How To Transform Your Spare Room To A Music Studio | Music Think Tank

With the advancement in technology, song recording is a common phenomenon in the modern environment. Both the young and old enhance their singing talents in the confines of professional music studios. These require increased finances as the musicians have to pay before using them. If you are interested in music production or recording that is budget-friendly then you can use the following tips to make your dreams come true by converting your spare room into a home music studio.

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 As you practice, the sound is likely to leak and disturb your family members and neighbours. This will also affect the quality of music that you record. Thus, you should tightly seal these openings using sealing strips to minimize disturbance and enhance the music quality. Ensure to seal openings like the doors as they may not completely lock the gaps. Also, ensure that you develop a soundproof wall.

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 Having sealed all the cracks, ventilation may be a problem. Without fresh air, you may collapse in the room as you practice. Besides, your studio equipment may be filled with moisture and eventually malfunction. You don’t want to place your health at stake in the completely closed room and therefore, it is crucial to install ventilation. This will help in getting rid of moisture and air in the room. Besides, it will help in refreshing the room always. In this case, an S-shaped duct will meet these requirements.

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Recording music creates noisy vibrations. These can disturb you and even interfere with the recording process. Refinishing the floor in the spare room can be done with cheap materials such as wood. This is placed on the foam blocks. As you do this, ensure that stability is considered to minimize the chances of falling or even sliding as you practice. Carefully trim these pieces of wood to avoid accidental injuries.

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Your spare room is not build to the standards of a music studio. As you record, you may experience echoing of sound as it hits the sealed areas and bounces back. The resulting recording, in this case, will be chaotic and this is not what you desire. Therefore, sound diffusion is crucial to minimize these impacts.

To improve the quality of sound, you should embrace objects like sofas, bean bags, and pillows. Besides, you can carpet your flow to minimize the echoing effect. As you choose your carpet, settle on one whose colour contrasts with that of the cables. If your space is limited, this will minimize the chances of being trapped by the cables and even falling. The walls can be improved by using mineral wall insulations that reduce the echoing of sound in the room.

Also, other than the carpet, you can embrace laying artificial grass on your floor. A cute studio floor can enhance the atmosphere of the studio room. You can check out to see some artificial grass samples from Tamigrass and their Facebook page for your DIY floor resurfacing and purchase them for your home studio. 

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You will need the help of this software to arrive at the best recording. You should select it based on your budget and features. The software comes in different prices and qualities. Of course, the highly expensive ones have more sophisticated features as compared to the cheap ones. If you are a beginner, you do not need the sophisticated ones and as such, it is crucial to start with the basic ones and improve as your practice and expertise picks.

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Apart from the instruments, other equipments like the headphones, microphones and monitor speakers are necessary for the home studio. You should go for pro-grade equipment to ensure durability.

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Trump bans Feds from contracting H-1B workers and makes telehealth the new normal | The Register

US president Donald Trump spent much of his Monday on matters impacting the technology industry.

The most exceptional announcement was that he expects any sale of TikTok to a US company must be accompanied by a finder’s fee of sorts paid to the US Treasury.

“The United States should get a very large percentage of that price because we are making it possible,” Trump said at a press conference today. “I use the expression, it’s like the landlord and the tenant and without the lease the tenant doesn’t have the value. Well we are sort of in a certain way, the lease. We make it possible to have this great success. TikTok is a tremendous success, but a big portion of it’s in this country.”

Asked if the sum should be paid by TikTok parent company ByteDance, or by a US company that buys the social network, Trump said he’s happy for either arrangement.

“It would come from the sale, whatever the number is, it would come from the sale,” he said, adding: “Which nobody else would be thinking about than me, but that’s the way I think. I think it is very fair.”

He added that whoever buys TikTok: “It has got to be American security, it has got to be owned here, we don’t want any problems with security.”

He then added that he perceives “A lot of excitement” about the prospect of a TikTok sale, “not only from Microsoft but from other companies.”

While many nations regulate inbound foreign investment and most issue paid licences to operate certain businesses, Trump’s suggestion that the USA be paid a fee for allowing the deal to proceed is without precedent in trade and antirust matters.

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H-1B visas are offered to skilled workers and Trump stopped accepting fresh applications for them in June 2023 on grounds that the COVID-caused economic downturn means US citizens should not have to compete for employment opportunities at this time.

Trump has also long-argued that H-1B visas drive down salaries, a theme he returned to today at an event featuring American technology workers who said temporary visas have negatively impacted their careers.

Also on Monday, the president issued another executive order to make arrangements that extend access to telehealth during the coronavirus a permanent feature of the USA’s health system. The change was framed as a boon for rural communities. ®

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Once In A Lifetime | Lefsetz Letter

Once In A Lifetime – Spotify

Once In A Lifetime – YouTube

It’s really hard to write a hit song. I’m not talking about one that tops the chart, but one that grabs the listener and won’t let go, that makes you feel good every time you hear it.

I’m a fan of this guy. Primarily because of his 1983 LP on Geffen, “Nothing But The Truth.” At that point Geffen put out very few records, after the label’s initial splash it was relatively cold, carried by Quarterflash and other acts lost to the sands of time. But then they signed a country act?

Well, that was the pitch, but the truth is “Nothing But The Truth” is closer to a singer-songwriter LP from the seventies than country, but Mac is definitely country, he hails from Mississippi, a state northerners still don’t understand, still don’t know is just a stone’s throw from Graceland.

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We were skippin’ the pages in the bookstore baby when I realized we hit the skids
I got a book about contraceptives and you got a book about kids

These are not the lyrics you hear over the air, but they’re the ones experienced by people all over the world every day. Are your interests aligned? Are you working towards marriage and kids or should you break it up, is someone gonna jump ship.

I was knockin’ around in the grocery store baby on the night of the last election

“Nothin’ But The Truth” is wistful. Reserved. Someone who’s had a lot of experience and is testifying as to their truth. And every four years the above line goes through my brain, whenever there’s an election, funny how music rides shotgun, how it’s our own personal milepost even if no one else knows it, music may be heard in groups, but it’s utterly personal.

But there was never another Mac McAnally album on Geffen.

Next thing I knew Mac was playing with Jimmy Buffett. A sideman instead of the main man. He’d gotten his chance, but he hadn’t connected.

But there was one song, from 1990, about the time Garth Brooks was initially triumphing, but I never heard it, this was still when there was a distinct line between country and rock, despite so many rock acts including country elements in their records, it wasn’t until the twenty first century that old rock fans realized if you wanted to hear guitars, if you wanted more of what used to be, you had to go to Nashville, in your mind anyway.

And I became aware of that song when it was covered by Kenny Chesney, it’s one of his staples, it’s entitled “Back Where I Come From.”

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Time passed with amazing grace
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It sounds like Mayberry. A slower pace. Where people live life as opposed to race it.

And as good as Kenny’s studio version is, the definitive performance is the one included in his 2006 LP “Kenny Chesney Live.” It’s slower, it’s pregnant with meaning. And when Kenny steps away from the mic and lets the audience sing…your heart pitter-patters, this is the unity too often lacking in the U.S. today. Kenny’s #1 venue is outside of Boston, where the Patriots play, but this southern music resonates just as much there. You see we all come from somewhere. Most probably a place where there was no spotlight, where we became who we are today.

But the most poignant lines are:

Some say it’s a backward place
Narrow minds on a narrow wage
But I make it a point to say
That’s where I come from

Not only do most Americans not go overseas, most haven’t been far from where they grew up. In the seventies, prior to cheap air travel, never mind the internet, it was a rite of passage, with your family, while you were in college, to get behind the wheel and explore, to see America, Paul Simon even wrote a whole song about it.

“Back Where I Come From” is a hit, the kind I mentioned above, indelible, above the rest, a statement, that penetrates your soul, that you can hear over and over again and never burn out on.

Now the original Mac McAnally version is more upbeat, your mind drifts less, you’re caught up in the groove, smiling, like you do when you hear his new track “Once In A Lifetime.”

Every day is truly once in a lifetime. It’s not coming back. Which is what bugs me about this Covid-19 era, being in suspended animation, watching my life go by, the grains of sand flowing through the hourglass, with only so many left.

Every day is once in lifetime
And right now just me be the right time

I must admit, I’m a glass half-empty kind of guy, but my glass is full when I listen to music, the right music, it not only makes me happy, it emboldens me.

I didn’t get “Once In A Lifetime” at first. Close, but no cigar. But then I listened a second time, now I pull it up and let it play over and over again, I don’t want the mood to end.

I only met McAnally once. Back in the earlier part of this century. At a Jimmy Buffett show in Chula Vista. It was still sunny, he was wandering around backstage with no airs, he could have been a roadie to those out of the loop, or a lumberjack, with his red hair and beard. But I had to talk to him, I had to tell him how much I liked “Nothing But The Truth,” I figured it would mean something to him, that the unheralded work reached a listener and still meant something to him.

But what stunned me in the reaction was the accent. This guy was truly from Mississippi. And he kept his head down, he was humble, he didn’t want to talk about it, he just wanted to move on, he seemed to be embarrassed by the attention. Funny how you think you know who someone is based on their records. That someone sensitive in their music, plumbing their emotions, would be eager to have that conversation in real life, but not Mac, at least not that day, he wasn’t dismissive, he just wanted to elude the spotlight.

Now “Once In A Lifetime” sounds like it’s being sung by the riverbank, with only a few in attendance, made for the joy of music as opposed to the audience, as opposed to the money.

And I don’t think there’s gonna be a lot of money in “Once In A Lifetime,” unless it’s covered by one of Nashville’s stars. The recording is a blueprint, they’d just find someone with a rich voice with little character and gussy up the production, make it slick, but what makes “Once In A Lifetime” so good is its roughness.

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The story of “Once In A Lifetime” and a live acoustic performance thereof

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Opinion: Concert Venues Will Fold Without Federal Assistance | Pollstar News

Olivier Douliery / AFP / Getty Images老王2.2.7Popular D.C. club The Anthem displays a message of hope April 29. The live business and its music venues remain all but completely shut down through August.

Since April we have been sounding the alarm that music venues like the 9:30 Club and The Anthem cannot survive the COVID-19 shutdown without federal assistance.  By design, we’re gathering places that in normal times have audience members shoulder to shoulder celebrating with friends and strangers as they sing and dance, creating lifelong memories. 

Understandably in a pandemic, we’ve been shut entirely by the government ---  until there’s a vaccine.  No one knows when there’ll be a vaccine that’s readily available, so we’re completely dormant with no vision of our future. 

We have absolutely no revenue, yet enormous fixed overhead of rent, utilities, insurance and a host of taxes. In addition, we’re paying premiums for our employees that were on our insurance, even those 95% of whom we’ve been forced to furlough. We have negative revenue. 

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We cannot last like this.

We turned 40 in June, a rare milestone for an independent promoter in this incredibly competitive, thin-margin business. But our success as the most attended club of our size in the world (#2 is in Belgium) does not protect us from potential bankruptcy. We’ve been able to weather multiple recessions, 9/11, countless changes in musical tastes, the mortgage crisis, gas crisis and tragic mass killings at concerts abroad and in America.  When these unexpected events hit, we recalibrated.  We figured it out. 

We were the poster child of a successful homegrown business, entrepreneurs taking all the risk, setting up in dangerous parts of town, first at 930 F Street, NW and then in 1996 moving to 9th & V Streets, NW.  They called us pioneers, but we just couldn’t afford other locations. Over time, both neighborhoods developed around us, other businesses moved in, and then people came to shop, dine, and live.  

A recent study found for every $1 spent at a small venue on a ticket, $12 of economic activity was realized by surrounding businesses.  The Anthem as the magnet at The Wharf  is a perfect example.  When we have 6,000 people coming to a show, the restaurants, bars, and hotels are bustling. 

But now, we’ve been left out on a limb. We’ve never put our hand out for help before, but we’ve also never had our business effectively taken from us either. No amount of business acumen or creativity can save the 9:30 Club, The Anthem, U Street Music Hall, Pearl Street Warehouse, DC9 or Union Stage – to name a handful of D.C. independent music venues area. Already, the beloved Eighteenth Street Lounge has folded. 

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The 9:30 Club, Lincoln Theatre, The Anthem and Merriweather Post Pavilion became charter members of National Independent Venue Association (NIVA), because we knew our survival depended on joining together to seek federal assistance, like we’ve watched the banks and airlines do.  You know the need is dire when 2,000 independent venues and promoters agree on anything, but that’s how many have joined NIVA since April. 

When surveyed, NIVA members said if the shutdown lasts six months or longer and there’s no federal assistance, 90% would fold forever.  Believe them.  Believe the 9:30 Club and The Anthem, because we cannot survive this crushing economic blow without the Save Our Stages Act or RESTART America Act becoming law before Congress leaves for recess in August.  These are not handouts, but investments to get us through until we can once again be contributing members of our community again. 

I know people care about their music venues because more than 1.3 million emails have gone to Congress through http://ift.tt/2XrFRaN asking legislators to help independent venues while we’re forced to close. 

None of us want to envision Washington, D.C. without its beloved music venues.  It’s part of our community’s heart and soul. This is not a drill. This will be a hollow town, and America will be filled with boarded up buildings if the Save Our Stages or RESTART Acts aren’t passed.  

The last concert I saw at the 9:30 Club was March 11 when the Dead Kennedys took the stage for the final night before the shutdown.  At that time, we were told we’d be closed for 20 days. 

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Certain Songs #1882: The Replacements – “Go (Maxwell’s, 1986)” | Medialoper

Album: Live at Maxwell’s 1986
Year: 1986

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His unique style of guitar was a key part of the sound of the Twin/Tone Replacements, and there are those who feel like the band was never the same after he left, which was technically true, though — as you will see — I’m not one of those who think Bob’s dismissal killed them. And while he was barely there for the recording of Tim, and tossed after the demoing for Please to Meet Me had already commenced — I’ll be interested in how those demos sound, though I recall hearing him on “Valentine” on a bootleg and enjoying it — one of the cool things about Live At Maxwell’s is just how present he is.

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On Stink, “Go” was a real outlier, a moody slow one amidst all of those hardcore songs, but at the end of a set that alternated speedy punk songs, moody slow ones and flat-out anthems, it made a lot of sense as a chillout song after all of the covers. (Which they then follow with “Fuck School,” because of course they did.)

You’re about to leave him now
Heard it all before
Suppose me to believe it now

Go
While you can
Go
While you can

And Bob is completely on point here, his guitar shouting harmonies and whirling warnings throughout. And his synergy with Paul was amazing: if Paul was quiet and contemplative, so was Bob, but the second Paul started getting more and more emotional, screaming “goooooooo!” Bob’s guitar was right there, getting ever more intense, until at the end when they both just collapse.

“Go (Maxwells, 1986)”

Did you miss a Certain Song? Follow me on Twitter: @barefootjim

The Certain Songs Database
A filterable, searchable & sortable somewhat up to date database with links to every “Certain Song” post I’ve ever written.

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Certain Songs Spotify playlist
(It’s recommended that you listen to this on Spotify as their embed only has 200 songs.)

Support “Certain Songs” with a donation on Patreon
Go to my Patreon page

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Digital music distribution is still a standalone business: either as an independent company or within the umbrella of a major label.

But distribution is also a feature for a growing number of technology companies: whether they start with music-creation, analytics, mastering or other tools for artists, adding the option to get music onto streaming services and download stores is increasingly the next step.

The latest example is called AvidPlay, and it’s been launched by Avid and Dolby. “Release your music on 150+ major streaming outlets around the world,” is the promise. “AvidPlay makes music distribution easy… get discovered, grow your fanbase, and keep 100% of your rights and earnings with no hidden fees.”

So far, so standard for distribution. But given the nature of these companies, there’s a particular focus on hi-res music: delivering tracks in the Dolby Atmos format to services (like Amazon Music and Tidal) which support it. Whether that’s enough of a pull to tempt artists and labels away from their existing distributors, we’ll see.

Stuart Dredge

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Tomorrowland virtual festival attracted 1m viewers | Music Ally

BTS may have set a Guinness World Record for the 756,000 paying fans who watched their recent livestreamed concert, but the virtual Tomorrowland Around The World festival notched up an even bigger number.

Pollstar reported that the online event attracted more than one million viewers over its two days. Bear in mind that this was a paid event: tickets cost €20 for the weekend or €12.50 for a day, although the promoters have not yet broken down the sales.

Even if all those one million people had just bought a single day pass, it’s a gross of €12.5m ($14.7m) – although the caveat is whether every single viewer paid to watch.

More than 60 artists including Katy Perry, Steve Aoki, David Guetta and Tiësto filmed their performances in green-screen studios in Belgium, Los Angeles, São Paulo and Sydney, to be broadcast within a high-tech virtual environment.

Attracting more than a million people to pay to watch online is an impressive achievement. That’s not the end of the story though: yesterday, the festival opened its ‘relive’ video-on-demand platform, which makes the various sets available to watch for the next two weeks. Weekend ticket buyers can access it as part of their ticket, while everyone else will pay €12.50.

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