An Interview with Tom Kenny (Editor of Mix Magazine)
- Note: All answers are paraphrased and not direct dialog.

What is your background in journalism, and how did you end up at Mix Magazine?
- I graduated from Indiana University in 1988. After graduation I sent out 125 resumes to various media outlets in the San Francisco Bay area, I knew that’s where I wanted to be. The editor at Mix Magazine was an alum of Indiana University so he thought he would bring me on as a proofreader for $5.50 an hour, I quickly learned the audio is a high technology industry that needed all kinds of people.

What do you think are the key dates in the audio world, as far as its evolution?
- 1972 introduced the first piece of real digital recording.
- 1982 was the real birth of digital distribution and the compact disc (CD).
- 1992 is when software invaded the world, there were over 32 mix workstation platforms, the market was flooded.
- 2000 the market was flooded again, this time with plug-ins.

Why do you think the CD stuck out as the most used medium?
- I really have no idea why the CD has survived over 20 years. You have this little plastic disc that can only hold 680MB of information, it makes no sense, but it’s still the #1 carrier of music. When Steve Jobs and Apple came out with the iPod they were really the first to challenge the CD. The availability of digital music hasn’t thrown CD’s out as a form of transportation either, for the last 8 years blank CD sales has passed recorded CD sales.

What is going on in the world of music distribution?
- Well first of all it’s going digital, and almost anyone can have international distribution in some capacity or another. Shawn Fanning and Napster changed the idea of distribution, people now wanted cheap or free songs at the tips of their fingers, and Apple was really the first to legally answer their needs. When iTunes came out the face of music distribution completely changed, this is only backed up with the fact that iTunes pass it’s 4 billionth download not too long ago. And to think Wal-Mart actually beats out iTunes.

All kinds of stores are getting into selling music now; with digital tracks you no longer need racks and racks of music. At Starbucks you can make your own CD from a list of digital tracks, you pick your music and it’s ready to take with you when your latte is done.

How has your job changed in the last 10 years?
- It has grown more than I could have ever expected. I came into this position knowing nothing about the recording industry, and now I run 3 monthly print magazines, 3 websites, monthly and weekly newsletters, international events, and more to come. The name of the game is innovation, not just keeping up; my business shapes what’s cool tomorrow, not just what’s going on today.

The virtual world is shaping a lot of industries, including the recording industry. Places like Second Life are becoming a breeding ground for a new way of doing things and sharing information. Virtual trade shows, events, concerts, and lectures are HUGE. People want their information free and at their fingertips 24 hours a day. Our websites get over 225 thousand unique hits a month, the only way you do that is by having unique information.

What do you think of radio?
- As a whole I think radio is worthless, except for during drive time and some talk radio shows. It’s an advertising medium more than a way of finding new music; the internet has taken over that job. I’d have to say though; radio does still work for country music, so it can’t be written off completely, and I think internet radio has a very good chance.

What are some things you would like to leave everyone with?
- First, ideas are born everywhere. You don’t need to be in LA, New York City, or Nashville to make something in the music or recording business. That’s the difference between the old world of physical music and today’s world of digital music. This includes the recording world, there are networks and sites out there that allow musicians to share pieces of recordings in virtually real time; this means you can be “recording with” an individual in New York while you’re sitting in LA.
- Second, it’s all about content. Distribution is not the issue anymore, anyone can get his or her music out there, what makes you stand out is good content.
- Third, learn everything you can about technology, and learn it on both PC and Mac platforms.
- Fourth, social networking and search engines are your new best friends. Nearly 80% of our magazines’ web traffic comes from Google and Yahoo! search.

Let me first just say I am amazed that we could even get these four very talented men in the same room at the same time, but I could expect nothing else from the legendary Steve McClellan who coordinated and moderated the whole seminar event. Our guests were and are touring veterans and greats in their prospective fields:

Randy Hawkins: Current tour manager for Atmosphere and Brother Ali, previously worked with Hank III, Anthrax, American Head Charge, and many others.

Monte Lee Wilkes: Currently FOH sound and production manager for Hillary Duff, worked as tour manager for Nirvana on their first national tour, FOH for Alice in Chains, The Replacements, Britney Spears, R. Kelly, and MANY others.

Casey MacPherson: Former stage manager at First Avenue in Minneapolis, former “road warrior” with The Replacements, Hüsker Dü , Bob Mould and the Suburbs.

Oscar: Recently got home from touring with the Blues Travelers as their Security Manager, he has also worked with The Replacements and Ani Difranco, just to name a few.

All the panel members started off by recounting some of their favorite moments while being on tour, from the guys in Nirvana trashing a hotel to getting gear through customs and across country lines in Europe, they all had a moment. Interestingly enough the “bad” times were always the stories that they wouldn’t trade for anything.

Top Tips For Tour Management:

1. Make sure you’re doing it for the right reasons. “Sure you can make a lot of money, sure you can have the glory, but unless you’re truly doing for the music you wont make it through the hard times,” said Casey. When you’re on the road for 265 days out of the year even the smallest thing can set you off, just remember why you are there; picture the fan who has been waiting to hear their favorite band live, remember your first concert and how that made you feel. “I remember sitting at the front of house (FOH) board waiting for Britney Spears to do her sound check, she was an hour late, everyone was stressed out, and I looked up at the sound system in front of me and it really hit me, I am doing what I have wanted to do since 6th grade. The stress just disappears then.”

2. Be open to all music. Until you make a name for yourself in a certain genre, and even sometimes after that, you take the jobs you can. In the touring industry there are rarely job postings, most of the gigs you do get will be from word-of-mouth connections you make a long the way. “You have to have an open mind because you can be working for Hank III and then go straight into Atmosphere, country to rap, you look into the crowd sometimes and wonder if you have stepped into a whole other time,” said Randy. ” Monte followed up with a laugh and “Try Alice in Chains to Kelly Clarkson, you really think you’re losing your mind.”

3. Look for any open door. Oscar remembered how working security and clean-up duty at First Avenue in Minneapolis seemed like the least glamorous job ever, but he credits that to his 14 years of touring as a Security Manager. Something may not seem like the best job in the world but in the end could get you where you want to be.

4. Communication is key. Promoters can be your best friends or your worst nightmares, but in the end of it all they are the reason you are there, they are paying you, they are the reason you have a job. If you go in blazing fire things don’t always get done, you must have a balance between getting things done and making friends. Giving people the respect they deserve is key. Casey reminds, “going in blazing fire makes it hard for everyone to do their job, not just you.”

5. You are the scapegoat, don’t take it personal. When something goes bad, it’s all the tour manager’s fault, and when something goes good you will never get the credit.

6. Nothing is below you. As the tour manager your job is to make sure the tour goes smooth, if your lead singer wants a carton of Camel Lights or he wont get on stage then you are the one out looking for a carton of Camel Lights. “Never let a band use your cell phone though,” explains Randy “I had a band run up a $4000 phone bill, guess who got stuck with that?”

7. Be willing to put your body on the line. “As a security manager I used a little more caution when deciding who I would work for, I had to be willing to put my body on the line for them,” says Oscar, “sometimes it comes down to you’re willing to do it for the tour manager and the crew, but make sure someone is worth it.”

8. Independent artists are worth it. These guys are driven, they have their own lives and money on the line, not that of a big label. Working with the DYI crowd can be the most rewarding job ever.

9. You make friends for life. You meet people along the way that you will never forget, it’s a community of “road warriors” that are always there to lend a hand, share a story, or spread the word.

Being successful in the music industry takes more the just talent; it takes a solid understanding of marketing. After all, your band will never be discovered if people don’t know who you are! Guerrilla marketing is perfect for new band promotion as guerrilla marketers use their creativity instead of cash.

Below are 5 “Guerilla” ways to promote your band online:

1. Set-up a MySpace Music Page
MySpace isn’t just for kids, in fact most MySpace users are in their late teens to early 40’s – likely the demographic your band is looking to market to. MySpace music pages allow musicians the ability to post information about upcoming events and even upload their songs. The Black Eyed Peas, U2 and Don Henley are just some big names bands who have leveraged MySpace for promoting their band.

2. Start a Blog
Blogs are simple and free to start. They allow you to connect with your audience on a more personal level. Blogging is a great way to build word of mouth advertising and support for upcoming shows.

3. Create a Profile on Last.fm
Last.fm is a website perfect for band promotion, it logs every song you play and like MySpace, you can upload songs to your band profile for people to listen to and comment on. Last.fm allows you to build communities and connect with fans from all over the world.

4. Flickr
Band promotion is made easy with Flickr. A one step upload process allows you to share photos of your band with friends, family and fans.

5. Post on YouTube
Do you have any video of your band playing live? Throw them up on YouTube, it’s free and people are bound to watch it.

The internet offers countless ways to assist you with your band promotion efforts.
Unleash your creativity today and explore the guerrilla in you!

A new world is open for musicians, Second Life.

In Second Life (SL) musicians from all over the world can meet and jam together, share ideas, play concerts, make money (well Linden Dollars).

In this report from CNN they talk with the members of Space Junky. Space Junky plays on average 3 times a week at different clubs around SL and to top it all off, they get paid. Why chose to perform in cyberspace on a virtual island you may wonder? Well in Space Junky’s case they have to, one of them lives in the United States, one in Australia, and one in Malaysia.

How do they do it? What’s real? What’s fake? In their case all their music is pre-recorded, they only control their avatar and the light show when performing, which makes you wonder, can they actually play? This is something to keep in mind. Musicians have to stream their music into the different “plots” of land, but once it’s streaming anyone who visits that “plot” instantly hears the music. Just like walking into a venue, if it’s loud you can’t avoid it. People can host their own shows on their own land, or they can chat with club and venue owners and set up a time to stream/perform in their location. To learn more about how they make it work check out the Second Life Music Community.

Ictus Belford playing at Sterling Vineyards in SL

Fans are even setting up look-alike concerts of their favorite artist, like U2, and it’s getting the attention of MTV. Read about it here, and watch a report on one of SL’s biggest stars here.

This may all seem a little weird, but with advancements in music technology and technology in general there may just be room for 2 worlds of music.

MSCM unveiled its first self-produced musical collaboration called The Power of Music. The Power of Music is the blending of a live rock show and multimedia technology that creates a complete experience for its audience.

Starting the show is a narrator talking about how music has been around since before time, since before written word, through every culture there is music. Images flash on the screens of far away lands and ancient times reminding us, music is the vein of the past, present, and future. Suddenly the band appears and begins playing Billy Joel’s, We Didn’t Start The Fire, “We didn’t start the fire - It was always burning - Since the world’s been turning - We didn’t start the fire - No we didn’t light it - But we tried to fight it.” Taking the audience to a “hyped” level the band went straight into The Black Eyed Peas, Let’s Get It Started.

MC Antonio Rosario jumps in to remind us all that music is in everything we do, “How many of you have a Myspace page?” Listen to the radio? Google? YouTube? Ipod? Music is everywhere, it’s in your heart. The screens begin to play, what does music mean to you? The ability to communicate without words, over language barriers, through racial lines, straight to your core. Music has played a part through time…

The stage lights up, a medly of music through time: Brick House (The Commodores, 1977), Stayin’ Alive (Bee Gees 1978), Beat It (Michael Jackson, 1982), Smells Like Teen Spirit (Nirvana, 1991), Yeah! (Nelly, 2004).

What music do you love? The screens blaze again with people of all ages, races, genders, and walks of life talking about their favorites. The 50’s, 60’s, 70’s, Jam Bands, Christian, Rock, Rap, R&B, Country, Beethoven, Blues, John Mayer, Pink Floyd, Ray Charles, the list goes on.

The distinct guitar of Kashmir by Led Zeppelin fills the auditorium, then the vocals you can’t forget. The rock that paved the way.

Women in music. There’s only one in the entire band, don’t let that confuse you, Katie Shrive can hold her own. Her voice soars above the band and the video on the screen, Can’t Hold Us Down by Christina Aguilera and Lil’ Kim. As she continues singing, the images on the screen flash powerful pictures of women and their rolls in the world over time. Break in the song. A music icon comes on the screen talking about the business of music and taking charge of your own career, Diana Ross, a woman who paved her own road.

The screen flashes again to the many faces, all with their own dreams and goals in the industry. Music Producer, Songwriter, Beat Maker, Rock Star, Manager, Guitar Legend, Sound Technician, Lighting Technician. “For every 1 person on stage during a performance there are 20 people behind the scenes making the whole thing happen. There is always room for you in the music industry, keep it a part of your life,” Antonio Rosario.

What comes to mind when you think of special events? Is it a song? Can a song take you back to your first kiss, or a celebration? What do you think of when you hear these songs?     Taps     Happy Birthday     The Wedding Song     The Graduation Song. Katie’s voice enters in singing Amazing Grace with only the soft sound of the piano in the background, it sends chills through the audience.

Music can effect your mood, it can make you feel uplifted, “music is the best friend you can have, you will always have that song to fall back on,” said Antonio Rosario. The band goes into Eric Clapton’s Change the World followed by Gnarls Barkley’s Crazy and finally Born in the USA by Bruce Springsteen. How do you feel when you hear these songs? Empowered? Crazy? Proud? All these feelings just from a song.

The whole thing ends with the audience participating in their own song that they can then download from mcnallysmith.edu, that flows into Queen’s We Will Rock You.

The Power of Music group will rock you, bringing you alone with them on their musical journey through time, emotion, and life changing moments.

On January 14, 2008, McNally Smith College of Music Dean of Academic Affairs, Cliff Wittstruck, Dean of Music Industries André Fischer and Chair of Technology Bryan Forrester announced the establishment of the new Bachelor of Science in Music (Music Producer) degree during a presentation honoring music industry giant Al Schmitt. During an eventful ceremony held at the college’s St. Paul campus, Mr. Schmitt was interviewed and also fielded questions from McNally Smith students and guests about his fifty year career as an engineer and producer for a who’s-who of music’s biggest names. Following his talk, Mr. Schmitt was awarded the first Honorary Bachelor Degree of Science in Music from McNally Smith. College President, Harry Chalmiers, Deans Wittstruck and Fischer, and Technology Chair Forrester presented the degree.

“How incredibly appropriate to announce our new Bachelor of Science in Music degree on the same day we bestow an Honorary Bachelor Degree on the legendary Al Schmitt,” said President Harry Chalmiers. “Our new degree program is designed to provide graduates with all of the tools necessary for a successful career as a music producer, and Al is an inspirational figure who has reached the pinnacle of the field.”

Over the course of his illustrious career, Al Schmitt’s numerous accolades include nineteen GRAMMY® Awards for engineering and production. Growing up in New York City, Schmitt would take the subway to hang out at his uncle’s recording studio and soak up recording techniques. By age 19 he was working with the legendary Tom Dowd at Apex Studios. Dating back to the 1950s, Schmitt has engineered or produced recordings for greats like Sam Cooke, Elvis Presley, Frank Sinatra, Jefferson Airplane, Jackson Browne, Neil Young, Toto and many more. Counted among his GRAMMY awards are multiple hit recordings for Henry Mancini, George Benson, Steely Dan, Natalie Cole, Diana Krall, Quincy Jones, Norah Jones and Ray Charles. Schmitt has engineered, produced and mixed over 150 gold and platinum albums during his career, and he’s still going strong. In 1997, Schmitt was inducted into the TEC (Technical Excellence & Creativity Awards) Hall of Fame.

McNally Smith’s newly announced Bachelor of Science in Music (Music Producer) degree program is designed to prepare students for the rigorous demands of becoming a music producer. In today’s climate, the best music producers are well-rounded professionals who are proficient in technology, business, musicianship and general education. In addition to study in each of these areas, all degree candidates will oversee an album-recording project from start to finish, graduating with real-life experience as a music producer. McNally Smith, which was founded in 1985, also offers three additional Bachelor degrees as well as Associates degrees and diploma courses. The new degree, which has received the approval of the National Association of Schools of Music and the Minnesota Office of Higher Education, is the first Bachelor of Science degree offered by the college.

“Our new Bachelor of Science in Music degree represents a major milestone in raising the profile and prestige of McNally Smith,” said noted record producer and Dean, André Fischer.

Dean Fischer and Al Schmitt talk during a Master Series presentation at McNally Smith College of Music.

1. Fergie: Big Girls Don’t Cry

2. Nelly Furtado: Say It Right

3. Gwen Stefani: Sweet Escape

4. Pink: U + Ur Hand

5. Justin Timberlake: What Goes Around

6. Daughtry: It’s Not Over

7. Timbaland: Give It To Me

8. Fergie: Glamorous

9. Gym Class Heros: Cupid’s Chokehold

10. Rihanna: Umbrella

Thoughts?

McNally Smith College had a huge presence at the Audio Engineering Society’s 123rd Convention in New York City, October 4th thru the 7th. Andre Fischer - Dean of Music Industries, Bryan Forrester – Chair of Music Technology, and Chopper Black – Senior Engineer made the trip on behalf of the college as special guests of Solid State Logic, the industry standard console manufacturer. McNally Smith’s Technology Department recently installed two SSL Duality consoles, being the first educational facility to purchase two of the award winning consoles. One of the highlights of the stay was the opportunity to meet with rock legend Peter Gabriel who is now a principal owner of SSL. “Peter Gabriel has always been a hero of mine ever since his early days with Genesis”, says Forrester.

Besides getting insights into the up and coming releases from manufacturers, attendees had the chance to network with industry peers. “We were invited to a gathering of SSL Educational Partners where we had the opportunity to chat and share ideas with representatives of schools from around the country that use SSL products” said Fischer.

A very special treat was in store for Chopper Black. Chopper had always bemoaned the fact that he had never had the opportunity to meet one of his most respected engineers in the world, Al Schmitt. Dean Fischer, a long time friend of Al, working with him on Natalie Cole’s “Unforgettable” album, lined up a special dinner on Friday night. “I had met all the greats except for Al, until now. This was an evening I’ll remember for a long time”, exclaimed Chopper.

McNally Smith employees also attending the show as representatives of their own company were Jeff Marcovis and Jake Swanson from S&M Audio. “Not only was it a great time to meet face to face with people we have been talking with about our products, but I got to meet a lot of the vendors that I deal with on a daily basis for the school,” said Jake.

Picture 1: Phil Wagner (SSL), Peter Gabriel, Chopper Black, Bryan Forrester, and André Fischer
Picture 2: Chopper Black and Al Schmitt

McNally Smith College of Music has chosen a 48-channel Solid State Logic Duality console as the centerpiece for each of its two newly renovated studios.

“When our chair of Recording Technology, Bryan Forrester, decided to upgrade studios One and Two, the clear choice became the SSL Duality console,” explains André Fischer, Dean of Music Industries at McNally Smith College of Music and producer of artists such as Natalie Cole, Rufus featuring Chaka Khan, Tony Bennett, Gladys Knight and Frank Sinatra. “We needed both practical and functional equipment for the students, many of whom have extensive experience with digital audio software at school and on their home computers. The Duality consoles flawlessly bridge the gap between the all-computer experience of the students and the real-world professional environment in which they will work to create new music.”

With 560-plus students and more than 80 faculty members, McNally Smith College of Music is devoted to excellence in music-industry higher education and development of music industry professionals and entrepreneurs. An accredited institutional member of the National Association of Schools of Music, McNally Smith offers music degrees and programs in Recording Technology, Music Business, Performance and Composition. Studios One and Two are back to back and the Duality consoles offer two identical production environments, expanding the college’s scheduling and teaching opportunities.

“The Duality offers all kinds of great options for us,” explains Forrester. “For example, the use of the new ’split signal flow architecture,’ which enables any desired combination of analogue channel processing to be used in conjunction with a DAW record path, is very powerful. SSL installed the consoles and we were up and running right away. The endless features and ease of operation are amazing.”

Each input channel on Duality offers a SuperAnalogue mic preamp and a Variable Harmonic Drive input stage designed to add analogue character to workstation outputs. The harmonic drive control provides the engineer with a wide range of options from the warmth of 50’s tubes to the ‘edge’ of 70’s transistors.

“I am a big fan of SSL consoles because I have had great success using them on past projects,” comments Fischer. “Duality is perfect for McNally Smith’s unique teaching environment and we are thoroughly pleased. SSL always provides a versatile product that is always changing with the times.”

Solid State Logic
www.solidstatelogic.com