT style="LINE-HEIGHT: 18px; FONT-SIZE: 11px" color=#ff0033 size=2 face="Helvetica, Arial, Verdana, sans-serif"&gt;&lt;A style="COLOR: rgb(204,0,0); FONT-WEIGHT: bold" title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ekg.6cbfwsho5c href="http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ekg.6cbfwsho5c"&gt;&lt;FONT style="FONT-SIZE: 11px" title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ekg.6cbfwsho5c color=#ff0033&gt;&lt;U title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ekg.6cbfwsho5c&gt;Get AmpliTube CS Free&lt;/U&gt;&lt;/FONT&gt;&lt;/A&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD width=8&gt;&lt;IMG title="" border=0 alt="" src="http://www.ikmultimedianews.com/image?ci=1&amp;amp;mi=628&amp;amp;name=red-triangle.jpg" width=8 height=9&gt;&lt;/TD&gt;&lt;TD width=4&gt; &lt;/TD&gt;&lt;TD width=180&gt;&lt;FONT style="LINE-HEIGHT: 18px; FONT-SIZE: 11px" color=#ff0033 size=2 face="Helvetica, Arial, Verdana, sans-serif"&gt;&lt;A style="COLOR: rgb(204,0,0); FONT-WEIGHT: bold" title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ekg.6cbfwsho5c href="http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ekg.6cbfwsho5c"&gt;&lt;FONT style="FONT-SIZE: 11px" title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ekg.6cbfwsho5c color=#ff0033&gt;&lt;U title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ekg.6cbfwsho5c&gt;Watch AmpliTube CS Trailer&lt;/U&gt;&lt;/FONT&gt;&lt;/A&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;!-- News 1: horizontal break --&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD height=30 colSpan=3&gt;&lt;HR style="PADDING-BOTTOM: 0pt; MARGIN: 0pt; PADDING-LEFT: 0pt; PADDING-RIGHT: 0pt; PADDING-TOP: 0pt" color=#999999 SIZE=1 noShade&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=555&gt;&lt;COLGROUP&gt;&lt;COL width=125&gt;&lt;COL width=25&gt;&lt;COL width=350&gt;&lt;/COLGROUP&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;!-- News Item 1--&gt;&lt;TD&gt; &lt;/TD&gt;&lt;TD colSpan=3 align=left&gt;&lt;IMG border=0 alt="Total Workstation 2 Bundle" src="http://www.ikmultimedianews.com/image?ci=1&amp;amp;mi=737&amp;amp;name=TW_Sale_Header.jpg" width=415 height=23&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD height=1 colSpan=3&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD vAlign=top width=140&gt;&lt;A title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ekd.29ldpl9rv7 href="http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ekd.29ldpl9rv7"&gt;&lt;IMG title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ekd.29ldpl9rv7 border=0 alt="Total Workstation 2 Bundle for only $199" src="http://www.ikmultimedianews.com/image?ci=1&amp;amp;mi=730&amp;amp;name=TW2B_Image.jpg" width=125 height=122&gt;&lt;/A&gt;&lt;/TD&gt;&lt;TD width=15&gt; &lt;/TD&gt;&lt;TD class=standard vAlign=top width=395 align=left&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD width=395&gt;&lt;DIV style="TEXT-ALIGN: justify"&gt;&lt;FONT style="LINE-HEIGHT: 13px; FONT-SIZE: 11px" color=#000000 size=2 face=Helvetica,Arial,Verdana,sans-serif&gt;Don’t miss out! Get 14,000 sounds and over 28 gigabytes of content in the Total Workstation 2 bundle all for only $149/€114* excl. VAT. (&lt;A style="COLOR: rgb(255,0,51); FONT-WEIGHT: bold" title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.eld.dcfnt15m7v href="http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.eld.dcfnt15m7v"&gt;*Crossgrade price&lt;/A&gt;) One incredible sale that gives you 5 virtual instruments for LESS than the price of one!!! SampleTank 2.5XL, Miroslav Philharmonik, Sonik Synth 2, SampleTron and SampleMoog all together for ONE low price of just $149/€114* excl. VAT. Get it today!&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;!-- News 1 Links --&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD width=8&gt;&lt;IMG title="" border=0 alt="" src="http://www.ikmultimedianews.com/image?ci=1&amp;amp;mi=628&amp;amp;name=red-triangle.jpg" width=8 height=9&gt;&lt;/TD&gt;&lt;TD width=4&gt; &lt;/TD&gt;&lt;TD width=180&gt;&lt;FONT style="LINE-HEIGHT: 18px; FONT-SIZE: 11px" color=#ff0033 size=2 face="Helvetica, Arial, Verdana, sans-serif"&gt;&lt;A style="COLOR: rgb(204,0,0); FONT-WEIGHT: bold" title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ekd.29ldpl9rv7 href="http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ekd.29ldpl9rv7"&gt;&lt;FONT style="FONT-SIZE: 11px" title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ekd.29ldpl9rv7 color=#ff0033&gt;&lt;U title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ekd.29ldpl9rv7&gt;More Info&lt;/U&gt;&lt;/FONT&gt;&lt;/A&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD width=8&gt;&lt;IMG title="" border=0 alt="" src="http://www.ikmultimedianews.com/image?ci=1&amp;amp;mi=628&amp;amp;name=red-triangle.jpg" width=8 height=9&gt;&lt;/TD&gt;&lt;TD width=4&gt; &lt;/TD&gt;&lt;TD width=180&gt;&lt;FONT style="LINE-HEIGHT: 18px; FONT-SIZE: 11px" color=#ff0033 size=2 face="Helvetica, Arial, Verdana, sans-serif"&gt;&lt;A style="COLOR: rgb(204,0,0); FONT-WEIGHT: bold" title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ekg.6cbfwsho5c href="http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ekg.6cbfwsho5c"&gt;&lt;FONT style="FONT-SIZE: 11px" title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ekg.6cbfwsho5c color=#ff0033&gt;&lt;U title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ekg.6cbfwsho5c&gt;Buy Now&lt;/U&gt;&lt;/FONT&gt;&lt;/A&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;!-- News 1: horizontal break --&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD height=30 colSpan=3&gt;&lt;HR style="PADDING-BOTTOM: 0pt; MARGIN: 0pt; PADDING-LEFT: 0pt; PADDING-RIGHT: 0pt; PADDING-TOP: 0pt" color=#999999 SIZE=1 noShade&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=555&gt;&lt;COLGROUP&gt;&lt;COL width=125&gt;&lt;COL width=25&gt;&lt;COL width=350&gt;&lt;/COLGROUP&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;!-- News Item 1--&gt;&lt;TD&gt; &lt;/TD&gt;&lt;TD colSpan=3 align=left&gt;&lt;IMG border=0 alt="Camp Jam Jammit / iRig Challenge" src="http://www.ikmultimedianews.com/image?ci=1&amp;amp;mi=737&amp;amp;name=CampJam_Contest_Header.jpg" width=415 height=23&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD height=1 colSpan=3&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD vAlign=top width=140&gt;&lt;A title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ele.dbktf6p6v2 href="http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ele.dbktf6p6v2"&gt;&lt;IMG title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ele.dbktf6p6v2 border=0 alt="Camp Jam Jammit / iRig Challenge" src="http://www.ikmultimedianews.com/image?ci=1&amp;amp;mi=737&amp;amp;name=CampJam_Image.jpg" width=125 height=122&gt;&lt;/A&gt;&lt;/TD&gt;&lt;TD width=15&gt; &lt;/TD&gt;&lt;TD class=standard vAlign=top width=395 align=left&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD width=395&gt;&lt;DIV style="TEXT-ALIGN: justify"&gt;&lt;FONT style="LINE-HEIGHT: 13px; FONT-SIZE: 11px" color=#000000 size=2 face=Helvetica,Arial,Verdana,sans-serif&gt;IK is a proud sponsor of Camp Jam Power Chord Academy’s Jammit/iRig Referral Challenge. From now until March 31st, 2012 Camp Jam is offering some great prizes to users that find new campers. Spread the word for your chance to win!&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;!-- News 1 Links --&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD width=8&gt;&lt;IMG title="" border=0 alt="" src="http://www.ikmultimedianews.com/image?ci=1&amp;amp;mi=628&amp;amp;name=red-triangle.jpg" width=8 height=9&gt;&lt;/TD&gt;&lt;TD width=4&gt; &lt;/TD&gt;&lt;TD width=180&gt;&lt;FONT style="LINE-HEIGHT: 18px; FONT-SIZE: 11px" color=#ff0033 size=2 face="Helvetica, Arial, Verdana, sans-serif"&gt;&lt;A style="COLOR: rgb(204,0,0); FONT-WEIGHT: bold" title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ele.dbktf6p6v2 href="http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ele.dbktf6p6v2"&gt;&lt;FONT style="FONT-SIZE: 11px" title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ele.dbktf6p6v2 color=#ff0033&gt;&lt;U title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.ele.dbktf6p6v2&gt;Find out more&lt;/U&gt;&lt;/FONT&gt;&lt;/A&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;!-- News 1: horizontal break --&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD height=30 colSpan=3&gt;&lt;HR style="PADDING-BOTTOM: 0pt; MARGIN: 0pt; PADDING-LEFT: 0pt; PADDING-RIGHT: 0pt; PADDING-TOP: 0pt" color=#999999 SIZE=1 noShade&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=555&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD width=160 align=middle&gt;&lt;A title=http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.el9.kfr7bv76s3 href="http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.el9.kfr7bv76s3"&gt;&lt;IMG title="http://www.ikmultimedianews.com/r.html?uid=1.kh.1acqv.el9.kfr7bv76s3&amp;#10;Plug-in of the Week: Ampeg SVX" border=0 alt="ARC - Advanced Room Correction System " src="http://www.ikmultimedianews.com/image?ci=1&amp;amp;mi=737&amp;amp;name=ARC_Feature.jpg" width=160 height=160&gt;&lt;/A&gt;&lt;/TD&gt;&lt;TD width=15&gt; &lt;/TD&gt;&lt;!--fix space default--&gt;&lt;TD&gt;&lt;IMG alt="" src="http://www.ikmultimedianews.com/image?ci=1&amp;amp;mi=637&amp;amp;name=skinny_gray_line.jpg"&gt;&lt;/TD&gt;&lt;TD width=5&gt; 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New Auto-Tune Class</title><link>http://forum.producersedgemagazine.com/Topic2048-8-1.aspx</link><description>&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=749&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=12 width=749&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD vAlign=top width=457&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;P&gt;&lt;FONT color=#993300 size=5 face="Times New Roman, Times, serif"&gt;&lt;STRONG&gt;&lt;FONT color=#333366 size=3 face="Arial, Helvetica, sans-serif"&gt;NEW CONTEST: &lt;BR&gt;Stump ProMedia Training Instructors&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=457&gt;&lt;TBODY&gt;&lt;TR vAlign=top&gt;&lt;TD width=221&gt;&lt;P&gt;&lt;A title="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/80f6c1453b/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class" href="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/80f6c1453b/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class"&gt;&lt;IMG title="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/80f6c1453b/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class" border=0 alt="Stump ProMedia Training Instructors" src="http://pr.ak.vresp.com/9ad0c8708/www.protoolstraining.com/ptemailpc/stumpins.jpg" width=223 height=196&gt;&lt;/A&gt;&lt;/P&gt;&lt;/TD&gt;&lt;TD width=10&gt;&lt;IMG border=0 alt=shim src="http://pr.ak.vresp.com/25dc5111f/www.protoolstraining.com/images/stories/shim.gif" width=6 height=6&gt;&lt;/TD&gt;&lt;TD width=226&gt;&lt;P&gt;&lt;FONT color=#993300 size=5 face="Times New Roman, Times, serif"&gt;&lt;FONT color=#333333 size=2 face="Arial, Helvetica, sans-serif"&gt;&lt;STRONG&gt;Win FREE Pro Tools 10 or a Free Pro Tools Course! &lt;/STRONG&gt;&lt;/FONT&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#993300 size=5 face="Times New Roman, Times, serif"&gt;&lt;FONT color=#333333 size=2 face="Arial, Helvetica, sans-serif"&gt;Send us your most &lt;STRONG&gt;challenging Pro Tools question&lt;/STRONG&gt; about any topic, as long as it is related to Avid's (Digidesign) Pro Tools. &lt;STRONG&gt;The top 20 most Challenging questions&lt;/STRONG&gt; will be posted on our website with the answer. &lt;/FONT&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#993300 size=5 face="Times New Roman, Times, serif"&gt;&lt;FONT color=#333333 size=2 face="Arial, Helvetica, sans-serif"&gt;The winner wins &lt;STRONG&gt;either FREE Pro Tools 10 or a&lt;/STRONG&gt; &lt;STRONG&gt;FREE Pro Tools Training&lt;/STRONG&gt; class of their choosing at any of our facilities they wish to attend. &lt;/FONT&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT size=2 face="Tahoma, Arial, Helvetica, Trebuchet MS, sans-serif"&gt;&lt;A title="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/b3167dde7f/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class" href="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/b3167dde7f/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class"&gt;&lt;IMG title="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/b3167dde7f/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class" border=0 alt="Stump ProMedia Training Instructors" src="http://pr.ak.vresp.com/6662aa160/www.protoolstraining.com/promedianewsletterfiles/images/readmore.gif" width=99 height=26&gt;&lt;/A&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT size=2 face="Tahoma, Arial, Helvetica, Trebuchet MS, sans-serif"&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;HR SIZE=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;P&gt;&lt;FONT color=#993300 size=5 face="Times New Roman, Times, serif"&gt;&lt;STRONG&gt;&lt;FONT color=#993300 size=5 face="Times New Roman, Times, serif"&gt;&lt;FONT color=#333366 size=3 face="Arial, Helvetica, sans-serif"&gt;FEATURE ARTICLE: &lt;BR&gt;Building a Home Studio for Under $1000 - Part III&lt;/FONT&gt;&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;A title="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/caf60e2e6a/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class" href="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/caf60e2e6a/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class"&gt;&lt;IMG title="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/caf60e2e6a/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class" border=0 alt="Building a Home Studio for Under $1000" src="http://pr.ak.vresp.com/65b34dd54/www.protoolstraining.com/ptemailpc/bh-3.jpg" width=457 height=344&gt;&lt;/A&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#333333 size=2 face="Arial, Helvetica, sans-serif"&gt;&lt;EM&gt;&lt;STRONG&gt;By James Creer (Expert Instructor)&lt;/STRONG&gt;&lt;BR&gt;&lt;/EM&gt;&lt;/FONT&gt;&lt;FONT color=#333333 size=2 face="Arial, Helvetica, sans-serif"&gt;&lt;BR&gt;For those who missed our previous articles, you can catch up by reading &lt;A title="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/49e6840177/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=PART&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class&amp;#10;Building a Guest House Studio Part I" href="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/49e6840177/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=PART&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class"&gt;PART &lt;/A&gt;I and &lt;A title="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/12549121f7/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=PART II&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class&amp;#10;Building a Guest House Studio Part II" href="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/12549121f7/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=PART II&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class"&gt;PART II&lt;/A&gt; of this build-out. &lt;EM&gt;&lt;STRONG&gt;Often my students want to learn how to build a professional studio in their home from a spare room.&lt;/STRONG&gt;&lt;/EM&gt;&lt;STRONG&gt;&lt;/STRONG&gt; Here I will demonstrate how to take an old guest house, and convert it into a working creative music production studio. And to top it off, I'm trying to keep the total cost under $1000 in materials.&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT size=2 face="Tahoma, Arial, Helvetica, Trebuchet MS, sans-serif"&gt;&lt;A title="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/5e75b20e11/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class" href="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/5e75b20e11/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class"&gt;&lt;IMG title="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/5e75b20e11/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class" border=0 alt="Building a Home Studio for Under $1000" src="http://pr.ak.vresp.com/6662aa160/www.protoolstraining.com/promedianewsletterfiles/images/readmore.gif" width=99 height=26&gt;&lt;/A&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD vAlign=top width=244&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=244 align=right&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;IMG src="http://pr.ak.vresp.com/d48e8caab/www.protoolstraining.com/nov08news/accel.jpg" width=244 height=26&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD bgColor=#f2f5f5&gt;&lt;DIV align=center&gt;&lt;P&gt;&lt;IMG alt=Avid src="http://pr.ak.vresp.com/561698d8e/www.protoolstraining.com/newpmtnewsletter/VenueProTool.jpg" width=230 height=120&gt;&lt;/P&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD bgColor=#eeeedd&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=6 width=244 bgColor=#cccccc&gt;&lt;TBODY&gt;&lt;TR vAlign=top bgColor=#f2f5f5&gt;&lt;TD colSpan=3&gt;&lt;FONT size=2 face="Arial, Helvetica, sans-serif"&gt;&lt;STRONG&gt;Pro Tools for Singer/Songwriters &amp;amp; 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will be expanding into more cities across the U.S. All students learn&lt;STRONG&gt; hands-on&lt;/STRONG&gt; with Pro Tools systems in class!! (888)-277-0457. You will learn how to master plug-in's like &lt;STRONG&gt;Auto-Tune, Elastic Audio&lt;/STRONG&gt; and more to get that fantastic, polished, smooth vocal performance to take your projects to a professional level. In today's market, producers and engineers need to know how to w&lt;STRONG&gt;ork with vocals to correct pitch, timing, and background vocals&lt;/STRONG&gt;&lt;/FONT&gt; ...&lt;/P&gt;&lt;P&gt;&lt;FONT size=2 face="Tahoma, Arial, Helvetica, Trebuchet MS, sans-serif"&gt;&lt;A title="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/e5d09ae1b1/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class" href="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/e5d09ae1b1/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class"&gt;&lt;IMG title="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/e5d09ae1b1/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class" border=0 alt="AutoTune and Vocal Production class" src="http://pr.ak.vresp.com/6662aa160/www.protoolstraining.com/promedianewsletterfiles/images/readmore.gif" width=99 height=26&gt;&lt;/A&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;/TD&gt;&lt;TD width="1%"&gt;&lt;FONT color=#ffffff size=2 face="Tahoma, Arial, Helvetica, Trebuchet MS, sans-serif"&gt;&lt;IMG alt="" src="http://pr.ak.vresp.com/7c3d851ed/www.protoolstraining.com/promedianewsletterfiles/images/shim.gif" width=8 height=12&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR vAlign=bottom&gt;&lt;TD vAlign=top colSpan=4&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;TR vAlign=bottom&gt;&lt;TD vAlign=top colSpan=4&gt;&lt;HR SIZE=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR vAlign=bottom&gt;&lt;TD vAlign=top colSpan=4&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;TR vAlign=bottom&gt;&lt;TD vAlign=top colSpan=4&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR vAlign=bottom&gt;&lt;TD vAlign=top&gt;&lt;P&gt;&lt;FONT color=#993300 size=5 face="Times New Roman, Times, serif"&gt;&lt;STRONG&gt;&lt;FONT color=#993300 size=5 face="Times New Roman, Times, serif"&gt;&lt;STRONG&gt;&lt;FONT color=#993300 size=5 face="Times New Roman, Times, serif"&gt;&lt;STRONG&gt;&lt;FONT color=#993300 size=5 face="Times New Roman, Times, serif"&gt;&lt;STRONG&gt;&lt;FONT color=#333366 size=3 face="Arial, Helvetica, sans-serif"&gt;NEWSROOM: LEARN PRO TOOLS &amp;amp; GET A FREE VACATION IN MIAMI&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR vAlign=bottom&gt;&lt;TD vAlign=top&gt;&lt;A title="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/66a7d2e5b3/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class" href="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/66a7d2e5b3/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class"&gt;&lt;IMG title="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/66a7d2e5b3/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class" border=0 alt="Miami Vacation" src="http://pr.ak.vresp.com/674156fb9/www.protoolstraining.com/ptemailpc/miami-mar17.jpg" width=341 height=219&gt;&lt;/A&gt;&lt;/TD&gt;&lt;TD vAlign=top width="1%"&gt;&lt;FONT color=#ffffff size=2 face="Tahoma, Arial, Helvetica, Trebuchet MS, sans-serif"&gt;&lt;IMG alt="" src="http://pr.ak.vresp.com/7c3d851ed/www.protoolstraining.com/promedianewsletterfiles/images/shim.gif" width=8 height=12&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;TD vAlign=top&gt;&lt;P&gt;&lt;FONT color=#333333 size=2 face="Arial, Helvetica, sans-serif"&gt;&lt;STRONG&gt;Free Hotel with 10 days Pro Tools Training.&lt;BR&gt;Earn your Pro Tools Certification in Miami! &lt;/STRONG&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#333333 size=2 face="Arial, Helvetica, sans-serif"&gt;&lt;BR&gt;Special Offer! June 16-June 26th, 2012 For this special offer, ProMedia Training will pay for &lt;STRONG&gt;11 nights of FREE hotel for out-of-town students&lt;/STRONG&gt; with the purchase of a full Avid Operator Certification package with &lt;STRONG&gt;10 days of training.&lt;/STRONG&gt;&lt;/FONT&gt; ...&lt;/P&gt;&lt;P&gt;&lt;FONT size=2 face="Tahoma, Arial, Helvetica, Trebuchet MS, sans-serif"&gt;&lt;A title="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/c754602fa6/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class" href="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/c754602fa6/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class"&gt;&lt;IMG title="http://cts.vresp.com/c/?ProMediaTraining/461a9b9bd8/9f415dd1f3/c754602fa6/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A Building a Home Studio Part III %26 New Auto-Tune Class" border=0 alt="Miami Vacation" src="http://pr.ak.vresp.com/6662aa160/www.protoolstraining.com/promedianewsletterfiles/images/readmore.gif" width=99 height=26&gt;&lt;/A&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;/TD&gt;&lt;TD width="1%"&gt;&lt;FONT color=#ffffff size=2 face="Tahoma, Arial, Helvetica, Trebuchet MS, sans-serif"&gt;&lt;IMG alt="" src="http://pr.ak.vresp.com/7c3d851ed/www.protoolstraining.com/promedianewsletterfiles/images/shim.gif" width=8 height=12&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR vAlign=bottom&gt;&lt;TD vAlign=top colSpan=4&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Tue, 20 Mar 2012 03:13:05 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>Producer's Edge hits 35,000 Readers as YouTube/Griffin Avid breaks 4 Million!</title><link>http://forum.producersedgemagazine.com/Topic1061-8-1.aspx</link><description>So, I logged into the digital magazine engine and saw that the number of readers was just over 35,000.&lt;/P&gt;&lt;P&gt;When I was checking out the YouTube/GriffinAvid channl I saw we hit 4 Million views.&lt;/P&gt;&lt;P&gt;That's the fireworks for 4th of July. I saw this right as I was sending out the email blast.&lt;/P&gt;&lt;P&gt;What a night. I feel real good. I think I'll post some more YouTube question and answer stuff.&lt;/P&gt;&lt;P&gt;Although that might only cause this trend to continue...&lt;/P&gt;&lt;P&gt;Hey, we don't do tech support on YouTUbe! Arghhhhh :blink:</description><pubDate>Sun, 05 Jul 2009 05:08:42 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>Pro Tools Training: LA Classes &amp; Working with Elastic Audio</title><link>http://forum.producersedgemagazine.com/Topic2039-8-1.aspx</link><description>&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=751 align=center&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD bgColor=#ffffff&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=749&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;A title="http://cts.vresp.com/c/?ProMediaTraining/9c332152be/9f415dd1f3/c0fff43857/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A LA Classes %26 Working with Elastic Audio" href="http://cts.vresp.com/c/?ProMediaTraining/9c332152be/9f415dd1f3/c0fff43857/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A LA Classes %26 Working with Elastic Audio"&gt;&lt;IMG title="http://cts.vresp.com/c/?ProMediaTraining/9c332152be/9f415dd1f3/c0fff43857/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A LA Classes %26 Working with Elastic Audio" border=0 src="http://pr.ak.vresp.com/339f327c8/www.protoolstraining.com/newpmtnewsletter/images/toptop.jpg" width=764 height=61&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD bgColor=#dfe2e4&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=8 width=749&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;FONT color=#666666 size=2 face="Verdana, Arial, Helvetica, sans-serif"&gt;&lt;STRONG&gt;Pro Tools Training March 11, 2012 Newsletter&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD bgColor=#000000&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=12 width=749&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD vAlign=top width=457&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;P&gt;&lt;FONT color=#993300 size=5 face="Times New Roman, Times, serif"&gt;&lt;STRONG&gt;&lt;FONT color=#333366 size=3 face="Arial, Helvetica, sans-serif"&gt;Los Angeles, California&lt;BR&gt;ProMedia Launches the 2nd Round of Pro Tools Classes&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;A title="http://cts.vresp.com/c/?ProMediaTraining/9c332152be/9f415dd1f3/04d3feb345/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A LA Classes %26 Working with Elastic Audio" href="http://cts.vresp.com/c/?ProMediaTraining/9c332152be/9f415dd1f3/04d3feb345/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A LA Classes %26 Working with Elastic Audio"&gt;&lt;IMG title="http://cts.vresp.com/c/?ProMediaTraining/9c332152be/9f415dd1f3/04d3feb345/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A LA Classes %26 Working with Elastic Audio" border=0 alt="LA - ProMedia Launches the 2nd Round of Pro Tools Classes " src="http://pr.ak.vresp.com/7ffb536ec/www.protoolstraining.com/ptemailpc/lamusic.jpg" width=457 height=258&gt;&lt;/A&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#333333 size=2 face="Arial, Helvetica, sans-serif"&gt;Los Angeles is arguably the center of the recording universe. As a leading partner in the industry, ProMedia training is about to launch our &lt;STRONG&gt;2nd round of Pro Tools classes in the LA market.&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#333333 size=2 face="Arial, Helvetica, sans-serif"&gt;Our January classes were a huge hit! Each one was completely sold out with incredible feedback from each person.&lt;STRONG&gt; The 3 greatest "likes" from our students were: &lt;/STRONG&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;UL&gt;&lt;LI&gt;&lt;FONT color=#333333 size=2 face="Arial, Helvetica, sans-serif"&gt;Small Class Size Lots of Hand-On&lt;/FONT&gt; &lt;LI&gt;&lt;FONT color=#333333 size=2 face="Arial, Helvetica, sans-serif"&gt;One-On-One Time with our Instructor &lt;/FONT&gt;&lt;LI&gt;&lt;FONT color=#333333 size=2 face="Arial, Helvetica, sans-serif"&gt;An Easy Schedule that will fit in Anyone's busy routine&lt;/FONT&gt; &lt;/LI&gt;&lt;/UL&gt;&lt;P&gt;&lt;FONT color=#333333 size=2 face="Arial, Helvetica, sans-serif"&gt;Our March classes are focused on foundation and intermediate skills. This is perfect for the aspiring engineer that wants to get a solid knowledge base and the Singer/Song Writer that wants an easy way to create their own demos. These classes will also prepare you to earn the new Avid User Certification if you choose! Learning Pro Tools in our easy to follow and engaging style is the perfect way to bring your musical visions to life! &lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#333333 size=2 face="Arial, Helvetica, sans-serif"&gt;Classes run March 24 – 28.&lt;STRONG&gt; Hurry –2 spaces remaining. &lt;/STRONG&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#333333 size=2 face="Arial, Helvetica, sans-serif"&gt;2012 is the year to make your dreams a reality!&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT size=2 face="Tahoma, Arial, Helvetica, Trebuchet MS, sans-serif"&gt;&lt;A title="http://cts.vresp.com/c/?ProMediaTraining/9c332152be/9f415dd1f3/9794da75c2/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A LA Classes %26 Working with Elastic Audio" 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width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD width="30%"&gt;&lt;P&gt;&lt;A title="http://cts.vresp.com/c/?ProMediaTraining/9c332152be/9f415dd1f3/19d910f233/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A LA Classes %26 Working with Elastic Audio" href="http://cts.vresp.com/c/?ProMediaTraining/9c332152be/9f415dd1f3/19d910f233/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A LA Classes %26 Working with Elastic Audio"&gt;&lt;IMG title="http://cts.vresp.com/c/?ProMediaTraining/9c332152be/9f415dd1f3/19d910f233/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A LA Classes %26 Working with Elastic Audio" border=0 alt="Music Production: Working With Elastic Audio" src="http://pr.ak.vresp.com/6ae605dd2/www.protoolstraining.com/ptemailpc/mar11vid.png" width=138 height=127&gt;&lt;/A&gt;&lt;/P&gt;&lt;/TD&gt;&lt;TD width="3%"&gt;&lt;FONT size=2 face="Tahoma, Arial, Helvetica, Trebuchet MS, sans-serif"&gt;&lt;A title="http://cts.vresp.com/c/?ProMediaTraining/9c332152be/9f415dd1f3/d702de2aad/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A LA Classes %26 Working with Elastic Audio" href="http://cts.vresp.com/c/?ProMediaTraining/9c332152be/9f415dd1f3/d702de2aad/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A LA Classes %26 Working with Elastic Audio"&gt;&lt;IMG title="http://cts.vresp.com/c/?ProMediaTraining/9c332152be/9f415dd1f3/d702de2aad/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A LA Classes %26 Working with Elastic Audio" border=0 alt="Music Production: Working With Elastic Audio" src="http://pr.ak.vresp.com/ecd3530c4/www.protoolstraining.com//images/stories/shim.gif" width=11 height=26&gt;&lt;/A&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;TD width="67%"&gt;&lt;P&gt;&lt;FONT color=#333366 size=3 face="Arial, Helvetica, sans-serif"&gt;Elastic Audio Video Tutorial&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT color=#333333 size=2 face="Arial, Helvetica, sans-serif"&gt;Watch this video and learn how to manipulate audio using "Elastic Audio"&lt;/FONT&gt;&lt;/P&gt;&lt;P&gt;&lt;FONT size=2 face="Tahoma, Arial, Helvetica, Trebuchet MS, sans-serif"&gt;&lt;A 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href="http://cts.vresp.com/c/?ProMediaTraining/9c332152be/9f415dd1f3/815959c223/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A LA Classes %26 Working with Elastic Audio"&gt;&lt;IMG title="http://cts.vresp.com/c/?ProMediaTraining/9c332152be/9f415dd1f3/815959c223/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A LA Classes %26 Working with Elastic Audio" border=0 alt="Music Production: Working With Elastic Audio" src="http://pr.ak.vresp.com/b4c83043e/www.protoolstraining.com/ptemailpc/elasticmm.png" width=341 height=203&gt;&lt;/A&gt;&lt;/TD&gt;&lt;TD vAlign=top width="1%"&gt;&lt;FONT color=#ffffff size=2 face="Tahoma, Arial, Helvetica, Trebuchet MS, sans-serif"&gt;&lt;IMG alt="" 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&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;A title="http://cts.vresp.com/c/?ProMediaTraining/9c332152be/9f415dd1f3/94b6812dfa/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A LA Classes %26 Working with Elastic Audio" href="http://cts.vresp.com/c/?ProMediaTraining/9c332152be/9f415dd1f3/94b6812dfa/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A LA Classes %26 Working with Elastic Audio"&gt;&lt;IMG title="http://cts.vresp.com/c/?ProMediaTraining/9c332152be/9f415dd1f3/94b6812dfa/utm_content=griffinmantis%40gmail.com&amp;amp;utm_source=VerticalResponse&amp;amp;utm_medium=Email&amp;amp;utm_term=&amp;amp;utm_campaign=Pro Tools Training%3A LA Classes %26 Working with Elastic Audio" border=0 alt="Weekend Workshops" src="http://pr.ak.vresp.com/0c7ef6fe8/www.protoolstraining.com/ptemailpc/weekendworkshops1126a.jpg" width=764 height=226&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD bgColor=#dadada width=1&gt;&lt;IMG src="outbind://32-0000000039B5B6B6DE92EF4CBB287F37BD3D959C24393600/images/leftrightshim.jpg" width=1 height=20&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Mon, 12 Mar 2012 06:16:53 GMT</pubDate><dc:creator>Griffin Avid</dc:creator></item><item><title>Prime Loops Release "Twisted Dubstep Beats"</title><link>http://forum.producersedgemagazine.com/Topic2037-8-1.aspx</link><description>&lt;DIV style="TEXT-ALIGN: center; LINE-HEIGHT: 150%; FONT-FAMILY: Arial; COLOR: #505050; FONT-SIZE: 14px"&gt;&lt;A style="COLOR: #336699; FONT-WEIGHT: normal; TEXT-DECORATION: underline" title=http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=ffdd6873fe&amp;amp;e=4a34c64558 href="http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=ffdd6873fe&amp;amp;e=4a34c64558"&gt;&lt;IMG style="BORDER-BOTTOM: 0pt; BORDER-LEFT: 0pt; LINE-HEIGHT: 100%; OUTLINE-STYLE: none; OUTLINE-WIDTH: medium; WIDTH: 440px; DISPLAY: inline; HEIGHT: 422px; BORDER-TOP: 0pt; BORDER-RIGHT: 0pt; TEXT-DECORATION: none" title=http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=ffdd6873fe&amp;amp;e=4a34c64558 border=0 align=none src="http://gallery.mailchimp.com/3ff261520fcdbe261b31e4823/images/440x442_png.png" width=440 height=422&gt;&lt;/A&gt;&lt;/DIV&gt;&lt;BR&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;&lt;STRONG&gt;PRESS RELEASE - FOR IMMEDIATE RELEASE:&lt;/STRONG&gt;&lt;BR&gt;&lt;BR&gt;&lt;U&gt;&lt;STRONG&gt;Prime Loops release “Twisted Dubstep Beats”&lt;/STRONG&gt;&lt;/U&gt;&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;Stay ahead of the game with “&lt;A style="COLOR: #336699; FONT-WEIGHT: normal; TEXT-DECORATION: underline" title=http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=36045443f8&amp;amp;e=4a34c64558 href="http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=36045443f8&amp;amp;e=4a34c64558"&gt;Twisted Dubstep Beats&lt;/A&gt;”, the all new dubstep drum loops pack from sample soundhouse Prime Loops! This fresh take on dubstep percussion will introduce unchartered elements into your mix with a crooked look at the increasingly popular genre.&lt;BR&gt;&lt;BR&gt;Expose yourself to over 200Mb of shuffling snares and cutting claps, heavily sliced, diced and expertly re-arranged, crafting enigmatic new rhythm patterns. This collection is available in a wide selection of ready formatted file types to suit all major music hardware and software. All of the over 100 24-bit dubstep drum loops  can be manipulated to match any producer’s desired Bpm by simply stretching or squeezing the sample with the click of a mouse.&lt;BR&gt;&lt;BR&gt;As a special add-on for advanced beatmaking fun the Prime Loops team has also included an intense section of over 100 truly twisted dubstep drum one-shot samples. As standard with each and every Prime Loops product, this pack is 100% royalty free.&lt;BR&gt;&lt;BR&gt;So if you want to set your tunes apart from the tiresome sounds turning the airwaves stale, break away with “Twisted Dubstep Beats”, redefining the dynamics of dubstep drums and throwing fresh angles all over the show!&lt;BR&gt;&lt;BR&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;Now available as instant download for GBP 9.95 at &lt;A style="COLOR: #336699; FONT-WEIGHT: normal; TEXT-DECORATION: underline" title=http://primeloops.us2.list-manage1.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=b7d816310f&amp;amp;e=4a34c64558 href="http://primeloops.us2.list-manage1.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=b7d816310f&amp;amp;e=4a34c64558"&gt;www.primeloops.com&lt;/A&gt;&lt;BR&gt;&lt;BR&gt;&lt;STRONG&gt;Formats include:&lt;/STRONG&gt; WAV, FL Studio, Garageband, Akai MPC, Apple Loops, Ableton Live Pack and more!&lt;BR&gt;&lt;BR&gt;Listen to “&lt;/SPAN&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;Twisted Dubstep Beats&lt;/SPAN&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;” on&lt;/SPAN&gt; &lt;A style="COLOR: #336699; FONT-WEIGHT: normal; TEXT-DECORATION: underline" title=http://primeloops.us2.list-manage1.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=31b8d492f4&amp;amp;e=4a34c64558 href="http://primeloops.us2.list-manage1.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=31b8d492f4&amp;amp;e=4a34c64558"&gt;SoundCloud&lt;/A&gt;&lt;BR&gt;&lt;BR&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;Download “&lt;/SPAN&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;Twisted Dubstep Beats&lt;/SPAN&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;” from &lt;A style="COLOR: #336699; FONT-WEIGHT: normal; TEXT-DECORATION: underline" title=http://primeloops.us2.list-manage1.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=89e2c06cf6&amp;amp;e=4a34c64558 href="http://primeloops.us2.list-manage1.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=89e2c06cf6&amp;amp;e=4a34c64558"&gt;Prime Loops&lt;/A&gt;&lt;/SPAN&gt;</description><pubDate>Mon, 12 Mar 2012 05:57:39 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>FREE: New Home Studio Guide from Disc Makers</title><link>http://forum.producersedgemagazine.com/Topic2033-8-1.aspx</link><description>&lt;TABLE style="WIDTH: 712px" border=0 cellSpacing=0 cellPadding=0&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;!--Main image --&gt;&lt;TD align=middle&gt;&lt;A title=http://www.discmakers.com/campaigns/p1210b href="http://www.discmakers.com/campaigns/p1210b" name=Banner1&gt;&lt;IMG title="http://www.discmakers.com/campaigns/p1210b&amp;#10;From a room, to your A Room. The brand new Home Studio Series Guide from Disc Makers: Building a Professional Home Studio" border=0 alt="From a room, to your A Room. The brand new Home Studio Series Guide from Disc Makers: Building a Professional Home Studio" src="http://www.discmakers.com/html_email/images/P1202mainimage.jpg" width=712 height=289&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;!--Main image --&gt;&lt;TR&gt;&lt;TD&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD align=middle&gt;&lt;TABLE style="WIDTH: 93%" border=0 cellSpacing=0 cellPadding=0&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD vAlign=top&gt;&lt;SPAN style="LINE-HEIGHT: 19px; FONT-STYLE: normal; FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #666666; FONT-SIZE: 12px"&gt;Looking to take your Home Studio to the next level? Then you’ll need the insider tips presented in the music industry’s first guide focused solely on home studio design, construction, and recording. Whether you’re cutting basic tracks on your computer, or planning to transform your living room into a full blown studio, this guide is a must-read.&lt;BR&gt;&lt;BR&gt;&lt;FONT size=+1&gt;&lt;STRONG&gt;Vol. 1 of Disc Makers' &lt;EM&gt;The Home Studio Series&lt;/EM&gt; includes:&lt;/STRONG&gt;&lt;/FONT&gt;&lt;BR&gt;• Design and soundproofing&lt;BR&gt;• Isolation booth construction&lt;BR&gt;• Recommended materials for walls, floors, doors, etc.&lt;BR&gt;• And so much more...&lt;BR&gt;&lt;BR&gt;Ready to start building your dream studio?&lt;BR&gt;&lt;BR&gt;&lt;A style="COLOR: #eb8107; FONT-WEIGHT: normal; TEXT-DECORATION: underline" title=http://www.discmakers.com/campaigns/p1210b href="http://www.discmakers.com/campaigns/p1210b" name=Body1&gt;Download Your Free Guide&lt;/A&gt; &lt;/SPAN&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Mon, 12 Mar 2012 05:45:09 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>News: Women's Music Summit Announced - August 27 – 31, 2012</title><link>http://forum.producersedgemagazine.com/Topic2032-8-1.aspx</link><description>&lt;FONT face=Tahoma&gt;The &lt;/FONT&gt;&lt;A title=http://enews.commandprinting.com/q/Tk0GexEd_XEhQw317P6WfADOmOfaGrL5HeJgAYvQZQ_HH03GjSB1oH3VW href="http://enews.commandprinting.com/q/Tk0GexEd_XEhQw317P6WfADOmOfaGrL5HeJgAYvQZQ_HH03GjSB1oH3VW"&gt;&lt;FONT face=Tahoma&gt;Music Masters Camp Series&lt;/FONT&gt;&lt;/A&gt;&lt;FONT face=Tahoma&gt; is proud to announce The &lt;B&gt;&lt;A title=http://enews.commandprinting.com/q/l1G_qfU-C5lHN7TdhpQkwWHRepTI_Zv_MmabtBUN3NRLMrXGVlpx926f3 href="http://enews.commandprinting.com/q/l1G_qfU-C5lHN7TdhpQkwWHRepTI_Zv_MmabtBUN3NRLMrXGVlpx926f3"&gt;Women’s Music Summit&lt;/A&gt;&lt;/B&gt;, scheduled for August 27 – 31, 2012. This music immersion week is the first of its kind to focus on female musicians! Located at Full Moon Resort in the Woodstock area of the Catskills Mountains (about 90 miles from New York City), the Summit will present skill workshops, panels, performances, and more.&lt;/FONT&gt;&lt;FONT size=3&gt;&lt;BR&gt;&lt;BR&gt;&lt;FONT face=Tahoma&gt;Players of all instruments and levels are invited to come together to learn, practice, perform, and connect. The week’s events include instructional workshops, master classes, round table panels, group dinners, jam sessions, social gatherings, and much more. All instruments will be covered including guitar, bass, voice, keyboards, and drums. Workshops will discuss songwriting, business and promotion as a musician, health and yoga, and more.&lt;BR&gt;&lt;BR&gt;Respected female musicians will teach master classes and ensemble workshops, as well as participate in panel discussions, presentations, seminars, and Q&amp;amp;A sessions. Summit artist instructors include &lt;/FONT&gt;&lt;A title=http://enews.commandprinting.com/q/gU7szd_58lw35SpxGWyLCDtjaIMWs2rX6a3xzIKgOg7i6fHGMwJfVgopF href="http://enews.commandprinting.com/q/gU7szd_58lw35SpxGWyLCDtjaIMWs2rX6a3xzIKgOg7i6fHGMwJfVgopF"&gt;&lt;B title=http://enews.commandprinting.com/q/gU7szd_58lw35SpxGWyLCDtjaIMWs2rX6a3xzIKgOg7i6fHGMwJfVgopF&gt;&lt;FONT face=Tahoma&gt;Kaki King&lt;/FONT&gt;&lt;/B&gt;&lt;/A&gt;&lt;B&gt;&lt;/B&gt;&lt;FONT face=Tahoma&gt;, &lt;B&gt;&lt;A title=http://enews.commandprinting.com/q/4keXOcV2A-VBYwtosM9wcVtTJWU8XDKBICv0M7bfJfUsIlrGtSSg3_hcs href="http://enews.commandprinting.com/q/4keXOcV2A-VBYwtosM9wcVtTJWU8XDKBICv0M7bfJfUsIlrGtSSg3_hcs"&gt;Meshell Ndegeocello&lt;/A&gt;&lt;/B&gt;, &lt;B&gt;&lt;/B&gt;&lt;/FONT&gt;&lt;A title=http://enews.commandprinting.com/q/DSKqmXE_ntcw_wagh7pD7aCX8HG9qaUMdx1wsJ7RtRDnd4FGTcpPwb3ZJ href="http://enews.commandprinting.com/q/DSKqmXE_ntcw_wagh7pD7aCX8HG9qaUMdx1wsJ7RtRDnd4FGTcpPwb3ZJ"&gt;&lt;B title=http://enews.commandprinting.com/q/DSKqmXE_ntcw_wagh7pD7aCX8HG9qaUMdx1wsJ7RtRDnd4FGTcpPwb3ZJ&gt;&lt;FONT face=Tahoma&gt;Melissa Auf der Maur&lt;/FONT&gt;&lt;/B&gt;&lt;/A&gt;&lt;FONT face=Tahoma&gt; (Hole, Smashing Pumpkins), &lt;B&gt;&lt;A title=http://enews.commandprinting.com/q/JAYvVpiQLkz5KyK1OowikBqolrSsvbrM61ekFZ0-d-AH6hGGmJxXE4G0d href="http://enews.commandprinting.com/q/JAYvVpiQLkz5KyK1OowikBqolrSsvbrM61ekFZ0-d-AH6hGGmJxXE4G0d"&gt;Marnie Stern&lt;/A&gt;&lt;/B&gt;, &lt;B&gt;&lt;A title=http://enews.commandprinting.com/q/uQLDCUVVgmfyVKYtBKvFcx-QLkhCD0bNSsE0H378x8RsSNdGrP1AtrpjB href="http://enews.commandprinting.com/q/uQLDCUVVgmfyVKYtBKvFcx-QLkhCD0bNSsE0H378x8RsSNdGrP1AtrpjB"&gt;Malina Moye&lt;/A&gt;&lt;/B&gt;, and &lt;B&gt;&lt;A title=http://enews.commandprinting.com/q/07Uwhj_V-Zn6VYlLUc35LWrE2avQwfc401eN8TPI6IG90kNGSoxXd7SoF href="http://enews.commandprinting.com/q/07Uwhj_V-Zn6VYlLUc35LWrE2avQwfc401eN8TPI6IG90kNGSoxXd7SoF"&gt;Bibi McGill&lt;/A&gt;&lt;/B&gt; (Beyoncé, Pink), with more special guests to come. Music industry panels will also contribute to discussions about different aspects of the music business. Industry panelists include Laura Taylor of &lt;B&gt;&lt;A title=http://enews.commandprinting.com/q/mAG-0aGHdgXrPWdcZUTIEVszORRA-owA7ufJM18c_cKk7j4G0JU9y8bas href="http://enews.commandprinting.com/q/mAG-0aGHdgXrPWdcZUTIEVszORRA-owA7ufJM18c_cKk7j4G0JU9y8bas"&gt;Guitar Center&lt;/A&gt;&lt;/B&gt; and Laura B. Whitmore, Summit co-producer and columnist for &lt;B&gt;&lt;A title=http://enews.commandprinting.com/q/ZfbsLNpMaEyERjHyFEo8Peo4lsEksm5VV2IhOJZqAq9kVDNGmvJ_3YK7i href="http://enews.commandprinting.com/q/ZfbsLNpMaEyERjHyFEo8Peo4lsEksm5VV2IhOJZqAq9kVDNGmvJ_3YK7i"&gt;Guitar World&lt;/A&gt;&lt;/B&gt;.&lt;BR&gt;&lt;/FONT&gt;&lt;/FONT&gt;&lt;FONT size=3&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;FONT size=3 face=Tahoma&gt;Whitmore comments, "This first of its kind event will enable many women musicians and industry leaders to study, perform, and network. It's our mission to shine the spotlight on women as performers, instructors, aspiring artists, and role models. We want to support and inspire women of all ages and skill levels."&lt;/FONT&gt;&lt;FONT size=3&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;FONT size=3 face=Tahoma&gt;Laura Taylor, Senior Vice President of Operations for Guitar Center, added, “We are very excited to be participating in the very first Women’s Music Summit. It is so important to encourage women to study and perform music and also give them an environment to do so. This is a great opportunity for women musicians of all levels to get together with artists and industry leaders to perform and talk about everything music. This is going to be a great event!”&lt;/FONT&gt;&lt;FONT size=3&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;FONT face=Tahoma&gt;&lt;FONT size=3&gt;The &lt;B&gt;Women’s Music Summit&lt;/B&gt; offers a high-quality experience, integrating a blend of academic, instructional and social elements, as well as personal interface with the artists - not only at forums, panels, classes, and jam sessions, but also at meal times and throughout evening activities. The Summit is supported by &lt;A title=http://enews.commandprinting.com/q/qRyDEURV6SnaVlZcBevFJjGQnbhCD0bDSsEVH378x8ZiSQDGRPtAtrpov href="http://enews.commandprinting.com/q/qRyDEURV6SnaVlZcBevFJjGQnbhCD0bDSsEVH378x8ZiSQDGRPtAtrpov"&gt;Guitar Center&lt;/A&gt;, &lt;A title=http://enews.commandprinting.com/q/Plkrj1pJdKCcJAn2PpWa8xBZbCMxrs6aifO6LvAyey01iXXGtY0VH5298 href="http://enews.commandprinting.com/q/Plkrj1pJdKCcJAn2PpWa8xBZbCMxrs6aifO6LvAyey01iXXGtY0VH5298"&gt;Dean Markley&lt;/A&gt;, &lt;A title=http://enews.commandprinting.com/q/BKSq8Xe_S4fERLDXh5pD567XqaG9qaUcdx11sJ7RtRGBdFRGGcvPwj3PF href="http://enews.commandprinting.com/q/BKSq8Xe_S4fERLDXh5pD567XqaG9qaUcdx11sJ7RtRGBdFRGGcvPwj3PF"&gt;Lagunitas Brewery&lt;/A&gt;, &lt;A title=http://enews.commandprinting.com/q/CYYMpLKtj0mGusEZza_il_1hS1SOMcej1aAEKVGRoRP51zjGUWcl6u5OL href="http://enews.commandprinting.com/q/CYYMpLKtj0mGusEZza_il_1hS1SOMcej1aAEKVGRoRP51zjGUWcl6u5OL"&gt;Guitar World&lt;/A&gt;, &lt;A title=http://enews.commandprinting.com/q/uGu5D1ll46w_lLVGKRRyjeYmU4kf5ojm-CPLUeHF6FBN-W9GBw2m2OcsR href="http://enews.commandprinting.com/q/uGu5D1ll46w_lLVGKRRyjeYmU4kf5ojm-CPLUeHF6FBN-W9GBw2m2OcsR"&gt;Guitar Player&lt;/A&gt;, &lt;A title=http://enews.commandprinting.com/q/xPGWC6WnSn8Us1NT1H_gUe68suNJWUlFQ79RVXv0302WQnAGRA6MiXRyF href="http://enews.commandprinting.com/q/xPGWC6WnSn8Us1NT1H_gUe68suNJWUlFQ79RVXv0302WQnAGRA6MiXRyF"&gt;Bass Player&lt;/A&gt;, &lt;A title=http://enews.commandprinting.com/q/k7Bhv4mT8Lzl99VCKDa5bxXkwdkJhwOg8QLwt0i9j91q8kWGqmVZcvYSG href="http://enews.commandprinting.com/q/k7Bhv4mT8Lzl99VCKDa5bxXkwdkJhwOg8QLwt0i9j91q8kWGqmVZcvYSG"&gt;Keyboard Magazine&lt;/A&gt;, and &lt;A title=http://enews.commandprinting.com/q/rB1O_ZBLHDmJLy9fFPeVpPpbBenDOb8b1RXsUTj6v6Mx1EXGzHbQ4r24Z href="http://enews.commandprinting.com/q/rB1O_ZBLHDmJLy9fFPeVpPpbBenDOb8b1RXsUTj6v6Mx1EXGzHbQ4r24Z"&gt;Electronic Musician&lt;/A&gt;.&lt;BR&gt;&lt;BR&gt;The Women's Music Summit is part of the &lt;B&gt;&lt;A title=http://enews.commandprinting.com/q/uZL0fgX4RdoM4ynZlN1hPoZ6VcK30wujUfLzzZmI5I8LUK3Getir2AYkB href="http://enews.commandprinting.com/q/uZL0fgX4RdoM4ynZlN1hPoZ6VcK30wujUfLzzZmI5I8LUK3Getir2AYkB"&gt;Music Masters Camps&lt;/A&gt;&lt;/B&gt;, a series of weeklong instructional workshops at Full Moon Resort. This year’s programs also include Dweezil Zappa, Ricky Skaggs, Richard Thompson, Medeski Martin &amp;amp; Wood, Todd Rundgren, Paul Gilbert, Umphrey’s McGee, and more. &lt;BR&gt;&lt;BR&gt;For more information on the Women’s Music Summit, go to &lt;A title=http://enews.commandprinting.com/q/7y6C2lVTWXxQOJcy_49rs_0CGxADCaYKmZeOWp4OiOJWm3yGtnYvES6bB href="http://enews.commandprinting.com/q/7y6C2lVTWXxQOJcy_49rs_0CGxADCaYKmZeOWp4OiOJWm3yGtnYvES6bB"&gt;www.womensmusicsummit.com&lt;/A&gt;&lt;/FONT&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;</description><pubDate>Mon, 12 Mar 2012 05:43:46 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>KVR - Developer Focus Interviews</title><link>http://forum.producersedgemagazine.com/Topic2029-8-1.aspx</link><description>&lt;A href="http://www.kvraudio.com/interviews/a-conversation-with-bryan-bell---stories-about-using-synthesizers-in-the-days-before-midi-and-long-before-plug-ins-18330"&gt;http://www.kvraudio.com/interviews/a-conversation-with-bryan-bell---stories-about-using-synthesizers-in-the-days-before-midi-and-long-before-plug-ins-18330&lt;/A&gt;&lt;/P&gt;&lt;DIV style="BORDER-BOTTOM: #ddd 1px solid; POSITION: relative; LINE-HEIGHT: 150%; BACKGROUND: url(http://static.kvraudio.com/i/x/interviews_header.jpg) #fff no-repeat 0px 0px; PADDING-TOP: 210px"&gt;&lt;DIV style="BORDER-BOTTOM: #ddd 1px solid; TEXT-ALIGN: center; PADDING-BOTTOM: 20px; PADDING-LEFT: 20px; PADDING-RIGHT: 20px; FONT-FAMILY: 'Trebuchet MS', Geneva, Arial, Helvetica, sans-serif; FONT-SIZE: 150%; PADDING-TOP: 20px" class=kvrgrad5&gt;&lt;STRONG&gt;A conversation with Bryan Bell - Stories about using synthesizers in the days before MIDI (and LONG before plug-ins)&lt;/STRONG&gt;&lt;/DIV&gt;&lt;DIV style="PADDING-BOTTOM: 20px; LINE-HEIGHT: 150%; PADDING-LEFT: 20px; PADDING-RIGHT: 20px; FONT-SIZE: 120%; PADDING-TOP: 20px" class=kvrfocus&gt;&lt;DIV class="kvrfocusTMP kvrbryanbell"&gt;&lt;P&gt;One of the most interesting characters I have met in the musical instrument industry is Bryan Bell. He was born in New Orleans. His father, Norman Bell, was a composer, conductor, and educator whose specialty was choral conducting. His father's career allowed Bryan to learn both music and technical theater at an early age. &lt;/P&gt;&lt;DIV style="WIDTH: auto" class="newspaddiv newspaddivshad"&gt;&lt;A class=kvrlb title="" href="http://static.kvraudio.com/i/b/bb_casualphoto.jpg"&gt;&lt;IMG alt="" src="http://static.kvraudio.com/i/s/bb_casualphoto.jpg"&gt;&lt;/A&gt; &lt;P&gt;&lt;STRONG&gt;Bryan Bell&lt;/STRONG&gt; &lt;/P&gt;&lt;/DIV&gt;&lt;P&gt;He has tried to maintain two tracks in his life, science and music. He learned to play piano and guitar at an early age and he built his first sound system at the age of 15 using components like Voice of the Theater (now Altec Lansing) speakers and Shure columns. He worked as an assistant engineer on his first professional recordings at age 12. His first custom project was an invention that allowed one to trigger different colored lights with micro switches mounted under each key of an acoustic piano keyboard mechanism. He built it in 1969 for a nightclub in New Orleans and the rig was eventually bought by the &lt;STRONG&gt;&lt;A href="http://en.wikipedia.org/wiki/Vanilla_Fudge"&gt;Vanilla Fudge&lt;/A&gt;&lt;/STRONG&gt;, who were passing through on tour. That was in 1969 and Yes folks. This is 15 years before MIDI. &lt;/P&gt;&lt;P&gt;The same year, with a mentor, he built his own electric car using a steamship starter motor as the main engine, a two speed tractor transmission, a roto tiller engine for the generator back up, and twenty 90 pound lead acid missile batteries. It all went into an old English Ford that he found in a junkyard. He says: "I used to drive it to high school and charge it because it ran up the electrical bill too much to charge it at my parents' home. The car took as much power in a day that my parent's home used in a month." &lt;/P&gt;&lt;P&gt;He played in a band, but he was also the one who put together the sound system for his and other bands. One thing led to another, but in a distinctly non-linear manner. Bryan's first national professional gig started when he was given the opportunity to consult and mix house the seminal fusion band, &lt;STRONG&gt;&lt;A href="http://en.wikipedia.org/wiki/Mahavishnu_Orchestra"&gt;Mahavishnu Orchestra&lt;/A&gt;&lt;/STRONG&gt;: &lt;/P&gt;&lt;P&gt;Conversations with Bryan are never dull. I had intended to write about what it was like to take computer systems on the road in the early days, but he has a million stories and after a few of them I'm thinking maybe I'll save some for another day… &lt;/P&gt;&lt;P class=niq&gt;&lt;STRONG&gt;How did you manage to get involved with so many things?&lt;/STRONG&gt; &lt;/P&gt;&lt;DIV class=kvrinterviewanswer&gt;&lt;P&gt;I would find and offer to apprentice to mentors who were willing to be generous with their time to teach a kid to do what they did. I am a firm believer that the old-school "Guild" method of learning from apprentice to journeyman to master was underrated - so I put myself into those situations and I still do it to this day. &lt;/P&gt;&lt;/DIV&gt;&lt;P class=niq&gt;&lt;STRONG&gt;How did you get the Mahavishnu gig?&lt;/STRONG&gt; &lt;/P&gt;&lt;DIV class=kvrinterviewanswer&gt;&lt;P&gt;I had become a &lt;STRONG&gt;&lt;A href="http://en.wikipedia.org/wiki/Sri_Chinmoy"&gt;Sri Chinmoy&lt;/A&gt;&lt;/STRONG&gt; disciple and given up on the corporate world. I had gotten married and woke up one morning and realized I wasn't playing music, and I wasn't racing cars (Ed. another story for another day), and I wasn't going to college, and I said "something's wrong here." &lt;/P&gt;&lt;P&gt;Right about the same time I had met &lt;STRONG&gt;&lt;A href="http://en.wikipedia.org/wiki/John_McLaughlin_%28musician%29"&gt;Mahavishnu John McLaughlin&lt;/A&gt;&lt;/STRONG&gt;. through Carlos Santana who I had met at one of Sri Chinmoy's centers. They were both Sri Chinmoy disciples as well. John asked me what I wanted to do and I said "be a nuclear physicist." He said: "There are no cool gigs in nuclear physics, you will either make weapons of mass destruction or work on power plants, or teach other people how to build weapons and power plants." Suddenly faced with no clear path to my future I asked John what he thought I should do. John liked the fact that I was a technologist and a guitar player who understood his music; so he took a chance and asked me to mix house for his band. &lt;/P&gt;&lt;/DIV&gt;&lt;P class=niq&gt;&lt;STRONG&gt;What was your first experience with a synthesizer?&lt;/STRONG&gt; &lt;/P&gt;&lt;DIV class=kvrinterviewanswer&gt;&lt;P&gt;It was during the time that I worked for McLaughlin. Somewhere around 1974-75 he hired Bob Easton from 360 Systems to build a pitch to voltage converter, and with Bob Moog's help they cobbled together 6 Minimoogs, one for each string. &lt;/P&gt;&lt;DIV class="newspaddiv newspaddivshad"&gt;&lt;A class=kvrlb title="" href="http://static.kvraudio.com/i/b/jmgtrsynth.png"&gt;&lt;IMG alt="" src="http://static.kvraudio.com/i/s/jmgtrsynth.png"&gt;&lt;/A&gt; &lt;P&gt;John McLaughlin's first guitar synth &lt;/P&gt;&lt;/DIV&gt;&lt;P&gt;Swapan Leo Hoarty (another Chinmoy disciple) was John's electronics engineer and did all the custom work on a guitar that was custom built by Gibson. Everything was analog using Control Voltages (CVs for pitch) Gates (for note length) and S-Triggers. I was there helping to solder the day Leo put it all together in the racks so that John could tour with it. We used a road case that could be folded shut with three Minimoogs in each half. There was a separate pedal board case, which in addition to other effects had one-volume pedal to control all six synthesizers and one pitch bend control doing the same. The synths all had to be warmed up ahead of each show and we consumed a lot of power. &lt;/P&gt;&lt;/DIV&gt;&lt;P class=niq&gt;&lt;STRONG&gt;Did you have any problems?&lt;/STRONG&gt; &lt;/P&gt;&lt;DIV class=kvrinterviewanswer&gt;&lt;P&gt;My first tour mixing sound with the Mahavishnu Orchestra was in 1975 supporting the Inner Worlds album with &lt;A href="http://www.stugoldberg.com/"&gt;&lt;STRONG&gt;Stu Goldberg&lt;/STRONG&gt;&lt;/A&gt; (keyboards) &lt;A href="http://www.nmwproductions.com/"&gt;&lt;STRONG&gt;Narada Michael Walden&lt;/STRONG&gt;&lt;/A&gt; (drums), and &lt;A href="http://www.flyguitars.com/interviews/ralpheArmstrong.php"&gt;&lt;STRONG&gt;Ralphe Armstrong&lt;/STRONG&gt;&lt;/A&gt; (bass) we had a mains voltage problem. One of our first gigs was at an affluent high school in Greenwich, CT. with the &lt;A href="http://en.wikipedia.org/wiki/Brecker_Brothers"&gt;&lt;STRONG&gt;Brecker Brothers&lt;/STRONG&gt;&lt;/A&gt; opening. We put up the lights at the opening of the set and the band gear's voltage dropped from 120 to 100. The Minimoogs went totally south, completely crazy… And that's how I met Bob Moog. The next day I was on the phone with him and he later sent us a daughter board with voltage correction circuitry. It ultimately became an add-on to solve the pitch stabilization issue for the MiniMoog. &lt;/P&gt;&lt;/DIV&gt;&lt;P class=niq&gt;&lt;STRONG&gt;How did you transition to working with Herbie Hancock?&lt;/STRONG&gt; &lt;/P&gt;&lt;DIV class=kvrinterviewanswer&gt;&lt;P&gt;I was mixing the Mahavishnu Orchestra in some New England ice rink/basketball arena where they were opening for the Headhunters. It was the Thrust band with Herbie, Mike Clark (drums), Paul Jackson (bass) and Bennie Maupin (woodwinds). I got a call on the walkie talkie that Mr. Hancock wanted to see me. I went down two flights of stairs to find him in his dressing room. He was chanting and I waited until he was finished. He said that he really liked the balance he was hearing (from two flights down) and that if I ever needed a job to call him. So when the Mahavishnu tour ended and John went to play acoustic guitar solo out of the country for a while, I went unannounced to Herbie's house in LA and knocked on the door. He answered it himself so I said: "I'm Bryan Bell and you told me that if I ever needed a job I should call you, so here I am." And he said: "I don't remember!" I had noticed a Ford Cobra in his driveway so I said; "Can we at least go for a ride." He said it's not running right now." I said: "Well, I'm a mechanic- I used to own race cars. Do you have any tools?" &lt;/P&gt;&lt;DIV class="newspaddiv newspaddivshad"&gt;&lt;A class=kvrlb title="" href="http://static.kvraudio.com/i/b/cobra.jpg"&gt;&lt;IMG alt="" src="http://static.kvraudio.com/i/s/cobra.jpg"&gt;&lt;/A&gt; &lt;P&gt;Ford Cobra (not in Herbie's driveway) &lt;/P&gt;&lt;/DIV&gt;&lt;P&gt;It didn't take long to figure out that the problem was a leaky fuel line so I cut a couple of inches off the line and reconnected it and it fired right up. Herbie said: "Oh wait it's coming back now. You did sound for John and you don't mind fixing my car… Why don't you stick around for a few weeks." I ended up staying for eight years and fifteen albums…" &lt;/P&gt;&lt;/DIV&gt;&lt;P class=niq&gt;&lt;STRONG&gt;What was his rig when you started working with him?&lt;/STRONG&gt; &lt;/P&gt;&lt;DIV class=kvrinterviewanswer&gt;&lt;P&gt;He had two &lt;STRONG&gt;&lt;A href="http://en.wikipedia.org/wiki/ARP_Odyssey"&gt;ARP Odysseys&lt;/A&gt;&lt;/STRONG&gt; and an &lt;A href="http://en.wikipedia.org/wiki/ARP_String_Ensemble"&gt;&lt;STRONG&gt;ARP String Ensemble&lt;/STRONG&gt;&lt;/A&gt;. (Note: Check out &lt;A href="http://www.gforcesoftware.com/"&gt;GForce plug-ins&lt;/A&gt;. They have emulated both ARP devices.) &lt;/P&gt;&lt;DIV class=newspaddiv&gt;&lt;DIV class=newspaddivshad&gt;&lt;A class=kvrlb title="" href="http://static.kvraudio.com/i/b/stringensemble.png"&gt;&lt;IMG alt="" src="http://static.kvraudio.com/i/s/stringensemble.png"&gt;&lt;/A&gt; &lt;P&gt;ARP String Ensemble &lt;/P&gt;&lt;/DIV&gt;&lt;DIV style="MARGIN-TOP: 20px" class=newspaddivshad&gt;&lt;A class=kvrlb title="" href="http://static.kvraudio.com/i/b/odyssey.png"&gt;&lt;IMG alt="" src="http://static.kvraudio.com/i/s/odyssey.png"&gt;&lt;/A&gt; &lt;P&gt;ARP Odyssey &lt;/P&gt;&lt;/DIV&gt;&lt;/DIV&gt;&lt;P&gt;One Odyssey was set for a solo sound and the other was set for a bass sound. Since everything was manually programmed and there was no onboard memory we used china markers on the surfaces of the synths so that we could get back to the sounds. I had to make sure that the right one was in the right place on the correct keyboard stand every night. &lt;/P&gt;&lt;P&gt;He also had the Fender Rhodes 88 and Hohner Clavinet that have become part of his signature funk sound. The Rhodes Herbie owned was really special. It had a custom insert loop for effects installed by Harold Rhodes so Herbie could insert studio quality effects into the signal path and have the effected sound come out of the Rhodes preamp and stage speakers. We had to do a lot because of all the noise problems. For example, Herbie liked to have his clavinet sitting on top of the Rhodes so he could switch between them easily, but the clavinet's power supply created more hum inside the Rhodes (because of the 88 pickups) so we had to do a lot of custom shielding work and even taking power supplies out of the units. We didn't have spares, so if something broke I had to fix it right away. &lt;/P&gt;&lt;P&gt;When I started with Herbie at the Headhunters touring point in 1975, Herbie's keyboard system had been developed by his former team. Over the next few years Herbie acquired more instruments and we began a major project to integrate the instruments together. &lt;/P&gt;&lt;DIV class=newspaddiv&gt;&lt;DIV class=newspaddivshad&gt;&lt;A class=kvrlb title="" href="http://static.kvraudio.com/i/b/sennheiser_vsm_vocoder.jpg"&gt;&lt;IMG alt="" src="http://static.kvraudio.com/i/s/sennheiser_vsm_vocoder.jpg"&gt;&lt;/A&gt; &lt;P&gt;Sennheiser Vocoder &lt;/P&gt;&lt;/DIV&gt;&lt;DIV style="MARGIN-TOP: 20px" class=newspaddivshad&gt;&lt;A class=kvrlb title="" href="http://static.kvraudio.com/i/b/sunlight.jpg"&gt;&lt;IMG alt="" src="http://static.kvraudio.com/i/s/sunlight.jpg"&gt;&lt;/A&gt; &lt;P&gt;Back cover of Herbie Hancock's&lt;BR&gt;"Sunlight" album &lt;/P&gt;&lt;/DIV&gt;&lt;/DIV&gt;&lt;P&gt;By the time we got to the album Sunlight, the &lt;STRONG&gt;&lt;A href="http://www.synthtopia.com/content/2009/04/04/sennheiser-vocoder-vsm201/"&gt;Sennheiser Vocoder&lt;/A&gt;&lt;/STRONG&gt; was part of the rig along with the keyboards depicted below in the picture from the back of the Sunlight album cover. Also there was the introduction of instruments that were microprocessor based such as the Prophet 5 and drum machines and my design ideas were being incorporated in Herbie's systems. &lt;/P&gt;&lt;P&gt;We actually toured the big set up for several albums. Herbie wanted to dance while he played, but there were no portable keyboards at the time, so I built one. I took the keys out of a Minimoog and built a container for it. There was Vocoder switching, a CS-80 ribbon controller for the pitch bend, a Moog Source pitch ribbon and custom and knobs to switches to control the modulation source, source, depth and speed. Herbie could control all the horsepower from the front of the stage. It was really heavy but Herbie could do amazing things with this controller. &lt;/P&gt;&lt;/DIV&gt;&lt;P class=niq&gt;&lt;STRONG&gt;How did the rig evolve over time?&lt;/STRONG&gt; &lt;/P&gt;&lt;DIV class=kvrinterviewanswer&gt;&lt;DIV class="newspaddiv newspaddivshad"&gt;&lt;A class=kvrlb title="" href="http://static.kvraudio.com/i/b/herbie-circa-1983.jpg"&gt;&lt;IMG alt="" src="http://static.kvraudio.com/i/s/herbie-circa-1983.jpg"&gt;&lt;/A&gt; &lt;P&gt;Herbie and rig Circa 1983 &lt;/P&gt;&lt;/DIV&gt;&lt;P&gt;Herbie is very gifted technically. He was an engineering student for his first two years in college. In fact he thought he was going to be an engineer and then all of sudden the jazz gigs started getting bigger than the college gigs. &lt;/P&gt;&lt;P&gt;Basically he would say "I want to do this" and it would be my job to make it happen. We did a two-year project to build a complete multivendor interface – An analog version of MIDI – 5 years before MIDI. Herbie owned just about every synthesizer in the world. This was pre-Fairlight and Synclavier when we started. We had control over the keyboard, the tuning, the octave stretch (how many volts per octave) plus offset for pitch up and down as well as control for the triggering system. Moogs needed an S-Trigger. Arps wanted a positive trigger. Oberheims just needed a Gate. There was no standard so I created my own matrix. Think of it as hardware drivers for each instrument and on the controller side you could just output a CV and Gate. We built a patch bay of 16 outputs to any of the instrument inputs based on the Emu 4060 keyboard, which was sixteen polyphonic voices with a sequencer. During this time we added a couple of Prophet 5s and an Oberheim 8-Voice. We also replaced my early "chopped MiniMoog" keyboard with the Wayne Yentis Clavitar and later Clavitron portable controllers as they each became available. &lt;/P&gt;&lt;P&gt;When we finally finished the system it had three custom 32x32 patch bays; one for control voltage, one for gate, and one for audio so we could patch effects into the loops. I even made my own parallel version of SCSI so we could have direct access to each synthesizer's memory to quickly load into the computer and then back into the device. I built a 16 bit Zilog Z8000 (most popular of the early processors for music devices) custom computer to handle the heavy lifting. Most of the early computer synths were based on the 8 bit Z80 chip from the same company so it was easy to interface the mothership computer with the instruments. &lt;/P&gt;&lt;/DIV&gt;&lt;P class=niq&gt;&lt;STRONG&gt;How did the multivendor interface project get started?&lt;/STRONG&gt; &lt;/P&gt;&lt;DIV class=kvrinterviewanswer&gt;&lt;P&gt;So in 1979 I had made the decision to build this interface and we were going to standardize everything. We wanted to make the STUDIO a single instrument and we were going to make each instrument in the studio more like a driver and the whole studio would be the object of the work. &lt;/P&gt;&lt;P&gt;We wanted to create patches where the right hand of the keyboard was an Oberheim and the left hand was a Prophet. We wanted to be able to create a patch to have 2 Minimoogs and a 2600 patched into a Mesa Boogie with a fuzz tone. Each of these sounds would be a single object, like "Solo Guitar". It would encompass the portable keyboard being switched to 3 voice modules being switched to an effects processor and an amp and even switching mics on and off in the PA. We had directs and switching so we could mute mics and mute channels in the system, so the concept was that the tape machine, the video recorder, the mixing console, the controllers and the voices were an instrument. It was Herbie's palette. It wasn't; "We're going to play Moog now." It was "We're going to play music now." And use the entire arsenal as an instrument. All of the patches could be saved and we streamlined them during performances. &lt;/P&gt;&lt;P&gt;So we decided to do this and I called up Bob Moog and said, "Remember me - I used to work for John McLaughlin and now I work for Herbie Hancock. He said: "Herbie, I love Herbie!" I told him that I wanted to find a way to connect my MiniMoogs to my Oberheim. He said, "Buy more Moogs" and hung up. &lt;/P&gt;&lt;/DIV&gt;&lt;P class=niq&gt;&lt;STRONG&gt;You're kidding…?&lt;/STRONG&gt; &lt;/P&gt;&lt;DIV class=kvrinterviewanswer&gt;&lt;P&gt;I thought that's OK I'll call Tom Oberheim, so I called him and said: "Remember me - I used to work for John McLaughlin and now I work for Herbie Hancock. He said: "Herbie, I love Herbie!" So I told him about my plan and he said: "I'll void your warranty" and hung up. The multivendor approach just did not work for either of them, but because of the EMU 4060 keyboard and some early work by Jim Alcivar with Ronnie Montrose I knew it was something we could do. The whole notion of separating voices from controllers we were doing 5 years before MIDI. &lt;/P&gt;&lt;DIV class="newspaddiv newspaddivshad"&gt;&lt;A class=kvrlb title="" href="http://static.kvraudio.com/i/b/emu4060.jpg"&gt;&lt;IMG alt="" src="http://static.kvraudio.com/i/s/emu4060.jpg"&gt;&lt;/A&gt; &lt;P&gt;E-mu 4060 Ad &lt;/P&gt;&lt;/DIV&gt;&lt;P&gt;I called E-mu and bought one of the 4060 keyboards with built-in sequencer and tape storage. The 4060 was only the keyboard that came with their super system called the Audity, and it came with a tape drive (We chose to not purchase the Audity voice modules). Tape loading was simply too slow for Herbie's studio and touring demands, so I made a custom order with Scott Wedge to integrate the first hard drive on a synth. It was a 5MB IBM hard drive, which cost many thousands of dollars and came with a wire wrap kit so you could build your own connector and a Motorola programming language guide so you could write your own drivers. It weighed 10 pounds and was the size of a shoebox! I also asked him to modify the code so I could have ten additional jump subroutine launch points so I could include my own software routines for the keyboard. It was an excellent add-on! &lt;/P&gt;&lt;P&gt;The 4060 and several other music products (the Prophet 5, the Linn 9000 and the E-mu SP12 drum machine to name a few) were based on the Zilog Z-80, which was an 8-bit processor. I found out that there was a 16-bit Z8000 available. I was sure that a 16-bit processor would be needed for all the parallel memory moves we would need to make. So I called Zilog and told them I worked for Herbie Hancock and needed to buy some. They told me sorry, but the Air Force has all the production units, they cost $1000 each, and there is a 1 year backlog of orders. All we have is samples for military subcontractors. So I hung up and called back on a different phone. I told them that I was a B-1 subcontractor and I needed a sample. They ended up sending me a couple for free the next day. &lt;/P&gt;&lt;/DIV&gt;&lt;P class=niq&gt;&lt;STRONG&gt;And then automate the patching&lt;/STRONG&gt; &lt;/P&gt;&lt;DIV class=kvrinterviewanswer&gt;&lt;DIV style="WIDTH: auto" class="newspaddiv newspaddivshad"&gt;&lt;A class=kvrlb title="" href="http://static.kvraudio.com/i/b/bbellwsystem.jpg"&gt;&lt;IMG alt="" src="http://static.kvraudio.com/i/s/bbellwsystem.jpg"&gt;&lt;/A&gt; &lt;P&gt;Bryan Bell with a section of the Hancock&lt;BR&gt;patchbay 1983 (SoftTalk magazine) &lt;/P&gt;&lt;/DIV&gt;&lt;P&gt;I had an epiphany one morning when we were working in the studio. We were setting all of these things up. We had one panel with the 16 voices coming from the 4060 and we had the rack that came off the portable Minimoog and another rack that came off the portable keyboard. We made it so we could get the Oberheim Keyboard voices out and the Prophet voices out. And then we had another rack facing it with all the inputs. There was one panel that represented the 5 inputs to the Prophet, 8 inputs to the OB8, Minimoog #1, Minimoog #1, Odyssey # 1, Odyssey # 2, 2600 #1, etc. The outputs and inputs would change all the time so I thought to myself I'm just going to be patching stuff all day long. I really don't want to do that so that's when I started to imagine the automated patch bay so that Herbie could do it himself using an Apple 2 as the user interface. &lt;/P&gt;&lt;/DIV&gt;&lt;P class=niq&gt;&lt;STRONG&gt;How many people did you have working with you on the overall project?&lt;/STRONG&gt; &lt;/P&gt;&lt;DIV class=kvrinterviewanswer&gt;&lt;P&gt;I was the architect and main designer for the overall system and created the functional specifications for all of the devices and modifications. We had several key people play huge roles in creating custom components or doing modifications. Michael Larner (who later helped with development of the Studio 5 at Opcode) helped the code for the Z8000 system. John Viera did the Prophet 5 modifications, control voltage and Gate system matrix, clock divider and the first keyboard switching matrix for the vocoder. Keith Lofstrom (a genius chip designer and multi-patent holder) helped with the circuit design for the automated patchbay. We had a custom fabricator spin off from Tektronix fabricating the boards for the patch bays. Herbie paid for everything - none of the custom work was donated or done for endorsement deals. Will Alexander handled the Oberheim modifications. I also wrote all of the Apple 2 code, a portion of the Z8000 code and the Emu custom code. We had a system that included controller automated mixing. We got hold of the first SMPTE code readers for music so we could sync with video. Herbie could control everything using a lightpen on an Apple II. &lt;/P&gt;&lt;/DIV&gt;&lt;P class=niq&gt;&lt;STRONG&gt;What was the biggest problem that you encountered in working with the system?&lt;/STRONG&gt; &lt;/P&gt;&lt;DIV class=kvrinterviewanswer&gt;&lt;P&gt;The interfaces were very static sensitive and everything had to be powered up and powered down in a certain sequence. So if you had a static incident or you had a power up sequence error you could actually blow op-amps in the interfaces. Because we had to buffer everything. You couldn't just send voltages into a Prophet 5. We had to build a card with 5 op-amps to protect the Prophet 5 and those cards would blow up sometimes. I carried hundreds of buffer chips in static free tubes with me because they would blow so often. &lt;/P&gt;&lt;P&gt;We worked with the companies whenever we could, like Emu, Sequential Circuits, Moog, Oberheim and also the big Japanese firms like Yamaha, Roland and Korg to improve the products and provide input from Herbie and me. One of my first relationships was with Will Alexander, who modified the Oberheims for us (Note: Will went on to work for Keith Emerson and is currently the keyboard tech with Chuck Leavell with the Rolling Stones). We knew what we wanted and I got a real Oberheim guy to do it so I wouldn't damage their machines. &lt;/P&gt;&lt;/DIV&gt;&lt;P class=niq&gt;&lt;STRONG&gt;How did you end up working for Herbie for so long?&lt;/STRONG&gt; &lt;/P&gt;&lt;DIV class=kvrinterviewanswer&gt;&lt;P&gt;For me, the attraction of working with people like Herbie was the fact that they were willing to; a) learn something new and, b) make something new. Also he was one of the greatest living player/composers in the world. If he could visualize the role a device would play and it currently did not exist he would find the people to help him create it. I was very fortunate to be able to visualize some of those things with him and then build the team to create and implement them. Herbie was not afraid of a new frontier whether it was technical or musical. One of my favorite stories about Herbie was when he was moving from the funk band to Rockit. I said; "You know critics are not going to like what you are doing now with Rockit". He said; "Bryan, I am SO over this! My mother is still mad that I left the symphony to play jazz. Everyone was pissed when I left jazz and did Mwandishi and then when I did the Headhunters. I simply have to do what I have to do and I hope that enough people will figure it out eventually." &lt;/P&gt;&lt;P&gt;He has done this so many times in the past and he's still doing it… &lt;/P&gt;&lt;/DIV&gt;&lt;P class=niq&gt;&lt;STRONG&gt;Any final thoughts?&lt;/STRONG&gt; &lt;/P&gt;&lt;DIV class=kvrinterviewanswer&gt;&lt;P&gt;When I think back about what my career is it's about working for artists who are making a difference and my contribution was bringing the technology to make it better. When I first started out I met John and Herbie by luck and they happened to be in Miles Davis' bands. I thought they were the GUYS, so I sought out other people in those Miles bands whenever I could to help amplify their creativity. The first 10 years of my career I was able to work with other Miles alumni like, Weather Report, Wayne Shorter, Tony Williams, Ron Carter, Chick Corea Return to Forever, and others. It was awesome to experience each of those Miles guys after they had moved into the role of Leader of their own bands and to play a role to make cool technology to help them even do more. &lt;/P&gt;&lt;P&gt;As far as technology in music today, we always thought that it would become miniaturized over the years. In the 70s Herbie and I use to joke that someday we would make records on a laptop. Now Herbie's synth rig is a laptop, interface, two controllers and a Receptor and he often listens to multi-tracks masters on his laptop while traveling. It is nice to reflect and think that Herbie and I had some impact on helping bring that reality into existence. &lt;/P&gt;&lt;/DIV&gt;&lt;P&gt;&lt;STRONG&gt;Note:&lt;/STRONG&gt; If some of the features that Bryan designed into Herbie and John's systems sounds pretty basic, consider the fact that this was happening in the late 70s and very early 80s. The MIDI Spec wasn't published until 1983 and deployment of MIDI instruments took a few more years! Today most of the benefits that Bryan designed into rigs like Herbie's are part of the computer's operating system and taken for granted by most users. Like many pioneers Bryan has some scars to show for his efforts, but also lots of great stories. He is now working on a book. &lt;/P&gt;&lt;/DIV&gt;&lt;/DIV&gt;&lt;/DIV&gt;</description><pubDate>Mon, 12 Mar 2012 05:38:16 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>Do u think Illuminati produces all the top music videos?</title><link>http://forum.producersedgemagazine.com/Topic2028-8-1.aspx</link><description>Do u think Illuminati produces all the top music videos?&lt;br&gt;Was checking out the Billboard top 100 today... from Nicki Minaj to MIAs camel dance in Arabia all controlled produce by the Illuminati.&lt;br&gt;&lt;br&gt;Now tell me who likes chart topping "Turn All the Lights On" by T-pain... some sick beat over there!&lt;br&gt;&lt;br&gt;&lt;br&gt;&lt;br&gt;</description><pubDate>Sun, 11 Mar 2012 23:03:13 GMT</pubDate><dc:creator>Graham</dc:creator></item><item><title>Steinberg events (March 1-15, 2012)</title><link>http://forum.producersedgemagazine.com/Topic2025-8-1.aspx</link><description>&lt;TABLE style="TEXT-ALIGN: left; MARGIN: 0px" border=0 cellSpacing=0 cellPadding=0 width=618 align=left&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD width=36&gt;&lt;/TD&gt;&lt;TD class=content vAlign=top colSpan=2&gt;&lt;P&gt;&lt;STRONG&gt;Dear Steinberg Community,&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;If you feel like exchanging practical knowledge about Steinberg products with fellow users, please check out these events taking place in &lt;STRONG&gt;the first half of March.&lt;/STRONG&gt;&lt;/P&gt;&lt;/TD&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=113222&amp;amp;name=spacer.gif" width=36 height=16&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;!-- ############################### END CONTENTBLOCK ########################### --&gt;&lt;TR&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=113222&amp;amp;name=spacer.gif" width=36 height=18&gt;&lt;/TD&gt;&lt;TD colSpan=2&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=113222&amp;amp;name=spacer.gif" width=10 height=18&gt;&lt;/TD&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=113222&amp;amp;name=spacer.gif" width=36 height=18&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;!-- ############################### CONTENTBLOCK ############################### --&gt;&lt;TR&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=113222&amp;amp;name=spacer.gif" width=36 height=16&gt;&lt;/TD&gt;&lt;TD class=content colSpan=2&gt;&lt;IMG style="MARGIN-RIGHT: 10px" title="Club Cubase" alt="Club Cubase" align=left src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=113222&amp;amp;name=club_cubase.jpg" width=133 height=52&gt; &lt;P&gt;Club Cubase is a free interactive support group for users of all Steinberg software and hardware who meet at regularly scheduled times to share tips, tricks and insights into the world's most advanced digital audio workstation. There are chapters in cities all over North America where the informal and supportive atmosphere benefits both seasoned Cubase pros as well as the newest users. There is usually no charge for these meetings.&lt;/P&gt;&lt;/TD&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=113222&amp;amp;name=spacer.gif" width=36 height=16&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;!-- ############################### END CONTENTBLOCK ########################### --&gt;&lt;TR&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=113222&amp;amp;name=spacer.gif" width=36 height=18&gt;&lt;/TD&gt;&lt;TD colSpan=2&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=113222&amp;amp;name=spacer.gif" width=10 height=18&gt;&lt;/TD&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=113222&amp;amp;name=spacer.gif" width=36 height=18&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;!-- ############################### CONTENTBLOCK ############################### --&gt;&lt;TR&gt;&lt;TD width=36&gt;&lt;IMG alt=spacer src="http://rdir.steinberg.net/image?ci=573&amp;amp;mi=113222&amp;amp;name=spacer.gif" width=36 height=16&gt;&lt;/TD&gt;&lt;TD class=content colSpan=2&gt;&lt;H2&gt;&lt;STRONG&gt;Check out these dates:&lt;/STRONG&gt;&lt;/H2&gt;&lt;UL&gt;&lt;LI&gt;&lt;STRONG&gt;Washington DC, March 3, 2012, &lt;/STRONG&gt;at 2 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o2zz.v4ex7onfkk href="http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o2zz.v4ex7onfkk"&gt;&lt;/A&gt;the &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o30i.5b6tpe1jag href="http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o30i.5b6tpe1jag"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;Washington Music Center&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;This month we will take a look at the new features in Cubase 6.5 including Padshop, Retrologue, enhanced comping, audio quantize, FLAC, SoundCloud and much more. Steinberg representatives will be on hand to answer any of your Steinberg related questions. Washington Music Center is located at 11151 Veirs Mill Rd., Wheaton, MD 20902.&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;Salt Lake City UT, March 3, 2012, &lt;/STRONG&gt;at 7 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o30m.qqckqg2297 href="http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o30m.qqckqg2297"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;Guitar Center&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;This month’s topics include how to prepare your Cubase project for mastering and a discussion of audible mistakes in contemporary music. Guitar Center in Salt Lake City is located at 5728 S. Redwood Rd., Salt Lake City, UT 84123.&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;Orlando FL, March 5, 2012, &lt;/STRONG&gt;at 6:30 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o30k.2nkf9a6pka href="http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o30k.2nkf9a6pka"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;YRS MIDI Systems&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;YRS MIDI Systems is located at 172 Oxford Rd., Fern Park, FL 32730.&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;New Haven CT , March 6, 2012, &lt;/STRONG&gt;at 7 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o30o.m1b0ia2ui4 href="http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o30o.m1b0ia2ui4"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;Sam Ash Music&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;This month we will take a look at the new features in Cubase 6.5 including Padshop, Retrologue, enhanced comping, audio quantize, FLAC, SoundCloud and much more. Steinberg representatives will be on hand to answer any of your Steinberg related question. Sam Ash Music in New Haven is located at 95 Amity Rd. #1, New Haven, CT 06515.&lt;/SPAN&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;Bellevue WA , March 6, 2012, &lt;/STRONG&gt;from 2-4 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o30j.jmghcotd94 href="http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o30j.jmghcotd94"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;Bellevue American Music&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;Bellevue American Music and Steinberg North America are proud to announce a meet a rep session. Greg Ondo from Steinberg will be on hand to answer any of your questions regarding Steinberg software and hardware including Cubase 6.5. Bellevue American Music is located at 14340 NE 20th St., Bellevue, WA 98007.&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;Seattle WA, March 6, 2012, &lt;/STRONG&gt;at 7 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o30n.9xbvfi5irc href="http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o30n.9xbvfi5irc"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;Audio Logic Studios&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;This month we will take a look at the new features in Cubase 6.5 including Padshop, Retrologue, enhanced comping, audio quantize, FLAC, SoundCloud and much more. Steinberg representatives will be on hand to answer any of your Steinberg related question. Audio Logic Studios is located at 12047 31st Ave. NE, Seattle, WA 98125.&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;Totowa NJ , March 7, 2012, &lt;/STRONG&gt;at 7 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o30l.92aq7dooqp href="http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o30l.92aq7dooqp"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;Guitar Center&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;This month we will take a look at the new features in Cubase 6.5 including Padshop, Retrologue, enhanced comping, audio quantize, FLAC, SoundCloud and much more. Steinberg representatives will be on hand to answer any of your Steinberg related question. Guitar Center in Totowa is located at 1 US 46, Totowa, NJ 07512.&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;New York NY, March 8, 2012, &lt;/STRONG&gt;at 6 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o30h.l1ihdqi663 href="http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o30h.l1ihdqi663"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;Guitar Center Manhattan&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;This month we will take a look at the new features in Cubase 6.5 including Padshop, Retrologue, enhanced comping, audio quantize, FLAC, SoundCloud and much more. Steinberg representatives will be on hand to answer any of your Steinberg related question. Guitar Center in Manhattan is located at 25 W. 14th St., Manhattan, NY 10012.&lt;/SPAN&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;Orange County CA , March 13, 2012, &lt;/STRONG&gt;at 7 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o305.lkla2qm4sk href="http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o305.lkla2qm4sk"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;California Sound Studios&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;FONT size=1&gt;&lt;SPAN class=Stil1&gt;This month we will take a look at the new features in Cubase 6.5 including Padshop, Retrologue, enhanced comping, audio quantize, FLAC, SoundCloud and much more. Steinberg representatives will be on hand to answer any of your Steinberg related questions. California Sound Studios is located at 25651 Atlantic Ocean Dr. Suite A16, Lake Forest, CA 92630.&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;/FONT&gt;&lt;LI&gt;&lt;STRONG&gt;Phoenix AZ, March 13, 2012, &lt;/STRONG&gt;from 7-9 p.m.&lt;BR&gt;&lt;SPAN class=Stil1&gt;&lt;FONT size=1&gt;Highlights include Feature of the Month, Project of the Month, Mix of the Month and Studio RX. For agenda, location details and directions, please &lt;/FONT&gt;&lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o302.20wejo8g7q href="http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o302.20wejo8g7q"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023 size=1&gt;sign up to become a member&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;FONT size=1&gt;.&lt;/FONT&gt;&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;LI&gt;&lt;STRONG&gt;Detroit MI, March 15, 2012, &lt;/STRONG&gt;at 7 p.m. at &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o2zz.v4ex7onfkk href="http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o2zz.v4ex7onfkk"&gt;&lt;/A&gt;the &lt;A title=http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o309.dq3444p7k1 href="http://rdir.steinberg.net/r.html?uid=fx.2fd2.47k2.9o309.dq3444p7k1"&gt;&lt;STRONG&gt;&lt;FONT color=#c80023&gt;Recording Institute of Detroit&lt;/FONT&gt;&lt;/STRONG&gt;&lt;/A&gt;&lt;BR&gt;&lt;SPAN class=Stil1&gt;&lt;FONT size=1&gt;The Recording Institute of Detroit is located at 14611 E 9 Mile Rd, Eastpointe, MI 48021.&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/LI&gt;&lt;/UL&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Fri, 02 Mar 2012 14:39:29 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>The Thin Blue Line Released</title><link>http://forum.producersedgemagazine.com/Topic2021-8-1.aspx</link><description>The Thin Blue Line by Bluezone Corporation is a new cinematic sound library perfectly designed to suit war film scenarios: This downloadable sample pack contains backgrounds and ambiences, orchestral and oriental sounds, pure female vocals, explosion sounds, weapons sound effects and much more. It's a must-have for producers and sound designers for film, TV, Ambient and video game musics.&lt;/P&gt;&lt;P&gt;&lt;IMG src="http://forum.producersedgemagazine.com/Uploads/Images/25c90cce-6639-41b8-91b4-da18.jpg"&gt;&lt;/P&gt;&lt;P&gt;Now added to the releases of Bluezone Coporation, The Thin Blue Line pushes back the limits of composers with an amazing Cinematic sound library. Divided in 4 folders ( hits, instrument phrases and atmospheres, sound effects and textured vocals ), this sample pack is loaded with a precise choice of sound effects, i.e. rocket and gun shots, after-battle ambiences, tank explosions in background, moods, bomb and cannon blasts. This new royalty free sound bank also gives you a solid base for composing pieces with high atmospheric content. Furthermore you will find sophisticated female vocal samples which provides an overload of emotions. This Cinematic sound collection will provide the primary emotional connection to your visual imagery. Now you will be armed with a wide choice of audio tools never heard anywhere else before.&lt;/P&gt;&lt;P&gt;The library's contents are provided as 16 bit / 44.1 kHz wav files for download and Royalty Free. As all Bluezone sound libraries, you can use them in your productions without additional costs.&lt;/P&gt;&lt;P&gt;This sample pack is also suitable for style such as: Breaks, Dubstep, Ambient, Drum and Bass, Electronica, Film Soundtrack, Video Game Audio and much more.&lt;/P&gt;&lt;P&gt;The Thin Blue Line Contents:&lt;/P&gt;&lt;P&gt;• Cinematic Drum Hits&lt;BR&gt;• Phrases / Soundscapes / Atmospheres&lt;BR&gt;• Sound Effects&lt;BR&gt;• Textured Vocals&lt;/P&gt;&lt;P&gt;Technical Specifications :&lt;/P&gt;&lt;P&gt;• 644 MB Data / 215 Files&lt;BR&gt;• Format : WAV&lt;BR&gt;• Instant Download&lt;BR&gt;• Requires Winzip or similar utility to unpack&lt;BR&gt;• Suitable for use in all major sequencers&lt;BR&gt;• Royalty-Free with no extra cost&lt;BR&gt;• Ready to use in commercial production</description><pubDate>Thu, 01 Mar 2012 14:10:19 GMT</pubDate><dc:creator>Griffin Avid</dc:creator></item><item><title>BMI eBulletin:   Six Things To Do When Your Song Is Finished</title><link>http://forum.producersedgemagazine.com/Topic2020-8-1.aspx</link><description>&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px"&gt;&lt;IMG border=0 hspace=0 alt=ebulletin align=left src="http://i2.cmail1.com/ei/r/31/60C/E3F/010124/csimport/bg-header_1.jpg" width=600 height=93&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%" bgColor=#ffffff&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD vAlign=top width=436&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%" bgColor=#fafafa&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=25&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=25 height=1&gt;&lt;/TD&gt;&lt;TD&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=22&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 19px; FONT-SIZE: 16px" colSpan=2&gt;&lt;FONT style="LINE-HEIGHT: 19px; FONT-SIZE: 16px" color=#3c3c3c size=1 face="Arial, Helvetica, sans-serif"&gt;&lt;STRONG&gt;In this Issue&lt;/STRONG&gt; &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=9&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" vAlign=top width=12&gt;&lt;IMG border=0 hspace=0 alt="" align=left src="http://i3.cmail1.com/ei/r/31/60C/E3F/010124/csimport/bullet-01_2.gif" width=12 height=9&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 15px; FONT-SIZE: 12px"&gt;&lt;FONT style="LINE-HEIGHT: 15px; FONT-SIZE: 12px" color=#3c3c3c size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;&lt;A style="TEXT-DECORATION: none !important" title=outbind://3-0000000039B5B6B6DE92EF4CBB287F37BD3D959CA4033600/#555903 href="outbind://3-0000000039B5B6B6DE92EF4CBB287F37BD3D959CA4033600/#555903"&gt;&lt;FONT title=outbind://3-0000000039B5B6B6DE92EF4CBB287F37BD3D959CA4033600/#555903 color=#3c3c3c&gt;Six Things To Do When Your Song Is Finished&lt;/FONT&gt;&lt;/A&gt; &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=9&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" vAlign=top width=12&gt;&lt;IMG border=0 hspace=0 alt="" align=left src="http://i3.cmail1.com/ei/r/31/60C/E3F/010124/csimport/bullet-01_2.gif" width=12 height=9&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 15px; FONT-SIZE: 12px"&gt;&lt;FONT style="LINE-HEIGHT: 15px; FONT-SIZE: 12px" color=#3c3c3c size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;&lt;A style="TEXT-DECORATION: none !important" title=outbind://3-0000000039B5B6B6DE92EF4CBB287F37BD3D959CA4033600/#555905 href="outbind://3-0000000039B5B6B6DE92EF4CBB287F37BD3D959CA4033600/#555905"&gt;&lt;FONT title=outbind://3-0000000039B5B6B6DE92EF4CBB287F37BD3D959CA4033600/#555905 color=#3c3c3c&gt;Congress Passes Bill Standardizing Airline Rules for Musical Instrument Storage&lt;/FONT&gt;&lt;/A&gt; &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=9&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" vAlign=top width=12&gt;&lt;IMG border=0 hspace=0 alt="" align=left src="http://i3.cmail1.com/ei/r/31/60C/E3F/010124/csimport/bullet-01_2.gif" width=12 height=9&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 15px; FONT-SIZE: 12px"&gt;&lt;FONT style="LINE-HEIGHT: 15px; FONT-SIZE: 12px" color=#3c3c3c size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;&lt;A style="TEXT-DECORATION: none !important" title=outbind://3-0000000039B5B6B6DE92EF4CBB287F37BD3D959CA4033600/#555720 href="outbind://3-0000000039B5B6B6DE92EF4CBB287F37BD3D959CA4033600/#555720"&gt;&lt;FONT title=outbind://3-0000000039B5B6B6DE92EF4CBB287F37BD3D959CA4033600/#555720 color=#3c3c3c&gt;Songwriter Business News&lt;/FONT&gt;&lt;/A&gt; &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=9&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" vAlign=top width=12&gt;&lt;IMG border=0 hspace=0 alt="" align=left src="http://i3.cmail1.com/ei/r/31/60C/E3F/010124/csimport/bullet-01_2.gif" width=12 height=9&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 15px; FONT-SIZE: 12px"&gt;&lt;FONT style="LINE-HEIGHT: 15px; FONT-SIZE: 12px" color=#3c3c3c size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;&lt;A style="TEXT-DECORATION: none !important" title=outbind://3-0000000039B5B6B6DE92EF4CBB287F37BD3D959CA4033600/#555869 href="outbind://3-0000000039B5B6B6DE92EF4CBB287F37BD3D959CA4033600/#555869"&gt;&lt;FONT title=outbind://3-0000000039B5B6B6DE92EF4CBB287F37BD3D959CA4033600/#555869 color=#3c3c3c&gt;MusicWorld: songwriter news, Q&amp;amp;A’s, advice &amp;amp; more&lt;/FONT&gt;&lt;/A&gt; &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=51&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=51 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=3&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=27&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#ebebeb colSpan=3&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=25&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=25 height=1&gt;&lt;/TD&gt;&lt;TD&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=22&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 25px; FONT-SIZE: 21px" colSpan=2&gt;&lt;STRONG&gt;&lt;A style="TEXT-DECORATION: none !important" name=555903&gt;&lt;/A&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/r/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/r/"&gt;&lt;FONT style="LINE-HEIGHT: 25px; FONT-SIZE: 21px" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/r/ color=#535353 size=1 face="Arial, Helvetica, sans-serif"&gt;Six Things To Do When Your Song Is Finished&lt;/FONT&gt;&lt;/A&gt;&lt;/STRONG&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=10&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 15px; PADDING-RIGHT: 20px; FONT-SIZE: 12px" colSpan=2&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 align=left&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 align=left&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#282828 colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#282828 colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=4&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#010101 width=5&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=5 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px"&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/y/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/y/"&gt;&lt;IMG title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/y/ border=0 hspace=0 alt=thumbnail align=left src="http://i4.cmail1.com/ei/r/31/60C/E3F/010124/csimport/six_featured-141x80_3.jpg" width=141 height=80&gt; &lt;/A&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#010101 width=4&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=4 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#202020 width=1&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#282828 colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=4&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#282828 colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=8&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px"&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=20 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;FONT style="LINE-HEIGHT: 21px; FONT-SIZE: 12px" color=#494949 size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;By Cliff Goldmacher&lt;BR&gt;&lt;P&gt;While having a finished song is its own victory, there’s more work to do if you’re hoping to keep your records straight, stay organized and possibly generate income with your song. &lt;/P&gt;&lt;P&gt;Knowing when a song is finished is an entire article in and of itself, so I’m going to predicate these comments on the understanding that your song is, indeed, done. While having a finished song is its own victory, there’s more work to do if you’re hoping to keep your records straight, stay organized and possibly generate income with your song. By treating your songwriting like the profit-making business you’re hoping it will become, you’ll be in a position to capitalize on your opportunities as they arise. 1. Finalize Your Lyric Sheet. An accurate lyric sheet is a great place to start once your song is done. Use this lyric sheet to capture all the pertinent information about your new song. At the bottom… &lt;/FONT&gt;&lt;/P&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=17&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 15px; FONT-SIZE: 12px"&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=25&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=25 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=27&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#e2e2e2 width=1&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;TD vAlign=top width=163&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; 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FONT-SIZE: 16px"&gt;&lt;FONT style="LINE-HEIGHT: 19px; FONT-SIZE: 16px" color=#3c3c3c size=1 face="Arial, Helvetica, sans-serif"&gt;&lt;STRONG&gt;Account&lt;/STRONG&gt; &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=6&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=7&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=7 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 15px; FONT-SIZE: 12px"&gt;&lt;FONT style="LINE-HEIGHT: 15px; FONT-SIZE: 12px" color=#3c3c3c size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/j/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/j/"&gt;&lt;FONT title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/j/ color=#3c3c3c&gt;Login Now&lt;/FONT&gt;&lt;/A&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; 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FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=6&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=7&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=7 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 19px; FONT-SIZE: 16px"&gt;&lt;FONT style="LINE-HEIGHT: 19px; FONT-SIZE: 16px" color=#3c3c3c size=1 face="Arial, Helvetica, sans-serif"&gt;&lt;STRONG&gt;Calendar&lt;/STRONG&gt; &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=6&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=7&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=7 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 15px; FONT-SIZE: 12px"&gt;&lt;FONT style="LINE-HEIGHT: 15px; FONT-SIZE: 12px" color=#3c3c3c size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/d/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/d/"&gt;&lt;FONT title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/d/ color=#3c3c3c&gt;Upcoming Events&lt;/FONT&gt;&lt;/A&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=7&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=7&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=7 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 15px; FONT-SIZE: 12px"&gt;&lt;FONT style="LINE-HEIGHT: 15px; FONT-SIZE: 12px" color=#3c3c3c size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/h/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/h/"&gt;&lt;FONT title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/h/ color=#3c3c3c&gt;Showcases&lt;/FONT&gt;&lt;/A&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=7&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=7&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=7 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 15px; FONT-SIZE: 12px"&gt;&lt;FONT style="LINE-HEIGHT: 15px; FONT-SIZE: 12px" color=#3c3c3c size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/k/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/k/"&gt;&lt;FONT title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/k/ color=#3c3c3c&gt;Workshops&lt;/FONT&gt;&lt;/A&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=12&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=12 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=4&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=18&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#ebebeb colSpan=4&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=4&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=22&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=14&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=14 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" vAlign=top width=27&gt;&lt;IMG border=0 hspace=0 alt="" align=left src="http://i7.cmail1.com/ei/r/31/60C/E3F/010124/csimport/ico-royalties_6.gif" width=27 height=22&gt;&lt;/TD&gt;&lt;TD vAlign=top width=110&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=6&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=7&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=7 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 19px; FONT-SIZE: 16px"&gt;&lt;FONT style="LINE-HEIGHT: 19px; FONT-SIZE: 16px" color=#3c3c3c size=1 face="Arial, Helvetica, sans-serif"&gt;&lt;STRONG&gt;Royalties&lt;/STRONG&gt; &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=6&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=7&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=7 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 15px; FONT-SIZE: 12px"&gt;&lt;FONT style="LINE-HEIGHT: 15px; FONT-SIZE: 12px" color=#3c3c3c size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/u/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/u/"&gt;&lt;FONT title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/u/ color=#3c3c3c&gt;How We Pay&lt;/FONT&gt;&lt;/A&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=7&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD colSpan=2&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#f1f1f1 width=7&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=7 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 15px; FONT-SIZE: 12px" bgColor=#f1f1f1&gt;&lt;FONT style="LINE-HEIGHT: 18px; FONT-SIZE: 12px" color=#3c3c3c size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;&lt;STRONG&gt;Payments&lt;/STRONG&gt; &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#ececec colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD colSpan=2&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#ececec width=1&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=6&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=6 height=1&gt;&lt;/TD&gt;&lt;TD&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%" bgColor=#ffffff&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=5&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" vAlign=top width=10&gt;&lt;IMG border=0 hspace=0 alt="" align=left src="http://i8.cmail1.com/ei/r/31/60C/E3F/010124/csimport/bullet-02_7.gif" width=10 height=11&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 14px; FONT-SIZE: 11px"&gt;&lt;FONT style="LINE-HEIGHT: 14px; FONT-SIZE: 11px" color=#3c3c3c size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;&lt;FONT color=#3c3c3c&gt;Last: 1.13.12&lt;/FONT&gt; &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=8&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" vAlign=top width=10&gt;&lt;IMG border=0 hspace=0 alt="" align=left src="http://i8.cmail1.com/ei/r/31/60C/E3F/010124/csimport/bullet-02_7.gif" width=10 height=11&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 14px; FONT-SIZE: 11px"&gt;&lt;FONT style="LINE-HEIGHT: 14px; FONT-SIZE: 11px" color=#3c3c3c size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;&lt;FONT color=#3c3c3c&gt;Next: 3.23.12&lt;/FONT&gt; &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=6&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#ececec width=1&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#ececec height=1 colSpan=4&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=12&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=12 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=4&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=11&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#ebebeb colSpan=4&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=4&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=26&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=14&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=14 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" vAlign=top width=27&gt;&lt;IMG border=0 hspace=0 alt="" align=left src="http://i9.cmail1.com/ei/r/31/60C/E3F/010124/csimport/ico-discount_8.gif" width=27 height=25&gt;&lt;/TD&gt;&lt;TD vAlign=top width=110&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=3&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=7&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=7 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 19px; FONT-SIZE: 16px"&gt;&lt;FONT style="LINE-HEIGHT: 19px; FONT-SIZE: 16px" color=#3c3c3c size=1 face="Arial, Helvetica, sans-serif"&gt;&lt;STRONG&gt;Discounts&lt;/STRONG&gt; &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=6&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=7&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=7 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 15px; FONT-SIZE: 12px"&gt;&lt;FONT style="LINE-HEIGHT: 15px; FONT-SIZE: 12px" color=#3c3c3c size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/o/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/o/"&gt;&lt;FONT title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/o/ color=#3c3c3c&gt;Save Now&lt;/FONT&gt;&lt;/A&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=12&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=12 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=4&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=18&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#ebebeb colSpan=4&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=4&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=26&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=14&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=14 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" vAlign=top width=27&gt;&lt;IMG border=0 hspace=0 alt="" align=left src="http://i10.cmail1.com/ei/r/31/60C/E3F/010124/csimport/ico-creators_9.gif" width=27 height=26&gt;&lt;/TD&gt;&lt;TD vAlign=top width=110&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=3&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=7&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=7 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 19px; FONT-SIZE: 16px"&gt;&lt;FONT style="LINE-HEIGHT: 19px; FONT-SIZE: 16px" color=#3c3c3c size=1 face="Arial, Helvetica, sans-serif"&gt;&lt;STRONG&gt;Creators&lt;/STRONG&gt; &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=6&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=7&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=7 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 15px; FONT-SIZE: 12px"&gt;&lt;FONT style="LINE-HEIGHT: 15px; FONT-SIZE: 12px" color=#3c3c3c size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/b/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/b/"&gt;&lt;FONT title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/b/ color=#3c3c3c&gt;Career Advice&lt;/FONT&gt;&lt;/A&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=7&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=7&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=7 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 15px; FONT-SIZE: 12px"&gt;&lt;FONT style="LINE-HEIGHT: 15px; FONT-SIZE: 12px" color=#3c3c3c size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/n/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/n/"&gt;&lt;FONT title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/n/ color=#3c3c3c&gt;Business Sense&lt;/FONT&gt;&lt;/A&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=12&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=12 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=4&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=18&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#ebebeb colSpan=4&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=4&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=24&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=14&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=14 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" vAlign=top width=27&gt;&lt;IMG border=0 hspace=0 alt="" align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/ico-community_10.gif" width=27 height=22&gt;&lt;/TD&gt;&lt;TD vAlign=top width=110&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=3&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=7&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=7 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 19px; FONT-SIZE: 16px"&gt;&lt;FONT style="LINE-HEIGHT: 19px; FONT-SIZE: 16px" color=#3c3c3c size=1 face="Arial, Helvetica, sans-serif"&gt;&lt;STRONG&gt;Community&lt;/STRONG&gt; &lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=6&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=7&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=7 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 15px; FONT-SIZE: 12px"&gt;&lt;FONT style="LINE-HEIGHT: 15px; FONT-SIZE: 12px" color=#3c3c3c size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/p/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/p/"&gt;&lt;FONT title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/p/ color=#3c3c3c&gt;Songwriter101&lt;/FONT&gt;&lt;/A&gt;&lt;/FONT&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=2&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=14&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD colSpan=2&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=7&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=7 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=21&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/x/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/x/"&gt;&lt;IMG title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/x/ border=0 hspace=0 alt=twitter align=left src="http://i2.cmail1.com/ei/r/31/60C/E3F/010124/csimport/ico-twitter_11.gif" width=21 height=20&gt;&lt;/A&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=5&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=5 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=21&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/m/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/m/"&gt;&lt;IMG title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/m/ border=0 hspace=0 alt=facebook align=left src="http://i3.cmail1.com/ei/r/31/60C/E3F/010124/csimport/ico-facebook_12.gif" width=20 height=21&gt;&lt;/A&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=5&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=5 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=21&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/c/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/c/"&gt;&lt;IMG title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/c/ border=0 hspace=0 alt=myspace align=left src="http://i4.cmail1.com/ei/r/31/60C/E3F/010124/csimport/ico-myspace_13.gif" width=21 height=21&gt;&lt;/A&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=5&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=5 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=21&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/q/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/q/"&gt;&lt;IMG title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/q/ border=0 hspace=0 alt=linkedin align=left src="http://i5.cmail1.com/ei/r/31/60C/E3F/010124/csimport/ico-linkedin_14.gif" width=21 height=21&gt;&lt;/A&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px"&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=12&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=12 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=4&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=18&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#e0e0e0 colSpan=3&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD colSpan=3&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=3&gt;&lt;IMG border=0 hspace=0 alt="" align=left src="http://i6.cmail1.com/ei/r/31/60C/E3F/010124/csimport/bg-block_15.gif" width=600 height=30&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=25&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=25 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 15px; FONT-SIZE: 12px"&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 align=left&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 align=left&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#282828 colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#282828 colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=4&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#010101 width=5&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=5 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px"&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/a/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/a/"&gt;&lt;IMG title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/a/ border=0 hspace=0 alt=thumbnail align=left src="http://i7.cmail1.com/ei/r/31/60C/E3F/010124/csimport/congress_featured-190x108_16.jpg" width=190 height=108&gt; &lt;/A&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#010101 width=4&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=4 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#202020 width=1&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#282828 colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=4&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#282828 colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=12&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px"&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=24 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;STRONG&gt;&lt;A style="TEXT-DECORATION: none !important" name=555905&gt;&lt;/A&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/f/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/f/"&gt;&lt;FONT style="LINE-HEIGHT: 24px; FONT-SIZE: 18px" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/f/ color=#535353 size=1 face="Arial, Helvetica, sans-serif"&gt;Congress Passes Bill Standardizing Airline Rules for Musical Instrument Storage&lt;/FONT&gt;&lt;/A&gt;&lt;/STRONG&gt;&lt;BR&gt;&lt;FONT style="LINE-HEIGHT: 21px; FONT-SIZE: 12px" color=#000000 size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;&lt;P&gt;Traveling musicians got a big boost from Congress last month with the passage of a sweeping Federal Aviation Administration reauthorization bill that includes new universal standards for storing instruments in flight. Pending issuance of final regulations, the amended law will, among other things, allow travelers to carry aboard any instrument or related gear that can be safely stored in the cabin, rather than risk it being damaged in the plane’s cargo hold or during baggage handling. Included as an amendment to section 403 (“Musical Instruments”) of the FAA Modernization and Reform Act of 2012 (H.R. 658), the bill… &lt;/FONT&gt;&lt;/P&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=10&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=10 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=3&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=25&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#e0e0e0 colSpan=3&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=3&gt;&lt;IMG border=0 hspace=0 alt="" align=left src="http://i6.cmail1.com/ei/r/31/60C/E3F/010124/csimport/bg-block_15.gif" width=600 height=30&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=25&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=25 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 15px; FONT-SIZE: 12px"&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 align=left&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 align=left&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#282828 colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#282828 colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=4&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#010101 width=5&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=5 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px"&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/z/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/z/"&gt;&lt;IMG title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/z/ border=0 hspace=0 alt=thumbnail align=left src="http://i8.cmail1.com/ei/r/31/60C/E3F/010124/csimport/sbn-190x108_17.jpg" width=190 height=108&gt; &lt;/A&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#010101 width=4&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=4 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#202020 width=1&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#282828 colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=4&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#282828 colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=12&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px"&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=24 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;STRONG&gt;&lt;A style="TEXT-DECORATION: none !important" name=555720&gt;&lt;/A&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/v/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/v/"&gt;&lt;FONT style="LINE-HEIGHT: 24px; FONT-SIZE: 18px" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/v/ color=#535353 size=1 face="Arial, Helvetica, sans-serif"&gt;Songwriter Business News&lt;/FONT&gt;&lt;/A&gt;&lt;/STRONG&gt;&lt;BR&gt;&lt;FONT style="LINE-HEIGHT: 21px; FONT-SIZE: 12px" color=#000000 size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;Important stories for working songwriters: Billboard highlights the music that made the 2012 SuperBowl ads. The New York Times looks at the relationship between songs and the politicians who use them. The iHeartRadio app now includes college stations, and Rolling Stone helps spread the good news. Cloud music’s future was discussed at midem 2012 in Cannes, and for those of us unable to fly to France for the summit, Billboard.biz breaks down the debate. The Verge sizes up the CyberStep KDJ-ONE, a mobile music creation device that generated buzz… &lt;/FONT&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=10&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=10 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=3&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=25&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#e0e0e0 colSpan=3&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=3&gt;&lt;IMG border=0 hspace=0 alt="" align=left src="http://i6.cmail1.com/ei/r/31/60C/E3F/010124/csimport/bg-block_15.gif" width=600 height=30&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=25&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=25 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 15px; FONT-SIZE: 12px"&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 align=left&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 align=left&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#282828 colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#282828 colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=4&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#010101 width=5&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=5 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px"&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/e/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/e/"&gt;&lt;IMG title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/e/ border=0 hspace=0 alt=thumbnail align=left src="http://i9.cmail1.com/ei/r/31/60C/E3F/010124/csimport/sandy_vee_feature-190x108_18.jpg" width=190 height=108&gt; &lt;/A&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#010101 width=4&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=4 height=1&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#202020 width=1&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#282828 colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=4&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" bgColor=#282828 colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=4&gt;&lt;IMG hspace=0 align=left src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=12&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px"&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=24 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;STRONG&gt;&lt;A style="TEXT-DECORATION: none !important" name=555869&gt;&lt;/A&gt;&lt;A style="TEXT-DECORATION: none !important" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/s/ href="http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/s/"&gt;&lt;FONT style="LINE-HEIGHT: 24px; FONT-SIZE: 18px" title=http://lists.bmi.com/t/r/l/dyidkdd/chkitudkt/s/ color=#535353 size=1 face="Arial, Helvetica, sans-serif"&gt;MusicWorld: songwriter news, Q&amp;amp;A’s, advice &amp;amp; more&lt;/FONT&gt;&lt;/A&gt;&lt;/STRONG&gt;&lt;BR&gt;&lt;FONT style="LINE-HEIGHT: 21px; FONT-SIZE: 12px" color=#000000 size=1 face="'Lucida Sans Unicode', Arial, sans-serif"&gt;Check out the new issue of BMI MusicWorld, featuring… Important stories for working songwriters from Wired, Rolling Stone, Billboard and more. Sandy Vee: “You’re a beatmaker? Cool. Just pick up a guitar or bass, and learn. You will need something else because we’re talking about music, not just beats." Xenia: "Being on ‘The Voice,’ especially having someone like Blake Shelton believe in me, gave me the confidence to just be me. I wasn’t afraid anymore." Craig Morgan: "The real prolific and sure-enough-making-a-living songwriters have taken their… &lt;/FONT&gt;&lt;/TD&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" width=10&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=10 height=1&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 0; FONT-SIZE: 0px" colSpan=3&gt;&lt;IMG src="http://i1.cmail1.com/ei/r/31/60C/E3F/010124/csimport/pixel_0.gif" width=1 height=45&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Thu, 01 Mar 2012 13:49:19 GMT</pubDate><dc:creator>Griffin Avid</dc:creator></item><item><title>Line 6: Variax guitars are now widely available</title><link>http://forum.producersedgemagazine.com/Topic2017-8-1.aspx</link><description>&lt;TABLE id=Table_01 border=0 cellSpacing=0 cellPadding=0 width=626 align=center height=997&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD bgColor=#e1e1e1 colSpan=4&gt;&lt;A style="COLOR: #c1272d; TEXT-DECORATION: none" title=http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D6xj9G-HWRbs%26list%3DUU3mJu814VC6W93BmiXFELDw%26index%3D3%26feature%3Dplpp_video href="http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D6xj9G-HWRbs%26list%3DUU3mJu814VC6W93BmiXFELDw%26index%3D3%26feature%3Dplpp_video"&gt;&lt;IMG title=http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D6xj9G-HWRbs%26list%3DUU3mJu814VC6W93BmiXFELDw%26index%3D3%26feature%3Dplpp_video border=0 alt="Experience James Tyler Variax" src="http://line6.com/data/l/0a06434dbc674f46ae610aba2/image/jpg/main_jtv_hero.jpg" width=626 height=307 ="/"&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD bgColor=#e1e1e1 height=6 width=626 colSpan=4&gt;&lt;IMG alt="" src="http://line6.com/data/l/0a06434dbc674f46ae610aba2/image/gif/spacer.gif" width=626 height=6 ="/"&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD bgColor=#e1e1e1 height=7 vAlign=top colSpan=4&gt;&lt;P style="PADDING-RIGHT: 10px; FONT-FAMILY: Verdana, Geneva, sans-serif; COLOR: #333333; FONT-SIZE: 12px; -webkit-text-size-adjust: none" class=bodytext&gt;If you’ve ever dreamed of having a single instrument that could produce nearly every tone imaginable, James Tyler&lt;SPAN style="FONT-SIZE: 9px; VERTICAL-ALIGN: super" class=trademark&gt;®&lt;/SPAN&gt; Variax&lt;SPAN style="FONT-SIZE: 9px; VERTICAL-ALIGN: super" class=trademark&gt;®&lt;/SPAN&gt; is the answer. By combining 28 vintage instruments into one premium guitar, James Tyler Variax goes far beyond every other instrument you’ve ever experienced—and opens up new realms of creativity. Variax guitars are now widely available, so read on to see why leading artists and reviewers are so excited about them, then check them out at your favorite Line 6 reseller. &lt;/P&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD bgColor=#e1e1e1 height=13 colSpan=4&gt;&lt;IMG alt="" src="http://line6.com/data/l/0a06434dbc674f46ae610aba2/image/jpg/hr_line.jpg" width=626 height=29 ="/"&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="PADDING-RIGHT: 10px; FONT-FAMILY: Verdana, Geneva, sans-serif; COLOR: #333333; FONT-SIZE: 12px; -webkit-text-size-adjust: none" class=bodytext bgColor=#e1e1e1 height=147 vAlign=top width=415 colSpan=2&gt;&lt;SPAN style="PADDING-RIGHT: 10px; FONT-FAMILY: Verdana, Geneva, sans-serif; COLOR: #333333; FONT-SIZE: 12px; -webkit-text-size-adjust: none" class=bodytext&gt;&lt;A style="COLOR: #c1272d; TEXT-DECORATION: none" title=http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D6xj9G-HWRbs%26list%3DUU3mJu814VC6W93BmiXFELDw%26index%3D3%26feature%3Dplpp_video href="http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D6xj9G-HWRbs%26list%3DUU3mJu814VC6W93BmiXFELDw%26index%3D3%26feature%3Dplpp_video"&gt;&lt;IMG title=http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D6xj9G-HWRbs%26list%3DUU3mJu814VC6W93BmiXFELDw%26index%3D3%26feature%3Dplpp_video border=0 alt="See James Tyler Variax in Action" src="http://line6.com/data/l/0a06434dbc674f46ae610aba2/image/jpg/see_jtv_in_action.jpg" width=395 height=24 ="/"&gt;&lt;/A&gt;&lt;BR&gt;Let session guitarist, producer and Line 6 Lead Demonstrator Sean Halley show you how James Tyler Variax gives you incredible levels of flexibility—and will transform the way you perform and record.  &lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;A style="COLOR: #c1272d; TEXT-DECORATION: none" title=http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D6xj9G-HWRbs%26list%3DUU3mJu814VC6W93BmiXFELDw%26index%3D3%26feature%3Dplpp_video href="http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D6xj9G-HWRbs%26list%3DUU3mJu814VC6W93BmiXFELDw%26index%3D3%26feature%3Dplpp_video"&gt;&lt;U title=http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D6xj9G-HWRbs%26list%3DUU3mJu814VC6W93BmiXFELDw%26index%3D3%26feature%3Dplpp_video&gt;Watch video&lt;/U&gt;&lt;/A&gt;&lt;/TD&gt;&lt;TD bgColor=#e1e1e1 height=147 vAlign=top width=211 colSpan=2&gt;&lt;A style="COLOR: #c1272d; TEXT-DECORATION: none" title=http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D6xj9G-HWRbs%26list%3DUU3mJu814VC6W93BmiXFELDw%26index%3D3%26feature%3Dplpp_video href="http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D6xj9G-HWRbs%26list%3DUU3mJu814VC6W93BmiXFELDw%26index%3D3%26feature%3Dplpp_video"&gt;&lt;IMG title=http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3D6xj9G-HWRbs%26list%3DUU3mJu814VC6W93BmiXFELDw%26index%3D3%26feature%3Dplpp_video border=0 alt="James Tyler Variax Video" align=right src="http://line6.com/data/l/0a06434dbc674f46ae610aba2/image/jpg/jtv_video.jpg" width=211 height=120 ="/"&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD bgColor=#e1e1e1 colSpan=4&gt;&lt;IMG alt="" src="http://line6.com/data/l/0a06434dbc674f46ae610aba2/image/jpg/hr_line.jpg" width=626 height=29 ="/"&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;IMG alt="" src="http://line6.com/data/l/0a06434dbc674f46ae610aba2/image/jpg/JTVemailContent_tables_06.jpg" width=1 height=127 ="/"&gt;&lt;/TD&gt;&lt;TD bgColor=#e1e1e1 height=127 vAlign=top width=514 colSpan=2&gt;&lt;A style="COLOR: #c1272d; TEXT-DECORATION: none" title=http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.guitarplayer.com%2Farticle%2Fline-6-james-tyler-variax-jtv-69us%2F4595 href="http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.guitarplayer.com%2Farticle%2Fline-6-james-tyler-variax-jtv-69us%2F4595"&gt;&lt;IMG title=http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.guitarplayer.com%2Farticle%2Fline-6-james-tyler-variax-jtv-69us%2F4595 border=0 alt="JTV Wind Guitar Player Editors Pick Award" src="http://line6.com/data/l/0a06434dbc674f46ae610aba2/image/jpg/jtv_wins_gp_award.jpg" width=490 height=29 ="/"&gt;&lt;/A&gt;&lt;BR&gt;&lt;SPAN style="PADDING-RIGHT: 10px; FONT-FAMILY: Verdana, Geneva, sans-serif; COLOR: #333333; FONT-SIZE: 12px; -webkit-text-size-adjust: none" class=bodytext&gt;According to reviewer and renowned guitarist Paul Allen, "The JTV-69US is a scrapbook of all the quintessential classic guitar sounds, yet it simultaneously delivers virtually limitless possibilities for the guitar tones of tomorrow.” &lt;BR&gt;&lt;BR&gt;&lt;A style="COLOR: #c1272d; TEXT-DECORATION: none" title=http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.guitarplayer.com%2Farticle%2Fline-6-james-tyler-variax-jtv-69us%2F4595 href="http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.guitarplayer.com%2Farticle%2Fline-6-james-tyler-variax-jtv-69us%2F4595"&gt;&lt;U title=http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.guitarplayer.com%2Farticle%2Fline-6-james-tyler-variax-jtv-69us%2F4595&gt;Read full review&lt;/U&gt;&lt;/A&gt;&lt;/SPAN&gt;&lt;/TD&gt;&lt;TD bgColor=#e1e1e1 height=127 width=111&gt;&lt;A style="COLOR: #c1272d; TEXT-DECORATION: none" title=http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.guitarplayer.com%2Farticle%2Fline-6-james-tyler-variax-jtv-69us%2F4595 href="http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.guitarplayer.com%2Farticle%2Fline-6-james-tyler-variax-jtv-69us%2F4595"&gt;&lt;IMG title=http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fwww.guitarplayer.com%2Farticle%2Fline-6-james-tyler-variax-jtv-69us%2F4595 border=0 alt="JTV Wind Guitar Player Editors Pick Award" src="http://line6.com/data/l/0a06434dbc674f46ae610aba2/image/jpg/editorspick.jpg" width=109 height=127 ="/"&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD colSpan=4&gt;&lt;IMG alt="" src="http://line6.com/data/l/0a06434dbc674f46ae610aba2/image/jpg/hr_line2.jpg" width=626 height=26 ="/"&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD bgColor=#e1e1e1&gt;&lt;IMG alt="" src="http://line6.com/data/l/0a06434dbc674f46ae610aba2/image/gif/spacer.gif" width=1 height=1 ="/"&gt;&lt;/TD&gt;&lt;TD bgColor=#e1e1e1 height=145 vAlign=top width=414&gt;&lt;A style="COLOR: #c1272d; TEXT-DECORATION: none" title=http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fblog.line6.com%2F2012%2Fhow-the-james-tyler-variax-saved-a-film-scoring-session%2F href="http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fblog.line6.com%2F2012%2Fhow-the-james-tyler-variax-saved-a-film-scoring-session%2F"&gt;&lt;IMG title=http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fblog.line6.com%2F2012%2Fhow-the-james-tyler-variax-saved-a-film-scoring-session%2F border=0 alt="Pro Tip: Save a Session with Virtual Capo" src="http://line6.com/data/l/0a06434dbc674f46ae610aba2/image/jpg/protip_virtualcaposaves_session.jpg" width=338 height=29 ="/"&gt;&lt;/A&gt;&lt;BR&gt;&lt;SPAN style="PADDING-RIGHT: 10px; FONT-FAMILY: Verdana, Geneva, sans-serif; COLOR: #333333; FONT-SIZE: 12px; -webkit-text-size-adjust: none" class=bodytext&gt;&lt;IMG alt=spacergif align=right src="http://line6.com/data/l/0a06434dbc674f46ae610aba2/image/gif/spacer.gif" width=10 height=100 ="/"&gt;&lt;SPAN style="PADDING-RIGHT: 10px; FONT-FAMILY: Verdana, Geneva, sans-serif; COLOR: #333333; FONT-SIZE: 12px; -webkit-text-size-adjust: none" class=bodytext1&gt;See how Sean Halley used the unique Virtual Capo feature to tune his JTV-69 guitar down an octave—enabling him to get a sinister tone without sacrificing playability.&lt;/SPAN&gt;&lt;BR&gt;&lt;BR&gt;&lt;U&gt;&lt;A style="COLOR: #c1272d; TEXT-DECORATION: none" title=http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fblog.line6.com%2F2012%2Fhow-the-james-tyler-variax-saved-a-film-scoring-session%2F href="http://line6.com/mailer/click/f99ca763aea861f1/?url=http%3A%2F%2Fblog.line6.com%2F2012%2Fhow-the-james-tyler-variax-saved-a-film-scoring-session%2F"&gt;Read more&lt;/A&gt;&lt;/U&gt;&lt;/SPAN&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Thu, 01 Mar 2012 11:31:49 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>SONNOX OFFERS 35% DISCOUNT IN SPRING SALE</title><link>http://forum.producersedgemagazine.com/Topic2016-8-1.aspx</link><description>&lt;P style="TEXT-ALIGN: center; MARGIN: 0in 0in 0pt" class=MsoNormal align=center&gt;&lt;B style="mso-bidi-font-weight: normal"&gt;&lt;FONT color=#000000&gt;&lt;FONT size=3&gt;&lt;FONT face="Times New Roman"&gt;SONNOX OFFERS 35% DISCOUNT IN SPRING SALE &lt;?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/FONT&gt;&lt;/FONT&gt;&lt;/FONT&gt;&lt;/B&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: center; MARGIN: 0in 0in 0pt" class=MsoNormal align=center&gt;&lt;B style="mso-bidi-font-weight: normal"&gt;&lt;o:p&gt;&lt;FONT color=#000000 size=3 face="Times New Roman"&gt; &lt;/FONT&gt;&lt;/o:p&gt;&lt;/B&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: center; MARGIN: 0in 0in 0pt" class=MsoNormal align=center&gt;&lt;B style="mso-bidi-font-weight: normal"&gt;&lt;o:p&gt;&lt;FONT color=#000000 size=3 face="Times New Roman"&gt;&lt;IMG src="http://forum.producersedgemagazine.com/Uploads/Images/1a24fbd5-5536-4e78-81c9-341.jpeg"&gt; &lt;/FONT&gt;&lt;/o:p&gt;&lt;/B&gt;&lt;/P&gt;&lt;P style="MARGIN: 0in 0in 0pt" class=MsoNormal&gt;&lt;B style="mso-bidi-font-weight: normal"&gt;&lt;o:p&gt;&lt;FONT color=#000000 size=3 face="Times New Roman"&gt; &lt;/FONT&gt;&lt;/o:p&gt;&lt;/B&gt;&lt;/P&gt;&lt;P style="MARGIN: 0in 0in 0pt" class=MsoNormal&gt;&lt;FONT size=3&gt;&lt;FONT face="Times New Roman"&gt;&lt;FONT color=#000000&gt;&lt;B style="mso-bidi-font-weight: normal"&gt;OXFORD, UK: &lt;/B&gt;In a special pre-Easter holiday promotion, Sonnox is offering a rare 35% price reduction &lt;/FONT&gt;&lt;SPAN style="mso-bidi-font-size: 10.5pt"&gt;&lt;FONT color=#000000&gt;on all plug-ins and bundles throughout the month of March. Available from authorized resellers as well as the &lt;/FONT&gt;&lt;A href="http://www.sonnox.com/"&gt;Sonnox website&lt;/A&gt;&lt;FONT color=#000000&gt;, &lt;/FONT&gt;&lt;/SPAN&gt;&lt;FONT color=#000000&gt;the Spring Sale encompasses individual Sonnox plug-ins as well as bundles such as the popular Sonnox Elite Collection which includes: Oxford EQ, Dynamics, Inflator, Transient Modulator, Reverb, Limiter and SuprEsser.&lt;SPAN style="mso-spacerun: yes"&gt;  &lt;/SPAN&gt;&lt;SPAN style="mso-bidi-font-size: 10.5pt"&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/SPAN&gt;&lt;/FONT&gt;&lt;/FONT&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;P style="MARGIN: 0in 0in 0pt" class=MsoNormal&gt;&lt;SPAN style="mso-bidi-font-size: 10.5pt"&gt;&lt;o:p&gt;&lt;FONT color=#000000 size=3 face="Times New Roman"&gt; &lt;/FONT&gt;&lt;/o:p&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: justify; MARGIN: 0in 0in 0pt" class=MsoNormal&gt;&lt;FONT color=#000000&gt;&lt;FONT size=3&gt;&lt;FONT face="Times New Roman"&gt;Sonnox Sales &amp;amp; Marketing Manager, Nathan Eames says, “It’s been well over a year since we’ve had a sales promotion like this. We intend it to enable new customers to join the countless professionals all over the world who enjoy the same high-quality plug-ins for their work.&lt;SPAN style="mso-spacerun: yes"&gt;  &lt;/SPAN&gt;Pro Tools 10 users will even get free upgrades to our forthcoming AAX Native plug-ins, so there has never been a better time to buy!”&lt;o:p&gt;&lt;/o:p&gt;&lt;/FONT&gt;&lt;/FONT&gt;&lt;/FONT&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: justify; MARGIN: 0in 0in 0pt" class=MsoNormal&gt;&lt;o:p&gt;&lt;FONT color=#000000 size=3 face="Times New Roman"&gt; &lt;/FONT&gt;&lt;/o:p&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: justify; MARGIN: 0in 0in 0pt" class=MsoNormal&gt;&lt;FONT color=#000000 size=3 face="Times New Roman"&gt;The Sonnox Spring Sale ends March 31&lt;SUP&gt;st&lt;/SUP&gt; 2012.&lt;SPAN style="mso-spacerun: yes"&gt;  &lt;/SPAN&gt;For more information please visit: &lt;/FONT&gt;&lt;A href="http://www.sonnox.com/"&gt;&lt;FONT size=3 face="Times New Roman"&gt;www.sonnox.com&lt;/FONT&gt;&lt;/A&gt;&lt;o:p&gt;&lt;/o:p&gt;</description><pubDate>Thu, 01 Mar 2012 11:30:21 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>Albino Update -- CronoX Update -- CronoX 4 Preview</title><link>http://forum.producersedgemagazine.com/Topic2014-8-1.aspx</link><description>&lt;SPAN lang=EN&gt;&lt;P&gt;we this month have 3 more updates for our Mac customers: Alpha, Albino and CronoX updates fix a couple of issues some of you experienced.&lt;/P&gt;&lt;P&gt;We also have a first preview on CronoX 4.&lt;/P&gt;&lt;P&gt;Alpha Update&lt;/P&gt;&lt;P&gt;- Fixed detune problem when loading on PowerPC systems&lt;/P&gt;&lt;P&gt;- Stability improvements&lt;/P&gt;&lt;P&gt;- Fixed transport sync in RTAS&lt;/P&gt;&lt;P&gt;- Ended support for PowerPC G3 processors&lt;/P&gt;&lt;P&gt;Albino Update&lt;/P&gt;&lt;P&gt;- Fixed crash problem related to browsing presets&lt;/P&gt;&lt;P&gt;- Fixed transport sync in RTAS&lt;/P&gt;&lt;P&gt;- Fixed compatibility problems with PowerPC G4 and G5&lt;/P&gt;&lt;P&gt;- Stability improvements&lt;/P&gt;&lt;P&gt;- Ended support for PowerPC G3 processors&lt;/P&gt;&lt;P&gt;CronoX Update&lt;/P&gt;&lt;P&gt;- Fixed detune problem when loading on PowerPC systems&lt;/P&gt;&lt;P&gt;- Stability improvements&lt;/P&gt;&lt;P&gt;- Ended support for PowerPC G3 processors&lt;/P&gt;&lt;P&gt;　&lt;/P&gt;&lt;P&gt;CronoX 4 Preview &lt;/P&gt;&lt;P&gt;The CronoX 4 is expected to be released around June of this year. This is a big update because the CronoX 4 features a new GUI, not just a cosmetic change or new design elements but a new design from ground up. &lt;/P&gt;&lt;P&gt;This addresses the feedback we got from many customers who actually prefered CronoX 2 for its simplistic design.&lt;/P&gt;&lt;P&gt;We worked hard to get that 6 edit oage design onto a single edit page. Yes, its on ONE page now, and the best is that the most important aspects of editing a sound are now much better than before. We also added a number of new information displays and help functions so making your own sounds and changing factory presets its much improved.&lt;/P&gt;&lt;P&gt;A first preview is at&lt;/P&gt;&lt;P&gt;&lt;/SPAN&gt;&lt;A href="http://www.linplug.com/cronox_4.html"&gt;&lt;U&gt;&lt;FONT color=#0000ff size=2&gt;&lt;FONT color=#0000ff size=2&gt;&lt;SPAN lang=EN&gt;http://www.linplug.com/cronox_4.html&lt;/U&gt;&lt;/FONT&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/A&gt;&lt;/P&gt;&lt;FONT size=2&gt;&lt;SPAN lang=EN&gt;&lt;P&gt;Your feedback is welcome, either via mail or at our company forum at&lt;/P&gt;&lt;P&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;A href="http://www.kvraudio.com/forum/viewforum.php?f=10"&gt;&lt;U&gt;&lt;FONT color=#0000ff size=2&gt;&lt;FONT color=#0000ff size=2&gt;&lt;SPAN lang=EN&gt;http://www.kvraudio.com/forum/viewforum.php?f=10&lt;/U&gt;&lt;/FONT&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/A&gt;&lt;/P&gt;&lt;FONT size=2&gt;&lt;SPAN lang=EN&gt;&lt;P&gt;　&lt;/P&gt;&lt;P&gt;Thanks for reading and your support,&lt;/P&gt;&lt;P&gt;Peter and Pavol from LinPlug&lt;/P&gt;&lt;/FONT&gt;&lt;/SPAN&gt;</description><pubDate>Wed, 29 Feb 2012 07:59:48 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>iVoxel for Mac Version 2 released</title><link>http://forum.producersedgemagazine.com/Topic2013-8-1.aspx</link><description>&lt;H2 style="COLOR: #8a8a8a"&gt;iVoxel - The Singing Vocoder&lt;/H2&gt;&lt;A title=http://www.virsyn.net/mobileapp/index.php?option=com_content&amp;amp;view=article&amp;amp;id=1&amp;amp;Itemid=2 href="http://www.virsyn.net/mobileapp/index.php?option=com_content&amp;amp;view=article&amp;amp;id=1&amp;amp;Itemid=2"&gt;&lt;IMG style="MARGIN-LEFT: 0px; VERTICAL-ALIGN: middle; MARGIN-RIGHT: 0px" title=http://www.virsyn.net/mobileapp/index.php?option=com_content&amp;amp;view=article&amp;amp;id=1&amp;amp;Itemid=2 border=0 src="http://virsyn.net/mobileapp/images/newsletter/ivoxelmacscreen.png" width=500 height=406&gt;&lt;/A&gt; &lt;P&gt;iVoxel is not only an amazingly sounding vocoder - the unique concept of iVoxel turns this vocoder into a singing machine. iVoxel is a combination of a voice optimized synthesizer and a vocoder. The vocoder part is based on the Matrix vocoder from VirSyn used by many famous artists - one of them the well known german group Kraftwerk. The channel filters used by iVoxel are based on the Sennheiser Vocoder VSM201 resulting in a rich and fat analogue sound characteristic.&lt;/P&gt;&lt;P class=p1&gt;The pitch follower and automatic tuning let you sing correct to a selectable scale.&lt;/P&gt;&lt;P&gt;See the new Version in action &lt;A title=http://www.youtube.com/watch?v=Oan1oWwOZPw href="http://www.youtube.com/watch?v=Oan1oWwOZPw" target=_blank&gt;on this YouTube video...&lt;/A&gt;&lt;/P&gt;&lt;P&gt;&lt;A title=http://www.youtube.com/watch?v=Oan1oWwOZPw href="http://www.youtube.com/watch?v=Oan1oWwOZPw" target=_blank&gt;&lt;/A&gt;Please note that the video is made for the iPad version, but is functional identical to the Mac version.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;New in version 2&lt;/STRONG&gt;&lt;/P&gt;&lt;UL&gt;&lt;LI&gt;Realtime pitch following. &lt;LI&gt;Automatic tuning correction to selectable scale. &lt;LI&gt;Polyphonic sequencer. &lt;LI&gt;Import voxels from audio files. &lt;LI&gt;Voxel editing. &lt;LI&gt;Hi-end Reverb. &lt;LI&gt;Many more things and bugfixes. &lt;/LI&gt;&lt;/UL&gt;&lt;EM&gt;&lt;P class=p1&gt;&lt;SPAN class=s1&gt;&lt;/SPAN&gt;&lt;/P&gt;&lt;/EM&gt;&lt;P class=p1&gt;&lt;A title=http://www.virsyn.net/mobileapp/index.php?option=com_content&amp;amp;view=article&amp;amp;id=1&amp;amp;Itemid=2 href="http://www.virsyn.net/mobileapp/index.php?option=com_content&amp;amp;view=article&amp;amp;id=1&amp;amp;Itemid=2"&gt;Read more (includes audio and video demos)...&lt;/A&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: right"&gt;&lt;A title="http://itunes.apple.com/app/ivoxel/id415308818?mt=12&amp;#10;iVoxel" href="http://itunes.apple.com/app/ivoxel/id415308818?mt=12"&gt;&lt;STRONG title=http://itunes.apple.com/app/ivoxel/id415308818?mt=12&gt;Available on the Apple App Store.&lt;/STRONG&gt;&lt;/A&gt;&lt;/P&gt;&lt;P style="TEXT-ALIGN: right"&gt;&lt;STRONG&gt;&lt;BR&gt;&lt;/STRONG&gt;&lt;/P&gt;&lt;BR&gt;</description><pubDate>Wed, 29 Feb 2012 07:58:45 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>Building a Project Room</title><link>http://forum.producersedgemagazine.com/Topic2010-8-1.aspx</link><description>&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=740 bgColor=#11203b align=center&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD align=middle&gt;&lt;A title=http://links.mkt845.com/ctt?kn=12&amp;amp;ms=Mzg4ODE2OTAS1&amp;amp;r=MzAzNjc3MDUxS0&amp;amp;b=0&amp;amp;j=MTMxNTU2OTUzS0&amp;amp;mt=1&amp;amp;rt=0 href="http://links.mkt845.com/ctt?kn=12&amp;amp;ms=Mzg4ODE2OTAS1&amp;amp;r=MzAzNjc3MDUxS0&amp;amp;b=0&amp;amp;j=MTMxNTU2OTUzS0&amp;amp;mt=1&amp;amp;rt=0" name=Home1&gt;&lt;IMG title="http://links.mkt845.com/ctt?kn=12&amp;amp;ms=Mzg4ODE2OTAS1&amp;amp;r=MzAzNjc3MDUxS0&amp;amp;b=0&amp;amp;j=MTMxNTU2OTUzS0&amp;amp;mt=1&amp;amp;rt=0&amp;#10;Disc Makers" border=0 alt="Disc Makers" src="http://www.discmakers.com/html_email/images/newheader.jpg" width=712 height=50&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width=740 align=center&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=14 width=740 bgColor=#ffffff&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;!--Main image --&gt;&lt;TD align=middle&gt;&lt;A title=http://links.mkt845.com/ctt?kn=2&amp;amp;ms=Mzg4ODE2OTAS1&amp;amp;r=MzAzNjc3MDUxS0&amp;amp;b=0&amp;amp;j=MTMxNTU2OTUzS0&amp;amp;mt=1&amp;amp;rt=0 href="http://links.mkt845.com/ctt?kn=2&amp;amp;ms=Mzg4ODE2OTAS1&amp;amp;r=MzAzNjc3MDUxS0&amp;amp;b=0&amp;amp;j=MTMxNTU2OTUzS0&amp;amp;mt=1&amp;amp;rt=0" name=Banner1&gt;&lt;IMG title="http://links.mkt845.com/ctt?kn=2&amp;amp;ms=Mzg4ODE2OTAS1&amp;amp;r=MzAzNjc3MDUxS0&amp;amp;b=0&amp;amp;j=MTMxNTU2OTUzS0&amp;amp;mt=1&amp;amp;rt=0&amp;#10;The Home Studio Series Volume 2 is out now!" border=0 alt="The Home Studio Series Volume 2 is out now!" src="http://www.discmakers.com/html_email/images/a1209image.jpg" width=712 height=244&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;!--Main image --&gt;&lt;TR&gt;&lt;TD&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;!--Body Copy --&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="93%" bgColor=#ffffff align=center&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD colSpan=2 align=left&gt;&lt;SPAN style="LINE-HEIGHT: 24px; FONT-STYLE: normal; FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #666666; FONT-SIZE: 12px"&gt;&lt;FONT size=+1&gt;&lt;STRONG&gt;Building a Project Room&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;BR&gt;&lt;SPAN style="LINE-HEIGHT: 18px; FONT-STYLE: normal; FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #666666; FONT-SIZE: 12px"&gt;Volume 2 of our popular Home Studio Series is now available and ready to help transform a room in your home into the project studio you’ve always wanted. In Volume 1 we talked about building a Pro Studio in your house, which includes building an "A Room" from scratch. Volume 2 focuses on building a project studio – working with the space and resources you have to get the most from your recording. &lt;BR&gt;&lt;BR&gt;Check out this excerpt on room acoustics:&lt;BR&gt;&lt;P style="MARGIN-LEFT: 25px; MARGIN-RIGHT: 55px"&gt;&lt;STRONG&gt;Acoustics Matter&lt;/STRONG&gt;&lt;BR&gt;Whatever your expectations, a major component to your creating quality finished recordings in a home environment is to control the acoustics. To really do things right, it starts with the construction of the room. The proper angles of the walls and ceiling, the proper dimensions, state-of-the-art acoustical room treatments placed in the appropriate places – these are but a few of the things that set a professional studio apart from your rehearsal space and bedroom.&lt;BR&gt;&lt;BR&gt;The first step toward achieving an acoustic environment that will produce great results at home is to understand some of the basic principles of how sound waves work and how to control the way they inhabit and interact in a room.&lt;/P&gt;Ready to dive into some more of our super helpful Home Studio guide?&lt;BR&gt;&lt;BR&gt;&lt;A title=http://links.mkt845.com/ctt?kn=3&amp;amp;ms=Mzg4ODE2OTAS1&amp;amp;r=MzAzNjc3MDUxS0&amp;amp;b=0&amp;amp;j=MTMxNTU2OTUzS0&amp;amp;mt=1&amp;amp;rt=0 href="http://links.mkt845.com/ctt?kn=3&amp;amp;ms=Mzg4ODE2OTAS1&amp;amp;r=MzAzNjc3MDUxS0&amp;amp;b=0&amp;amp;j=MTMxNTU2OTUzS0&amp;amp;mt=1&amp;amp;rt=0" name=Body1&gt;Download your free PDF now&lt;/A&gt;&lt;/SPAN&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Wed, 29 Feb 2012 07:55:00 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>Groove 3 products</title><link>http://forum.producersedgemagazine.com/Topic2008-8-1.aspx</link><description>&lt;TABLE border=0 cellPadding=5 width=800&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;A title=http://www.groove3.com/str/specials/ href="http://www.groove3.com/str/specials/"&gt;&lt;IMG title=http://www.groove3.com/str/specials/ border=0 src="http://www.groove3.com/images/gbox2/banners/newsletter/No-Brainer-Newsletter-Page.jpg" width=600 height=120&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD colSpan=4&gt;&lt;TABLE class=ProductTwoBox border=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=item_products&gt;&lt;TABLE class=noborder&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=PListImgBox&gt;&lt;DIV style="VERTICAL-ALIGN: top" class=PListImgBox&gt;&lt;A title="http://www.groove3.com/str/live-explained-vol-1.html&amp;#10;Live Explained - Vol 1" href="http://www.groove3.com/str/live-explained-vol-1.html"&gt;&lt;IMG title=http://www.groove3.com/str/live-explained-vol-1.html alt="Ableton Live Explained - Vol 1" src="http://www.groove3.com/str/images/T/G3-Live-Explained-Vol1-75x70.jpg" width=75&gt; &lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD class=ProductText vAlign=center&gt;&lt;A title="http://www.groove3.com/str/live-explained-vol-1.html&amp;#10;Live Explained - Vol 1" href="http://www.groove3.com/str/live-explained-vol-1.html"&gt;&lt;FONT style="FONT-SIZE: 15px" class=ProductTitle title=http://www.groove3.com/str/live-explained-vol-1.html color=#0a78b5&gt;&lt;STRONG&gt;Ableton Live Explained - Vol 1&lt;/STRONG&gt;&lt;/FONT&gt; &lt;/A&gt;&lt;BR&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;&lt;FONT style="TEXT-DECORATION: line-through"&gt;&lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #bb5b06" class=ProductCartPrice&gt;&lt;STRONG&gt;$29.99&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/FONT&gt; | &lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #009933" class=ProductCartPrice&gt;&lt;STRONG&gt;$5.00&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/SPAN&gt; &lt;FONT style="COLOR: #bb5b06; FONT-WEIGHT: normal" class=ProductPrice&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/A&gt;(save 83%) &lt;BR&gt;&lt;DIV class=container_hide_text&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD class=center&gt;&lt;/TD&gt;&lt;TD&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD class=separate&gt; 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To help protect your privacy, Outlook prevented automatic download of this picture from the Internet.&amp;#10;" src="http://forum.producersedgemagazine.com/str/skin1/images/spacer.gif" width=1 height=3&gt; &lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD colSpan=4&gt;&lt;TABLE class=ProductTwoBox border=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=item_products&gt;&lt;TABLE class=noborder&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=PListImgBox&gt;&lt;DIV style="VERTICAL-ALIGN: top" class=PListImgBox&gt;&lt;A title="http://www.groove3.com/str/designing-electronic-drums.html&amp;#10;Designing Electronic Drums" href="http://www.groove3.com/str/designing-electronic-drums.html"&gt;&lt;IMG title=http://www.groove3.com/str/designing-electronic-drums.html alt="Designing Electronic Drums" src="http://www.groove3.com/str/images/T/G3-Design-Elec-Drums-75x70.jpg" width=75&gt; &lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD class=ProductText vAlign=center&gt;&lt;A title="http://www.groove3.com/str/designing-electronic-drums.html&amp;#10;Designing Electronic Drums" href="http://www.groove3.com/str/designing-electronic-drums.html"&gt;&lt;FONT style="FONT-SIZE: 15px" class=ProductTitle title=http://www.groove3.com/str/designing-electronic-drums.html color=#0a78b5&gt;&lt;STRONG&gt;Designing Electronic Drums&lt;/STRONG&gt;&lt;/FONT&gt; &lt;/A&gt;&lt;BR&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;&lt;FONT style="TEXT-DECORATION: line-through"&gt;&lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #bb5b06" class=ProductCartPrice&gt;&lt;STRONG&gt;$24.99&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/FONT&gt; | &lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #009933" class=ProductCartPrice&gt;&lt;STRONG&gt;$5.00&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/SPAN&gt; &lt;FONT style="COLOR: #bb5b06; FONT-WEIGHT: normal" class=ProductPrice&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/A&gt;(save 79%) &lt;BR&gt;&lt;DIV class=container_hide_text&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD class=center&gt;&lt;/TD&gt;&lt;TD&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD class=separate&gt;  &lt;/TD&gt;&lt;TD class=item_products&gt;&lt;TABLE class="noborder right"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=PListImgBox&gt;&lt;DIV style="VERTICAL-ALIGN: top" class=PListImgBox&gt;&lt;A title="http://www.groove3.com/str/daw-plug-ins-explained.html&amp;#10;Effect Plug-Ins Explained" href="http://www.groove3.com/str/daw-plug-ins-explained.html"&gt;&lt;IMG title=http://www.groove3.com/str/daw-plug-ins-explained.html alt="Effect Plug-Ins Explained" src="http://www.groove3.com/str/images/T/G3-Effect-Plug-Ins-Explained-75x70.jpg" width=75&gt; &lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD class=ProductText vAlign=center&gt;&lt;A title="http://www.groove3.com/str/daw-plug-ins-explained.html&amp;#10;Effect Plug-Ins Explained" href="http://www.groove3.com/str/daw-plug-ins-explained.html"&gt;&lt;FONT style="FONT-SIZE: 15px" class=ProductTitle title=http://www.groove3.com/str/daw-plug-ins-explained.html color=#0a78b5&gt;&lt;STRONG&gt;Effect Plug-Ins Explained&lt;/STRONG&gt;&lt;/FONT&gt; &lt;/A&gt;&lt;BR&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;&lt;FONT style="TEXT-DECORATION: line-through"&gt;&lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #bb5b06" class=ProductCartPrice&gt;&lt;STRONG&gt;$29.99&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/FONT&gt; | &lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #009933" class=ProductCartPrice&gt;&lt;STRONG&gt;$5.00&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/SPAN&gt; &lt;FONT style="COLOR: #bb5b06; FONT-WEIGHT: normal" class=ProductPrice&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/A&gt;(save 83%) &lt;BR&gt;&lt;DIV class=container_hide_text&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD class=center&gt;&lt;/TD&gt;&lt;TD&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;IMG alt="Right-click here to download pictures. To help protect your privacy, Outlook prevented automatic download of this picture from the Internet.&amp;#10;" src="http://forum.producersedgemagazine.com/str/skin1/images/spacer.gif" width=1 height=3&gt; &lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD colSpan=4&gt;&lt;TABLE class=ProductTwoBox border=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=item_products&gt;&lt;TABLE class=noborder&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=PListImgBox&gt;&lt;DIV style="VERTICAL-ALIGN: top" class=PListImgBox&gt;&lt;A title="http://www.groove3.com/str/auto-tune-7-explained.html&amp;#10;Auto-Tune 7 Explained - Authorized Training Videos for Antares Auto-Tune 7" href="http://www.groove3.com/str/auto-tune-7-explained.html"&gt;&lt;IMG title=http://www.groove3.com/str/auto-tune-7-explained.html alt="Auto-Tune 7 Explained" src="http://www.groove3.com/str/images/T/Auto-Tune-7-Explained-75x70.jpg" width=75&gt; &lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD class=ProductText vAlign=center&gt;&lt;A title="http://www.groove3.com/str/auto-tune-7-explained.html&amp;#10;Auto-Tune 7 Explained - Authorized Training Videos for Antares Auto-Tune 7" href="http://www.groove3.com/str/auto-tune-7-explained.html"&gt;&lt;FONT style="FONT-SIZE: 15px" class=ProductTitle title=http://www.groove3.com/str/auto-tune-7-explained.html color=#0a78b5&gt;&lt;STRONG&gt;Auto-Tune 7 Explained&lt;/STRONG&gt;&lt;/FONT&gt; &lt;/A&gt;&lt;BR&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;&lt;FONT style="TEXT-DECORATION: line-through"&gt;&lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #bb5b06" class=ProductCartPrice&gt;&lt;STRONG&gt;$39.99&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/FONT&gt; | &lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #009933" class=ProductCartPrice&gt;&lt;STRONG&gt;$10.00&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/SPAN&gt; &lt;FONT style="COLOR: #bb5b06; FONT-WEIGHT: normal" class=ProductPrice&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/A&gt;(save 74%) &lt;BR&gt;&lt;DIV class=container_hide_text&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD class=center&gt;&lt;/TD&gt;&lt;TD&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD class=separate&gt;  &lt;/TD&gt;&lt;TD class=item_products&gt;&lt;TABLE class="noborder right"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=PListImgBox&gt;&lt;DIV style="VERTICAL-ALIGN: top" class=PListImgBox&gt;&lt;A title="http://www.groove3.com/str/mastering-with-tracks.html&amp;#10;Mastering with T-Racks" href="http://www.groove3.com/str/mastering-with-tracks.html"&gt;&lt;IMG title=http://www.groove3.com/str/mastering-with-tracks.html alt="Mastering with T-RackS" src="http://www.groove3.com/str/images/T/G3-Mastering-with-T-RackS-75x70.jpg" width=75&gt; &lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD class=ProductText vAlign=center&gt;&lt;A title="http://www.groove3.com/str/mastering-with-tracks.html&amp;#10;Mastering with T-Racks" href="http://www.groove3.com/str/mastering-with-tracks.html"&gt;&lt;FONT style="FONT-SIZE: 15px" class=ProductTitle title=http://www.groove3.com/str/mastering-with-tracks.html color=#0a78b5&gt;&lt;STRONG&gt;Mastering with T-RackS&lt;/STRONG&gt;&lt;/FONT&gt; &lt;/A&gt;&lt;BR&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;&lt;FONT style="TEXT-DECORATION: line-through"&gt;&lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #bb5b06" class=ProductCartPrice&gt;&lt;STRONG&gt;$39.99&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/FONT&gt; | &lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #009933" class=ProductCartPrice&gt;&lt;STRONG&gt;$10.00&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/SPAN&gt; &lt;FONT style="COLOR: #bb5b06; FONT-WEIGHT: normal" class=ProductPrice&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/A&gt;(save 74%) &lt;BR&gt;&lt;DIV class=container_hide_text&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD class=center&gt;&lt;/TD&gt;&lt;TD&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;IMG alt="Right-click here to download pictures. To help protect your privacy, Outlook prevented automatic download of this picture from the Internet.&amp;#10;" src="http://forum.producersedgemagazine.com/str/skin1/images/spacer.gif" width=1 height=3&gt; &lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD colSpan=4&gt;&lt;TABLE class=ProductTwoBox border=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=item_products&gt;&lt;TABLE class=noborder&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=PListImgBox&gt;&lt;DIV style="VERTICAL-ALIGN: top" class=PListImgBox&gt;&lt;A title="http://www.groove3.com/str/studio-secrets-with-krish-sharma.html&amp;#10;Studio Secrets with Krish Sharma" href="http://www.groove3.com/str/studio-secrets-with-krish-sharma.html"&gt;&lt;IMG title=http://www.groove3.com/str/studio-secrets-with-krish-sharma.html alt="Studio Secrets with Krish Sharma" src="http://www.groove3.com/str/images/T/G3-Studio-Secrets-w-Krish-Sharma-75x70.jpg" width=75&gt; &lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD class=ProductText vAlign=center&gt;&lt;A title="http://www.groove3.com/str/studio-secrets-with-krish-sharma.html&amp;#10;Studio Secrets with Krish Sharma" href="http://www.groove3.com/str/studio-secrets-with-krish-sharma.html"&gt;&lt;FONT style="FONT-SIZE: 15px" class=ProductTitle title=http://www.groove3.com/str/studio-secrets-with-krish-sharma.html color=#0a78b5&gt;&lt;STRONG&gt;Studio Secrets with Krish Sharma&lt;/STRONG&gt;&lt;/FONT&gt; &lt;/A&gt;&lt;BR&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;&lt;FONT style="TEXT-DECORATION: line-through"&gt;&lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #bb5b06" class=ProductCartPrice&gt;&lt;STRONG&gt;$39.99&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/FONT&gt; | &lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #009933" class=ProductCartPrice&gt;&lt;STRONG&gt;$10.00&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/SPAN&gt; &lt;FONT style="COLOR: #bb5b06; FONT-WEIGHT: normal" class=ProductPrice&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/A&gt;(save 74%) &lt;BR&gt;&lt;DIV class=container_hide_text&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD class=center&gt;&lt;/TD&gt;&lt;TD&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD class=separate&gt;  &lt;/TD&gt;&lt;TD class=item_products&gt;&lt;TABLE class="noborder right"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD class=PListImgBox&gt;&lt;DIV style="VERTICAL-ALIGN: top" class=PListImgBox&gt;&lt;A title="http://www.groove3.com/str/waves-musicians-2-explained.html&amp;#10;Waves Musicians 2 Bundle Explained by Bill Edstrom Jr." href="http://www.groove3.com/str/waves-musicians-2-explained.html"&gt;&lt;IMG title=http://www.groove3.com/str/waves-musicians-2-explained.html alt="Waves Musicians 2 Bundle Explained" src="http://www.groove3.com/str/images/T/Waves-Musicians-2-Explained-75x70.jpg" width=75&gt; &lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD class=ProductText vAlign=center&gt;&lt;A title="http://www.groove3.com/str/waves-musicians-2-explained.html&amp;#10;Waves Musicians 2 Bundle Explained by Bill Edstrom Jr." href="http://www.groove3.com/str/waves-musicians-2-explained.html"&gt;&lt;FONT style="FONT-SIZE: 15px" class=ProductTitle title=http://www.groove3.com/str/waves-musicians-2-explained.html color=#0a78b5&gt;&lt;STRONG&gt;Waves Musicians 2 Bundle Explained&lt;/STRONG&gt;&lt;/FONT&gt; &lt;/A&gt;&lt;BR&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;&lt;FONT style="TEXT-DECORATION: line-through"&gt;&lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #bb5b06" class=ProductCartPrice&gt;&lt;STRONG&gt;$39.99&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/FONT&gt; | &lt;SPAN style="WHITE-SPACE: nowrap"&gt;&lt;FONT style="COLOR: #009933" class=ProductCartPrice&gt;&lt;STRONG&gt;$10.00&lt;/STRONG&gt;&lt;/FONT&gt;&lt;/SPAN&gt; &lt;FONT style="COLOR: #bb5b06; FONT-WEIGHT: normal" class=ProductPrice&gt;&lt;/FONT&gt;&lt;/SPAN&gt;&lt;/A&gt;(save 74%) &lt;BR&gt;&lt;DIV class=container_hide_text&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD class=center&gt;&lt;/TD&gt;&lt;TD&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;IMG alt="Right-click here to download pictures. 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FONT-SIZE: 16px" title=http://feedproxy.google.com/~r/musiciancoaching/~3/YqN4TEbDmHw/?utm_source=feedburner&amp;amp;utm_medium=email href="http://feedproxy.google.com/~r/musiciancoaching/~3/YqN4TEbDmHw/?utm_source=feedburner&amp;amp;utm_medium=email" name=1&gt;Best Recording Practices&lt;/A&gt; &lt;/P&gt;&lt;P style="LINE-HEIGHT: 140%; MARGIN: 9px 0px 3px; FONT-FAMILY: Georgia, Helvetica, Arial, Sans-Serif; COLOR: #555; FONT-SIZE: 13px"&gt;&lt;SPAN&gt;Posted:&lt;/SPAN&gt; 22 Feb 2012 06:28 AM PST&lt;/P&gt;&lt;DIV style="LINE-HEIGHT: 140%; MARGIN: 0px; FONT-FAMILY: Georgia, Helvetica, Arial, Sans-Serif; COLOR: #000000; FONT-SIZE: 13px"&gt;&lt;STYLE type=text/css&gt;#leftcontainerBox {float:left;position: fixed;top: 60%;left: 70px;}#leftcontainerBox .buttons {float:left;clear:both;margin:4px 4px 4px 4px;padding-bottom:2px;}#bottomcontainerBox {height: 30px;width:50%;padding-top:1px;}#bottomcontainerBox .buttons {float:left;height: 30px;margin:4px 4px 4px 4px;}&lt;/STYLE&gt;&lt;P&gt;Lou Giordano is an award-winning music producer who has over 30-years’ experience working with a variety of bands, including Mission of Burma, The Lemonheads, King Missile and Sugar. He got his start in the music industry playing in bands in high school and while attending MIT in the 1980s, where he first had the opportunity to learn about the elements of the recording studio by working with a variety of local bands in a studio originally built by Amar Bose, founder of the Bose Corporation. In the ‘80s, Lou spent three years accompanying Husker Du on two world tours and worked throughout the ‘80s and ‘90s at Radiobeat Studios and Fort Apache Studios in Boston. In the mid-‘90s, Lou produced the Goo Goo Dolls’ multi-platinum album &lt;EM&gt;A Boy Named Goo&lt;/EM&gt;. Most recently, he produced gold records for Taking Back Sunday and The Ataris.&lt;/P&gt;&lt;P&gt;&lt;A title=http://musiciancoaching.com/wp-content/uploads/2012/02/lou.gif href="http://musiciancoaching.com/wp-content/uploads/2012/02/lou.gif"&gt;&lt;IMG class="aligncenter size-medium wp-image-3326" title="http://musiciancoaching.com/wp-content/uploads/2012/02/lou.gif&amp;#10;lou" alt="" src="http://musiciancoaching.com/wp-content/uploads/2012/02/lou-247x300.gif" width=247 height=300&gt;&lt;/A&gt;&lt;/P&gt;&lt;P&gt;Lou talked to me about how he found his way to music and shared some advice for artists about choosing the best producer for them and the elements that go into putting together a high-quality record.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Thanks for taking some time to chat, Lou. How did you get started in the music business? I know you played in bands while you were at MIT.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;LG:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Yeah. I went to MIT, and I had been in bands in high school, so I just kept playing. And in college, I bumped into a couple people who got me into new things. One fellow in particular, Seth Gussow was renovating an old recording studio on campus that was used by Amar Bose when he was doing his doctoral thesis there, studying acoustics. He was working out the different techniques for what would later be his speaker company. He built a studio – a small recording room – and then there was a bunch of tube equipment that was in there. But it was all in a state of disrepair. Seth was restoring all the equipment. I didn’t really help him too much with that part of it, but I helped him with a few recording projects and really liked it. I got my feet wet with that.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Then, I started off at an 8-track studio in Kenmore Square. At the time I was more interested in the music side of it, not so much the recording. So, I was going out and discovering all these hardcore bands. The whole idea of punk rock to me was really fascinating, because I had been a big classic rock fan during the ‘70s and then got a little disinterested and felt like it wasn’t really speaking to me anymore. When this whole punk rock thing came up in the late ‘70s and early ‘80s it was just really eye opening. The music was exciting, the fashion was fun.&lt;/P&gt;&lt;P&gt;And I made friends with a lot of the bands in Boston. Boston was a unique development environment for bands at the time, because you didn’t need to make a record. You could just go into the studio and make a tape. And then you’d make a few copies of the tape and carry it around to the three big radio stations at the time. You’d take it to those three, and then all of a sudden you were broadcasting to the entire Boston metropolitan area. And then, when you’d have a show, people would go. It was just incredible. It was this whole micro-economic development pot there.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;It sounds like the process of getting your music heard was a lot simpler then. There were a lot less players, etc.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;LG:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Well, you didn’t need a recording contract or any corporate approval to get your message out. As a result of that, there was a big business opportunity in recording radio tapes for bands. I went to the studio – Radiobeat – and that was what they did. It was funny, because the owner was more of an old school punk guy. So when all this new hardcore stuff like SS Decontrol and all the Tang bands were coming into the studio to record, the owner didn’t really like them very much. He didn’t want to be a part of recording some of those bands, so he taught me how to set the levels, and that’s what I ended up doing for a couple years.&lt;/P&gt;&lt;P&gt;A few people like Mike Dreese over at Newbury Comics decided to get into the game. He did the “Boston, Not L.A.” compilations and financed that and the whole Modern Method record label. That was kind of the beginning of that type of recording. At the beginning it&lt;STRONG&gt; &lt;/STRONG&gt;was just recording. There was no production involved. It just became clear that there was a whole separate job to do. It was one thing to record the music. And it was another to sit back and say, “Not only can you record the music and make it sound good, but you can also make the music better by suggesting changes, rearranging the songs, suggesting lead guitar parts, harmony vocals, etc.” It was just really eye opening.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Some of the bands didn’t want any suggestions at all and were very protective of their content creation. But others were able to take suggestions and sing the vocal differently – play with all the little things that go into it. It was really a process of teaching yourself how to do it for everyone. And one thing led to another …&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:  &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;You’ve produced a string of super successful acts. And you were in a place where you had exposure to a large volume of recording. What would you advise someone to do that is interested in getting into the production side today? Is it about getting into a bigger studio and being part of as many records as you can?&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;LG:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;At the time, I think there was an element – and there still is an element – of being in the right place at the right time. But then again, there’s also the idea that the more you do something, the better you get at it. You really learn from every single project you do, no matter how big or small it is. If you have your eyes open, you can learn something from it. I happened to be in this little college town where there was a lot of work being done. And opportunities would come up where you’d get out of the college town and go national. Then you really see what’s going on.&lt;/P&gt;&lt;P&gt;The one “golden ticket” – as you referred to it when we were talking the other day – with that time period was going out on the road with Husker Du. That was just an incredible experience in many ways, even just in terms of learning about how to make a financially-profitable tour. But then, just making all the connections with all the different local scenes around the country&lt;STRONG&gt; &lt;/STRONG&gt;was huge. It was right after they got hooked up with SST Records. It was really interesting to see how they were running their label and getting everything going.&lt;/P&gt;&lt;P&gt;Getting back to your question, it’s challenging to know how to advise somebody to be a producer these days. One of the things I’ve seen over the years as the labels have downsized and we’ve felt the effects of illegal file sharing is that what was once a very lucrative career has become less lucrative in some ways. In some instances, people are paying one-tenth of what they used to pay for the same kind of content creation. I think a different model is developing now. And I think there will eventually be a way of monetizing music in a better way.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;LG:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;I wanted to ask you a little bit about what you think bands should be doing before starting to work with a producer. Are there specific elements they should have planned out in advance? And then, also, what should they be looking for when they are trying to find a producer that’s a good fit?&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;LG:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;The first part of your question about what they should do is very important. And I know it sounds obvious, but I think a band needs to make a demo of a song that includes the lyrics and the music. That sounds so obvious. But I had a situation with a major label band where they wanted me to book studio time, and they didn’t have any lyrics or melodies written for their music. And I refused to do it, even though it was a big gig.&lt;/P&gt;&lt;P&gt;In my opinion, about 90% of people don’t write well in the studio. So, #1, have a demo of your song that includes the lyrics and melodies. You can always change things later. And now you have tools like GarageBand. The sonic palate you get with that is unbelievable. There’s no excuse for not having a good demo. Some bands have come to me with very elaborate GarageBand demos. And sometimes, it’s difficult to recapture some of the things they’ve done on there, and I end up using them straight out of GarageBand. I bought Logic Audio and trained myself how to use it – not that I would ever really use it in production, but just to extract some of the really cool stuff people were doing on their demos.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;The second part of our question about choosing a producer – obviously, you want to go with their track record. If you like the way their records sound, that’s one thing. But the other thing is, I think there are different styles. There are some people who really like to get into the nuts and bolts of the song, take it apart and really be a very active presence in the content creation process. Then there are other people who just sit back and put the right people in the room, make it a party, have fun and have things get done that way.&lt;/P&gt;&lt;P&gt;A band doesn’t always necessarily know what’s best for them. But they usually know whether they’re going to let somebody into that inner circle and be a part of that creative process or whether they really don’t want that. I think that’s one of the big questions you have to ask as a band. And then you have to ask around. It’s pretty easy, because bands talk amongst each other. I think it’s pretty easy to find someone who’s worked with a specific producer you’re thinking of. And it’s easy to ask them what it was like, whether they enjoyed it, etc.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Sometimes there’s a little bit of tough love involved. Artists don’t necessarily want to be told that what they’re doing just isn’t cutting it. So, as a producer you have to deliver that message. And it may not resonate too well with certain egos, but it happens. It’s a difficult thing to manage as a producer.&lt;/P&gt;&lt;P&gt;There are a lot of factors that go into choosing a producer. Not everyone can afford Rob Cavallo. And some people end up being surprised he’s involved with their project, because they end up working more with the rest of his team.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Well, and I’ve been told that if you make a record with Rick Rubin, you meet him once or twice and spend days and days with the engineer. That’s probably not that uncommon with some of the bigger names.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;LG:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;I agree. And I guess they’re doing it more as an executive producer than a hands-on guy. I never really could do that, and I think the people I’ve worked with have enjoyed the contribution I’ve made to their material and their music.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;&lt;SPAN class=bm_keywordlink&gt;&lt;A title=http://musiciancoaching.com/ href="http://musiciancoaching.com"&gt;Musician Coaching&lt;/A&gt;&lt;/SPAN&gt;:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;You’ve worked with hundreds and hundreds of bands and artists. Of the ones who made it vs. the ones who didn’t, was there a specific type of personality or a work ethic they all shared? Is success a random spattering of luck, or are there some common traits?&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt;LG:&lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;I think there’s a very large element of randomness to it. Some of the people who were least prepared for the studio in advance ended up having some of the most successful records. The Goo Goo Dolls is one example of that. On the record I did, they had demoed a few songs, but very few of them were finished melodically and lyrically. And that’s one of the most successful records I’ve done.&lt;/P&gt;&lt;P&gt;I don’t really think you can see any personality traits or work ethic that’s a recipe for success. A lot of it has more to do with somehow identifying with this elusive idea of just being able to write a musical phrase or melodic phrase that really sticks in people’s heads. It’s funny, because I’ve had this conversation hundreds of times with bands: “You wrote this great verse of a song here, and it’s building up to a chorus. And now you have a chorus that is lyrically so complicated that no one could ever possibly remember it or walk around singing it. How do you expect this song to be successful?” I think there’s an element of simplicity that has to be there.&lt;/P&gt;&lt;P&gt;&lt;STRONG&gt; &lt;/STRONG&gt;&lt;/P&gt;&lt;P&gt;Unfortunately, it gets carried too far, and people dumb things down a lot. I’ve always tried to work with people who want to make the music in a clever way, understanding the constraints of the medium and understanding that you have to play the game a little bit; you have to have a repeatable chorus if you want people to remember the song. But you don’t always have to structure it “verse, chorus, verse, chorus, middle eight, double chorus.” There are ways to structure a song that can make it very unconventional, but still memorable.&lt;/P&gt;&lt;P&gt;To learn more about Lou Giordano and the work he’s done throughout his 30-year career, you can visit him on &lt;A title=http://www.linkedin.com/in/lougiordano href="http://www.linkedin.com/in/lougiordano"&gt;LinkedIn&lt;/A&gt;.&lt;/P&gt;&lt;/DIV&gt;</description><pubDate>Fri, 24 Feb 2012 23:33:53 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>Prime Loops  Hot Reggaeton &amp; Tropical Producer Combo Deal!, Latest Releases + more!</title><link>http://forum.producersedgemagazine.com/Topic1996-8-1.aspx</link><description>&lt;TABLE cellSpacing=0 cellPadding=0 width=600&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="-moz-border-radius: 10px; -webkit-border-radius: 10px; -khtml-border-radius: 10px" id=headeredit1 bgColor=#ffffff background=http://primeloops.com/mailshot_v4/headerbg_liten.jpg&gt;&lt;CENTER&gt;&lt;A style="COLOR: #800080; FONT-WEIGHT: bold; TEXT-DECORATION: underline" title=http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=0897b3d691&amp;amp;e=3f074dd8f8 href="http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=0897b3d691&amp;amp;e=3f074dd8f8"&gt;&lt;IMG style="BORDER-BOTTOM: 0pt solid; BORDER-LEFT: 0pt solid; BORDER-TOP: 0pt solid; BORDER-RIGHT: 0pt solid; border-radius: 10px 10px 10px 10px" title="http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=0897b3d691&amp;amp;e=3f074dd8f8&amp;#10;Prime Loops Newsletter" border=0 alt="Prime Loops Newsletter" src="http://primeloops.com/mailshot_v4/Prime-Loops-Newsletter-Head.png" width=600 height=114&gt;&lt;/A&gt;&lt;/CENTER&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;!--top promobox--&gt;&lt;TABLE style="BORDER-TOP: transparent 10px solid" cellSpacing=0 cellPadding=15 width=600 height=105&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD id=topbox1 bgColor=#000000 background=http://primeloops.com/mailshot_v4/elementheaderzaaa5.jpg -moz-border-radius-topleft:="" 10px;-moz-border-radius-topright:="" 10px;-webkit-border-top-left-radius:="" 10px;-webkit-border-top-right-radius:="" 10px;border:3px="" solid="" #8f8f8f;?=""&gt;&lt;DIV style="TEXT-ALIGN: left"&gt;&lt;SPAN id=topbox2&gt;&lt;SPAN style="LINE-HEIGHT: 90%; FONT-FAMILY: verdana,geneva,sans-serif; COLOR: white; FONT-SIZE: 32px; text-shadow: 0px 0px 8px black"&gt;&lt;B&gt;New Release...&lt;/B&gt;&lt;/SPAN&gt;&lt;/SPAN&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;TABLE style="BORDER-BOTTOM: transparent 0px solid" cellSpacing=0 cellPadding=5 width=600&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="BORDER-BOTTOM: #8f8f8f 3px solid; BORDER-LEFT: #8f8f8f 3px solid; BACKGROUND-COLOR: #d1cfd1; BORDER-RIGHT: #8f8f8f 3px solid; -moz-border-radius-bottomleft: 10px; -webkit-border-bottom-left-radius: 10px; -webkit-border-bottom-right-radius: 10px; -moz-border-radius-bottomright: 10px" vAlign=top width=0&gt;&lt;TABLE cellSpacing=0 cellPadding=10 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;DIV&gt;&lt;SPAN style="LINE-HEIGHT: 150%; FONT-FAMILY: trebuchet ms; COLOR: #000000; FONT-SIZE: 12px" id=topbox3&gt;&lt;DIV&gt;&lt;SPAN style="FONT-SIZE: 24px"&gt;&lt;SPAN style="FONT-FAMILY: verdana,geneva,sans-serif"&gt;&lt;SPAN&gt;&lt;SPAN style="FONT-FAMILY: arial,helvetica,sans-serif"&gt;&lt;STRONG&gt;&lt;A style="COLOR: #800080; FONT-WEIGHT: bold; TEXT-DECORATION: underline" title=http://primeloops.us2.list-manage1.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=febb40b3eb&amp;amp;e=3f074dd8f8 href="http://primeloops.us2.list-manage1.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=febb40b3eb&amp;amp;e=3f074dd8f8"&gt;&lt;IMG style="BORDER-BOTTOM: 0pt solid; BORDER-LEFT: 0pt solid; MARGIN: 5px; BORDER-TOP: 0pt solid; BORDER-RIGHT: 0pt solid" title=http://primeloops.us2.list-manage1.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=febb40b3eb&amp;amp;e=3f074dd8f8 border=0 hspace=5 alt="" vspace=5 align=left src="http://gallery.mailchimp.com/3ff261520fcdbe261b31e4823/images/190x235_png.6.png" width=190 height=235&gt;&lt;/A&gt;&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/SPAN&gt;&lt;/SPAN&gt;&lt;/SPAN&gt;&lt;/DIV&gt;&lt;DIV&gt;&lt;SPAN style="FONT-SIZE: 24px"&gt;&lt;SPAN style="FONT-FAMILY: verdana,geneva,sans-serif"&gt;&lt;SPAN&gt;&lt;SPAN style="FONT-FAMILY: arial,helvetica,sans-serif"&gt;&lt;STRONG&gt;Hit Factory - OUT NOW!&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;/SPAN&gt;&lt;/SPAN&gt;&lt;/SPAN&gt;&lt;/DIV&gt;&lt;DIV&gt;&lt;SPAN style="FONT-SIZE: 14px"&gt;&lt;STRONG&gt;Smash The Charts!&lt;/STRONG&gt;&lt;/SPAN&gt;&lt;BR&gt; &lt;/DIV&gt;&lt;DIV&gt;Break the mould with Prime Loops' brand spankin' new &lt;B&gt;“&lt;A style="COLOR: #800080; FONT-WEIGHT: bold; TEXT-DECORATION: underline" title=http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=ff5b528621&amp;amp;e=3f074dd8f8 href="http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=ff5b528621&amp;amp;e=3f074dd8f8"&gt;Hit Factory&lt;/A&gt;”&lt;/B&gt; sound collection!&lt;BR&gt;&lt;BR&gt;This high-definition pop sample pack offers electrifying drums, chart breaking bass and ultra-melodic synth loops, all taking inspiration from an epic array of genres including Trance, Techno, Dance, Dubstep, Urban and Electro!&lt;/DIV&gt;&lt;DIV style="TEXT-ALIGN: left"&gt;&lt;BR&gt;&lt;A style="COLOR: #800080; FONT-WEIGHT: bold; TEXT-DECORATION: underline" title=http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=1fe0dadd5f&amp;amp;e=3f074dd8f8 href="http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=1fe0dadd5f&amp;amp;e=3f074dd8f8"&gt;&lt;IMG style="BORDER-BOTTOM: 0pt solid; BORDER-LEFT: 0pt solid; FLOAT: right; BORDER-TOP: 0pt solid; BORDER-RIGHT: 0pt solid" title=http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=1fe0dadd5f&amp;amp;e=3f074dd8f8 border=0 alt="United States of Dance" align=right src="http://gallery.mailchimp.com/3ff261520fcdbe261b31e4823/images/listennow1.png" width=171 height=31&gt;&lt;/A&gt;&lt;/DIV&gt;&lt;/SPAN&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;!--productheader--&gt;&lt;TABLE style="BORDER-BOTTOM: #ffffff 0px solid; BORDER-TOP: transparent 10px solid" cellSpacing=0 cellPadding=15 width=600 height=0&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="-moz-border-radius-topleft: 10px; -moz-border-radius-topright: 10px; -webkit-border-top-left-radius: 10px; -webkit-border-top-right-radius: 10px" id=productedit1 bgColor=#000000 background=http://primeloops.com/mailshot_v4/elementheaderzaaa1.jpg&gt;&lt;DIV style="TEXT-ALIGN: left"&gt;&lt;SPAN id=topbox2&gt;&lt;SPAN style="LINE-HEIGHT: 90%; FONT-FAMILY: verdana,geneva,sans-serif; COLOR: white; FONT-SIZE: 32px; text-shadow: 0px 0px 8px black"&gt;&lt;B&gt;New Feature...&lt;/B&gt;&lt;/SPAN&gt;&lt;/SPAN&gt;&lt;BR&gt; &lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;!--productbox--&gt;&lt;TABLE style="BORDER-BOTTOM: transparent 10px solid" cellSpacing=0 cellPadding=5 width=600&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="BORDER-BOTTOM: #8f8f8f 3px solid; BORDER-LEFT: #8f8f8f 3px solid; BACKGROUND-COLOR: #d1cfd1; BORDER-RIGHT: #8f8f8f 3px solid; -moz-border-radius-bottomleft: 10px; -webkit-border-bottom-left-radius: 10px; -webkit-border-bottom-right-radius: 10px; -moz-border-radius-bottomright: 10px" vAlign=top width=0&gt;&lt;TABLE style="BORDER-BOTTOM: transparent 5px solid; BORDER-LEFT: transparent 5px solid; BORDER-TOP: transparent 5px solid; BORDER-RIGHT: transparent 5px solid" cellSpacing=0 cellPadding=5&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD vAlign=top rowSpan=2 width=0&gt;&lt;DIV&gt;&lt;DIV style="TEXT-ALIGN: left"&gt;&lt;A style="COLOR: #800080; FONT-WEIGHT: bold; TEXT-DECORATION: underline" title=http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=3b47f31c48&amp;amp;e=3f074dd8f8 href="http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=3b47f31c48&amp;amp;e=3f074dd8f8"&gt;&lt;IMG style="PADDING-BOTTOM: 0px; MARGIN: 0px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; MAX-WIDTH: 190px; PADDING-TOP: 0px" id=productedit3 title=http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=3b47f31c48&amp;amp;e=3f074dd8f8 border=0 alt="Embrace Contrast in Your Mix!" src="http://gallery.mailchimp.com/3ff261520fcdbe261b31e4823/images/contrast_header.2.jpg" width=190 height=94&gt;&lt;/A&gt;&lt;/DIV&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD style="BORDER-BOTTOM: 0px; LINE-HEIGHT: 150%; FONT-FAMILY: trebuchet ms; COLOR: #000000; FONT-SIZE: 12px; BORDER-RIGHT: transparent 10px solid" vAlign=top&gt;&lt;P&gt;&lt;DIV align=left&gt;&lt;SPAN style="LINE-HEIGHT: 110%; FONT-FAMILY: arial; COLOR: #333333; FONT-SIZE: 20px; FONT-WEIGHT: bold; text-shadow: 0px 1px 3px white" id=productedit4 align="left"&gt;&lt;SPAN style="FONT-FAMILY: arial,helvetica,sans-serif"&gt;Embrace Contrast in Your Mix!&lt;/SPAN&gt;&lt;BR&gt;&lt;/SPAN&gt;&lt;/DIV&gt;&lt;BR&gt;&lt;DIV align=left&gt;&lt;SPAN id=productedit5 align="left"&gt;Contrast is a pretty well accepted idea in art - everyone loves to drone on about light and shade, the sweet versus the savoury - but how does that affect music?&lt;BR&gt;&lt;BR&gt;Read on for some simple but effective techniques to how you can introduce some contrast... It can really be the makings of a track!&lt;/SPAN&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 150%; FONT-FAMILY: trebuchet ms; COLOR: #000000; FONT-SIZE: 12px; -webkit-border-bottom-right-radius: 10px; -moz-border-radius-bottomright: 10px" vAlign=center align=right&gt;&lt;DIV style="TEXT-ALIGN: right"&gt;&lt;A style="COLOR: #800080; FONT-WEIGHT: bold; TEXT-DECORATION: underline" title=http://primeloops.us2.list-manage1.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=24a67e42ed&amp;amp;e=3f074dd8f8 href="http://primeloops.us2.list-manage1.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=24a67e42ed&amp;amp;e=3f074dd8f8"&gt;&lt;IMG style="PADDING-BOTTOM: 0px; MARGIN: 0px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; PADDING-TOP: 0px" id=productedit6 title=http://primeloops.us2.list-manage1.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=24a67e42ed&amp;amp;e=3f074dd8f8 border=0 alt="Embrace Contrast in Your Mix!" src="http://gallery.mailchimp.com/3ff261520fcdbe261b31e4823/images/readmore1.png" width=171 height=31&gt;&lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;!--productheader--&gt;&lt;TABLE style="BORDER-BOTTOM: #ffffff 0px solid; BORDER-TOP: transparent 10px solid" cellSpacing=0 cellPadding=15 width=600 height=0&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="-moz-border-radius-topleft: 10px; -moz-border-radius-topright: 10px; -webkit-border-top-left-radius: 10px; -webkit-border-top-right-radius: 10px" id=productedit1 bgColor=#000000 background=http://primeloops.com/mailshot_v4/elementheaderzaaa1.jpg&gt;&lt;DIV align=left&gt;&lt;SPAN style="FONT-FAMILY: verdana,geneva,sans-serif; COLOR: #ffffff; FONT-SIZE: 32px; text-shadow: 0px 0px 5px black"&gt;&lt;B&gt;&lt;SPAN id=productedit2&gt;Deal Of The Week...&lt;/SPAN&gt;&lt;/B&gt;&lt;/SPAN&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;!--productbox--&gt;&lt;TABLE style="BORDER-BOTTOM: transparent 10px solid" cellSpacing=0 cellPadding=5 width=600&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD style="BORDER-BOTTOM: #8f8f8f 3px solid; BORDER-LEFT: #8f8f8f 3px solid; BACKGROUND-COLOR: #d1cfd1; BORDER-RIGHT: #8f8f8f 3px solid; -moz-border-radius-bottomleft: 10px; -webkit-border-bottom-left-radius: 10px; -webkit-border-bottom-right-radius: 10px; -moz-border-radius-bottomright: 10px" vAlign=top width=0&gt;&lt;TABLE style="BORDER-BOTTOM: transparent 5px solid; BORDER-LEFT: transparent 5px solid; BORDER-TOP: transparent 5px solid; BORDER-RIGHT: transparent 5px solid" cellSpacing=0 cellPadding=5&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD vAlign=top rowSpan=2 width=0&gt;&lt;DIV&gt;&lt;DIV style="TEXT-ALIGN: left"&gt;&lt;A style="COLOR: #800080; FONT-WEIGHT: bold; TEXT-DECORATION: underline" title=http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=a8b042c93e&amp;amp;e=3f074dd8f8 href="http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=a8b042c93e&amp;amp;e=3f074dd8f8"&gt;&lt;IMG style="PADDING-BOTTOM: 0px; MARGIN: 0px; PADDING-LEFT: 0px; PADDING-RIGHT: 0px; MAX-WIDTH: 190px; PADDING-TOP: 0px" id=productedit3 title=http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=a8b042c93e&amp;amp;e=3f074dd8f8 border=0 alt="Reggaeton &amp;amp; Tropical Producer!" src="http://gallery.mailchimp.com/3ff261520fcdbe261b31e4823/images/190x235_png.7.png" width=190 height=235&gt;&lt;/A&gt;&lt;/DIV&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD style="BORDER-BOTTOM: 0px; LINE-HEIGHT: 150%; FONT-FAMILY: trebuchet ms; COLOR: #000000; FONT-SIZE: 12px; BORDER-RIGHT: transparent 10px solid" vAlign=top&gt;&lt;P&gt;&lt;DIV align=left&gt;&lt;SPAN style="LINE-HEIGHT: 110%; FONT-FAMILY: arial; COLOR: #333333; FONT-SIZE: 20px; FONT-WEIGHT: bold; text-shadow: 0px 1px 3px white" id=productedit4 align="left"&gt;Get the Essential Reggaeton &amp;amp; Tropical Collection! &lt;IMG style="BORDER-BOTTOM: 0px solid; BORDER-LEFT: 0px solid; WIDTH: 33px; HEIGHT: 15px; BORDER-TOP: 0px solid; BORDER-RIGHT: 0px solid" alt="" src="http://gallery.mailchimp.com/3ff261520fcdbe261b31e4823/images/newicon.png" width=33 height=15&gt;&lt;/SPAN&gt;&lt;/DIV&gt;&lt;BR&gt;&lt;DIV align=left&gt;&lt;SPAN id=productedit5 align="left"&gt;This brand new Prime Loops "&lt;A style="COLOR: #800080; FONT-WEIGHT: bold; TEXT-DECORATION: underline" title=http://primeloops.us2.list-manage2.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=d791d9d181&amp;amp;e=3f074dd8f8 href="http://primeloops.us2.list-manage2.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=d791d9d181&amp;amp;e=3f074dd8f8"&gt;Reggaeton &amp;amp; Tropical Producer Combo Deal&lt;/A&gt;" combines a whopping 6 (!) of our best selling Reggaeton &amp;amp; Tropical Sample Packs, all bundled together at the massively discounted price!&lt;BR&gt;&lt;/SPAN&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD style="LINE-HEIGHT: 150%; FONT-FAMILY: trebuchet ms; COLOR: #000000; FONT-SIZE: 12px; -webkit-border-bottom-right-radius: 10px; -moz-border-radius-bottomright: 10px" vAlign=center align=right&gt;&lt;DIV style="TEXT-ALIGN: right"&gt;&lt;A style="COLOR: #800080; FONT-WEIGHT: bold; TEXT-DECORATION: underline" title=http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=7428283f32&amp;amp;e=3f074dd8f8 href="http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=7428283f32&amp;amp;e=3f074dd8f8"&gt;&lt;IMG style="PADDING-BOTTOM: 0px; 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BORDER-LEFT: 0pt solid; MARGIN: 5px; BORDER-TOP: 0pt solid; BORDER-RIGHT: 0pt solid" title=http://primeloops.us2.list-manage.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=a1875a285d&amp;amp;e=3f074dd8f8 border=0 hspace=5 alt="" vspace=5 src="http://gallery.mailchimp.com/3ff261520fcdbe261b31e4823/images/PL0123_Hip_Hop_Militia_square_95.1.jpg" width=95 height=95&gt;&lt;/A&gt;&lt;/SPAN&gt;&lt;SPAN id=releasesedit3&gt;&lt;A style="COLOR: rgb(178,0,196); FONT-WEIGHT: bold; TEXT-DECORATION: underline" title=http://primeloops.us2.list-manage1.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=a309d470c6&amp;amp;e=3f074dd8f8 href="http://primeloops.us2.list-manage1.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=a309d470c6&amp;amp;e=3f074dd8f8"&gt;&lt;IMG style="BORDER-BOTTOM: 0pt solid; BORDER-LEFT: 0pt solid; MARGIN: 5px; BORDER-TOP: 0pt solid; BORDER-RIGHT: 0pt solid" title=http://primeloops.us2.list-manage1.com/track/click?u=3ff261520fcdbe261b31e4823&amp;amp;id=a309d470c6&amp;amp;e=3f074dd8f8 border=0 hspace=5 alt="" vspace=5 src="http://gallery.mailchimp.com/3ff261520fcdbe261b31e4823/images/mega_freak_beatz_square_95.1.jpg" width=95 height=95&gt;&lt;/A&gt;&lt;/SPAN&gt;&lt;/DIV&gt;&lt;/SPAN&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Fri, 24 Feb 2012 23:30:01 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item><item><title>New Products from Big Fish Audio - February 2012</title><link>http://forum.producersedgemagazine.com/Topic1993-8-1.aspx</link><description>&lt;TABLE id=Table_01 border=0 cellSpacing=0 cellPadding=0 width=690 align=center height=864&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;A title=http://www.bigfishaudio.com/index.html?;sou=bfaem href="http://www.bigfishaudio.com/index.html?;sou=bfaem"&gt;&lt;IMG title=http://www.bigfishaudio.com/index.html?;sou=bfaem border=0 alt="Big Fish Audio" src="http://www3.bigfishaudio.com/ad_images/marchhiphop10/bfaemail_02.jpg" width=380 height=97&gt;&lt;/A&gt;&lt;/TD&gt;&lt;TD height=97 background=http://www3.bigfishaudio.com/ad_images/marchhiphop10/bfaemail_03.jpg width=290&gt;&lt;DIV style="FONT-STYLE: italic; FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 18px; FONT-WEIGHT: bold" align=center&gt;&lt;BR&gt;New Releases&lt;/DIV&gt;&lt;/TD&gt;&lt;TD&gt;&lt;IMG border=0 alt="" src="http://www3.bigfishaudio.com/ad_images/marchhiphop10/bfaemail_04.jpg" width=11 height=97&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;IMG border=0 alt="" src="http://www3.bigfishaudio.com/ad_images/marchhiphop10/bfaemail_05.jpg" width=9 height=12&gt;&lt;/TD&gt;&lt;TD colSpan=2&gt;&lt;IMG border=0 alt="" src="http://www3.bigfishaudio.com/ad_images/marchhiphop10/bfaemail_06.jpg" width=670 height=12&gt;&lt;/TD&gt;&lt;TD&gt;&lt;IMG border=0 alt="" src="http://www3.bigfishaudio.com/ad_images/marchhiphop10/bfaemail_07.jpg" width=11 height=12&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;IMG border=0 alt="" src="http://www3.bigfishaudio.com/ad_images/marchhiphop10/bfaemail_08.jpg" width=9 height=370&gt; &lt;/TD&gt;&lt;TD colSpan=2&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 width="100%"&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD&gt;&lt;A title=http://www.bigfishaudio.com/detail.html?4;16;1::512266;60:::512294:::D512294;B512266;B60::513990;sou=bfaem href="http://www.bigfishaudio.com/detail.html?4;16;1::512266;60:::512294:::D512294;B512266;B60::513990;sou=bfaem"&gt;&lt;IMG title=http://www.bigfishaudio.com/detail.html?4;16;1::512266;60:::512294:::D512294;B512266;B60::513990;sou=bfaem border=0 alt="Fury: Modern Indie and Pop Rock" src="http://www3.bigfishaudio.com/ad_images/newproductsfeb2012/furyemailheader_01.jpg" width=670 height=210&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;EMBED height=81 type=application/x-shockwave-flash width="100%" src=https://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F37374525&amp;amp;show_comments=false&amp;amp;auto_play=false&amp;amp;color=ff7700 allowscriptaccess="always"&gt;&lt;/EMBED&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;A title=http://www.bigfishaudio.com/detail.html?4;16;1::512266;60:::512294:::D512294;B512266;B60::513990;sou=bfaem href="http://www.bigfishaudio.com/detail.html?4;16;1::512266;60:::512294:::D512294;B512266;B60::513990;sou=bfaem"&gt;&lt;IMG title=http://www.bigfishaudio.com/detail.html?4;16;1::512266;60:::512294:::D512294;B512266;B60::513990;sou=bfaem border=0 alt="Fury: Modern Indie and Pop Rock" src="http://www3.bigfishaudio.com/ad_images/newproductsfeb2012/furyemailheader_03.jpg" width=670 height=80&gt;&lt;/A&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;&lt;/TD&gt;&lt;TD&gt;&lt;IMG border=0 alt="" src="http://www3.bigfishaudio.com/ad_images/marchhiphop10/bfaemail_10.jpg" width=11 height=370&gt; &lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD&gt;&lt;IMG border=0 alt="" src="http://www3.bigfishaudio.com/ad_images/marchhiphop10/bfaemail_11.jpg" width=9 height=2&gt;&lt;/TD&gt;&lt;TD colSpan=2&gt;&lt;IMG border=0 alt="" src="http://www3.bigfishaudio.com/ad_images/marchhiphop10/bfaemail_12.jpg" width=670 height=2&gt;&lt;/TD&gt;&lt;TD&gt;&lt;IMG border=0 alt="" src="http://www3.bigfishaudio.com/ad_images/marchhiphop10/bfaemail_13.jpg" width=11 height=2&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD bgColor=#000000&gt;&lt;IMG border=0 alt="" align=top src="http://www3.bigfishaudio.com/ad_images/marchhiphop10/bfaemail_14.jpg" width=9 height=670&gt; &lt;/TD&gt;&lt;TD bgColor=#000000 colSpan=2&gt;&lt;TABLE border=0 cellSpacing=0 cellPadding=0 align=center&gt;&lt;TBODY&gt;&lt;TR&gt;&lt;TD bgColor=#000000 height=7 vAlign=top width=206&gt;&lt;/TD&gt;&lt;TD bgColor=#000000 height=7 vAlign=top width=8&gt;&lt;/TD&gt;&lt;TD bgColor=#000000 height=7 vAlign=top width=206&gt;&lt;/TD&gt;&lt;TD bgColor=#000000 height=7 vAlign=top width=8&gt;&lt;/TD&gt;&lt;TD height=7 vAlign=top width=206&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD bgColor=#111111 height=60 vAlign=top width=206&gt;&lt;DIV align=center&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 18px; FONT-WEIGHT: bold"&gt;Freshtone Vintage Drums: The Fills&lt;/SPAN&gt;&lt;BR&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 12px"&gt;Vintage drum fills by Freshtone&lt;/SPAN&gt;&lt;BR&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD bgColor=#000000 height=180 vAlign=top rowSpan=2 width=8&gt;&lt;/TD&gt;&lt;TD bgColor=#111111 height=60 vAlign=top width=206&gt;&lt;DIV align=center&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 18px; FONT-WEIGHT: bold"&gt;Retro Soul&lt;/SPAN&gt; &lt;BR&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 12px"&gt;Rare sixties and seventies soul revisited&lt;/SPAN&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD bgColor=#000000 height=180 vAlign=top rowSpan=2 width=8&gt;&lt;/TD&gt;&lt;TD bgColor=#111111 height=60 vAlign=top width=206&gt;&lt;DIV align=center&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 18px; FONT-WEIGHT: bold"&gt;Neo Soul Keys&lt;/SPAN&gt;&lt;BR&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 12px"&gt;The premier Urban electric piano virtual Instrument&lt;/SPAN&gt;&lt;BR&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD bgColor=#111111 height=120 vAlign=top width=206&gt;&lt;DIV align=center&gt;&lt;A title=http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514362;sou=bfaem href="http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514362;sou=bfaem"&gt;&lt;IMG title=http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514362;sou=bfaem border=1 alt="Freshtone Vintage Drums: The Fills" src="http://www3.bigfishaudio.com/ad_images/newproductsfeb2012/tone02.jpg" width=111 height=111&gt;&lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD bgColor=#111111 height=120 vAlign=top width=206&gt;&lt;DIV align=center&gt;&lt;A title=http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514423;sou=bfaem href="http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514423;sou=bfaem"&gt;&lt;IMG title=http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514423;sou=bfaem border=1 alt="Retro Soul" src="http://www3.bigfishaudio.com/ad_images/newproductsfeb2012/rtro1.jpg" width=111 height=111&gt;&lt;/A&gt;&lt;BR&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD bgColor=#111111 height=120 vAlign=top width=206&gt;&lt;DIV align=center&gt;&lt;A title=http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514418;sou=bfaem href="http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514418;sou=bfaem"&gt;&lt;IMG title=http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514418;sou=bfaem border=1 alt="Neo Soul Keys" src="http://www3.bigfishaudio.com/ad_images/newproductsfeb2012/gspl01.jpg" width=111 height=111&gt;&lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD bgColor=#000000 height=7 vAlign=top width=206&gt;&lt;/TD&gt;&lt;TD bgColor=#000000 height=7 vAlign=top width=8&gt;&lt;/TD&gt;&lt;TD bgColor=#000000 height=7 vAlign=top width=206&gt;&lt;/TD&gt;&lt;TD bgColor=#000000 height=7 vAlign=top width=8&gt;&lt;/TD&gt;&lt;TD height=7 vAlign=top width=206&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD bgColor=#111111 height=60 vAlign=top width=206&gt;&lt;DIV align=center&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 18px; FONT-WEIGHT: bold"&gt;Funky Tonewheels&lt;/SPAN&gt; &lt;BR&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 12px"&gt;Rare Hammond grooves&lt;/SPAN&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD bgColor=#000000 height=180 vAlign=top rowSpan=2 width=8&gt;&lt;/TD&gt;&lt;TD bgColor=#111111 height=60 vAlign=top width=206&gt;&lt;DIV align=center&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 18px; FONT-WEIGHT: bold"&gt;Good Gurl Vs Bad Gurl&lt;/SPAN&gt; &lt;BR&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 12px"&gt;Packed with modern pop, RnB, and hip hop flava&lt;/SPAN&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD bgColor=#000000 height=180 vAlign=top rowSpan=2 width=8&gt;&lt;/TD&gt;&lt;TD bgColor=#111111 height=60 vAlign=top width=206&gt;&lt;DIV align=center&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 18px; FONT-WEIGHT: bold"&gt;Ol' Skool: Vintage Hip Hop&lt;/SPAN&gt; &lt;BR&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 12px"&gt;Classic hip hop construction kits&lt;/SPAN&gt;&lt;BR&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD bgColor=#111111 height=120 vAlign=top width=206&gt;&lt;DIV align=center&gt;&lt;A title=http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514426;sou=bfaem href="http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514426;sou=bfaem"&gt;&lt;IMG title=http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514426;sou=bfaem border=1 alt="Funky Tonewheels" src="http://www3.bigfishaudio.com/ad_images/newproductsfeb2012/tnwh1.jpg" width=111 height=111&gt;&lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD bgColor=#111111 height=120 vAlign=top width=206&gt;&lt;DIV align=center&gt;&lt;A title=http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514614;sou=bfaem href="http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514614;sou=bfaem"&gt;&lt;IMG title=http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514614;sou=bfaem border=1 alt="Good Gurl Vs Bad Gurl" src="http://www3.bigfishaudio.com/ad_images/newproductsfeb2012/mvpl71.jpg" width=111 height=111&gt;&lt;/A&gt;&lt;A title=http://www.bigfishaudio.com/detail.html?4;16;1:::::512252:::D512252::514085;sou=bfaem href="http://www.bigfishaudio.com/detail.html?4;16;1:::::512252:::D512252::514085;sou=bfaem"&gt;&lt;/A&gt;&lt;BR&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD bgColor=#111111 height=120 vAlign=top width=206&gt;&lt;DIV align=center&gt;&lt;A title=http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::513409;sou=bfaem href="http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::513409;sou=bfaem"&gt;&lt;IMG title=http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::513409;sou=bfaem border=1 alt="Ol' Skool: Vintage Hip Hop" src="http://www3.bigfishaudio.com/ad_images/newproductsfeb2012/oskl1.jpg" width=111 height=111&gt;&lt;/A&gt;&lt;A title=http://www.bigfishaudio.com/detail.html?4;16;1:::::511779:::D511779::514016;sou=bfaem href="http://www.bigfishaudio.com/detail.html?4;16;1:::::511779:::D511779::514016;sou=bfaem"&gt;&lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD bgColor=#000000 height=7 vAlign=top width=206&gt;&lt;/TD&gt;&lt;TD bgColor=#000000 height=7 vAlign=top width=8&gt;&lt;/TD&gt;&lt;TD bgColor=#000000 height=7 vAlign=top width=206&gt;&lt;/TD&gt;&lt;TD bgColor=#000000 height=7 vAlign=top width=8&gt;&lt;/TD&gt;&lt;TD height=7 vAlign=top width=206&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD bgColor=#111111 height=60 vAlign=top width=206&gt;&lt;DIV align=center&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 18px; FONT-WEIGHT: bold"&gt;Electro House&lt;/SPAN&gt; &lt;BR&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 12px"&gt;Electronica made for the dance floor&lt;/SPAN&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD bgColor=#000000 height=180 vAlign=top rowSpan=2 width=8&gt;&lt;/TD&gt;&lt;TD bgColor=#111111 height=60 vAlign=top width=206&gt;&lt;DIV align=center&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 18px; FONT-WEIGHT: bold"&gt;Maybach Ambition&lt;/SPAN&gt; &lt;BR&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 12px"&gt;The foundation for hot RnB, Dirty South, or Trap Style Beats&lt;/SPAN&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD bgColor=#000000 height=180 vAlign=top rowSpan=2 width=8&gt;&lt;/TD&gt;&lt;TD bgColor=#111111 height=60 vAlign=top width=206&gt;&lt;DIV align=center&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 18px; FONT-WEIGHT: bold"&gt;AS Bass Collection&lt;/SPAN&gt; &lt;BR&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 12px"&gt;A collection of six deeply sampled basses&lt;/SPAN&gt;&lt;BR&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD bgColor=#111111 height=120 vAlign=top width=206&gt;&lt;DIV align=center&gt;&lt;A title=http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514425;sou=bfaem href="http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514425;sou=bfaem"&gt;&lt;IMG title=http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514425;sou=bfaem border=1 alt="Electro House" src="http://www3.bigfishaudio.com/ad_images/newproductsfeb2012/ltro1.jpg" width=111 height=111&gt;&lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD bgColor=#111111 height=120 vAlign=top width=206&gt;&lt;DIV align=center&gt;&lt;A title=http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514615;sou=bfaem href="http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514615;sou=bfaem"&gt;&lt;IMG title=http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514615;sou=bfaem border=1 alt="Maybach Ambition" src="http://www3.bigfishaudio.com/ad_images/newproductsfeb2012/mvpl72.jpg" width=111 height=111&gt;&lt;/A&gt;&lt;BR&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;TD bgColor=#111111 height=120 vAlign=top width=206&gt;&lt;DIV align=center&gt;&lt;A title=http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514600;sou=bfaem href="http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514600;sou=bfaem"&gt;&lt;IMG title=http://www.bigfishaudio.com/detail.html?4;16;1:1608;115;205:::::::A1608;A115;A205::514600;sou=bfaem border=1 alt="AS Bass Collection" src="http://www3.bigfishaudio.com/ad_images/newproductsfeb2012/asbc.jpg" width=111 height=111&gt;&lt;/A&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD bgColor=#000000 height=7 vAlign=top width=206&gt;&lt;/TD&gt;&lt;TD bgColor=#000000 height=7 vAlign=top width=8&gt;&lt;/TD&gt;&lt;TD bgColor=#000000 height=7 vAlign=top width=206&gt;&lt;/TD&gt;&lt;TD bgColor=#000000 height=7 vAlign=top width=8&gt;&lt;/TD&gt;&lt;TD height=7 vAlign=top width=206&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TD height=18 vAlign=center colSpan=4 align=right&gt;&lt;P style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 12px" align=right&gt; &lt;/P&gt;&lt;/TD&gt;&lt;TD height=18 vAlign=center width=206 align=right&gt;&lt;DIV align=left&gt;&lt;/DIV&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;TR&gt;&lt;TR&gt;&lt;TD height=19 vAlign=center colSpan=4 align=right&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 12px"&gt;Follow us on:  &lt;/SPAN&gt;&lt;/TD&gt;&lt;TD height=19 vAlign=center width=206 align=right&gt;&lt;DIV align=left&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #ffffff; FONT-SIZE: 12px"&gt;&lt;A title=http://www.facebook.com/pages/Big-Fish-Audio/163752639634?v=app_4949752878 href="http://www.facebook.com/pages/Big-Fish-Audio/163752639634?v=app_4949752878"&gt;&lt;IMG title=http://www.facebook.com/pages/Big-Fish-Audio/163752639634?v=app_4949752878 border=0 alt=Fb src="http://www3.bigfishaudio.com/ad_images/global_mar2010/fb.jpg" width=37 height=42&gt;&lt;/A&gt;&lt;A title=http://twitter.com/bigfishaudioinc href="http://twitter.com/bigfishaudioinc"&gt;&lt;IMG title=http://twitter.com/bigfishaudioinc border=0 alt=twitter src="http://www3.bigfishaudio.com/ad_images/global_mar2010/twitter.jpg" width=41 height=42&gt;&lt;/A&gt;&lt;A title=http://blog.bigfishaudio.com/ href="http://blog.bigfishaudio.com/"&gt;&lt;IMG title=http://blog.bigfishaudio.com/ border=0 alt=RSS src="http://www3.bigfishaudio.com/ad_images/global_mar2010/rss.jpg" width=43 height=42&gt;&lt;/A&gt;&lt;/SPAN&gt; 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Click here.&lt;/FONT&gt;&lt;/A&gt;&lt;/SPAN&gt; &lt;/P&gt;&lt;P style="COLOR: #ffffff" align=center&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; FONT-SIZE: 12px"&gt;STOP BY AND CHECK OUT OUR MONTHLY HOT TITLES!&lt;/SPAN&gt; &lt;BR&gt;&lt;SPAN style="FONT-FAMILY: Arial, Helvetica, sans-serif; COLOR: #29577f; FONT-SIZE: 12px"&gt;&lt;A title=http://www.bigfishaudio.com/catalogview.html?1;16;1:1608;115:::::::A1608;A115::Page=1;Dept=205;sou=bfaem href="http://www.bigfishaudio.com/catalogview.html?1;16;1:1608;115:::::::A1608;A115::Page=1;Dept=205;sou=bfaem"&gt;&lt;FONT color=#ffffff&gt;Blazing hot titles... Click here.&lt;/FONT&gt;&lt;/A&gt;&lt;/SPAN&gt; &lt;BR&gt;&lt;/P&gt;&lt;/TD&gt;&lt;/TR&gt;&lt;/TBODY&gt;&lt;/TABLE&gt;</description><pubDate>Tue, 21 Feb 2012 21:41:29 GMT</pubDate><dc:creator>xodus phoenix</dc:creator></item></channel></rss>
