live studio drums

This is a quick primer to help you decide which microphone to use for your specific recording applications. Note that dynamic microphones is more difficult, require no external power, and serves well for recording very loud sound sources. Condenser microphones are more dangerous, very sensitive, and require either a battery or a "phantom" power source. Also, remember well the truck and response pattern of the microphones you are considering.

As your listening and recording skills develop, you will want to investigate the specific sounds that are characteristic of different types of microphones. To begin, I suggest you get a good quality large-diaphragm condenser microphone, and then add specific microphones for different purposes. For help you begin, here is a basic guide to a selection of quality recording microphones available at an affordable price.

Large diaphragm condenser microphones. These are very versatile mics designed for crisp, accurate (flat) response, ideal for: recording or live performance, close miking of instruments, mic identifier for broadcasting / dubbing, home recording and project studios, recording singer, and as a spot mic for wind instruments, strings, percussion, and guitar amps.

• Studio Projects C1
• AKG Perception 220
• Sat AudioTechnica 2035
• AKG Perception 120
• AudioTechnica AT2020

Condenser microphones. Note the specific characteristics of each.

• Shure SM87. For vocals or instruments, live or recording, with a warm natural presence rise in the frequency range.
• Shure Beta 58A. Prepared for the vocals, live performance or recording, with warm mid range of presence and bass rolloff as SM58.
• Samson CL2 – pencil condenser mics. CL2 is ideal for recording or miking orchestral instruments, guitar sounds, piano, surface miking of drums and cymbals and of course, vocals.
• Blue snowball. Recommended for podcasting or recording vocals or instruments directly to computer via USB (usually limit you to one of the mic). For switchable cardioid or omnidirectional pickup.
• AudioTechnica MB-4K Cardioid condenser microphone. Extended response studio quality of voice and instrument microphone.

Condenser Mic for Drums Kits

• Shure PG56 – compact drum microphones for close miking of snare / Toms.
• Shure PG52 – high performance kick drum microphone tuned to capture low-end punch.
• Shure PG81 – sensitive, flat response mic ideal for overhead and cymbal miking.

Dynamic microphones

• Shure SM58. For live performance or recording. Frequency response tailored for vocals, with brightened midrange and bass rolloff.
• Shure SM57. All around Dynamic mic for drums, vocals, and especially the instrument.
• AudioTechnica ATM-410. Dynamic microphone tailored for smooth, natural speech reproduction.

Keeping the categories and features in mind should provide the framework needed to negotiate the maze of available microphones as you develop your skills in home music recording.

Happy recording!

David Hagstrom writes for [http://www.EasyMusicRecording.com], a site dedicated to making it both easy and affordable for you to experience the satisfaction of recording music at home. EasyMusicRecording.com offers quality home music recording equipment — including the microphones discussed above, software, and instruction at entry-level prices. They also offer a free monthly newsletter with recording advice, product reviews, and special offers.

Questions about the musicians in studio and live?

Say a very talented musicians could and wanted to play all the instruments (drum, guitar, bass, vocals, ect).. Can they play all the instruments for the CD and then when you have to go live only bring people to play with it (Except for vocals, and / or guitar)

I am a little confused as to what you ask but they have machines when playing live for example, that when you play a certain drum beat, it will continue to play it for you. and so on and so forth with all the other instruments. youtube Weezer live summer 2009 the island of sun and it will show you what I am talking about.

Live Studio Drums – walk through

Below are some cheap but quality products related to live studio drums. We are pretty sure you will find good deals with the products below relating to live studio drums. Enjoy!

Studio City (minus Drums) $19.98 Soloist: Tom Collier, drums; Ensemble: Cal State Northridge Jazz Ensemble; Conductor: Joel Leach. For Drums. Instrumental Solo Part and CD. Published by Music Minus One.

M-Audio Premium Studio Drums $79 M-Audio Premium Studio Drums M-Audio Premium Studio Drums Description: Sonic Implants has expertly sampled a killer Yamaha Custom Drum set in Reason NN-XT, EXS24, Kontakt, HALion and MachFive formats. Premium Studio Drums – Professional Virtual Studio Drum Set supports EXS24, HALion, Kontakt, MachFive and Reason’s NN-XT multi-sampling for amazingly playable instruments performed with both sticks and rods long-ringing cymbals top-quality recordings Sonic Implants has expertly sampled a killer Yamaha Recording Custom Drums set in Reason NN-XT, EXS24, Kontakt, HALion and MachFive formats. Used by many of the world’s most renowned drummers on countless hit recordings, Yamaha Recording Custom drums have set the benchmark for professional drum kits for almost thirty years. Multi-sampling includes six velocity layers for snares and toms, four velocities for kicks, and three to six velocities for various cymbals. Performances include both sticks and rods for even more flexibility. *M-Audio, ProSessions and ProSessions Premium Instruments are trademarks or registered trademarks of Avid Technology, Inc. All other product names used on this Web page are trademarks of their respective owners, which are in no way associated or affiliated with Avid Technology, Inc. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose product sounds were sampled in the creation of this product. Get your M-Audio Premium Studio Drums today!

Roland HD-1 V-Drums Lite $799 Roland HD-1 V-Drums Lite A New All-In-One Drum Kit for the Masses Roland’s V-Drums are the most popular electronic drums in the world, but not everyone has the room or budget for a full V-Drums kit. Introducing the new Roland HD-1. It’s forged from the same technology as its predecessors, but it’s much simpler to use. It’s also incredibly quiet, thanks to the newly designed kick beater, cushioned tom pads, and snare head. The HD-1 is also conveniently compact and stylish – perfect for every home, school, studio, etc. – and it’s priced for the masses. Most of the HD-1′s components are mounted on one stand for easy setup and transport, and for a clean look. Just take it out of the box and play. News! The HD-1 V-Drums Lite received the “Finalists” award of the prestigious 2008 IDEA for its design quality. (Category: Entertainment) Easy set-up and operation Compact and stylish design Great sounds with a variety of kits The following HD-1 optional accessories are available: Personal Drum Monitor: PM-01 V-Drums Accessory Package: DAP-1 V-Drums Mat: TDM-1 Roland HD-1 Details: Small Price, Big Performance It might look small, but the HD-1 sounds and performs impressively large. With Roland’s legendary V-Drum know-how at the core, this little kit is a dream for first-timer or casual players as well as for parents, since the volume level can be completely controlled via volume knob and/or headphones. Play-Along Fun The HD-1 is equipped with an external input for connecting CD-players, iPods®, and the like. Jam along with your favorite songs, and control the blend of music and your live drumming through headphones or an amplifier. Borderless Expression The HD-1 is a great way to enhance musical expression and enjoyment in your home. Used along with other popular instruments such as Roland’s digital pianos, the HD-1 will serve as the nucleus for family fun and musical enrichment. Specifications: Kit Configuration Kick Pedal, Snare, Hi-Hat, Hi-Hat Pedal, Tom x 3, Crash, Ride Drum Kits 10 Patterns 10 Controls Drum Kit button x 5, Variation button, Metronome button, Volume knob, Tempo knob Metronome Tempo (40–220), Sounds (3 types), Volume (3 levels) Connectors Output jack (Stereo miniature phone type) (*1), Headphone jack (Stereo miniature phone type), Mix In jack (Stereo miniature phone type), MIDI Out connector (5-pin DIN type), Trigger Cable connector (DB-25 type): (*1) Output Jack can be connected with headphones. Output Impedance Output jack: 100 ohms, Headphone jack: 100 ohms Power Supply DC 9 V (AC Adaptor) Current Draw 300 mA Accessories Owner’s Manual, Set-up Guide, Video Manual (DVD), AC Adaptor (PSB-1U), Trigger Cable (Prepositioned in Drum Stand), Drum Key, Screwdriver, Screws for Sound Module x 4, Screws for Foot Pipe x 4, Roland Sticker Options Personal Drum Monitor: PM-01, V-Drums Accessory Package: DAP-1, V-Drums Mat: TDM-1 The specifications are subject to change without notice. Get Your Roland HD-1 V-Drums Lite Today!

Studio Call: Rock/Funk (minus Drums) $19.98 Ensemble: Tom Collier, Keyboards, Drums & Percussion; Howard Roberts, Guitar; Dan Dean, Electric Bass. For Drums. Instrumental Solo Part and CD. Published by Music Minus One.

Studio 49 Hand Drums 12 Inch $109 These hand drum comes with calfskin heads, screws and metal tension hoops; the drums provide good dynamic range for the low tones and accentuation to project within a group.

Studio 49 Hand Drums 14 Inch $132 These hand drum comes with calfskin heads, screws and metal tension hoops; the drums provide good dynamic range for the low tones and accentuation to project within a group.

Studio 49 Hand Drums 10 Inch $89.75 These hand drum comes with calfskin heads, screws and metal tension hoops; the drums provide good dynamic range for the low tones and accentuation to project within a group.

ART Tube MP Studio V3 $69.95 The Tube MP Studio V3 features ART’s new V3 (Variable Valve Voicing) Technology – found only in ART microphone preamplification systems.V3 provides optimized reference points to begin the recording process. The V3 presets were created and fine-tuned by some of the industry’s top studio and live-sound engineers, along with a veteran engineering department. V3 allows you to select between a multitude of preamp settings designed for guitars (electric and acoustic), keyboards, bass guitars, drums, vocals, and more.

Sonic Reality Neil Peart Drums Volume 1: The Kit (Infinite Player) $119 Neil Peart Drums Vol. 1: The Kit is a sample library for BFD2 and Infinite Player, powered by KONTAKT. Part of the Drum Masters series, the sound collection features the work of Neil Peart, drummer of the legendary rock trio Rush. Peart collaborated with Sonic Reality and producer/engineer Nick Raskulinecz (Rush, Foo Fighters, Alice In Chains) to bring the authentic sound of his “Snakes and Arrows” Custom DW® Drum Kit into the digital domain. With advanced features such as deep-level dynamics, humanized random alternating hits, discrete multiple mic mixing, and more, this deluxe sampled drum kit is an ultra-realistic recreation of Neil’s actual acoustic set as used live on tour and in the studio.With Neil Peart Drums Vol. 1: The Kit e-drummers, keyboardists, and composers can play virtual rock drum samples with the signature sound of this iconic drummer and have a world-class, hard-hitting drum kit suitable for many styles of musicfrom progressive rock to heavy metal. Producer Nick Raskulinecz engineered the sample sessions with over 20 channels of Neve mic preamps, deluxe vintage tube mics, and multiple room positions for one of the most elaborate drum samples ever. With the assistance of Don Lombardi and DrumChannel.com, every detail of “The Kit” was captured both in high-resolution audio and documented on video with a thorough explanation by Dave Kerzner of Sonic Reality on how the drums were sampled.Neil Peart Drums Vol. 1: The Kit features 8 toms; a vast array of cymbals, including 3 chinas, 4 crashes, 3 splashes, and ride; 2 snares; massive kicks; percussion such as cowbells; and more. It comes mapped in GM, iMap, V-Drum, and a Custom Map mode to be controlled by any electronic drum kit. It includes both discrete mic mixing and album-quality presets right out of the box for instant gratification.

Wave Machine Labs Dan’s House Vintage Drums Collection – Sample Library $95 The Dan’s House Vintage Drums collection features 10 classic snare drums, 4 rack toms, 5 floor toms, and 6 bass drums. The samples were recorded with top-shelf gear and carefully mixed to give you all the detail and impact heard live in the studio. This virtual instrument collection can be used with the Drumagog Drum Replacer Plug-in also from Wave Machine Labs.Drums used in this sample collection include Gretsch, Rogers, Slingerland, Radio King, Pearl, Yamaha, Leedy, Ludwig and Eames, dating from the ’20s through the ’80s, including a full 1967 Ludwig Club Date kit.Vintage Neve 1272 preamps and an Apogee PSX 100 analog-to-digital converter were used in the recording signal chain, so the GOG files are true-to-life samples of these great-sounding, hard to find drums!No processing was used on the samples – no eq, reverb, compression, or gating. What you hear is just the sound of the percussion instrument recorded with great gear, allowed to decay fully and naturally.Although these virtual drums are collector’s items, they don’t spend their lives on the shelf. They’re actively used at gigs and in the studio. (The ’67 Ludwig kit was just used for tracking some of Paul Simon’s stuff in 2003.) These are working instruments!The Sample ProcessEach drum sample was recorded with a dynamic mike at a distance of a few inches, a large diaphragm condenser mike at a distance of a few feet, and a pair of large diaphragm condenser mikes about 8′ from the drum, and 10′ apart to capture a stereo image. The two close-mike tracks were carefully phase-corrected, but the stereo track was left with a natural delay of about 3 ms to give a slight ambiance. The three sources were then balanced and mixed down to create the stereo samples in the collection. No processing was added in the signal chain.Each snare is represented with a total of 138 samples, covering a wide of range of sounds, from tight and muted to open and ringy, whisper quiet to hard rim shots, crossticks to brushes, and more.The snares were recorded with a close mike (Shure Beta 56), a mike at about 3′ above (Neumann TLM 193), and a stereo pair (Audio Technica AT4033) about 12′ apart, and 10′ from the drum.The toms were recorded as the snares were, with a close mike (Shure Beta 56), a mike at about 3′ above (Neumann TLM 193), and a stereo pair (AT 4033) about 12′ apart, and 10′ from the drum.The bass drums were recorded with the close mike (an AKG D112) just barely inside a hole in the head (or an inch or two from those heads with no holes), a mike about 3′ in front of the drum (Neumann TLM 193), and the stereo pair (AT 4033) on the drummer’s side of the drum to catch the snap of the beater on the drum head.

Pacific Drums M5 Maple Series 5-Piece Drum Shell Kit $629.95 The all maple PDM52205 M5 shell kit is featured packed and serious drummers now have a professional drum set with an affordable price tag. The shorter shell sizes of this 5 piece kit is a unique and perfect combination which offers sonic power with clarity. The set up flexibility and great tuning stability make it perfect for a live gig or studio work. Plus the incredible finishes with a matching wood snare make this kit look as good as it sounds.

In Store Used USED RHYTHYMTECH STUDIO LIVE SHAKER Standard $9.99 In Store Used USED RHYTHYMTECH STUDIO LIVE SHAKER Standard

Hal Leonard Robin Trower & Jack Bruce Seven Moons Live Concert DVD Gary Husband On Drums Standard $22.46 Hal Leonard Robin Trower & Jack Bruce Seven Moons Live Concert DVD Gary Husband On Drums Standard

Live In Watsonville (Part 1) $6 Live In Watsonville (Part 1) – Studio Gang

Taye Drums StudioMaple SM418BP 4-Piece Shell Pack $1149 Taye Drums’ Studio Maple line is already known for moving when you move, responding to every touch of the drum. Now, Taye Drums allows you to do it with this 4-Piece BeBop configuration. With the looks and sounds of yesteryear, take advantage of the Studio Maple’s solid drum shell design with 6 alternating vertical and horizontal plies of 100% North American Sugar Maple.The shells are thin and resonant, as well as rigid and durable. Made from fine Maple veneers, cross laminated and molded using state of the art techniques. Everything from the bearing edge to the suspension mounts conspires to make Taye StudioMaple drums one of the world’s finest instruments.Taye StudioMaple drums beg to be played; the snare drums sizzle, toms open up with defined pitches and bass drums provide the last word in attack, body, and shuddering sub-lows. You will enjoy the smooth sound and traditional look of a 12″ x 8″ rack tom, 14″ x 14″ floor tom, 18″ x 14″ bass drum with a matching 14″ x 5″ snare drum.

ART Tube MP Studio V3 Mic Preamp $75 TUBE MP STUDIO V3 Variable Valve Voicing The Tube MP Studio V3 features ART’s new V3 (Variable Valve Voicing) Technology — found only in ART microphone preamplification systems. V3 provides optimized reference points to begin the recording process. The V3 presets were created and fine-tuned by some of the industry’s top studio and live-sound engineers, along with our veteran engineering department. V3 allows you to select between a multitude of preamp settings designed for guitars (electric and acoustic), keyboards, bass guitars, drums, vocals and more. V3 gives you incredible presets for every instrument you record, so all your recordings will sound professional. Need to tweak the presets? Go right ahead — hone your perfect tone! That’s the power of V3.Output Protection Limiter V3 also incorporates ART’s OPL (Output Protection Limiter), which precisely and accurately controls and maintains the output peak signal. The OPL circuitry is crucial in protecting the next link in a signal chain – such as a hard-disk recording system or a sound card. The Tube MP Studio V3 features all the functionality of its predecessor, the world’s number one Tube Mic Pre, the Tube MP. Phase Reverse, +48v phantom power, clip LED and a +20dB switch are all included, as well as an analog VU meter for visual tracking of the signal. The Tube MP Studio V3 is the newest addition to the popular tube microphone preamp line. The design of the Tube MP Studio V3 allows it to add warmth and fatness to a signal while maintaining low-noise.Multi Application While it’s primary application is to be used with a microphone, the Tube MP Studio V3 can also function as a direct box – impedance matching, amplifying and improving the sound of any instrument plugged into it. The Tube MP Studio V3 features all the tone and functionality of its predecessor, the world’s number one Tube Mic Pre, the Tube MP. Whether you’re working with a computer, hard-disk, or digital multitrack recorder, the Tube MP Studio V3′s design delivers professional recording studio results at a fraction of the cost of comparable equipment. The design of the Tube MP Studio V3 allows it to add warmth and fatness to a signal while maintaining exceptionally low noise and high quality tone. While its primary application is to be used with a microphone, the Tube MP Studio V3 is an exceptional direct box – impedance matching, amplifying and improving the sound of any instrument plugged into it.Superior Performance The Tube MP Studio V3 offers superior performance and sound quality to the “on-board” preamps found in today’s low-cost mixers and multi-trackers. Professional quality sound combined with professional features – a hand-selected 12AX7a Tube, Phantom Power and Phase Reverse – are what make the Tube MP Studio V3 an outstanding microphone preamp. The Tube MP Studio V3 can be used in a wide variety of applic

Nady SCM 2090 Studio Condenser Microphones $169.99 Nady SCM 2090 Studio Condenser Microphones Features: This superior microphone uses a pair of closely matched, large diaphragm, uni-directional (cardioid) elements, angled at 90° in an X/Y stereo configuration By providing realistic spatial imaging of the sound field, this microphone is ideal for location stereo recording of orchestras/choral groups, bands, ambient instrument audio, ENG theater use, and many other live sound applications. Utilizes two gold-sputtered large diaphragm condenser elements for warm, crisp response with improved linearity across the frequency spectrum Offers ultra-low self-noise with increased dynamic range and maximum SPL capacity for recording loud audio such as brass, drums, and high-powered amplifiers Manufactured with the finest materials featuring a machined housing for structural integrity and rugged reliability Superb channel separation, with 5-pin XLR to dual 3-pin XLR “Y” cable (included) Get Your Nady SCM 2090 Studio Condenser Microphones Today!

XLN Audio Addictive Drums Software Download $199 Addictive Drums is a complete drum production studio. It has everything you need to make a professional drumtrack production. It’s flexible, yet very quick to learn and use.Concept: 3 Vital PartsAddictive Drums is built on three major, and equally important, building blocks that are a necessity for a complete drum production:Drum SamplesDrum samples of professional quality from the best drum kit brands available recorded in a studio with great acoustics, a multi-mic setup, and stored in a multichannel format.Production ToolsMixer, insert effects, reverbs, and the know-how of a sound technician/producer.Beats & FillsGrooves, beats, and fills recorded by a great drummer in different styles, tempos, and feels.Addictive Drums offers all this, in one easy-to-use plug-in that is compatible with all the major host softwares out thereUser InterfaceAddictive Drums consists of four main pages: the Kit Page where you can view all of the kit pieces; the Edit Page with all the insert effects; the FX Page with reverbs; and the Beats Page which contains the 3500+ MIDI file library.The Map WindowThe Map Window is where all the settings for the E-Drum Support are located. Edit your Map Presets, customize the settings for velocity and volume on the kitpieces, tweak the hi-hat settings, and more. You open the Map Window from the Beats Page.Main FeaturesProduction PresetsWith one click, you can load up a complete drum production. The settings for the Kit, the Insert Effects, and the 2 built-in Reverbs are recalled in a split second. You can Save your own presets and organize them in folders for quick access in any project. They appear automatically in the preset menu. Addictive Drums gives you over 100 presets in diverse production styles such as Rock, Electronic, Distorted, PopRock and more.Full E-Drums SupportTake E-Drumming to a new level with Addictive Drums 1.5 Adrenaline. All of the major E-Drum models on the market are fully supported and setting up has never been easier. E-Drums connected to Addictive Drums will provide you with one of the most realistic E-drums drum sounds on the market with fast workflow and powerful mixing possibilities. With Addictive Drums you will be jamming and recording drums for your music in no time.Drums and CymbalsAddictive Drums comes with a vast library of drum and cymbal samples recorded and in a professional studio with great care. A total of three kits and lots of cymbals from the top brands in the world are included.Total control over drumkits and kitpiecesEverthing in Addictive Drums can be tweaked and customized. Load up an entire dru

Audix Studio Elite 8 Microphone Pack $2499 The Audix Studio Elite 8 Microphone Pack, is a stellar combination of 8 microphones for studio and live recording. The heart of this 8-microphone package is the popular Audix D6 dynamic microphone that is widely used for kick drums, bass cabs, and ultra-low frequency instruments. For those that prefer to capture the full range of the kit with overheads, the Studio Elite 8 Pack features two SCX25A large diaphragm condensers, as opposed to the pencil condensers in the DP Elite 8 Microphone Pack. The Mics 1-D6 1-i5 2-D2 1-D4 1-SCX1-C 2-SCX25A For snare drum, guitar cabs, horns, and general purpose, an Audix i5 mic is included; for rack toms, congas, guitar cabs, horns, and other hi-SPL instruments there are two- Audix D2 dynamic mics; for floor toms, djembe, bass cabs, sax, and low frequency instruments, there is one Audix D4 dynamic microphone; an SCX1-HC pencil condenser mic is provided for high-hat, snare bottom, and acoustic instruments requiring close miking techniques; and, topping off the package, for overheads, room miking, vocals, and acoustic instruments at large there are 2 Audix SCX25A large diaphragm condenser microphones. Additionally, there are 4 D-Vice rim mounting clips for drums, and two SMT-25 suspension isolation shockmounts for the SCX25A mics. Packaged in an aluminum carrying case.

Shure Dynamic Cardioid Microphone $99.99 Designed for live sound reinforcement and studio recording, this microphone is ideal for use with drums, guitars and woodwinds or for vocal applications.

Drums $5 This book is in Used condition

Fxpansion BFD2 Acoustic Drums Module $299 Unlike many updated versions of software, the new BFD2 Acoustic Drum Module is not just a rehash of the same ol’, same ol’ with a little added flavor. The FXpansion team really took a from-the-ground-up rebuild approach, taking the best features of the previous version and offering it to you with a brand new, simplified GUI and a heaping help of new features. Using two pairs of room mics, including a mid/side set, the engineers captured the special essence of the legendary AIR Lyndhurst Studios in London. The drumkits were mic’d with stereo overheads and mono close directs. Every sonic nuance was routed through a custom Neve desk with Air Montserrat preamps and into PrismSound A/D converters, giving you a 55GB library full of hyper-realistic sounds with multiple articulations recorded at up to 96 velocity layers. There’s plenty of high-quality instruments and sounds to choose from to create your perfect 10-,18-, or 32-piece kit, from Zildjian and Sabian cymbals to Ludwig and Gretsch kicks and toms, Pearl and DW snares to an Oberheim DX Drum Machine and human group claps. The ingenious BFD2 interface gives you absolute freedom over tuning, damping, ambience levels, velocity response, and more. You can layer parts of your kit for modern-sounding hybrid productions or easily choose preset kit-piece profiles of dry, damped and other useful settings. More than just pushing buttons on a sampler, BFD2 gives you the flexibility to configure your drum kit like a real drummer. Do you have stereo sample-sets with multiple velocity layers that you’d like to mix? Or previous BFD and 3rd party expansion packs you’d like to keep in your DAW’s bag of tricks? Not a problem. BFD2 makes it easy to integrate and import while still letting you utilize its new sound-shaping features. The accommodating mixing console makes it possible to play realistic cymbal flourishes, powerful kicks and snare lines, convoluted hi-hat parts, ghost notes. If you can think it up, you can blend, route, submix, and process the mic channels as you would in a real-world recording studio with a professional drummer and BFD2 will bring your ideas to life. You can also manipulate bleed levels, change the ambient mic width, and shape your drums into infinite variations through aux sends and patch sidechain effects. The built-in processors have circuit-modelled dynamics, filters, and distortion for creating your punchier sounds, while the effects like Flanger, Bitcrusher, Ring Mod, and Delay showcase the more subtle timbral varieties of this great software. With 32 outputs, there’s plenty of room for bringing in external reverbs and plug-ins you love, but there’s also a ample amount of presets created by professional studio veterans to browse through that cover diverse genres. The Groove engine simplifies editing patterns, setting up performance modes, and applying humanization effects to “keep it real” soundwise. More than 5000 stylistically dive

Latin Percussion Raul Rekow Signature Series Drums $369.99 Latin Percussion Raul Rekow Signature Series Drums Latin Percussion Raul Rekow Signature Series Drums Description: The big cat in the conga drum jungle! There is nothing quite like Raul Rekow’s exciting, intricate patterns on hand drums when he’s enhancing the groove of Santana. It would be difficult to replicate his signature moves, but LP has done a splendid job of recreating Raul’s choice of congas. With Raul’s collaboration and his blessing LP proudly presents the Raul Rekow LP Signature Series Conga. These drums embody some of the flamboyance of their namesake. The 3-ply premium wood shells are wrapped with a vibrant tiger print finish accented with a hint of gold glitter that will rivet attention on any stage, especially when combined with elegant gold Comfort II Rims and matching LP side plates. A good shell is half the battle; the other half is the membrane-the head or skin. Will it live up to the promise of a well-made shell? Answering that question in the affirmative, LP fitted their Raul Rekow Signature drums with a special group of hand-selected rawhide heads. These drums look and sound so good you will not believe the emphatically moderate price, especially given the obvious quality of the series. Grab a hold of a tiger! Latin Percussion Raul Rekow Signature Series Drums Specifications: 3-ply premium wood Tiger print finish Gold Comfort II Rims Matching LP side plates. Hand-selected rawhide heads 11-3/4″ diameter 30″ tall Get your Latin Percussion Raul Rekow Signature Series Drums today!

LP Studio Series Bar Chimes $141.99 LP515 Double Row Bar Chimes Studio series bar chimes Studio series bar chimes by LP are bright and just right in the studio or are excellent for live use as well.

Studio 49 Bongos $266 These Studio 49 bongos are laminated hardwood, mahogany shells with tunable natural skins. This bongo set is excellent for young students or in the classroom setting; great sounding set of drums.

Studio 49 Bongos Standard $266 These Studio 49 bongos are laminated hardwood, mahogany shells with tunable natural skins. This bongo set is excellent for young students or in the classroom setting; great sounding set of drums.

Customized artistic image of Magic Drum Orchestra using for commissioning a Genuine Oil Painting of Magic Drum Orchestra in highest professional quality, completely 100% hand-painted by high-skilled oil portrait artist. Art style: futurist. All sizes available. You have always been dreaming about possessing a genuine hand-painted oil painting of Your Greatest Idol Magic Drum Orchestra but you are not sure whether you can buy one because genuine hand-painted oil paintings are often very expensive?We can help you. Just specify all your needs regardingwhat to paintfavorite backgrounds of your choice (e.g.sunshine, flowers, abstract patterns, on stage etc……

Barney’s Exercise Circus & Parade of Numbers [VHS] $16.99 Barney and the gang get up a playground circus, featuring Barney the Balancing Dinosaur and Derek the Juggler. Guest Joe Scruggs sings songs; the whole point of the show is that exercise feels good. Also on this video is “Barney’s Parade of Numbers,” which features a visit from Mr. Tenagain, who has a passion for all things 10. This two-fer is the usual Barney fare, with a light emphasis on body a…

Joe Bonamassa Live from the Royal Albert Hall $16.76 LIVE FROM THE ROYAL ALBERT HALL – DVD Movie…

Rush – Rush in Rio $21.07 RUSH IN RIO – DVD Movie…

Rush – R30 – 30th Anniversary Deluxe Edition $22.99 R30 – DVD Movie…

Ummagumma $15.94 No Description Available.Genre: Popular MusicMedia Format: Compact DiskRating: Release Date: 23-AUG-1988…

Shure SM57-LC Cardioid Dynamic Microphone $80.00 A fixture in the music business, the Shure SM57 Dynamic Instrument Microphone can bee seen everywhere you look. From small clubs to 100,000 seat stadiums the Shure SM57 is renowned by everyone from legendary performers to the latest up-and-comers. What you may not have seen are the thousands of Shure SM57 Dynamic Instrument Microphones at work behind the scenes in professional recording studios ar…

TASCAM DP-008 8-Track Digital Portastudio $269.00 The Tascam DP008, an 8-track digital Portastudio recorder, is small enough to fit into a guitar case. The DP008 features eight tracks with built-in mixing, dedicated knobs for volume and pan for each track, plus a reverb send knob for the built-in reverb effect. The DP008 Portastudio recorder has two XLR microphone inputs with phantom power, a guitar level input and even built-in stereo mics so yo…

Apple Logic Studio [OLD VERSION] $474.05 Logic Studio, Apple’s comprehensive suite of professional music and audio tools, provides musicians with everything they need to create in the studio, on the stage, and for the screen. Logic Studio includes Logic Pro 8, Apple’s legendary professional music production application featuring a new, intuitive interface; MainStage, an innovative new application for music performance; and Soundtrack Pro…

Zoom H2 Handy Portable Stereo Recorder $334.99 The Zoom H2 is a must-have for anybody doing podcasting to almost any type of mobile recording situation. An affordable 2-track recorder using a 4-mic capsule configuration and digital signal processing, the H2 allows a variety of polar patterns and even supports 5.1 surround sound. Record at 96kHz, 48kHz, 44.1kHz or MP3. Archive files to your computer using the USB port. Use as a USB mic to recor…

18 Clear Pinstripe Bass Drum Head $29.46 PINSTRIPE heads have remained as one of Remos most popular drumheads since its 1973 introduction. The well-known and heavily recorded PINSTRIPE has a very focused low-pitched sound with moderate attack and response characteristics. PINSTRIPEs quick decay makes them ideal heads for the “fat” sounds of rock and R&B. Theyre also considered ideal for creating a deeper, controlled drum sound in studio and live situations. PINSTRIPE heads are made with two 7 mil plys with a measured layer of a ring-reducing agent applied between them at the outer edge of their trademark stripe. This internal muffling dampens the high frequency overtones for a warmer resonance. PINSTRIPE heads are available in the classic clear finish, as well as coated for an even warmer, more controlled sound. Theres also a PINSTRIPE with an EBONY finish. Clear PINSTRIPESClear PINSTRIPES have remained as one of the best selling drumheads since its 1973 introduction. A classic clear PINSTRIPE sound is an open, warm, resonant tone with plenty of attack. Some notable artists who rely on Clear PINSTRIPES include Lars Ulrich, Mike Portnoy, Gerald Heyward, Paul Leim, Julio Figueroa, and John Otto.

20 Clear Pinstripe Drum Head $20.86 Remo’s popular PinStripe heads are made from two plies of Remo clear film and bonded at the collar to dampen both high overtones and overall resonance. The result is a very focused, low pitched sound with moderate attack and response characteristics that is ideal for creating a deeper, fatter, controlled drum sound in a variety of studio and live drumming situations. PinStripe heads are available in classic Clear as well as Coated, for an even more controlled sound and brush surface.

8Kit 8 Piece Drum Mic Set $349 The Samson 8KIT includes everything you need to completely mic today's popular drum kit set-up in a professional live or studio application. All of the microphones in the 8KIT feature a cardioid pickup pattern voiced specifically for the drum they are capturing and Gold-plated XLR connections to insure a low noise signal path. The complete eight-piece kit comes packaged in a rugged road case for easy travel and secure storage. Includes: 2 C01 Large Diaphragm Condensers for overheads 3 Q-toms for dynamic tom micing with integrated rim mount clip 1 Q-snare with integrated rim mount clip for precise snare drum micing 1 Q-kick perfect for capture the low-end attack of bass drums 1 C02H Mini Pencil Condenser for hi-hat or ride cymbals All microphones feature Gold-plated XLR connections. Complete kit comes packed in a rugged road case. WARRANTY 3 years parts and labor.

A Place to Bury Strangers concert at Studio Paradiso on 25 Mar 08 $0 When a chainsaw speaks to another chainsaw, in the middle of a hailstorm, in a world made only of tin siding, that’s what Oliver Ackermann and his New York City band A Place To Bury Strangers would call the softest whisper. You’d ask them to explain themselves and they’d reply, “What?” You’d ask them how that terribly rowdy, noisy scenario could be construed as a hushed portion of dialogue and they’d answer, “What?” A lot of time has been spent tabbing this the loudest band in the world and until they’ve been brought into close quarters – as Daytrotter did with the band in San Francisco the last week of February during the one-week Noise Pop Festival – the believability of that statement remains up for discussion and pessimistic guffawing, a tad heresy and altogether wishy-washy. There is an abundance of truth behind every one of those claims crying out that you’ll never hear again should you attend one of their gigs sans earplugs or other protective device. They employ liberal doses of the loud stuff, caking it onto the air as if it needed more seasoning or icing. They can’t help it. It’s an addiction that needs satisfying – the necessity to bring deafness to the world over. They put a ring into every tiny drum, sending ferocious vibrations out into all directions, brashly hammering all who come in contact with them into submission. It’s gothic shoegaze, though the idea of gazing at ones shoes through the battlefield of dramatically defiant guitars and synths, the roaring drums and the almost afterthought vocals that go to show Ackermann as a man standing his ground amongst the chaotic abyss. Where we found the band, forced to record everything in one room as is the norm for every Daytrotter studio, make the vocals another snippet of atmosphere, blended into the varnish as a mysterious taste, like the nuttiness or caramel hint that connoisseurs pull out of wines that to the layman just taste like wines. They surface as the fire over here and the fire over there

Alesis DM8 Pro Kit Professional Five-Piece Electronic Drumset $699 An electronic drum kit can’t be called perfect without mind-blowing samples. The DM8 Pro Kit features the barrier-shattering DM8 High-Definition drum module with Dynamic Articulation. Alesis’s latest drum module in a line now spanning 20 years, the DM8 builds on the success of the top-of-the-line DM10. The DM8 shares the DM10?s essential architecture, including playback of genuine recordings of real drums and cymbals and advanced Dynamic Articulation multi-samples. You’ll find the DM8 to be packed with over 750 first-call studio and live drums and cymbals, dozens of play-along tracks, and an advanced metronome for practice and performance. The DM8 features Professional Audio and trigger inputs and outputs including USB MIDI for expansive flexibility and connection to a wide range of sounds and controllers. It’s an ultra-compact module, which means integrating components of the DM8 Pro Kit – or the entire setup – into acoustic drum setups and percussion rigs is easy and comfortable. Imagine adding electronic, percussion, and rare, ethnic sounds without giving up the organic, primal power of an acoustic set. -Features: -DM8 high-definition drum module with over 750 Dynamic Articulation sounds-RealHead 8″, 10″, and 12″ drum pads with tension-adjustable drumheads-12″ dual-zone Snare, 8″, 10″, and 12″ Toms, and 8″ Kick, which works with single and double pedals (sold separately)-DMPad 12″, 14″, and 16″ multi-zone cymbal pads with natural motion-16″ 3-zone Ride with choke, 14″ Crash with choke, 12″ Hi-Hat with RealHat continuous pedal-StageRack with four-post design, Integrated cymbal booms, and wingbolt-adjustable clamps-StageRack comes with convertible boom/straight cymbal arms, mounted in the downtubes-Premium instrument library multi-sampled from real drums and cymbals-Play along with tracks and record yourself with the three-part sequencer-Mix input for practicing with external Music players-USB-enabled for tracking and Programming with virtually all music Software -

Alesis DM8 USB Kit Compact Quick-Set Electronic Drum Set $599 Compact, quiet, quick to set up, with true, natural sound, the DM8 USB Kit brings Alesis quality to drummers and studios. Whether you need quiet practice, tracking quickly into software, or fast on-stage setup, the DM8 USB Kit is a perfect choice. The DM8 USB Kit features the barrier-shattering DM8 High-Definition drum module with Dynamic Articulation. Alesis’s latest drum module in a line now spanning 20 years, the DM8 builds on the success of the top-of-the-line DM10. The DM8 shares the DM10?s essential architecture, including playback of genuine recordings of real drums and cymbals and advanced Dynamic Articulation multi-samples. You’ll find the DM8 to be packed with over 750 first-call studio and live drums and cymbals, dozens of play-along tracks, and an advanced metronome for practice and performance. The DM8 features Professional Audio and trigger inputs and outputs including USB MIDI for expansive flexibility and connection to a wide range of sounds and controllers. It’s an ultra-compact module, which means integrating components of the DM8 USB Kit – or the entire setup – into acoustic drum setups and percussion rigs is easy and comfortable. Imagine adding electronic, percussion and rare, ethnic sounds without giving up the organic, primal power of an acoustic set. -Features: -DM8 high-definition drum module with over 750 Dynamic Articulation sounds-Low-noise, natural-feeling rubber pads: dual-zone Snare with rimshot and three Toms with natural feel-Large Kick works with single and double pedals (not included)-Large dual-zone Ride with bell and bow, Crash with choke, and Hi-Hat with continuous-control pedal-DMRack with four-post design, wingbolt-adjustable clamps, and mini-boom cymbal arms-DMRack comes preassembled for quick setup-Premium instrument library multi-sampled from real drums and cymbals-Play along with tracks and record yourself with the three-part sequencer-Mix input for practicing with external Music players-USB-enabled for tracking and Program

Alesis PerformancePad Pro Multi-Pad Percussion Instrument $299 Augment your drum or percussion setup with the PerformancePad Pro, or play it on its own. This eight-pad multi-percussion instrument features over 500 sounds and a three-part sequencer so you can play live, create loops and sequences, accompany yourself, and add texture to the band or musical group. With eight velocity-sensitive drum pads, kick and hi-hat inputs and over 500 multi-sampled Dynamic Articulation sounds, the PerformancePad Pro is an all-in-one drum station. It even has inputs for kick and hi-hat triggers. The PerformancePad Pro contains the sequencing engine from Alesis? best-selling drum machines. This three-part sequencer enables you to Program drum, percussion, and accompaniment parts for creating complete tracks or playing along with loops. The PerformancePad Pro features a modern, High-Definition sound set with acoustic and electronic drums, percussion, sound effects, Bass and more. The PerformancePad Pro also contains powerful Alesis studio effects including Reverb, EQ and Compression for customizing sounds to perfection.–You can also use the PerformancePad Pro as a MIDI controller for playing virtually any sound module, synth or software. Plus, you can connect and mix in a music source via the PerformancePad Pro?s input. You can mount the PerformancePad Pro on stands and racks using the Module Mount (not included), place it on most snare stands, or play it tabletop in a percussion, production, or DJ setup. With tons of sounds, powerful sequencing, and classic Alesis effects, the PerformancePad Pro will help you turn tracks into hits.-Features: -8 natural feeling, velocity-sensitive drum pads with Dynamic Articulation-Built-in Professional drum machine so you can Record and play back your own beats-Over 500 sounds ranging from all styles and instruments assignable to any pad-Large LCD display with easy-to-navigate Interface with a lightweight, durable enclosure-High-quality, 24-bit Audio outputs and traditional 5-pin MIDI output jack-Mix input fo

American War concert at Daytrotter Studio on 26 Oct 10 $0 The ideals that Matt Schuermann seems to hold dear to him are the ones that we find in those who get awarded Purple Hearts and those who are the favorite sons-in-law of mothers everywhere. They are those of a man who probably looks at a news magazine and shakes his head forlornly at every other word, wishing that the people described on the pages could just zap themselves out of their current place and go somewhere for a permanent vacation. They are those of a man who instead of writing letters to the editor, picks up a worked in acoustic guitar and sits around his porch on a crystalline morning, with a hound dog at his feet and writes the songs that he then collects onto albums. Schuermann, who plays drums in another Ohioan band called the Sidekicks, has named his solo project with a subject that is the source for endless ire and debate. The idea of violence can’t help but be prevalent as the money machine feeds on wars of all kinds and has done so since man first started reproducing. There is and always has been greed and foolish power-grabbing and those that win more than they lose can find themselves at the top of the heap – the top of the chain. They often lose sight of the smaller people and they definitely forget about those that they defeated and climbed over to get onto the top of the heap. It goes like this and it goes on like this. American War, the subject, supplies itself with a delusional justification – that the action is intended only as an act of brotherhood, for the greater well-being of democracy and healthier mankind. American War, the band – Schuermann’s project, takes all of this into account and decides that there’s just no need for the two-faced nastiness. There’s no way that war makes sense. It’s as if what makes sense to him is, if we look after and take care of our loved ones, and they do the same, and then we see everyone else out there taking care of and being taken care of by those loved ones, we might have something close to the proble

An Horse concert at Daytrotter Studio on 13 Oct 09 $0 It’s the fragile moments that give the harshest shivers, the violent ones that could make you worry that you’re losing it, that things will get worse before they ever get better. Kate Cooper and Damon Cox of the Australian band An Horse bow at the alter of these kinds of fragile moments, finding them to be the intoxicating ones that will eventually make you strong if they don’t wipe you out before then. Cooper sings about the aspects in life after they’ve come to a boil. We don’t really get too much of the back story in the songs on the band’s EP “Not Really Scared,” but she swoops us into the middle of the firestorm, at the place where she’s out on the ledge and looking for company up there. She wants to share the experience of the elevated winds rushing across wet cheeks and the pulling at clothes, pulling at hair and losing it up there where the pigeons are perching and cooing, where the window washers get frightened. The scenes that she and Cox reveal are scary situations that may never return to a satisfying normal. It makes a lot of sense that Canadian band Tegan & Sara have taken such a liking to this guitar and drums two-piece as there is the same immediacy and the same hectic urge to wonder and an even more hectic need to know why all of this shitty shit is happening and keeps happening. It never seems to subside and then suddenly, the room stops spinning, the faces stop blurring and a calm tries to happen, just momentarily, where things don’t seem to be all that bad and it’s when you hear Cooper considering her new line, “I believe in horizons now.” It feels as if there might be a little flower poking out of the snow, but whether it will survive is still questionable. An Horse music is a sunny day in dead cold of winter, as if there is potential in the snow drifts and there’s a light at the end of the bleakness. It all feels warm if you don’t stand too close to the windowpanes and you don’t look straight down. As Tegan & Sara sings on a song from “So Jealo

Aretha Franklin concert at Fillmore West on 05 Mar 71 $12.98 One of the most anticipated and ultimately satisfying run of shows ever to occur on the Fillmore West stage occurred in March of 1971, when Bill Graham presented three consecutive nights featuring Tower of Power, King Curtis, and Aretha Franklin. Immortalized in part on the album Aretha Live at Fillmore West, these performances became a landmark event that played a significant role in Franklin reaching beyond the loyal black audiences that already knew of her incredible talent. Pulling off these shows was not an easy task, but thanks in large part to the vision of Jerry Wexler, who had signed Franklin and produced her studio recordings, the challenging logistics were overcome, but not without some trepidation. First, Fillmore West was a much smaller venue that could not accommodate the size audience required to guarantee Franklin’s performing fee at the time. This was overcome with the solution of recording a live album to offset the financial arrangements. Additionally, Franklin had been touring with a traditional show band for years, but Wexler wanted to use an entirely different group for these performances, utilizing top session musicians, including those that had played on Franklin’s studio recordings. There were also serious concerns about how Franklin would be received by the primarily white hippie audience that frequented Fillmore West. Wexler persuaded Franklin to work with King Curtis and the Kingpins, which featured one of the greatest rhythm sections on the planet. Led by Curtis Owsley, whose soulful sax had been prominently featured on Franklin’s earlier studio sessions for Atlantic, his Kingpins included a dream team of musicians that featured Cornell Dupree on guitar, Jerry Jemmott on bass, Bernard Purdie on drums, Truman Thomas on electric piano, and Pancho Morales on congas. They additionally recruited the up and coming organist Billy Preston, already a veteran of countless sessions, including The Beatles Let It Be album sessions. To give the ense

Aretha Franklin concert at Fillmore West on 07 Mar 71 $12.98 One of the most anticipated and ultimately satisfying run of shows ever to occur on the Fillmore West stage occurred in March of 1971, when Bill Graham presented three consecutive nights featuring Tower of Power, King Curtis, and Aretha Franklin. Immortalized in part on the album Aretha Live at Fillmore West, these performances became a landmark event that played a significant role in Franklin reaching beyond the loyal black audiences that already knew of her incredible talent. Pulling off these shows was not an easy task, but thanks in large part to the vision of Jerry Wexler, who had signed Franklin and produced her studio recordings, the challenging logistics were overcome, but not without some trepidation. First, Fillmore West was a much smaller venue that could not accommodate the size audience required to guarantee Franklin’s performing fee at the time. This was overcome with the solution of recording a live album to offset the financial arrangements. Additionally, Franklin had been touring with a traditional show band for years, but Wexler wanted to use an entirely different group for these performances, utilizing top session musicians, including those that had played on Franklin’s studio recordings. There were also serious concerns about how Franklin would be received by the primarily white hippie audience that frequented Fillmore West. Wexler persuaded Franklin to work with King Curtis and the Kingpins, which featured one of the greatest rhythm sections on the planet. Led by Curtis Owsley, whose soulful sax had been prominently featured on Franklin’s earlier studio sessions for Atlantic, his Kingpins included a dream team of musicians that featured Cornell Dupree on guitar, Jerry Jemmott on bass, Bernard Purdie on drums, Truman Thomas on electric piano, and Pancho Morales on congas. They additionally recruited the up and coming organist Billy Preston, already a veteran of countless sessions, including The Beatles Let It Be album sessions. To give the ense

Art in America concert at Royal Oak Music Theatre on 08 Mar 83 $12.98 Art In America were around for one album and a fleeting glimpse of national exposure during the heyday of MTV in the early-1980s. Heavily influenced by the ’70s progressive rock gods of the U.K. (Yes, ELP, Genesis, Alan Parson Project) but trying to fit into the electro-pop sound of that time, Art In America probably would have been done far better in the public eye if they had been signed to one of the major labels. Spearheaded by Shishonee Flynn, and her brothers Chris (guitar/vocals) and Dan Flynn (drums), the group was augmented by bassist Jim Kuha and keyboardist Kent Richards, and had made a name for itself in the Detroit area, but never really had broke out past the fans of prog music. After an obnoxious introduction by a DJ from WRIF-FM, the band launches into a memorable set featuring material from their debut LP. The record, which also featured members of the Dixie Dregs on it, was produced and engineered by Eddie Offord, the studio whiz behind the classic recordings of YES and ELP. (The album was re-issued in May 2008, on Renaissance Records). Chris Flynn offers up some solid vocals throughout, and his sister Shishonee adds the edge to the band’s sound with her harp and odd percussive accents. Not everything works, however; “The Line,” is a mundane song about waiting in a supermarket line, and “Loot,” is derivative of Rush. They group did have one regional hit single, “Undercover Lover,” which they played near the end of the show. The band is still together today, with only keyboardist Kent Richards gone from the original line-up.

Audio Technica ATR1300 Dynamic Unidirectional Microphone $27.99 Tough and ready for live performances, the ATR1300 won’t let you down. Bringing articulate Sound reproduction, the ATR1300 will provide a great service whether you’re mic’ing your drums, cab or screaming your vocals in a live or studio setting. Durability and reliable, the ATR1300 provides that full and pro sound that you’ve been craving. Ideal for vocal and instrument mic’ing, the ATR1300 features a Unidirectional polar pattern for excellent feedback protection.-Professional sound quality for vocals and instruments -Focused pickup helps prevent feedback -Rugged metal construction for long-lasting performance -Conveniently-located on/off Switch -Includes mic clip and detachable XLR to 1/4 inch cable

Australian Crawl Discography $60.27 Used – Australian Crawl was an Australian surf / pop rock band. The band released four studio albums, three live albums, five compilations, seventeen singles, one extended play, and three video albums. These include releases credited to Australian Crawl, Australian Crawl and James Reyne (but not his solo material), and ‘Members of Australian Crawl’. The band was founded by James Reyne (lead vocals/piano), his younger brother David Reyne (drums), Brad Robinson (rhythm guitar), Paul Williams (bass

Australian Crawl Discography $89.6 Used – Australian Crawl was an Australian surf / pop rock band. The band released four studio albums, three live albums, five compilations, seventeen singles, one extended play, and three video albums. These include releases credited to Australian Crawl, Australian Crawl and James Reyne (but not his solo material), and ‘Members of Australian Crawl’. The band was founded by James Reyne (lead vocals/piano), his younger brother David Reyne (drums), Brad Robinson (rhythm guitar), Paul Williams (bass

Backyard Tire Fire concert at Daytrotter Studio on 26 Mar 08 $0 The city of Bloomington, Ill., that the rustic trio known as Backyard Tire Fire calls home is down a stretch of four-lane interstate that takes you slicing diagonally through the state into accent country and the states where a four-wheel drive truck and a canister of chewing tobacco are birth rights or as close to them as you can ever get. It’s right around that area where Gretchen Wilson learned all about bars and Jack Daniels. It’s a city that supports one major university, one smaller liberal arts college, all-American visions as far as the eye can see, a standard of living that isn’t all too complicated and used to support David Foster Wallace, the master of the unnecessary footnote, as he lived there for 10 years as an English professor completely a masterpiece in Infinite Jest. The city itself sounds like a footnote, neither here nor there – just like the here that we know, just a functioning Midwestern city that one can expect the lights from dozens of slow pitch softball games to glow strongly enough to read by every night of the week during the sticky summer nights, well into the 10 o’clock news hour. It’s a place where you could expect one in every third motorist that should drive past you on the side of the street, stranded with a flat tire, to not only be capable of changing that mess, but willing to take the time to do it. Backyard Tire Fire members Ed and Matt Anderson and Tim Kramp have all likely performed such an act of Good Samaritan-ism, perhaps even in cruddy weather. Ed has shoulders that one could swear were worked into shape by tossing hay bales during those days of the aforementioned sticky softball nights. The beards aren’t ironical. The friendliness isn’t a game of kiss ass the way the boys from Brooklyn sometimes do it. Their integrity is woven into the country twang that they bring to life with the kinds of gentle country instruments you bring around a campfire – the acoustics, the banjos, the pianos, the friendly bass and the drums wit

Beta 91A $239 For over two decades Beta Microphones have been the choice of top touring and recording professionals seeking reliable, application-specific performance in demanding live and studio environments. With superior construction, low handling noise and high gain before feedback, Beta Microphones redefine sensitivity and control for expert sound reinforcement. The Beta 91A is a precision-engineered Half-Caridoid Condenser Boundary Microphone. It's two position contour switch maximizes attach and clairty depending on the application. This low-profile microphone with integrated XLR preamplifier is perfect for kick drum and other low frequency applications. The Beta 91A requires no external mounting or accessories for improved control, simple set-up and storage.An updated microphone capsule is tailored for bass-heavy environments to produce a powerful low frequency response, and a new design integrates the preamplifier and XLR connection for easy setup and minimal stage clutter. The Beta 91A combines superior attack and punch for studio-quality sound, even at extremely high sound pressure levels (SPLs).Features:Premier live performance microphone with Shure quality, ruggedness, and reliabilityUniform half-cardioid polar pattern (in the hemisphere above mounting surface) for maximum gain before feedback and rejection of off-axis soundTailored frequency response for kick drums and bass-heavy instrumentsWide dynamic range for use in high SPL environmentsTwo-position contour switch enhances attack and clarityIntegrated preamp and XLR connector reduce stage clutter and provide a quick, secure setupLow profile design requires no external mounting hardwareSteel grille and die-cast metal construction resist wear and abuse

C451B Cardioid Condenser Microphone (Matched Stereo Pair) $1299 The C 451 B is an excellent tool for accurately capturing signals rich in transients such as drums, instruments with a percussive sound, acoustic guitar, or for overhead applications. Responding to growing demand, AKG decided to make the C 451 B with the same acoustic performance as the popular original C 451 EB + CK 1, with dramatically improved specifications. Using an extremely light diaphragm, the new C 451 B is almost totally insensitive to handling noise. Other features include an all-metal body for excellent protection from RF interference and high reliability for excellent results under almost all conditions. Ultra-smooth response with slight rising on-axis frequency characteristic High front-to-back rejection ratio Transformerless output for low distortion at high operating levels 10 and 20 dB pad Switchable 12-dB roll-off at 75 or 150 Hz    The C 451 B is a cardioid only design with a permanently fixed capsule (a departure from the previous modular system). The acoustics of the original cardioid-capsule, CK 1, are modeled and matched in the current version, producing the unique overall rising frequency characteristics. The rise is no more than 3 dB and is broadly centered around 12 kHz. Its transformerless preamp uses surface mount technology and, therefore is lighter, yet more rugged than its predecessor. Switchable 10 and 20 dB pads are now integrated. Maximum sound pressure levels in the range of 155 dB (in the 20 dB sensitivity position) can be attained with no greater than 0.5% distortion. A selectable low frequency, or bass roll-off option, provides 12 dB per octave attenuation below 75 or 150 Hz. The C 451 B, like its predecessor, is most commonly used in studio and tour sound applications such as miking choirs, drums, percussion and acoustic guitars. It operates on all phantom voltages between 9 and 52 volts. The SA 40 stand adapter and W 90 windscreen are included as standard accessories. SPECIFICA

Cakewalk A-500PRO 49-Key MIDI Controller $349 If you’re looking for a Keyboard controller that you can use in the studio, on-stage, or anywhere you feel inspired, look no further than the A-500PRO. Combining the best of Roland engineering with Cakewalk’s legendary ease-of-use, the A-500PRO has the features and feel you need to get the most out of your Music performances and productions. The A-500PRO is the perfect keyboard for use with a wide variety of Software on Mac or PC including Ableton Live, Cubase, FL Studio, Garage Band, Logic, Nuendo, Pro Tools, SONAR and the included Production Plus Pack. Best of all, the A-500PRO is easy to set up ? if you can plug-in a USB Cable, you’ll be making music in no time at all.-Features: -16 x 2 character, brightly lit LED display for Editing controls and navigating the system menu -8 velocity-sensitive, lighted, dynamic pads for finger drumming and triggering loops and samples, with HOLD button for latching -Dedicated transport section for using the A-PRO as a control surface that can be remapped if desired -Console-style faders for improved feel when making tweaks and adjustments -Included Editor software makes creating new control maps and transferring them to the A-PRO simple and easy -Production Plus Pack includes Cakewalk Sound Center, Rapture LE & Studio Instruments Drums for Mac and PC, as well as SONAR 8.5 LE (PC Only)-Specifications: -49 Velocity-sensitive keys -Inspiring feel & response for serious players -45 assignable controls: knobs, sliders, buttons, transport & more -8 Dynamic Pads for finger drumming & MIDI triggering -Sure-grip Pitch Bend/Modulation Stick -Expand playability with Sustain & Expression Pedals (available separately) -USB Bus Powered?no AC adaptor required -Durable Roland-quality manufacturing & craftsmanship -Ready to play with 3 included virtual instruments -Works with any DAW on Mac or PC -Supports Windows 7 & Mac OS X Snow Leopard-Includes the Production Plus Pack music creation software-Keyboard: 49 keys (with velocity and Channel afte

Chicago concert at Freedom Hall on 12 Jun 74 $12.98 Along with Columbia Records label mates Blood, Sweat and Tears, Chicago spearheaded the “horn sound” of the early 1970s. Striking a balance between the big band and jazz elements of a pronounced horn section with the more traditional rock ‘n’ roll foundation of a four piece guitar-bass-drums-keyboard unit, Chicago would prove to be one of the most prolific bands of the decade and enjoy remarkable career longevity. Since they emerged in 1969, with the now legendary Chicago Transit Authority double album, they maintained a near-locked position in the Billboard Top 40. Capturing a live performance by Chicago in superior quality to their ambitious quadruple album set from Carnegie Hall, this King Biscuit Flower Hour recording has been held in high esteem by hard-core Chicago fans and live recording enthusiasts alike for decades. Since the initial 1974 hour-long KBFH broadcast of edited highlights and expanded (but still incomplete) versions being distributed to major city FM radio stations for subsequent rebroadcasts, much confusion has surrounded these recordings. Since numerous FM radio transmissions have occurred over the years, these recordings have circulated in countless permutations, always incomplete and often with broadcast dates rather than the actual recording date of June 12, 1974. Recorded near the tail end of the tour promoting their seventh album, arguably the group’s most experimental studio effort, this was a most interesting time to experience the band onstage. Near the middle of the band’s glory years, when the initial lineup was still firmly intact and inspired, this recording showcases the unique chemistry that the group could channel onstage and captures the dynamics of the horn section far better than the Carnegie Hall recordings. A few short years before founding member and guitarist Terry Kath died from an accidental self-inflicted gunshot wound, this live recording documents a time when Chicago was near the peak of their powers, enjoying the

Children of Bodom $46.8 New – Children of Bodom is a Finnish heavy metal band from Espoo, formed in 1993. The band consists of guitarist and vocalist Alexi Laiho (vocals/lead guitar), Roope Latvala (guitar), Janne Wirman (keyboards), Henkka Seppl (bass), and Jaska Raatikainen (drums). Since their inception, Children of Bodom has released six studio albums, two live albums, two EPs, and one DVD.Children of Bodom’s third studio album, Follow the Reaper, was the band’s first album to receive a Gold certification in Finlan

Children of Bodom $68 New – Children of Bodom is a Finnish heavy metal band from Espoo, formed in 1993. The band consists of guitarist and vocalist Alexi Laiho (vocals/lead guitar), Roope Latvala (guitar), Janne Wirman (keyboards), Henkka Seppl (bass), and Jaska Raatikainen (drums). Since their inception, Children of Bodom has released six studio albums, two live albums, two EPs, and one DVD.Children of Bodom’s third studio album, Follow the Reaper, was the band’s first album to receive a Gold certification in Finlan

Children of Bodom $46.8 Used – Children of Bodom is a Finnish heavy metal band from Espoo, formed in 1993. The band consists of guitarist and vocalist Alexi Laiho (vocals/lead guitar), Roope Latvala (guitar), Janne Wirman (keyboards), Henkka Seppl (bass), and Jaska Raatikainen (drums). Since their inception, Children of Bodom has released six studio albums, two live albums, two EPs, and one DVD.Children of Bodom’s third studio album, Follow the Reaper, was the band’s first album to receive a Gold certification in Finla

Children of Bodom $68 Used – Children of Bodom is a Finnish heavy metal band from Espoo, formed in 1993. The band consists of guitarist and vocalist Alexi Laiho (vocals/lead guitar), Roope Latvala (guitar), Janne Wirman (keyboards), Henkka Seppl (bass), and Jaska Raatikainen (drums). Since their inception, Children of Bodom has released six studio albums, two live albums, two EPs, and one DVD.Children of Bodom’s third studio album, Follow the Reaper, was the band’s first album to receive a Gold certification in Finla

Chris Adler & Jason Bittner – Live at Modern Drummer Festival 2005 $0 This DVD features full-length performances plus in-depth interviews that include demonstration, discussion of technique and practice routines, along with specific playing examples. In the Chris Adler segment, this drummer from Lamb of God discusses his drums and cymbals, talks to his drum tech, describes his daily routine on tour, talks about warming up, and discusses what it’s like to be on the road. The Jason Bittner section features excerpts of this drummer from Shadows Fall in clinic from Germany, plus a lesson that includes Jason’s in-studio performance of “The Light That Blinds” with an explanation of his drum part in that song. Also includes exclusive interviews with Chris and Jason, backstage at the 2005 Modern Drummer Festival. 2 hours, 35 minutes.

Cousins (Pop Montreal Session) concert at Daytrotter Studio on 16 Dec 10 $0 The cassette tape that Cousins lead singer Aaron Mangle handed us, while we loitered about the kitchenette area of Breakglass Studio in Montreal a few months ago, as Bonjay was finishing up its session, was given with a few words. Drummer Pat Ryan said, “We really wanted to put out a tape, but it sounds like shit.” For any other band, these words may have been a kiss of death or dismemberment for the content held on that magnetic tape, but for this band from Halifax, Nova Scotia, they may as well have been the cherry and the whipped cream placed on the tops of the sweets that were about to be consumed. It’s true that the tape doesn’t sound the prettiest, but it’s not the band’s fault, as the songs on their side take off and leave us salivating. Popped into the tape deck of my shitty, broken car, it takes cranking the volume up to sinister levels just to get the cassette to reach audibility, creating a hiss that’s thicker than an alpaca’s coat in April and we don’t mind a stitch, for hearing this two-some in some clean and unfussy manner would be as unfaithful to its vibe as it would be to ask them to play at a black-tie, wine-tasting fundraiser. ?? Cousins is a band that should never pay for any hours in a first-class recording studio, for much of the time and all of the money spent would be a serious waste. What you need to hear Mangle and Ryan at their finest, is a house party in tight quarters, where the heat’s jacked up into the dreadful sweaties, a single whatever microphone on Mangle and maybe a room mic, if you need it. Crank whatever signals they’re sending as loud as the crowd can handle and let them slither and shake. “Speech” is a song that shows the duo at its greatest. The lyrics are measured and heated, bounding on a pulsing streak of flames that grow and subside. The guitar and drums sound strident and will a pinch of a curl in their lips, as if they’re staring a line right through you. There are the occasional wails and we get to feeling inside the

Curumin concert at Daytrotter Studio on 18 Jul 09 $0 The title track from Curumin’s last full-length album “Japan Pop Show,” is a piece of music that would never get within 100 miles of modern American radio and it has nothing to do with the fact that the man sings in Portuguese. It’s just that it’s completely far-fetched and experimental up to the maximum. We can’t stop there though. We must keep going through the rest of the album and realize that the Brazilian wonder has a history of such things, of taking conventional approaches and then Flaming Lips-y-ing them, taking them through soaring drug trips and countless expansions of the mind. It’s a bigger musical world that Curumin chooses to live in and call his own. It’s many worlds held together with one of those tasseled toothpicks that get sunk into meatballs and saut??ed mushrooms at fancy, appetizers-only dinner parties. He lets himself get distracted and then he takes those distractions and puts them in the show. They’re allowed their air time, given the chance to put on their little dance and see how or if it all fits together, to see if maybe all of these different parts could make a family. There’s a tonic in the sexy sounds that Curumin deals with, something that takes you to the opening moments of Snoop Dogg and Pharrell’s video for “Beautiful,” sadly the pictures that originally made me want to travel to Brazil. It’s how he begins “Japan Pop Show,” calling it a Japan poppie show, making it seem as if it has a little more to do with opium than it should – or shouldn’t. He then lets out a trilling throat-clearing that’s more like a sigh, something post-coitus or maybe it’s just full of boredom or relaxation and it turns into a mini mid-song sermon or a lesson from the wise to the eager-eared: “Drink with me the wisdom tea/Can you feel it. You touch/You hurt/You see/You feel/I read/I reeeeeead.” It’s then that the drums and the bongos reach their full tilts and love is there, love is here and people are getting higher. The man makes music that’s supposed to

D3200 Digital Multitrack Recorder $1299 A first-class recording studio The D3200 is the first in its class to provide up to 32 tracks of simultaneous playback and up to 12 tracks of simultaneous recording to support high channel-count projects such as recording a live band. The powerful mixer section includes 40 input channels plus a great set of high-quality effects that employ KORG&aposs renowned “REMS” modeling technology. Our completely new and interactive “Session Drums” allow you to easily create a realistic and natural drum track for your entire song, simply by tweaking a few knobs. Packing powerful studio functionality into a portable package, the intuitive D3200 is the ideal choice when you need to create sophisticated, high-quality recordings. Main Features The first 32-track digital recording studio designed to deliver professional quality at an affordable price Exclusive Session Drums feature works in conjunction with our Knob Matrix, allowing you to intuitively create realistic drum tracks The recorder engine features uncompressed 24- or 16-bit recording / playback at 48 or 44.1 kHz, with up to 69-bit internal processing Record up to 272 tracks (including 8 virtual tracks per track), all with sophisticated digital editing functionality Record up to twelve tracks at once, using 12 balanced 1/4 inputs 8 are also equipped with XLR inputs and individual phantom power. A convenient guitar input jack is also provided for guitarists The powerful, flexible 12 bus, 44-channel mixer offers a four-band EQ on channel 1 through 24, and a master four-band EQ as well Automated mixing lets you record and play back fader, pan and other mixer events. In addition, 100 scene memories provide more detailed automation. Mixer parameters may also be controlled via MIDI The Knob Matrix, ClickPoint, and cursor keys provide quick and intuitive operation. The high-resolution 320 x 240 pixel tilt-up LCD uses four-level grayscale shading and backlit illumination for enhanced visibility, providing a clear

DP5A Dynamic 5 Drum Microphone Package $659 These precision-made instrument microphones are designed to fill the specific needs of artists and engineers for both stage and studio. The D6 is the industry standard for kick drum and low frequency instruments. The i-5 is ideal for snare. The D2 is designed for rack toms while the D4 is unparallelled on floor tom.    Individually and collectively, the DP5A microphones are an explosive combination that will bring the sound of your drums to you audience the way you hear them on stage. Specs: i5 Dynamic Instrument MicPolar Pattern:CardioidFrequency Response: 50Hz – 16kHzImpedence: 150 ohmsMv/Pascal Sensitivity: 1.9mVRejection Off-Axis: >23dBMax SPL: 140dB D2 Dynamic Instrument MicPolar Pattern: True HypercardioidFrequency Response: 44Hz – 18kHzImpedence: 250 ohmsMv/Pascal Sensitivity: 2.5mVRejection Off-Axis: >30dBMax SPL: 144dB D4 Dynamic Instrument MicPolar Pattern: Broad HypercardioidFrequency Response: 38Hz – 19kHzImpedence: 200 ohmsMv/Pascal Sensitivity: 2.1mVRejection Off-Axis: >30dBMax SPL: 144dB D6 Dynamic Instrument MicPolar Pattern: CardioidFrequency Response: 30Hz – 15kHzImpedence: 200 ohmsMv/Pascal Sensitivity: 2.2mVRejection Off-Axis: >20dBMax SPL: 144dB  

DTX550K Electronic Drum Set $1599.99 Yamaha asked and listened to professional drummers about what it is they require an electronic drum kit to satisfy their need to feel as though theyre playing a real acoustic kit. Their answers are realized in the Yamaha DTX 550K Electronic Drum kit.The Yamaha DTX 550K is an ideal choice as a live performance electronic drum kit, recording studio solution or practice drum kit for the home. Its compact size can fit virtually anywhere you need to play. It comes complete with everything you need to start playing incredible feeling and sounding drums, any time, anywhere!Starting with the Yamaha RS85A Rack System, its tubular, interlocking construction is sturdy and easy to get going as it arrives already set up, right out of the box. The DTP502 Pad Set includes two 3-zone cymbal pads, one 2-zone hi-hat pad and hi-hat stand, one Kick pad and, what may very well be the star of the show, the newly developed 10 XP100SD DTX-PAD snare pad. The textured, cellular, silicone head offers a unique, natural feeling playing experience complete with all the nuances and subtleties that make playing an acoustic snare a completely satisfying, responsive experience. Tiny bubbles of air serve as a cushion and provide the natural feel and response of an acoustic snare drum.An incredible collection of 427 high-quality sounds is what the included DTX 500 Trigger Module is all about. These incredibly realistic drum and effects sounds have been weaved into 50 carefully chosen drum kits, any of which is easily selected by the touch of a button. Genres ranging from rock and reggae to jazz, funk and Latin are on hand to provide you with the perfect sounding kit for the right situation. You can store up to 20 kits of your own and the handy built-in SPX digital reverb allows you to add high quality effects to your sounds. There are 19 types of reverb onboard as well as a Master EQ for the entire kit. 12 trigger inputs make it possible to connect additional Toms and cymbals. You can create your own

Descendents Discography $46.8 New – High Quality Content by WIKIPEDIA articles! The discography of the Descendents, a punk rock band formed in Manhattan Beach, California in 1979, consists of six studio albums, three live albums, three compilation album, three EPs, three singles, and four music videos. The Descendents’ initial lineup of Frank Navetta (guitar), Tony Lombardo (bass guitar), and Bill Stevenson (drums) released the band’s first single, “Ride the Wild” / “It’s a Hectic World” in 1979. Adding singer Milo Aukerman,

Descendents Discography $68 Used – High Quality Content by WIKIPEDIA articles! The discography of the Descendents, a punk rock band formed in Manhattan Beach, California in 1979, consists of six studio albums, three live albums, three compilation album, three EPs, three singles, and four music videos. The Descendents’ initial lineup of Frank Navetta (guitar), Tony Lombardo (bass guitar), and Bill Stevenson (drums) released the band’s first single, “Ride the Wild” / “It’s a Hectic World” in 1979. Adding singer Milo Aukerman

Descendents Discography $46.8 Used – High Quality Content by WIKIPEDIA articles! The discography of the Descendents, a punk rock band formed in Manhattan Beach, California in 1979, consists of six studio albums, three live albums, three compilation album, three EPs, three singles, and four music videos. The Descendents’ initial lineup of Frank Navetta (guitar), Tony Lombardo (bass guitar), and Bill Stevenson (drums) released the band’s first single, “Ride the Wild” / “It’s a Hectic World” in 1979. Adding singer Milo Aukerman

Descendents Discography $68 New – High Quality Content by WIKIPEDIA articles! The discography of the Descendents, a punk rock band formed in Manhattan Beach, California in 1979, consists of six studio albums, three live albums, three compilation album, three EPs, three singles, and four music videos. The Descendents’ initial lineup of Frank Navetta (guitar), Tony Lombardo (bass guitar), and Bill Stevenson (drums) released the band’s first single, “Ride the Wild” / “It’s a Hectic World” in 1979. Adding singer Milo Aukerman,

Dizzy Heights $27.71 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Dizzy Heights was The Lightning Seeds’ fourth studio album, released in 1996, and reached #11 in the UK Albums Chart. It was re-issued in Sony Mid Price range in August 1999. According to Ian Broudie, the album was recorded in two ‘sections’ – one with the band utilising live drums and bass guitar, the other using loops and samplers produced by Broudie.

Dizzy Heights $41.74 New – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Dizzy Heights was The Lightning Seeds’ fourth studio album, released in 1996, and reached #11 in the UK Albums Chart. It was re-issued in Sony Mid Price range in August 1999. According to Ian Broudie, the album was recorded in two ‘sections’ – one with the band utilising live drums and bass guitar, the other using loops and samplers produced by Broudie.

Dizzy Heights $27.71 New – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Dizzy Heights was The Lightning Seeds’ fourth studio album, released in 1996, and reached #11 in the UK Albums Chart. It was re-issued in Sony Mid Price range in August 1999. According to Ian Broudie, the album was recorded in two ‘sections’ – one with the band utilising live drums and bass guitar, the other using loops and samplers produced by Broudie.

Dizzy Heights $41.74 Used – Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Dizzy Heights was The Lightning Seeds’ fourth studio album, released in 1996, and reached #11 in the UK Albums Chart. It was re-issued in Sony Mid Price range in August 1999. According to Ian Broudie, the album was recorded in two ‘sections’ – one with the band utilising live drums and bass guitar, the other using loops and samplers produced by Broudie.

Ela M 251F Multi Pattern Tube Condenser Microphone $5995 Telefunken NA is now offering their flagship microphone, the Ela M 251E, winner of the 2003 TEC Award for Studio Microphone excellence, in a new “no frills” package. The Ela M 251F microphone houses the same meticulously hand-crafted components and vintage tube, yet is now available without the sumptuous flight case and the power supply is a modern version of the historical one. To many the Telefunken 251 needs no introduction. It is considered one of the greatest sounding microphones ever made. Original models sell for up to $20,000! Telefunken USA took the challenge of putting this landmark back into production. The approach was simple-no compromises could be tolerated. The result is 100% made in the USA in the old world tradition of meticulous hand assembly by skilled techicians. What does this mean to you? The legendary 251 is back! The obvious and most well-known application for this microphone is vocals. Its perfocrmance in this regard is regard is hard to overstate; it is the sound you have heard in recordings spanning nearly every style of music. It also handles saxes, guitars, drums, and percussion with equal precision. See for yourself why this is the favorite microphone of top producers worldwide!

Empress Hotel concert at Daytrotter Studio on 13 Mar 11 $0 We have a photograph on our wall of our oldest daughter as a three-year-old, not longer ago now, that is exactly like all of Empress Hotel’s music. In it, she is running on our backyard, just being young and herself. It’s a shot from the side, with the bottom third of the picture a rich green grass, and she’s completely off the ground, not making contact with it. She was running and had jumped or leapt forward just as the shutter clicked, capturing the look of pure, untainted giddiness/happiness/elation/excitement for life. It’s one of those photographs that we already look at there on the wall, commenting about how old she’s gotten and how much she’s changed just in a year. She’s growing up, but in that photograph, she will always remain in that year, on that autumn morning with a dampness still scattered through the blades of grass. It’s a photograph that someday will bring all kinds of happy tears, our baby as a child, without a single care in the world – evidence of that, right there. You hope that it will always remain that way, but us adults know better than to think such frivolous thoughts. It can’t stay like that. ?? The New Orleans, Louisiana group made up of lead singer Micah McKee, singer/keyboardist Julie Williams, brothers Ryan Rogers on guitar and Eric Rogers on drums, bassist Patrick Hodgekins and keyboardist/percussionist Leo DeJesus takes us to places that – while they can be enjoyed now, as they are – will likely be looked at later, fondly, only as they were. To be put simply, we can never go back there again, these moments in their songs are gone, but frozen so eloquently that we listen and sigh as we feel them again as mere figments or aberrations. We feel that woozy nostalgia of easier times, or less hardened temperaments. We feel that we could still be people willing to walk barefoot through mud puddles or be tickled without recoiling, just letting the laughter overtake us, bringing on the convulsions and coughing jags. Empress Hotel songs fee

Ethel Ennis concert at Newport Jazz Festival on 03 Jul 64 $5.98 A superb interpreter of ballads, vocalist Ethel Ennis came to the 1964 Newport Jazz Festival on the strength of her RCA debut, This is Ethel Ennis, and following gala appearances at the Village Gate in New York and on tv’s The Steve Allen Show. Accompanied by Billy Taylor on piano, Walt Namuth on guitar, Slam Stewart on bass and Jo Jones on drums, she exudes class and taste on sublime renditions of the Johnny Burke-Jimmy Van Huesen ballad “But Beautiful” (introduced by Bing Crosby in the 1947 film Road to Rio) and the Jerome Kern-Otto Harbach minor key ballad “Yesterdays” (from the 1933 musical Roberta), the swings with unbound exuberance on a hip rendition of the popular Harry Warren-Harry Dubin tune “I Only Have Eyes for You” (introduced in the 1934 film Dames). Guitarist Namuth, a member of Ennis’ regular working group, is a key contributor throughout this set. (Ennis’ Friday afternoon set at Newport also included “The Song Is You,” “I Love Being Here With You” and “Angel Eyes,” though tapes of those performances don’t exist). But the star of the show is Ennis, whose warm, expressive vocals and infinite capacity for swinging (particularly on “I Only Have Eyes”) ignite the bandstand. A Baltimore jazz institution, Ennis was born November 28, 1932 and began her vocal career while a pianist in a high school jazz group. Her debut recording, Lullabies for Losers, appeared on Jubilee in 1955. She followed up two years later with Change of Scenery on the Capitol label. Around the same time, she toured Europe with Benny Goodman, but eventually withdrew from road work to work exclusively in her hometown for the next couple of decades. In the mid ’60s, she landed at RCA, recording This Is Ethel Ennis, Once Again, Eyes for You and My Kind of Waltztime. There followed an eight-year studio hiatus before she released 1973′s 10 Sides of Ethel Ennis on the BASF label. That same year, she also sang the National Anthem at the inauguration of President Richard Nixon. Ennis next

Evans Drumheads BD22GB4 22 EQ4 Batter Clear Drumhead $24.99 Warm with pronounced low-end and punch, the 10mil 1-ply EQ4 provides durability and a woody attack that speaks live and in the studio. The width of the internal control ring varies in proportion to Head diameter, giving control to larger drums and lower tunings.

Finn Riggins concert at Daytrotter Studio on 22 Oct 10 $0 It’s never anything we like to do, nor do we recommend it to anyone else for it’s not a good or sure way to get to know anyone, but if you go to one of the Finn Riggins’ Internet homes and you peruse their biographical material — you know, just to find out a little more about the people making the sounds – you’ll find that a little something is made about the three-piece’s work ethic and where they spend their time when they’re not humping it out on the road. It’s said that Cameron Bouiss (drums, vocals), Lisa Simpson (guitars, keys, drums, vocals) and Eric Gilbert (keys, synths, guitar, vocals) – the three former University of Idaho music school buddies – play close to a 250 shows a year and spend the remainder of their time in near-isolation, out in the dense forest, on a mountain range, in a cabin they rent together, working on their music and such. There are all kinds of reasons that people choose to do such things and there are all different kinds of ways that such an environment begins to act on those people during the time spent secluded and cut off, aside from the distractions that they tote along with them. People can be tired of other people. People can need a good cleansing, some time to ponder and to try and grasp at some of the straws that they’ve been wrestling with. People can become crazy and people can become wiser when faced with such a living space (a space where everything you’re surrounded by is living and breathing loudly), away from nearly everything – in a day and age when it’s getting harder and harder to actually be away from anything, much less everything. It’s something to think about what starts to take over in a heart, in a mind, in a soul, when they’ve reached the outskirts of the known and of the safe, where the further you press inward, the more you are recognizably on your own. It’s when the clear channel or wavelength that you have inside – most often undetected or unheard – starts spitting fuzzy crackles and then disconnects enti

Foghat concert at Spectrum on 18 Dec 76 $12.98 Before there was ever a band called Foghat, core members Tony “Tone” Stevens (bass), Roger Earl (drums), and “Lonesome” Dave Peverett (guitar/lead vocals) were important early players in guitarist Kim Simmonds’ British blues outfit, Savoy Brown. Based in England, Stevens, Earl and Lonesome Dave played on classic Savoy Brown albums such as A Step Further and Raw Sienna, more than aptly backing vocalist Chris Youlden. When Youlden left in 1970 the band was reduced to a quartet, with Peverett taking over on vocals for the Looking In LP later that year. The three musicians probably would have remained working for Simmonds indefinitely, but the band leader was restless over the direction of Savoy Brown and he resolved to clean house. Stevens, Earl and Lonesome Dave were out of a job, more or less forcing them to form Foghat, which they did, circa 1971. Adding Rod Price on lead guitar and support vocals, and signing to the Bearsville label (home to Todd Rundgren and later Paul Butterfield, among others), the newly-formed Foghat set out to conquer America. Earl, Peverett and Stevens had seen and learned quite a bit through their several years of touring the states as Savoy Brown. They knew there was a ready market of young music fans all across the U.S. who were hungry for blues-infused rock. All they had to do was punch it up a notch or two and take it on the road. Foghat’s success was swift and fairly amazing, as they eclipsed the popularity of Savoy Brown in short order, graduating to arena-size live venues in the space of a few years. The custom jet plane they traveled in to all corners of North America (British rock fans, for the most part, were not about to embrace Foghat as their own), with which they are pictured on the cover of their Rock & Roll Outlaws album, was pithy testament to their quickly-achieved status. Like Savoy Brown, Foghat went through a shift in personnel. By the time of the band’s 1975 LP Fool for the City – Foghat’s best-remembered studio alb

Frightened Rabbit concert at Daytrotter Studio on 26 Nov 09 $0 Frightened Rabbit lead singer Scott Hutchison isn’t ruining anything for the listener by leaving nothing up to the imagination in his lyrics because he leaves everything up to his imagination and it’s so preoccupied with all of the minute details of sight, touch, taste, smell and sound. He covers it all and in doing that, makes a collage of patches and squiggles that is dynamic and wondrous in its own right. He sends forth all of the navigable sensations and inclinations, asides and strewn about sweeps of thought that tend to get the better of him and turn him into knots, wrestle his consciousness to the ground and just ride him out, smothering him sufficiently until he can release them. He sets these concerns free and when he does so, his bandmates – including his brother Grant on drums and Billy Kennedy on guitar – tend to make them sound like pained, but emotionally liberating exasperations. Frightened Rabbit records sound like rainy day weepings that aren’t at all depressing or too bleak. There’s actually green grass and clouds opening up in slivers in the songs on “The Midnight Organ Fight,” that create the illusion that all that was needed was venting and time to distract him from anything getting too overcoming or harmful. Or so it seems. All of the minor blights and short instances that seem to turn him into a sensitive bloke without a shield to fend them off are numerous and obviously distinctive. They mess with him and the needle him, consuming his head until their definitions are such that they are beasts of different colors and they come from him like wounded butterflies in a controlled and sullen voice that makes you want to nurture someone, that makes you want to apologize to someone for something you did a long time again, that makes you want to just finally act on your attraction and not be such a coward about your own heart. The details that get to Hutchison, that really work themselves through his whole body are the glimpses of good stuff that he f

Grand Archives concert at Daytrotter Studio on 22 May 08 $0 Right now, this very moment, all of the windows in the house have their panes lifted up as far as they can go, letting in all of the calmly warm spring air. The sun’s getting ready to call it a day, but it’s going to be around for a few more barbeque hours, some more post-work lounging time when the kids can run around in the backyard with the dog, or when you can run around in the backyard with the dog. These afternoons haven’t been around for very long yet this season. It’s all new. If the windows didn’t open the way they did – south to north – we would have grandly and passionately thrown them open, shoving our heads and upper bodies out and into the pleasant air. It might just be that we’ve been going through withdrawal for too many months now. We may have just forgotten the way that these days transform everything into a better version of its normal self. We’ve been racked and sacked and holed up with layers on for almost five months now. It’s time that we got on with the sunny skies and there’s nothing like the first few weeks of relief from those cooler grips. Grand Archives are accomplices to these days – kind of. The Seattle band doesn’t have any say in when they’re going to happen, but they take full advantage of them for one half of its creative output. They use the favorable moods and tingly feelings that these permanent breaks in the weather bring with them for their musical side – for those guitars, melodies, the drums, the keyboards, the odds and ends. They then find it okay to twist those winds that fill sails and sail kites with the wicked lace of darker matters. They do what Sufjan Stevens did with a serial killer like John Wayne Gacy, making something beautiful out of depressing and disturbing material. There is a bunch of purely uplifting pop music on the self-titled debut record, with no ulterior motives or origins, just a generosity in chewy goodness. Then there are the songs about hanged men and the disastrous thought that a real-life priso

Grateful Dead concert at Fillmore West on 22 Aug 68 $4.98 In their many years together, the Grateful Dead came to mean a lot of things to their thousands of listeners and showgoers. Inspiring legions of musicians after them, as well as the legions of tapers and “Deadheads” who faithfully attended their gigs, the group’s music drew from the spectrum of American blues, jazz, country, rock, and psychedelia, coalescing into a sound the band’s taken on the road (and occasionally the studio) for years. The group started in Palo Alto, California as the Warlocks in 1964, where guitarist/singer Jerry Garcia met bass player Phil Lesh and lyricist Robert Hunter, as well as singer/keyboardist Ron “Pigpen” McKernan and guitarist Bob Weir (both of whom Garcia played banjo with in Mother McCree’s Uptown Jug Champions), eventually adding Bill Kreutzmann on drums and changing their name to the Grateful Dead. In the San Francisco Bay Area, they became very well-established as a live act, living in the famous Haight-Ashbury district in its heyday, and going so far as to be invited in as the house band at Ken Kesey’s Acid Tests. Their shows with other local psychedelic bands made San Francisco venues like the Fillmore and Winterland legendary. Eventually signing to Warner, they released their three studio albums before the end of the decade: 1967′s Grateful Dead, 1968′s Anthem of the Sun, and 1969′s Aoxomoxoa, which, although not as exciting as live recordings from that time, present interesting portraits of their early psychedelic rock sound with songs like “Caution (Do Not Stop on Tracks)” and “Cream Puff War.” It was with the release of 1969′s Live Dead that the band truly found their feet recording-wise, meeting demands for a live record and giving a glimpse into their immense abilities as performers, especially on the recording of longtime fan favorite “Dark Star.” 1970′s Workingman’s Dead and American Beauty are the two records widely considered to be their studio peak, introducing such classic songs as “Casey Jones” and “Friend of th

Hampton Hawes Trio – The Seance $11.99 Hampton Hawes Trio: Hampton Hawes (piano); Red Mitchell (bass); Donald Bailey (drums). Recorded live at Mitchell’s Studio Club, Los…

Herbie Mann Group concert at Carnegie Hall on 30 Jun 73 $8.98 Following his success at the 1972 Newport Jazz Festival, when he brought his sextet to Yankee Stadium for a sizzling set, flutist-bandleader Herbie Mann returned to George Wein’s annual bash (relocated to New York City the previous year) with an expanded lineup that featured two guitarists (former Dreams axe man Bob Mann and New York session guitarist Jerry Friedman) along with renowned Motown session bassist Bob Babbitt (a member of the Motown studio rhythm section, the Funk Brothers, from 1966 to 1972) and Cuban conguero Carlos “Patato” Valdes, a longstanding member of Mann’s band since the late ’50s. The secret weapon in the band remained saxophonist David “Fathead” Newman, whose bold tenor sax work added to the earthy charm of the Ray Charles band from 1954 to 1966. Rounded out by guitarist Mann, stalwart Pat Rebillot on keyboards, and Andrew Smith on drums, this special edition of the Herbie Mann Group thrilled the Carnegie Hall audience with funk oriented material from the flutist’s best-selling 1971 album Push Push, along with a few surprises thrown in. The flutist opens his June 30th set with the title track of Push Push. With the interlocking guitars of Friedman’s chording and Bob Mann’s wah-wah inflected single note lines setting a requisitely funky tone and drummer Smith locking in with bassist Babbitt and Patato’s Afro-Cuban pulse, Mann soars freely over the top on an extended flute solo. Newman then enters with his potent tenor playing, lending some grit to this soulful jam. A highlight of this infectious Afro-Cuban flavored funk-rock crossover number is the spirited breakdown between Mann’s flute and Valdes’ congas near the end of the piece. The ensemble then slides into a soothing instrumental rendition of the Jackson 5 hit single from 1971, “Never Can Say Goodbye.” Taken as a ballad, this mellow number (which also appeared on Mann’s Push Push) might be considered a precursor of the smooth jazz movement which would emerge more than a decade later. Ne

Herbie Mann Sextet concert at Newport Jazz Festival on 02 Jul 60 $12.98 A world music pioneer, flutist, and native New Yorker, Herbie Mann broke in with various bebop groups before making his first trip abroad on a 1959 US State Department-sponsored tour of Africa. That excursion altered his musical course for all time, leading Mann into a lifetime of bringing Brazilian, Cuban, African, and other world music influences into his pan-cultural jazz aesthetic. Mann’s Afro-Jazz Sextet kicks off its Saturday afternoon set with a lively rendition of Sonny Rollins’ “St. Thomas,” a calypso-flavored number given more of an Afro-Cuban treatment on the head, before shifting into the straight-ahead swinging section for Johnny Rae’s bop-fueled vibraphones solo. Ray Mantilla’s churning conga work and Rae’s clave pulse on the cowbell returns the piece to an Afro-Cuban groove before Mann solos over another 4/4 swing section, paced by Knobby Totah’s walking bass and Collins’ insistent ride cymbal work. Shifting nimbly back and forth between straight-ahead and Afro-Cuban, this concert opener deftly bridges both worlds. Bassist Totah also contributes a vibrant arco solo which is followed by a whirlwind jam by the percussive battery of Mantilla and Collins. For the entrancing 12/8 “Bedouin,” a piece from Mann’s African Suite of 1959, they introduce such exotic instruments as the marimba from Mozambique, Nigerian drums, Japanese flute, and “finger cymbals from Henry Adler’s” (a popular percussion store at the time in midtown Manhattan). African drumming master Michael Babatunde Olatunji, joins the group here on djembe drum while Rae mans the marimba and Mann blows on the high-pitched Japanese flute. Olatunji had the previous year released Drums of Passion, the first African album recorded in a United States studio. He later played at John Coltrane’s final live performance in Harlem on April 23, 1967, the same year he appeared at the Newport Jazz Festival with a 12-piece percussion orchestra. Olatunji would gain international celebrity as a world music amb

Horace Silver Quintet concert at Newport Jazz Festival on 03 Jul 59 $9.98 This most potent edition of the Horace Silver Quintet had hit its stride at the time of its appearance at the 1959 Newport Jazz Festival. Their superb Blue Note recording Finger Poppin’ (now widely acknowledged as a hard bop classic) had only recently been released and the same lineup — Silver on piano, Blue Mitchell on trumpet, Junior Cook on tenor sax, Gene Taylor on bass and Louis Hayes on drums — would go into the studio just six weeks later to record the equally successful Blowin’ the Blues Away for Blue Note. They premiered material from both albums at their triumphant July 3rd set at Freebody Park in Newport. They open with the energetic title track from Blowin’ the Blues Away, which is underscored by Silver’s funky comping and the ferociously swinging momentum of drummer Hayes, who would end up leaving Silver’s quintet later that year to join the Cannonball Adderley Quintet. Cook is highlighted first, turning in a typically driving, robust-toned tenor solo. Mitchell answers with a bristling trumpet solo that is imbued with soulful virtuosity and crackling intensity while Silver’s piano solo is marked by quirky, off-kilter rhythmic phrases and extrapolations on the bluesy theme. Cook and Mitchell follow with some spirited call-and-response before returning to the tight harmonies on the infectious head. Mitchell and Cook are prominently featured on Silver’s beautiful ballad “Peace,” yet another premiere for this Newport crowd. Cook, a respected hard bop improviser with a forceful approach to his horn, turns in a particularly thoughtful and highly expressive tenor solo here while Mitchell’s lyrical trumpet solo perfectly reflects the title of this restful number. Radically shifting gears, the quintet then jumps into a frantic rendition of the uptempo burner “Cookin’ at the Continental” (from Finger Poppin’). Cook and Mitchell play tight unisons on the head of this hard bop romp before Cook breaks loose for an extended fire-breathing tenor solo. Mitchell res

Jackson Browne — Time the Conqueror: Piano/Vocal/Chords $13.2 Used – Jackson Browne releases his twelfth studio album Time the Conqueror, his first album after being inducted into the Rock and Roll Hall of Fame in 2004. This album-matching folio features professional arrangements for Piano/Vocal/Chords. Titles: The Arms Of Night * The Drums Of War * Far From The Arms Of Hunger * Giving That Heaven Away * Going Down To Cuba * Just Say Yeah * Live Nude Cabaret * Off Of Wonderland * Time the Conqueror * Where Were You.

Jackson Browne — Time the Conqueror: Piano/Vocal/Chords $10.66 Used – Jackson Browne releases his twelfth studio album Time the Conqueror, his first album after being inducted into the Rock and Roll Hall of Fame in 2004. This album-matching folio features professional arrangements for Piano/Vocal/Chords. Titles: The Arms Of Night * The Drums Of War * Far From The Arms Of Hunger * Giving That Heaven Away * Going Down To Cuba * Just Say Yeah * Live Nude Cabaret * Off Of Wonderland * Time the Conqueror * Where Were You.

Japandroids concert at Daytrotter Studio on 15 Dec 09 $0 Japandroids here have made what is essentially a debut album and it encapsulates all of the passionate and demonstrative flashes of uncertainty that make anyone feel as if they’re drowning in something bigger, something that they’ve never touched or witnessed before. It’s as if Canadians Brian King (on vocals and guitar) and David Prowse (on vocals and drums) have parsed out all of the hesitations that could come from moving into a stage of life where a small world doesn’t feel that way any longer and multiplied that anxiety by one thousand, covering it all with lighter fluid and just igniting it all into a blaze that you could see from outer space. It’s as if they’ve been able to squeeze their eyes shut and remember back to when they first got a buzz from drinking a beer in the basement of a friend’s house and then picturing what a hundred of those buzzes, happening concurrently would feel like. Japandroids offer this look into what these sketchy, unwritten worries and frights might sound like if they were starting to get a little out of control and shoot sparks from their eyes and ears. King and Prowse are non-stop battering and wishing and hoping and scrunched up brows, scratching at temples and throwing themselves around in reckless, steaming abandon – lighting themselves on fire with emotional outrage and insatiable desires to be able to feel what familiarity with some of the important matters might feel like. The times come at them like flip-book pages – fast and over too quickly, while still giving a full picture. They sing on “Young Hearts Spark Fire,” about the unmistakable fears of suddenly recognizing that you’ve lost what little control over the cosmos that you used to think you had. It comes at the point in one’s life where the tricks start to intervene with regularity and nothing much means what it used to mean. It’s not easy to just get through a day anymore. They sing, “Oh, we used to dream and now we worry about dying. I don’t want to worry about dy

Jean-Luc Ponty concert at Avery Fisher Hall on 04 Jul 74 $7.98 At the time of this stirring solo performance at the 1974 Newport Jazz Festival, French violinist and jazz-rock pioneer Ponty was a newly initiated member of the Mahavishnu Orchestra, having recorded Apocalypse with the band and the London Symphony Orchestra in March of that year. His appearance at this July 4th Avery Fisher Hall concert was, as impresario George Wein put it, “an extra added attraction.” By this time, Ponty had already recorded several straight ahead albums as a leader, including 1967′s Sunday Walk (with European stars Niels Henning Orsted Pedersen on bass, Wolfgang Dauner on piano, and Daniel Humair on drums, and reissued Stateside on Prestige as Critic’s Choice), 1969′s Electric Connection, Canteloupe Island and Live at Donte’s, and 1970′s King Kong: Jean-Luc Ponty Plays The Music of Frank Zappa (all featuring George Duke on keyboards), and 1973′s modernist gem, Open Strings, his last studio recording in Europe before moving to the United States to join Zappa’s band. For this show, Ponty played unaccompanied, alternating between three violins, one an electric instrument that was fed through wah-wah and delay pedals. And while his three lengthy improvisations were unnamed, some of the soaring, swooping motifs and striking echo lines heard here would later manifest on his recordings as a leader. Shortly after this performance, Ponty would embark on a career as a bandleader in his own right, which kicked off with the January, 1975 release of Upon the Wings of Music, the first of several hard-hitting fusion offerings for the Atlantic label. Born to a family of classical musicians on September 29, 1942, in Avranches, France, Ponty was admitted to a prestigious conservatory in Paris at age 16 and two years later was hired by one of the major symphony orchestras, Concerts Lamoureux, where he remained for three years. While still a member of the orchestra, he played clarinet on the side with a college jazz band that regularly performed at local parties

Jeff The Brotherhood concert at Daytrotter Studio on 19 Mar 10 $0 The title track on Nashville band Jeff The Brotherhood’s newest record, “Heavy Days,” must have been a unanimous choice. There isn’t another song on it that embodies all of the catatonic aloofness that Jake and Jamin Orrall embrace, but still conversely conveys it with a textured and psychedelic splattering of garage rock and roll that has the kind of bluesy punk angst to qualify it for some form of rebelliousness. It’s fighting against the status quo, but never really finding anything all too despicable about the way things are going at the moment. “So things are shitty here,” the songs seem to say, but all our friends are here and we’d just be dicking around in someone’s basement, drinking whatever swill was cheapest and we’d be as broke as we are here no matter where we were. It’s as if there’s a desire to do something else, to get up off the couch, but never really being able to come up with anything better than sitting on the damned couch smoking pot so the needle just stays put and there’s not much complaining. Lead singer Jake sings, “I take the time to do what I want/Things are going pretty good for me/I have been doing some things I don’t like/Things are going pretty okay” on the song and we’re led to understand something very vital about these brothers: they only get sweaty when they have to and most everything’s going to sound halfway fine. They’ve got the time to kill and wasting it’s really not a funeral. It’s the way most people do it. ?? There’s the sound of a buzzing horsefly as the song begins, as if it were circling over the remains of something that’s been left to the worms, but then Jamin’s drums start dropping steadily and they introduce us to a bit of “hello there” feedback before the guitar comes driving into the picture like something from a Breeders record or a hypnotic, hair-tossing, light show freak out. It’s a punishing though agreeable barrage of nervy energy that comes from the need to explode sometimes, but only in a controlled enviro

Jimi Hendrix – Radio One $163.29 New – A matching folio to all 17 songs on the album of Jimi’s live radio studio performance. Includes authoritative transcriptions for guitar, bass, and drums with detailed players’ notes and photographs for each composition. Songs include: Hear My Train a Comin’ * Hound Dog * Fire * Purple Haze * Hey Joe * Foxey Lady * and more.

Jimi Hendrix – Radio One $273.89 New – A matching folio to all 17 songs on the album of Jimi’s live radio studio performance. Includes authoritative transcriptions for guitar, bass, and drums with detailed players’ notes and photographs for each composition. Songs include: Hear My Train a Comin’ * Hound Dog * Fire * Purple Haze * Hey Joe * Foxey Lady * and more.

Jimi Hendrix – Radio One $173.4 New – A matching folio to all 17 songs on the album of Jimi’s live radio studio performance. Includes authoritative transcriptions for guitar, bass, and drums with detailed players’ notes and photographs for each composition. Songs include: Hear My Train a Comin’ * Hound Dog * Fire * Purple Haze * Hey Joe * Foxey Lady * and more.

Jimi Hendrix – Radio One $273.89 New – A matching folio to all 17 songs on the album of Jimi’s live radio studio performance. Includes authoritative transcriptions for guitar, bass, and drums with detailed players’ notes and photographs for each composition. Songs include: Hear My Train a Comin’ * Hound Dog * Fire * Purple Haze * Hey Joe * Foxey Lady * and more.

Jimi Hendrix – Radio One $175.26 New – A matching folio to all 17 songs on the album of Jimi’s live radio studio performance. Includes authoritative transcriptions for guitar, bass, and drums with detailed players’ notes and photographs for each composition. Songs include: Hear My Train a Comin’ * Hound Dog * Fire * Purple Haze * Hey Joe * Foxey Lady * and more.

Jimi Hendrix – Radio One $273.89 New – A matching folio to all 17 songs on the album of Jimi’s live radio studio performance. Includes authoritative transcriptions for guitar, bass, and drums with detailed players’ notes and photographs for each composition. Songs include: Hear My Train a Comin’ * Hound Dog * Fire * Purple Haze * Hey Joe * Foxey Lady * and more.

Jimi Hendrix – Radio One $172.36 New – A matching folio to all 17 songs on the album of Jimi’s live radio studio performance. Includes authoritative transcriptions for guitar, bass, and drums with detailed players’ notes and photographs for each composition. Songs include: Hear My Train a Comin’ * Hound Dog * Fire * Purple Haze * Hey Joe * Foxey Lady * and more.

Jimi Hendrix – Radio One $273.89 New – A matching folio to all 17 songs on the album of Jimi’s live radio studio performance. Includes authoritative transcriptions for guitar, bass, and drums with detailed players’ notes and photographs for each composition. Songs include: Hear My Train a Comin’ * Hound Dog * Fire * Purple Haze * Hey Joe * Foxey Lady * and more.

Jimi Hendrix – Radio One $254.64 New – A matching folio to all 17 songs on the album of Jimi’s live radio studio performance. Includes authoritative transcriptions for guitar, bass, and drums with detailed players’ notes and photographs for each composition. Songs include: Hear My Train a Comin’ * Hound Dog * Fire * Purple Haze * Hey Joe * Foxey Lady * and more.

Jimi Hendrix – Radio One $172.41 New – A matching folio to all 17 songs on the album of Jimi’s live radio studio performance. Includes authoritative transcriptions for guitar, bass, and drums with detailed players’ notes and photographs for each composition. Songs include: Hear My Train a Comin’ * Hound Dog * Fire * Purple Haze * Hey Joe * Foxey Lady * and more.

Jimi Hendrix – Radio One $252.56 New – A matching folio to all 17 songs on the album of Jimi’s live radio studio performance. Includes authoritative transcriptions for guitar, bass, and drums with detailed players’ notes and photographs for each composition. Songs include: Hear My Train a Comin’ * Hound Dog * Fire * Purple Haze * Hey Joe * Foxey Lady * and more.

Jimi Hendrix – Radio One $163.21 New – A matching folio to all 17 songs on the album of Jimi’s live radio studio performance. Includes authoritative transcriptions for guitar, bass, and drums with detailed players’ notes and photographs for each composition. Songs include: Hear My Train a Comin’ * Hound Dog * Fire * Purple Haze * Hey Joe * Foxey Lady * and more.

Jimi Hendrix – Radio One $20 Used – A matching folio to all 17 songs on the album of Jimi’s live radio studio performance. Includes authoritative transcriptions for guitar, bass, and drums with detailed players’ notes and photographs for each composition. Songs include: Hear My Train a Comin’ * Hound Dog * Fire * Purple Haze * Hey Joe * Foxey Lady * and more.

Jimi Hendrix – Radio One $16.85 Used – A matching folio to all 17 songs on the album of Jimi’s live radio studio performance. Includes authoritative transcriptions for guitar, bass, and drums with detailed players’ notes and photographs for each composition. Songs include: Hear My Train a Comin’ * Hound Dog * Fire * Purple Haze * Hey Joe * Foxey Lady * and more.

John Hicks – Something to Live For: A Billy Strayhorn Songbook $15.99 Personnel: John Hicks (piano); Dwayne Dolphin (bass); Cecil Brooks III (drums). Recorded at Audiomation Studio, Pittsburgh,…

Johnny Frigo – Live from Studio A in New York City $17.99 Personnel: Johnny Frigo (violins), Bucky Pizzarelli, John Pizzarelli (guitars), Ron Carter, Michael Moore (bass), Butch Miles (drums). …

Jonathan Cain – Where I Live $12.49 Personnel: Dana Miller, Mugs Cain (drums). Audio Mixer: Jonathan Cain. Recording information: Wildhorse Studio (2006). There is a…

Just Another Day in the Park $22.88 New – The lost art of jamming and improvisation has been rekindled in the new release Just Another Day in the Park, which showcases music from Karl Perazzo and Raul Rekow’s first solo CD of the same title. This DVD is sure to inspire everyone, featuring nine musical performances, educational breakouts, and four extended solos by Karl, Raul, and special guest Horacio “El Negro” Hernandez on drums. DVD special features include a complete live studio performance, interactive artist biographies, an

Just Another Day in the Park $16.28 New – The lost art of jamming and improvisation has been rekindled in the new release Just Another Day in the Park, which showcases music from Karl Perazzo and Raul Rekow’s first solo CD of the same title. This DVD is sure to inspire everyone, featuring nine musical performances, educational breakouts, and four extended solos by Karl, Raul, and special guest Horacio “El Negro” Hernandez on drums. DVD special features include a complete live studio performance, interactive artist biographies, an

Just Another Day in the Park $12.52 New – The lost art of jamming and improvisation has been rekindled in the new release Just Another Day in the Park, which showcases music from Karl Perazzo and Raul Rekow’s first solo CD of the same title. This DVD is sure to inspire everyone, featuring nine musical performances, educational breakouts, and four extended solos by Karl, Raul, and special guest Horacio “El Negro” Hernandez on drums. DVD special features include a complete live studio performance, interactive artist biographies, an

Just Another Day in the Park $14.5 New – The lost art of jamming and improvisation has been rekindled in the new release Just Another Day in the Park, which showcases music from Karl Perazzo and Raul Rekow’s first solo CD of the same title. This DVD is sure to inspire everyone, featuring nine musical performances, educational breakouts, and four extended solos by Karl, Raul, and special guest Horacio “El Negro” Hernandez on drums. DVD special features include a complete live studio performance, interactive artist biographies, an

Just Another Day in the Park $12.15 New – The lost art of jamming and improvisation has been rekindled in the new release Just Another Day in the Park, which showcases music from Karl Perazzo and Raul Rekow’s first solo CD of the same title. This DVD is sure to inspire everyone, featuring nine musical performances, educational breakouts, and four extended solos by Karl, Raul, and special guest Horacio “El Negro” Hernandez on drums. DVD special features include a complete live studio performance, interactive artist biographies, an

KSM137 Cardioid Condenser Microphone (Matched Pair) $599.99 The Shure KSM137 is an end-address condenser microphone with a cardioid polar pattern. Designed for studio use, yet rugged enough for live applications, the KSM137 can withstand extremely high sound pressure levels (SPL). Its low self-noise and extended frequency response make it ideal for recording musical instruments. Comes with 2 windscreens and carrying case. Champagne finish.FeaturesA highly consistent cardioid polar patternUltra-thin, 2.5 micron, 24 karat gold-layered, low mass Mylar diaphragm for superior transient responseClass A, discrete, transformerless preamplifier for transparency, extremely fast transient response, no crossover distortion, and minimal harmonic and intermodulation distortionPremium electronic components, including gold-plated internal and external connectorsSubsonic filter eliminates low frequency rumble (less than 17 Hz) caused by mechanical vibrationSwitchable 15 dB pad for handling extremely high sound pressure levels (SPLs)Three-position switchable pad (0 dB, 15 dB, and 25 dB) for handling extremely high sound pressure levels (SPLs)Three-position switchable low-frequency filter reduces background noise and counteracts proximity effectPerformance CharacteristicsExtended frequency responseLow self noiseExceptional reproduction of low-frequency soundsCan withstand high sound pressure levels (SPL)High output levelNo crossover distortionUniform polar responseSuperior common mode rejection and suppression of radio frequency interferenceAPPLICATIONS Some typical applications for the KSM137 are listed below. Microphone use, however, is a matter of personal taste. The KSM137 may be used for a variety of applications other than those listed.Acoustic instruments — such as piano, guitar, drums, percussion, stringsWind instruments — brass and woodwindLow frequency instruments — such as double bass, electric bass, kick drumOverhead miking — drums or percussionEnsembles — choral or orchestralRoom ambiance pick-up — guitar amplifier or drums

KSM141SL Dual Pattern Condenser Microphone (Matched Pair) $798 The Shure KSM141 is an end-addressed condenser microphone with mechanically switching dual polar patterns (cardioid and omnidirectional). Designed for studio use, yet rugged enough for live applications, the KSM141 can withstand extremely high sound pressure levels (SPL). Its low self-noise and extended frequency response make it ideal for recording musical instruments. Champagne finish. Set includes: Two KSM141 mics; two windscreens; one carrying case. Features A mechanical polar pattern switch for highly consistent cardioid and true omnidirectional polar patterns. Provides flexibility in a wide variety of recording applications Ultra-thin, 2.5 micron, 24 karat gold-layered, low mass Mylar diaphragm for superior transient response Class A, discrete, transformerless preamplifier for transparency, extremely fast transient response, no crossover distortion, and minimal harmonic and intermodulation distortion Premium electronic components, including gold-plated internal and external connectors Subsonic filter eliminates low frequency rumble (less than 17 Hz) caused by mechanical vibration Three-position switchable pad (0 dB, 15 dB, and 25 dB) for handling extremely high sound pressure levels (SPLs) Three-position switchable low-frequency filter to reduce background noise and counteract proximity effect Performance Characteristics Extended frequency response Low self noise Exceptional reproduction of low-frequency sounds Can withstand high sound pressure levels (SPL) High output level No crossover distortion Uniform polar response Superior common mode rejection and suppression of radio frequency interference ApplicationsSome typical applications for the KSM141 are listed below. Microphone use, however, is a matter of personal taste. The KSM141 may be used for a variety of applications other than those listed. Acoustic instruments — such as piano, guitar, drums, percussion, strings Wind instruments — brass and woodwind Low frequency instruments –

KickStand Kick Drum Mic Isolator $74 The KickStand is a heavy microphone boom-arm isolator that combines a massive stabilizing base with an isolation pad to eliminate resonance from the stage, drum riser and studio floor from entering the microphone.A common problem with bass guitar and kick drum is resonance on a live stage. This is generally caused by low frequencies coupling with the wood flooring which will combine with the instrument at certain frequencies and generate unwanted peaks and valleys.Another problem is the physical vibration from the kick drum pedal and low-end from the PA system that causes the drums to rattle and transmit through the drum riser. Microphones that are near these sources are prone to picking up these unwanted sounds. The KickStand helps eliminate the problem by decoupling the microphone stand from the stage while introducing a stabilizing mass to hold the microphone firmly in place.Combination boom-stand base and vibration isolatorEliminates disruptive resonance from the microphone standImproves transient response of the microphoneMakes getting the sound you want fast and mixing easier

King David And The Parables concert at Ash Grove on 28 Aug 64 $6.98 Out of the hundreds of world-class musicians that performed on the Ash Grove stage during the 1960s, few performed as frequently as guitarists David Cohen and Bernie Pearl. Cohen would eventually become an in-demand studio musician and Pearl a highly respected blues bandleader, but the bulk of their early musical education came from within the walls of the Ash Grove. Accompanying the greatest folk and blues artists of the day, performing solo or within various group projects, these two guitarists were a ubiquitous presence during the Ash Grove’s heyday. Through their live performances and as leaders and teachers at the Ash Groves school, which became a musical training ground, resource center and political meeting place, Cohen and Pearl also became largely responsible for helping to shape the younger crop of Los Angeles musicians. In 1964, shortly after the Beatles first stormed America, Cohen and Pearl, like countless other young musicians, teamed up, forming a band of their own. Performing under the humorous moniker King David & the Parables, the group only existed for several months, where they became a sort of house band, often opening shows at the Ash Grove. The two talented guitarists were assisted in this project by several UCLA grad students, including future Kaleidoscope bassist Stuart Brotman and future ethnomusicologist Craig Woodson on harmonica and drums. Rounding out the quintet was pianist Barry Hansen, who years later would become the infamous Dr. Demento, a world renowned record collector and radio broadcaster specializing in strange and unusual novelty songs. This was a group that played primarily for the sheer fun of playing, with no commercial considerations involved. Folk, blues, R&B, surf music, or whatever was called for on any given night; King David & the Parables was heard by few, but fondly remembered by all who did. They only made it into a recording studio once, when they were recruited to add a bluesy backing track to a song called “S

LP511C Concert Bar Chimes (36 Bars) $116.99 LP Concert Series Bar Chimes have freer movement characteristics than the LP Studio Series. They feature gold-anodized, aluminum alloy chimes, and their stringing method, with plastic ties, allows for side-to-side movement yielding greater sustain and higher volume – perfect for live situations. LP Concert Series Bar Chimes are available in 25 and 36 chime single row bars. A bar chime striker is included. LP Bar Chimes now come in a protective tube that can be used again and again for transporting your chimes safely.

Les McCann concert at Newport Jazz Festival New York on 08 Jul 72 $5.98 Introduced as “a group of musicians as funky as you have ever heard,” keyboardist Les McCann and his crew took to the stage on this Saturday evening somewhere beyond second base on the outfield at Yankee Stadium. This July 8th appearance came shortly after the same unit (sans ubiquitous New York studio session guitarist David Spinozza) had returned from a performance at the Montreux Jazz Festival in Switzerland (not to be confused with McCann’s triumphant appearance at Montreux in 1969 which was documented on the live Swiss Movement and yielded the anti-Vietnam protest song “Compared to What”). Opening with a funky jam in E to warm up the stage (“North Carolina,” an instrumental track from McCann’s current Atlantic album of the time, Talk to the People), they launch into a deluge of distortion-laced clavinet licks by McCann, wah-wah inflected guitar lines by Spinozza and bubbling electric bass from Jimmy Rowser, with a touch of tambourine from Buck Clarke and a slamming backbeat laid down by Donald Dean (who had played drums on “Compared to What” at Montreux three years earlier). Clavinet was THE sound of 1972 and McCann was one of the preeminent practitioners of that funky new keyboard, along with Stevie Wonder (who released his clavinet-laden “Superstition” in October of that year) and Billy Preston (who added to the clavinet vocabulary with his 1972 hit single, “Outa-Space”). At the peak of this raunchy funk jam, McCann abruptly stops the band cold to croon a few bars of “Comment,” a song composed by Yusuf Rahman and Charles Wright (and the title track to McCann’s 1970 Atlantic album), accompanying himself on gentle Fender Rhodes electric piano chords. McCann’s soulful voice rings out through the House That Ruth Built as he delivers the message of love and universal brotherhood: “If all men are truly brothers, why can’t we love one another? Love and peace from ocean to ocean, somebody please second my motion. If all men are born to be free, what about you and

Les Savy Fav concert at Mezzanine on 01 Mar 09 $0 This rollicking performance from Les Savy Fav was captured on March 1, 2009 at San Francisco’s Noise Pop Festival. The quintet played the Mezzanine on the last night of Noise Pop. Lead by the infectious energy of the group’s notorious lead vocalist Tim Harrington, the art-punkers blasted through an exhaustive 13-song set that features numbers from all four of their major studio LPs. Known for his rambunctious vocals and bombastic stage presence, Tim Harrington’s frenetic style is on full display, as his pointed, manic yowls punctuate his bandmates’ angular riffage. Though Harrington may grab the headlines, guitarists Seth Jabour and Andrew Reuland are the real architects of the group’s punchy sound. On “Patty Lee” their first single off their most recent LP Let’s Stay Friends, the guitarists show off their metal, as their jangling, unorthodox stabs set off the unpredictable melodic shifts that make LSF so exciting. If Reuland and Jarbour provide the spice, bassist Syd Butler???founder of tremendously influential independent label Frenchkiss Records???and drummer Harrison Haynes are the meat of the dish, providing the solid, driving backbone necessary for the songs to stay on track. This recording demonstrates how Les Savy Fav built its reputation for being one of the best live bands on the planet. The quintet’s performances can be a harrowing experience (run a Google Images search for Tim Harrington), and this recording allows listeners to get a taste of the group’s chaotic brilliance without leaving the house. Les Savy Fav was formed in 1995 by students at Providence’s Rhode Island School of Design. The original line-up consisted of Tim Harrington (vocals), Gibb Slide (guitar), Patrick Mahoney (drums), Syd Butler (bass), and Seth Thorn Jabour (guitar). They released their debut LP in 1997. 3/5 was popular with critics, and it featured a raw, art-punk sound. It was produced by LCD Soundsystem mainman James Murphy. From there, the group released three more LPs and

Low concert at Daytrotter Studio on 30 Jul 07 $0 Escapism is for weenies. It’s for people who gladly pay $9 to see a motion picture in a theater chilled so harshly that their cheeks pink and their toes blue. It’s for the fantasy farmers, mining for the tunnel to China or hunting for a saber tooth tiger or a leprechaun with a powerful ring that all in the universe covet. It’s for popcorn and Goobers eaters. It’s not for the people, the mellow as a candle people that Duluth, Minnesota’s Low draw to their robust-free compositions of exploratory sorrow on parade. They hit the glamour subjects of titillating moroseness, the efforts that get tangled in the sticky albatross of the “what’s to become of this terrible trouble we find ourselves in” worry. Though, there’s no remorse or restlessness about the predicament. The latest Low album — Drums and Guns, finds Alan Sparhawk trimming away the fat, all that could be construed as sensationalism and extravagant buildup (but when has the man ever been supportive of that form of expressionism?) to make a record that speaks to the inescapable, harried plight of the person resigned to the incontrollable forces that seem to cling to the bodies that just go about handling them the best they can. That which cannot be reversed is absorbed into the bloodstream and then the marrow takes a sip, siphoning in the easy, heartbreaking tumble of the hardscrabble and it’s gone for a spell, coming to grips that there are no escape hatches for those who just don’t want to play. Low, for almost 15 years now, have relied on something that’s by no means lethargy, but which is also by no means exuberance. It exists as a reflective passion for truth as it occurs to the grounded, those who also frequently come across as the fallen or teetering – scheduled to fall with a puff of air. Sparhawk explores miseries that have come to live with themselves and see themselves for much less dramatic fare — for the cooler variation of livid and kicking and screaming. It’s a variety of struggle that just

Mahavishnu Orchestra concert at Avery Fisher Hall on 27 Dec 73 $4.98 This Mahavishnu Orchestra performance, recorded on the first night of a two-night stand at New York City’s Avery Fisher Hall, captures one of the very last performances ever by the legendary original lineup. This recording is a fascinating glimpse of the group at the tail end of their existence. In July of 1973, Mahavishnu Orchestra convened at London’s Trident Studios to record their ill-fated third studio album. By this point, the relationships within the band were strained and the resulting recordings, which for the first time featured compositions by bandmembers other than McLaughlin, would not see the light of day for several decades. In August and September, McLaughlin and Cobham embarked on a tour with Carlos Santana, further straining the relationships within the band, which would dissolve by the end of the year. The initial classic lineup of the group lasted less than three years and only released two studio albums and one live recording during this era, but these recordings had a profound effect, redefining the jazz/rock fusion movement in the process. Combining the improvisational elements of jazz with the volume and energy of rock music, Mahavishnu Orchestra created music that was often intricate and complex, performed by musicians whose virtuosity thrilled audiences, musicians and critics alike. While an argument can be made that the band was more cohesive and eloquent earlier in their all-too-brief career, the performances toward the end of 1973 are simply staggering in their ferocity. This night’s recording begins with Billy Cobham’s massive gong, as McLaughlin’s 12-string arpeggios begin washing over the audience. “Birds Of Fire” is a dramatic opener that unfolds into a dynamic exchange between guitar and drums versus violin, keyboards and bass. In the unusual time signature of 18/8, the interwoven nature of the arrangement makes for a thrilling and intense experience, although one unlike anything most jazz or rock music fans had ever heard before.

Mark Mallman concert at Daytrotter Studio on 10 Sep 09 $0 We will allow the man of the next 24 hours set the scene for this session as he offered as much. So, without further ado is Mark Mallman on the Mark Mallman Daytrotter session circa spring 2009: “There was a big rainstorm the day we recorded.?? It followed us on our whole east coast tour actually.?? After our session, Matt Johnson (Bass), Aaron Lemay (Drums), and myself went to one of many Quad City riverboat casinos and lost about 60 bucks.?? We ate at the buffet and gained about 60 pounds.?? Back at the hotel we drank about 60 beers.?? Sometimes, after shows, I feel like crying.?? Other nights I feel like a ghost.?? That night, we didn’t have a show.?? We played basketball in the hotel pool.?? It was a happy day.?? I love rock and roll, but sometimes I just need to perform in the afternoon. Thank you Daytrotter!” We would like to take a minute to decry that our riverboat casinos don’t always empty everyone’s pockets and our all-you-can eat buffets are negotiable. The same does not go for the storm that followed these three gents around the east. The beers are good here, as they are anywhere, and that’s the still reigning reason that most dots on every map are palatable. The telling portion of this summarization from the leader of this troupe from Minneapolis is that the 60 bucks that they lost at the boats isn’t really all that extreme. The weight they may have gained is very clearly an exaggeration, likely by more than 50 pounds or more, but the claim as to the 60 beers downed (possibly the activity and number that led to the other similar approximations) could be veritable over their two-night stay. Mallman is a man who seems to live a vampiric lifestyle, coming alive when there are no remaining shards of light to be found in the air, just a pall of sinful blackness, with the neon bulbs and streetlamps blaring their artificial glows. He’s seen during the regular daytime hours, but just as the actual daytime comes clean in his song “Eternal Moonshine,” he may act

Megafaun concert at Daytrotter Studio on 06 Mar 10 $0 Here’s what’s most attractive about the music that North Carolina band Megafaun makes: it’s without any sort of baggage or any tells. It might as well be long-legged and intelligent to boot, with that combination. We enter into any one of its songs and we can’t tell you how it’s going to play. We might get the kind of desert night flamer like the incredible unreleased song “Fallen Angel,” or we might get something closer to a geeky, Mississippi Delta gospel song, with a playfully melodic backbeat as “His Robe” does. The latter features a couple moments of live, open chuckling and perhaps impromptu flourishes, but it essentially still portrays some Biblical themes and the always powerful demands that a mind and society place on finding salvation. Megafaun take us by the hand immediately with multi-part harmonies that are wonderfully taut as well as unpolished and malleable and then we’re being led into various rooms within these songs, where anyone in their right minds would be happy to just shut themselves off and crawl over to the abstracted yellowed and bleached out rectangles lying cockeyed on the floor. One step inside any of the obvious shapes – one touch of a heel or a toe striking the carpeting or wood – and it would be evident that this is the spot we’ve been looking to recline or nap in since we woke up groggily this morning, still hazy from the overnight. “Drains” is a 10-plus-minute song from the group’s second-to-last album “Bury The Square” and it goes everywhere, like a hummingbird would, hovering in lengthy instrumental bridges a la Six Parts Seven, then drifting into brief patches of lemon-tinged melancholy like a sad lover, finally letting the freakouts happen (as much as they can be freakouts – though they have been known to perform as the backing band for hippie nuts Akron/Family in the past), with drums flying off in places, before returning to a structure that feels as if we’re being courted by a summer’s night, all tanned and vital, all full of

Mondo Drag concert at Daytrotter Studio on 12 Feb 10 $0 All of you are very familiar with the guy who drums and is one half of the vocal output of Davenport, Iowa-based band Mondo Drag. Johnnie Cluney is the fellow who has penned and inked every single Daytrotter session illustration since we started the site in 2006 – all 840-some of them to this day. You’ve woken up to his lines and his distinct style – the hearts fluttering out of singers’ mouths, the rainbow shadows and the empty speech bubbles – allowing everyone to interpret the music of their own accord. You’re intimate with his colors and we’re intimate with the costly cost of those markers that he uses. He’s part of the family and it’s with pride that Mondo Drag is featured today – as the first band currently living in the Quad-Cities area to earn a spot alongside all of the other great artists that have visited the Horseshack. It’s a band that is presented here in no way because Johnnie sits right beside us every day as we say the dumbest garbage, make coffee runs and take great pains to assure that our guests are comfortable. It’s a band that’s done it all on its own – securing a record deal with Alive Records and just recently releasing its stellar sophomore album “New Rituals,” a record that will make you cross-eyed with all of its blistering psychedelia and its weed-smoky blinds. Mondo Drag (consisting of Cluney, vocalist/guitarist Nolan Girard, guitarist Jake Sheley, bassist Dennis Hockaday and keyboardist John Gamino) seems to always have us out in a hot and hungry desert, stripped of our sanity, drained of our better senses and swirling in a purple-y groove, just trying to start seeing straight again. It’s partly a freakout and partly something we ingested or smoked, bringing on the sensations willingly – feeling disjointed and paranoid, spinning in circles. We hear wolves crying, “KILL,” in the twilight, off in the distance. We never cease to feel the heat burning through us and we’re starting to think that the cactuses and the abandoned steer skulls re

Monotonix concert at Daytrotter Studio on 10 Jun 11 $0 Some people have to sleep with a fan going in their room. They need to hear that oscillating white noise constantly churning, lulling them into their appropriate cycles of slumber. We think that Ami Shaley, the lead singer for Tel Aviv, Israel, band Monotonix – destroyers of nearly everything they come into or put themselves into contact with – goes a different route. He might have a few different things that he turns to for that all-soothing power-glide into his deep, deep sleep. Shaley probably likes to hear a sweet chorus of chainsaws purring right next to his bedpost. Some nights, he might go for switching his bed’s customized, therapeutic settings to something that could make the mattress pulse with the kind of nerve-rattling sensation of sitting in the bed of a rusty old pickup truck that’s driving over a potholed gravel road. There could be some personal attendants, paid to work the night shift, over on the other side of the room (for safety reasons), smashing fluorescent light bulbs against the wall, one after another, until there are no more light bulbs to smash against the wall. These things could go on for hours and hours, until finally, the rooster crows at the upcoming sunlight and Shaley rises and shines to the break of a new day. Then, during his waking parts, Shaley and Monotonix makes some of those same sounds for paying customers. They swing from the rafters, trying to pull the rafters and the roofs housing the rafters down with them. They ride drums across people’s heads as if they were mounted on an elephant. They shatter the bones in their own bodies. They thrash with total abandon. They forget that they aren’t indestructible. They challenge gravity and sanity, in equal parts. They call into question the limits of adrenaline and come to the conclusion that there may not be a limit to it. They make music in a whiplash. It scorches. It burns and it’s what must be heard in the bellies of all of the fun-loving devils out there. It’s the sound of the

Mortification – Silver Cord Is Severed/10 Years Live Not Dead [Bonus CD] $14.99 Personnel: Lincoln Bowen (guitar); Keith Bannister (drums). Recording information: Hammer Of God Studio, Melbourne, Australia…

Ocean Way Drums Platinum Edition $1795 Legendary Ocean Way Drum Sound!Ocean Way Drums Platinum Edition delivers a resounding 120GB of meticulously sampled drums to your studio, all on an included hard drive for instant use in your studio! Using an extensive collection of vintage microphones, Ocean Way Drums was recorded in Ocean Way’s renowned Studio B – designed by recording legend Bill Putnam. Enjoy Sonic Reality’s exclusive I-Map technology for highly expressive MIDI-controlled drum playback, and expect nothing but the best drum sounds! This huge library was recorded from the finest kick drums, snares, toms, hi hats and cymbals, and delivers incredible sonic impact and spatial depth. Fully tweakable, yet with a number of high-quality preset mixes, you get world-class drum sounds with Ocean Way Drums Platinum Edition! High-quality Drum SamplesThe acclaimed engineer/producer and studio owner, Allen Sides, recorded some of the finest full drum kits using an innovative multi-microphone recording technique. Aiming to capture the sound of each instrument with incredible sonic impact and optimum spatial depth, Sides delivered amazing 24-bit 96K audiophile sound with this collection. Additionally, he created a number of instantly available preset mixes so you have access to not just the raw drum sounds, but a range of album-ready mixes for you to get working with! You can also experiment with the various stereo sub mixes, controlling pitch, tone, and effect processing to achieve your own signature drum sound. Innovative I-Map Note MappingI-Map is a new MIDI note mapping/drum kit layout scheme that makes live drum performances via a MIDI keyboard much more natural. I-MAP places drums in flexible, intuitive positions, allowing every finger independent, yet coordinated control over the kit. You can now quickly lay down excellent, realistic drum tracks with your MIDI keyboard! Of course, Sonic Reality didn’t stop there with their new I-Map technology – special maps have also been created for control with higher-e

Octapad SPD-30 Total Percussion Pad $699 When is a percussion pad not a percussion pad? When its the Roland OCTAPAD SPD-30 Digital Percussion Pad, thats when!Roland is among the leaders in digital percussion technology. When the original Roland OCTAPAD was introduced back in 1985 it was heralded as a huge advance in the world of electronic percussion for live performers as well as studio musicians. As we leap ahead to 2010 those brilliant minds at Roland push the envelope once again and deliver a truly full-featured, fully realized digital percussion pad that is bound to inspire may followers as well as imitators as new Roland products often do. Lets run it through some paradiddlesUsing the latest trigger technology from Rolands industry-leading V-Drums, the 8 pads on the OCTAPAD SPD-30 feature an extremely natural and responsive playing feel. There are more than 600 incredible drum and percussion sounds onboard, arranged in 50 separate kits. 30 types of Rolands famous effects are included as well as separate EQ, Limiter and Ambience effects. Sounds can be edited, tuned, mangled, wrangled, and tweaked to your liking.A built-in phrase-loop function serves as a fantastic creative tool. Play a passage and record it on the fly, loop it, and then overdub up to 2 additional layers to complete a phrase. Theres space for 50 phrases so youll have plenty of room for your loopy ideas! For additional storage you can back up phrases to USB memory but on that in a moment.There are 4 dual-trigger inputs, plus a hi-hat controller for adding pads to create a mini kit, or for connecting triggers from acoustic drums. Around the back of the Roland Octapad SPD-30 are all the connectors; Theres a PHONES Jack (Stereo 1/4 inch phone type), OUTPUT Jacks (L (MONO), R) (1/4 inch phone type), MIX IN Jack (Stereo 1/4 inch phone type), EXTERNAL TRIGGER INPUT Jacks x 4, HH CTRL Jack, FOOT SW Jack (1/4 inch TRS phone type), MIDI Connectors (IN, OUT), USB MEMORY Connector (for USB Memory), USB MIDI Connector (for USB MIDI).The Roland Octa

Patato Model Congas in Black Fiberglass (Assorted Sizes) $499 Carlos Patato Valdez: PART OF THE LP INNER CIRCLEHis remarkable career and groundbreaking multi-conga technique has had a powerful impact on countless drummers, percussionists, and music lovers. His contribution to Latin music includes a unique melodic approach to conga playing. Since 1970, Patatos association with Latin Percussion has inspired many new product developments, worldwide tours, and recording projects.The Patato Model Conga is just one example of the innovation brought on by this great musician and performer. Played by professional congueros the world over, these fiberglass drums were developed in 1978 after a recording session with the legendary Patato at the studio in Martin Cohens home. Patatos own design required tall drums with a wide belly and small bottom.30" tall silhouette, projects deep bass tones and great volume without sacrificing crisp, high soundsShaped identical to the Galaxy Fiberglass Congas, these drums are perfect for any style of music and are great for live playingChrome LP Comfort Curve II Rims516" diameter tuning lugsReinforced LP Heart Side PlatesLP fiberglass shells have a steel ring embedded at the bearing (top) edge of the drum shell for added strength and stabilityHand selected, natural rawhide headsLP Procare Integrated Shell Protectors prevent the side plate hardware from marking or damaging adjacent drumsAccessory pouch, tuning wrench, and LP Lug Lube included

Patrick Pentland $39.17 New – High Quality Content by WIKIPEDIA articles! Patrick Pentland (born 20 September 1969) is a member of the Canadian rock band Sloan. All four members of Sloan write, produce, and sing their own songs. Patrick plays guitar, bass, keyboards in the studio, and occasionally plays drums live.Patrick was born in Newtownards, Northern Ireland, UK. He emigrated to Lower Sackville, Nova Scotia, in 1975 with his father (Richard), mother (Patricia) and sister (Danielle). In 1977 Patrick’s father’s work

Patrick Pentland $55.06 New – High Quality Content by WIKIPEDIA articles! Patrick Pentland (born 20 September 1969) is a member of the Canadian rock band Sloan. All four members of Sloan write, produce, and sing their own songs. Patrick plays guitar, bass, keyboards in the studio, and occasionally plays drums live.Patrick was born in Newtownards, Northern Ireland, UK. He emigrated to Lower Sackville, Nova Scotia, in 1975 with his father (Richard), mother (Patricia) and sister (Danielle). In 1977 Patrick’s father’s work

Patrick Pentland $39.13 Used – High Quality Content by WIKIPEDIA articles! Patrick Pentland (born 20 September 1969) is a member of the Canadian rock band Sloan. All four members of Sloan write, produce, and sing their own songs. Patrick plays guitar, bass, keyboards in the studio, and occasionally plays drums live.Patrick was born in Newtownards, Northern Ireland, UK. He emigrated to Lower Sackville, Nova Scotia, in 1975 with his father (Richard), mother (Patricia) and sister (Danielle). In 1977 Patrick’s father’s wor

Patrick Pentland $55.63 Used – High Quality Content by WIKIPEDIA articles! Patrick Pentland (born 20 September 1969) is a member of the Canadian rock band Sloan. All four members of Sloan write, produce, and sing their own songs. Patrick plays guitar, bass, keyboards in the studio, and occasionally plays drums live.Patrick was born in Newtownards, Northern Ireland, UK. He emigrated to Lower Sackville, Nova Scotia, in 1975 with his father (Richard), mother (Patricia) and sister (Danielle). In 1977 Patrick’s father’s wor

Peachcake concert at Daytrotter Studio on 13 Sep 09 $0 What you want to say, just blurt out is, “No fucking way,” when you hear that the electro-pop band Peachcake is from Carefree, Arizona, but thems are just the facts. It’s so fascinating because to see the group live, to hear them in song or in conversation, it’s the place that Stefan Pruett and John O’Keefe would seek out even if such a place were no more real than a unicorn or a jackalope/stagbunny/Wyoming thistle hare. The two odd ducks already consider their home planet to be Planet Awesome, which, from our calculations, is made up exclusively of sugary foods, strobe lights, thumping drums in loud music, beds made out of marshmallows and hot fudge, ubiquitously free wireless Internet, jingle bells attached to every shoe and sprinklers that you can run through at any time of the day. Peachcake music is insistent with its intentions. It is forcibly joyous and spastic. It demands to be hearted. It demands to be grinned at and moved to. It is supposed to change your mood from sour milk to sun kisses within minutes of the first song. They hunt down your inhibitions and they take them out with very good sniper rifles. Pruett and O’Keefe acknowledge the cold adversity of life in a spoken introduction to their song “Nervous Breakdance,” but they seem to be unwilling to acknowledge it too extensively or to give it all that much mind. It’s just something to walk around, to avoid swiftly, instead listening for the circus-y song of the ice cream truck coming down the block for another frozen treat because it’s a guaranteed good time. They bank on those kinds of guarantees in like not the morbid ones like death and taxes. To hell with those, you can almost hear them singing between the lines, wearing clown noses or shifting their voices comically. They don’t seem to tire or go dark, just flow and sweet talk their way in the pleasure centers of other peoples’ souls. They ask the important questions in their between song banter, posing, “How hard is it to choose to be in a good