So here is North and South's little acoustic cover of Hozier's fantastic take me to church live from the Kings Arms Festival, on Sunday 5th September 2015. It was a great event to play at and really nice to have so many people singing along (especially to our original material!). Another little video to come soon EnjoyPieceNeil
Analysing olfactory and auditory sensescapes in English cities: Sensory expectation and urban environmental perception
Bittersweet news this morning, I awoke to new that the publication of the journal paper I had the privilege of working on with a outstanding academic and great friend Victoria Henshaw just before she tragically passed away has been published. It was a real honour to work on this paper, and a real sense of loss that we will not get to work again together. I should add a massive thanks to amazing Dr Jenna Condie and Dr Sarah Payne for stepping in at the last moment to help get this paper finished in Victoria's memory.Smell and Sound brought together!!! have a read...what's not to like!Here is the abstract...
This paper examines the role of sensory expectation in people’s experiences and perceptions of a range of different urban environments in English towns and cities by focussing upon those related to smell and sound specifically. It draws from two separate but related sensewalking studies undertaken between 2004 and 2009: one exploring urban smell experiences, the other examining urban sound experiences. In drawing from, and comparing the findings of these two studies, sensory expectations are argued as highly influential in urban place experience and perception, providing different layers of meaning and understanding of place, and presenting challenges and opportunities for architects and urban designers when creating more human-centred places in the city. In addition, perceptions of the smells and sounds themselves are revealed as highly influenced by the environmental context within which they are, or are not, detected. As a result, the authors advocate a more proactive approach to the consideration of smells and sound information when designing and managing urban sensory environments.You can read the full paper online here.
EnjoyPeaceNeil
How APT - Composition and Sound Design brief
Very pleased to say that this week, the launch of the new promo video for Cheshire based design agency APT went live. Here at Spencer Bruce Music, we provided both the composition and sound design elements for the piece. It was a great little project to work on, with so many fun elements in the video to work with. I developed two concept ideas to match the brief, and the second one was chosen. You can see the final version here.So if you are looking for any print or web design work to be carried out, be sure to head over to APT and check them out.All the work was done in Logic Pro.EnjoyPeaceNeil
10 ways to become a successful musician
It is the question we all want to know the answer too, and it is the one that tends to allude the majority of us. One of the things to consider when posing this question is, 'what does the word successful mean to you?'. After you have taken some time to answer this question, this article provides you with, 10 ways to become a successful musician.
What is success for me?
In this great world of ours it could mean a multitude of things, and depending on what those things are depends on the way that you might want to approach answering the question. Well, from my perspective it is quite simple, it means, currently being able to support my current standard of living through earnings made from my own music related income streams. Now this might be very different for you, success might be owning a Ferrari, or playing Madison Square Gardens (obviously I wouldn't mind those, but they don't drive me on a day to day basis....although a Ferrari would obviously drive me....being a car...sorry terrible joke!).By utilising the positivity of Law of Attraction, then be just focusing in on your own set goals can help you realise them, yes this really can happen. (Click here for a great article on 12 Ways the Law of Attraction can change your life)
Define your goals
Once your have defined a goal, ambition or sentence of what success means to you, the following 10 suggestions of ways to success can really help you on your way to finding success.1. Manage your expectationsAs I have just stated above, the first thing you need to do is "set a goal." Do you want to be the next Ed Sheeran ? Then you need to appreciate like most 'stars', Ed cut his teeth for years busking, playing the dodgy clubs, bars before he became the Ed Sheeran we know today. These things take time, there is no such thing ever as over night success. So, my friends, it is time to realise that anything that comes too easy, isn’t real!!! But more importantly, anything you put time and effort into, will come back to you.2. Create interesting and engaging contentThis goes without saying really doesn't it, but sometimes things that aren't said need to be said. Whatever you create, whatever genre you find yourself in, whatever random vibration of air molecules you inflict on to the universe, make sure it is the best you can do (at this point in time!). Realise that you should always strive to improve, always be open to learning, but music (like any art) is a lifetime study....you can't know it all now, so don't worry! BUT, most importantly don't let that stop you from putting out your art now. Just try to ensure it is the best you can do (now), and not only that, but that it is engaging. On top of your actual content (your music for example), also realise that you aren't just promoting your musical content but all the other aspects associated with it...basically, through all your content, create a world for that music to live in.3. Create video content Following on from point 3, there is no escaping the fact that videos are the new rock and roll. Videos are just SO IMPORTANT these days, not just to fans, but also to everyone else in the music business who wants to access you. They are your calling card, with a potential network of BILLIONS of people. The best thing is that in this day and ages to produce a video doesn't have to cost much money, you can do it yourself on your phone and some basic software and get it out there straight away (follow the advice from point 2)4. Submit your music to your favorite blogs and websitesThe internet has empowered you to be your own publisher, you don't need a record deal, you don't need a fancy publicist....do it yourself!!5. Develop a brandOkay, so this is always a tricky one, especially if you don't like stepping outside of your self and standing out in a crowd. But it doesn't mean being flamboyant and over the top in terms of what your wear or do, but it does mean develop a style which is matched across all of your content. It could be simple like the polo neck, jeans and trainers that Steve Jobs always wore, be comfortable in your brand and make sure it matches the areas you wish to target. Make sure that it is consistent across your website, business cards, gear, cases etc Again think Apple, you may love or hate them, but you know when something is an Apple product. "Developing a unique style can help set the tone for your music by making for compelling press photos and visually pleasing live performances.”6. Become an effective networker We have all heard the saying, "it's not what you know, it's who you know...", well as sad as it is, it is true and the best way to know people is through networking. Yes, networking!!! Sorry, but it is a necessary evil and there is no better way in getting out there, than....well getting out there and letting people know you exist. Part of being a great networker, is firstly believing in what you are doing and yourself and secondly, being an effective communicator. Spending time developing you ability to speak and communicate with others will help you better describe your music when someone asks you what you sound like, help you do the in-between song batter, help you talk contracts with managers and so on.7. Communicate via social media It is probably the best time in the history of the human race to be able to publish art and get it out there to a global audience. There are so many channels as well, all eager for you to promote yourself and content on, Facebook. Twitter. G+. Snapchat. Instagram. YouTube. Vine. Etc. Etc. Etc. So go out there, find where your fans are and communicate with them effectively on at least one or two of those platforms (you don't need to be, and you can't be on all of them...find those which work for you and embrace them!)8. Put together a marketing strategy Another evil term from the business world, but like business, you are a business, your business is you! So, take a few tips from the business world and apply them to your art . If you want to make some money with your music (if that is how your define your success criteria), then I am afraid to say you will need some form of business model, nothing complex, just try answering some simple questions, such as......What are you selling? Who’s your target audience? Who’s your competition?”9. Talk to your fans directlyThe internet makes the world one massive global village, and the tools we have at our disposal we can now interact with our fans 24/7/365 and our fans expect to interact with us, they want to be part of our success and want to assist us. The more direct, honest, and engaged you are with your fans, the more loyal your fanbase.10. Make good Art The marketing guru Seth Godin is a real advocate of creating art, and creating great and person art. He discusses this concept at great length in his fantastic bookLinchpin: Are You Indispensable? How to drive your career and create a remarkable future
PRS taking legal action against Soundcloud over royalties
So it has finally happened, PRS for music is taking on the might of SoundCloud over streaming royalties. I just had an email from PRS drop into my inbox (see below) detailing the circumstances that have arisen and let to this legal course of action. Personally speaking I think that this is a big deal for the industry as a whole, and is coming at a time when people and artists are finally getting to grasps with the new music business income streams and realising that a lot of these tech companies are actually taking the mickey a bit when it comes to payments made to content creators (this isn't exclusively a music industry problem I feel, but most of the creative arts). So it would seem that PRS for music is putting it's money where it's mouth is at and standing up for it's members (I am a member I should add!) and trying to some extent to get it's members what they are entitles to, which at the end of the day is just a fair deal.
PRS for Music, what does it do?
The way that PRS For Music works is by trying to make sure that any of it's members are paid a royalties (for the song writer writing the material, and for the sound recording) when their music is played on radio, TV, public performance etc, this is one of the only ways a writer receives income from their work, so it is crucially important, especially in the days of self-publishing. It has been reported that Soundcloud has over 175 million unique listeners a month, that is an incredible amount of listeners! But up until now Soundcloud is NOT a PRS license holder, which means any PRS member who's content is on the site is not being paid a bean when their music is streamed from Soundcloud, but for a company valued at $700 million this [*1] isn't really playing fair is it.So in the email from PRS For Music, they have said “after careful consideration, and following five years of unsuccessful negotiations, we now find ourselves in a situation where we have no alternative but to commence legal proceedings against the online music service SoundCloud.” We are entering a brave new world, only time will tell what the outcome will be. There is no denying, streaming is the future of music, but if we don't compensate those who create, what will there be to stream, or at least what NEW material will there be to stream?What are your thoughts?
PRS for Music members email
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Dear Member,
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PRS for Music begins legal action against SoundCloud After careful consideration, and following five years of unsuccessful negotiations, we now find ourselves in a situation where we have no alternative but to commence legal proceedings against the online music service SoundCloud. When a writer or publisher becomes a member of the Performing Right Society, they assign certain rights to their works over for us to administer, so it’s our job to ensure we collect and distribute royalties due to them. SoundCloud actively promotes and shares music. Launched in 2008, the service now has more than 175m unique listeners per month. Unfortunately, the organisation continues to deny it needs a PRS for Music licence for its existing service available in the UK and Europe, meaning it is not remunerating our members when their music is streamed by the SoundCloud platform. Our aim is always to license services when they use our members’ music. It has been a difficult decision to begin legal action against SoundCloud but one we firmly believe is in the best, long-term interests of our membership. This is because it is important we establish the principle that a licence is required when services make available music to users. We have asked SoundCloud numerous times to recognise their responsibilities to take a licence to stop the infringement of our members’ copyrights but so far our requests have not been met. Therefore we now have no choice but to pursue the issue through the courts. We understand SoundCloud has taken down some of our members’ works from their service. With our letter of claim, we sent SoundCloud a list of 4,500 musical works which are being made available on the service, as a sample of our repertoire being used, so that they understood the scale of our members’ repertoire and its use on the service. We asked them to take a licence to cover the use of all our members’ repertoire or otherwise stop infringing. SoundCloud decided to respond to our claim by informing us that it had removed 250 posts. Unfortunately, we have no visibility or clarity on SoundCloud’s approach to removing works, so it is not currently clear why these particular posts have been selected by them given the wider issue of infringement that is occurring. Ultimately, it is SoundCloud’s decision as to whether it starts paying for the ongoing use of our members’ music or stops using these works entirely. If the streaming market is to reach its true potential and offer a fair return for our members, organisations such as SoundCloud must pay for their use of our members’ music. We launched our Streamfair campaign in June to raise awareness of this issue and highlight how music creators need to be properly remunerated from streaming. We believe that all digital services should obtain a licence which grants them permission to use our members’ music and repertoire, in this case the works of songwriters, publishers and composers. The streaming market cannot fairly develop unless this happens. We have always been pro-licensing and pro-actively work with organisations in order to propose an appropriate licensing solution for the use of our members’ works. We remain hopeful that this matter can be resolved without the need for extended litigation. Members will appreciate that this is now a legal matter and our ability to communicate around it is therefore limited by the legal process. However, we will try to share information and updates whenever we can.Please visit our website to read our frequently asked questions. |
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Yours faithfully,Karen BuseExecutive Director, Membership and InternationalPRS for Music
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EnjoyPeaceNeil[*1] Source - Soundcloud $700 Million Valuation
Amanda-Rose Hill - A Father's Love
I am pleased to announced, for those of you whom asked, that Amanda-Rose Hill's single 'Father's Love', which I co-wrote and recorded the vocals for, can now be heard in full here....
Amanda-Rose Hill - A Father's Love
I am also pleased to announce today that our next song, which is called 'I ain't drunk' has been mixed by Ultra Audio Productions in Nashville, and is currently awaiting mastering. As soon as it is ready I will post a link to it, this one is an uptempo rock and roll dance track, so very excited that it is nearly ready.EnjoyPeaceNeil
Logic Pro X 10.2 review released with Alchemy !!!
Logic Pro X 10.2 review released with Alchemy, this has just popped up on the Apple Website and wow! I have been a Camel Audio user since the days when it was just Ben and he had just released Cameleon 5000 and have all of their products, so was a bit disturbed when I heard they were shutting the doors recently. But now we know why (well the rumours were out there), the fantastic Alchemy is the new synth in Logic. Alchemy has been my go to secret weapon since it came out, so I am guessing that cat is now out of the bag!The interface has been updated and it really does look stunning now! There is much more information about the Alchemy updates here, but in short these seem to be some of the other stand out features updates.Logic internet integrationLogic Pro X lets you publish directly to Apple Music from inside the app, should that rock your world, I am never totally sure about this, but if that is your thing, there it is. Apparently, there is also now built-in support for Gobbler, which means you can share, collaborate and probably back up too from within Logic. That’s a big deal for both Apple and Gobbler – there’s never been cloud integration like this in a major DAW.From the article some of the other things are as follows
- Force Touch trackpad support for the latest Apple laptops
- Expanded MIDI functionality, including expanded clock options.
- Non-destructively reverse audio regions. YES YES YES YES YES YES YES YES YES YES!!!!!!!!!!!!!!!!!!!!!!!
- Globally nudge by key command to note values.
- Editing improvements.
So it is a buggy with Alchemy included, and means that there is a really awesome synth, and powerful sample manipulation tool within Logic!!FantasticEnjoyPeaceNeil
Some recent gig pictures
It's been a while since we have had a photo update, so here are a few recent pictures from a Groovething gig at the GMEX Centre in Manchester (now called Manchester Central). Black and white always makes things look very moody!
EnjoyPeaceNeil
Fender 68 Custom Deluxe Reverb Review
Fender 68 Custom Deluxe Reverb Review
I have been through a few amps over the years, but for the last 4 I have been pretty much using a Fender Blues Junior III Tweed for much of my gigging needs. Primarily, because it sounds good and it is very light and easy to transport. I have had one or two issues over that time, but nothing to write home about.
Although recently it got knocked backwards during a gig and stopped working for a while, this required me to start using my Cornford Roadhouse 50 Head with a Zilla Custom 2 x 12 cab fitted with Celestion Vintage 30’s. Now this was amazing, because the amp is awesome and sounds fantastic, but this comes at a price, one being that it is pretty damn loud, okay very loud!!
We recently played a stadium gig, and the amp was only on 3-4 (obviously mic'd up!) and was still too loud! So, for the typical function and wedding it was a little too much, plus I got a bit tired carrying it up four flights of stairs to my apartment!Back to the Blues Junior and it would seem that the Blues Jnr III needs some work doing to it, so given that it was recently my birthday, I thought it was time for a new amp!
So what I wanted this time was an amp which was sublime (the Cornford is, but see above for why I can't use it all the time!) and in a different league (and portable!). After some searching around and knowing that the Fender 65 Deluxe Reverb Reissue (DRRI) was getting great praise, I noticed that the Fender 68 Custom Deluxe Reverb had come on the scene and was getting a lot of love (a lot).
So I thought it was my duty to try one out! What follows is a real love story, but as with real love there are some complications and the true course of love of course never runs smooth! Sit back and enjoy the ride.
Fender 68 Custom Deluxe Reverb - A love begins
So, I was out on my travels one day and I popped into PMT Music in Cambridge. Out of the corner of my eye, I saw that they had the '68 Deluxe Reverb in, so I asked to try it.....with in about 2 minutes I know that oh wow this is one hell of an amp! The kind of amp that makes you just want to play and play and play! I could have literally sat in the shop all day playing. But, I had to be somewhere and I wanted to know how the amp sounded with some of my pedals, so I left empty handed, knowing that I would return.
The main thing that struck me was that I was not sure how this amp is rated at 22 Watts, as it one one loud amp too, and wow thanks to the negative feedback this amp is SO sensitive to touch!! It is one of those amps you literally feel connected to, the sound coming out of the speakers just makes you smile. The tone has a deep round body to it, which really inspires you to play. The amp is just it is so responsive to your touch and you can so easily coax a note into the most glorious feedback and sustain. What really surprises me about this amp is how he character and tone of your guitar really jumps out, although with the pickup…it is like you can hear the very wood of the guitar.
I would also add that there is a real sweet spot on volume control which is around 4-5 when the amp not only really comes to life in terms of volume but in terms of the most luxurious tone.The amp has two channels (which differ from the original), one being the Vintage Channel (like the original) and the Custom channel - modified Fender Bassman amp with some of the highs removed so that pedals work well with this channel (and they do) Plimsoul, Suhr riot, for example.
Unlike the original amp they both have the reverb and vibro across them. Speaking of which, I find both the reverb and vibro to be fantastic, although with a character (i.e. a typical Fender Spring reverb tone) which may not be suitable for everyone, and personally beyond 2 on the dial it is too much for me. The Vibro channel is lush, but due to legislation in the UK and Europe the Opto circuit has been replaced due to the material used being outlawed here. I am not fully sure of the impact on the sound but it is a little bit noisy, especially at high intensities.
They are both foot switchable which is great, but personally I think the supplied foot switch is a piece of plastic crap. I am surprised when you spend SO much on an amp that they provide a rubbishy plastic footswitch. I will see how long I get out of it...maybe I am wrong and it will out last me, but you get a feeling for gear when you are gigging all the time, I don't think it will last, especially with my heavy feet. But I guess nice that they included it...oh and VERY nice that they included a cover too, I wish more companies would do this!!
Crucially, the amp also takes pedals really, really well, I have use it in conjunction with a Rothwell Audio F1 Booster, Fulltone Plimsoul, TC Nova System and Suhr Riot and they all sounded fantastic. I have attached the following audio clips so you can hear. These clips are from a recent gig and are the isolated guitar track from the Mic in front of the cab so you can get an idea of what it sounds like live and mic'd up. I have noted on the clips the one's which are straight and those with pedals.
The guitar was an American Fender Strat with Seymour Duncan Hot-Rails in the bridge position, my main gigging guitar.
Fender 68 Deluxe Reverb Audio Clips
Isolated track from live gig of Fender 68 deluxe reverb with Fender American Strat, clean sound from bridge pickup, overdrive from HotRails in the neck.Isolated track from live gig of Fender 68 deluxe reverb with Fender American Strat with Suhr Riot and TC Electronic Flashback pedals.
Okay, so there is a problem (or two), thanks to the negative feedback circuitry there is some Hiss, now live this isn't a problem at all and I have yet to record with it, so I can not tell how bad it is at the moment. It is not a deal breaker and I understand that the circuit modification which makes this amp SO responsive to touch is responsible, so this is a good trade off I guess!
There is also a LOUD pop (capacitor discharging no doubt) when you switch it from stand by mode. Again I know why this happens but I guess we are used to modern gear and these issues being resolved. I hope it isn't a indicator of any other problems....speaking of which!
Love never runs smoothly
So, I popped into the PMT Music in Manchester to buy the amp, I tried it out for a while and also with some pedals, I knew I was in love!!! So I brought it, took it home, re-confirgured my pedal board with the pedals I wanted, and had a little play....happy days!! But, a day later I had my first gig with the amp!! During soundcheck, everything was fine, I had a big smile on my face as this amp just sung and also had a real depth which filled the sound stage really well!
Soundcheck over, switch amp off....amp blew a fuse straight away. Replace fuse, amp comes on, and then blows it again, add to this a very strange sound from the vibro channel and then it just got SO hot, it was impossible to touch the front of the amp for a very long time without potentially getting burnt. My heart sunk, in all the years and amps I have had, I have never had this happen to me, more worryingly I had a gig to do, luckily I had a back up!!
This really really dented my confidence with the amp, and also quality control at Fender. This is NOT a cheap amp at all, and I WOULD not expect these kinds of things to happen with a brand new high end amp, and I was very sad and my heart broken. I had found love, but it was troubled!!
Needless to say I took the amp back, PMT were excellent in sorting it out, even lending me an amp to get me through the next couple of gigs until they got a new FDRI in stock for me. I now have the next amp, and I do love this amp, even after a very short time with it, BUT it makes me nervous, and when you gig weekly nervous isn't good. Hopefully my Mark II doesn't suffer from Fender quality control issues....but it doesn't make my have confidence.
Only time will do that. I will report back!!!
Okay, so yes I really, really do love it, even thinking about it make me want to go and play guitar and when I playing through it, I really just don't want to stop. That really is something very special in an amp. I think that I have been very fortunate over the years to have either played through or owned some exception amps. Some have been amazing, some have been workhorses, some have been fleeting romances and some have been downright hype and rubbish.
I think your amp quest is a journey, you will probably never really ever stop thinking about your first love, but you will find those along the way which change your mind and take you to different places. There is nothing wrong with that. For me personally, digital processing doesn't rock my world, most solid state doesn't rock my world, Mesa Boogies don't rock my world, but I think this amp really does. After years of searching I have 3 amazing amps, each different, perhaps think of them as a blonde, brunette and redhead, if you are that way inclined.
My very first proper amp, the Marshall JMP-1 preamp with EL34 50/50 power amp, is the business, I do love this more than anything. I have owned it for over 20 years and it still is my first love.Recently, the Cornford Roadhouse 50 has become a contender for my heart, it sounds epic, the crunch and dirt is out of this world, and when you kick in the boost channel, well there ain't no feeling like it.
Finally, the trio is now complete with the Fender Deluxe Reverb 68, it is creamy, it is crystal clean, it is crunchy, it is dirty, it sound proper, it sounds authentic, it sounds amazing. Reliability still issues at the forefront of my mind, I am hoping that this will be come the one, the one I take out week in week out and gig the hell out of and I can't wait!
The FDR 68 just has a sound you feel connected to, the sound coming out of the speakers just makes you smile. The tone has a deep, round body to it, with plenty of sparkle, especially on the Vintage channel. The Custom channel, is also deep and sensuous, but the treble is tamed a bit, which means it works well with pedals, which don't end up making it sound harsh at all. The controls on both channels are very responsive and it is kind of amazing how much low end this amp seems to have. It fills a stage, it enhances the soundscape and makes the guitar sound present in a band situation and more than that, this means it really inspired you to play.
Thanks to the negative feedback mod on the amp which Fender have done, the amp is just it is SO responsive to your touch and you can so easily coax as note into the most glorious feedback and sustain, the only slight downside is this results in the amp sounding a little bit hissy.But it gets better, the EQ section is amazing and very responsive and interactive, you really have so many options as you move the controls around.
The cleans sound glassy, but without any ice-pickiness, where this amp really shines in in the break-up territory. Instant classic Fender Tones, add an overdrive and you are in heaven. The sound is powerful and it really makes those around sit up and take note, you can get some great overdrive and distortion sounds out of this amp, not death defying metal, this is a classic rock/blues amp. The tonal changes between a single coil or humbucker guitar are immense but just as they should be.
Fender 68 Deluxe Reverb Conclusions
Pros
This is a proper Fender amp, it sounds so rich, clean and organic
The custom channel for me is a think of beauty with pedals!
The TONE, THE TONE, THE TONE!
The Tone!!
You get a cover!
Cons
Hiss
Reliability (time will tell!)
Footswitch is a bit sh*t for an amp of this price, crappy plastic.
Request
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Peace
Neil