Cutting Edge Marketing Tips

Warner Music Group and YouTube are finalizing an agreement that would allow music videos from artists such as Madonna and Green Day to once again be featured on the popular web site, according to sources close to the deal.

The deal, which one source described as imminent, would resolve a dispute over licensing rights that caused Warner Music to pull music videos by its artists from Google Inc’s YouTube in December.

YouTube and Warner, the third largest music company, declined comment on the deal, first reported by AdAge on Monday.

A deal would mean that Warner Music’s stable of artists would once again appear on the world’s most popular video sharing site, joining those from EMI Music, Sony Music Entertainment and Universal Music Group, all of which have renewed deals.

Financial details are unclear; but Warner Music Chief Executive Edgar Bronfman has made known his desire to improve terms of his previous deal with YouTube. Like other industry executives, he faces a music market that has been stung by tumbling CD sales and slowing digital music growth.

The deal would also open the door to a possible role for Warner in a new music video website called Vevo, which is backed by Universal and Sony and will be supported by YouTube’s technology platform.

At the moment, talks about Warner joining Vevo are still in “early stages” and could break down over a range of issues, one source said. The source declined to be named because of the sensitive nature of the discussions.

Music industry insiders say that Web videos are catching up with radio and music television as one of the most important music discovery tools for fans.

The unique Need4 Video Converter has the ablity to convert your top video clips in the ASF format to DivX. They can then be played on various formats, from a computer and cell phone,to numerous other mobile devices to video sharing files Then they may be enjoyed by your friends. It couldn’t be easier to convert ASF videos to DivX. If converting the entire video clip or audio extract in onee go, or only a samll part at a time, Need4 Video can help you.

Step A.. Launch

The fiirst thing to do is to get a hold of a video converter program, such as a Need4 Video Converter.

Download the program and follow these simple instructions.

Step B.. Add ASF Video To Converter

To add video that you would like to convert, click the +Video button.

In the Files of type field, select ASF.

Select a necessary video file and click Open

The selected file will be added to the list of opened files.

Step C.. Select Output Format

Open the Profile list and select General Video.

In the Presets list opened on the right,

Select a necessary output format in the Presets list and click open.

Step D.. Specify Folder to Save Video

Enter the name of the converted video in the Save as field.

In the Save to field, highlight the folder where you want to store the converted videos.

Specify any additional options that you may need for saving video

Overwrite existing files and check it to replace any existing video files with the same name with brand new ones.

Open the output folder. You can then review the folder with a ready file.

Step E.. Select a Video Segment to Convert

If you would like to convert a particular part of your video, then click the Edit button next to your video in the list.

When opening the window, you can drag the left marker to the start of the video episode you want with the right marker at the end.

Step F.. Hit Convert to Save ASF Video to DivX

It is best to be certain that, in the List of opened files, you can check the added video file.

Then hit Convert to convert it to DivX.

If you are searching forthebest choice in video conversion software, then look no further than Need4 Video.

A musical movement of the mid-1960s, the British Invasion was composed of British rock-and-roll and beat groups whose popularity spread rapidly to the rest of the English-speaking world, especially the United States which, from the beginnings of rock-and-roll music in the early 1950s, had nearly a monopoly on the genre.

Though generally not credited with starting the “Invasion”, Dusty Springfield was one of the first British artist to have significant success in the U.S., with her hit single “I Only Want to Be with You”, released in November 1963. She appeared on the Ed Sullivan Show in early 1964 singing the popular hit, and continued to have several U.S. hits through the rest of the decade. For a list of songs by British artists which reached #1 on the Billboard Hot 100, click here.

However, The Beatles’ triumphant arrival in New York on February 7, 1964, is widely credited with truly throwing open America’s doors to a wealth of British musical talent, and officially beginning what would come to be calledwith historical condescension by the willingly reconquered colonythe second British Invasion. Like their transatlantic counterparts in the 1950s, British youth heard their future in the frantic beats and suggestive lyrics of American rock and roll, but initial attempts to replicate it failed. Lacking the indigenous basic ingredients of rock and roll, rhythm and blues and country music, enthusiasts could bring only crippling British decorum and diffidence. The only sign of life was in the skiffle craze of the 1950s, spearheaded by Scottish-born Lonnie Donegan. Skiffle groups (like The Quarrymen, first forerunner of the Beatles) were mainly drummerless, acousticguitar and banjo ensembles, similar to jugbands, who most often sang traditional American folk songs, frequently with more spirit than instrumental polish, although early British skiffle was played by highly skilled Tradd jazz musicians.

“Alas, Lord God! Behold, I do not know how to speak…”
-Jeremiah 1:6

All during high school, I wanted to fit in, but never did, for
various reasons. I wanted to do everything, yet did very little
due to lack of confidence. I was musically inclined, playing
various instruments, but mainly stuck to the baritone saxophone
because my jazz band teacher, Bert Hughes, loved the fact that I
was the only female to play so well in one of his bands. My
passion, though, was drumming. He and I went round and round;
him telling me I was more talented with the sax, and me pleading
for chances to be a more active drummer. I’d sneak in at
football games to the drummer’s line, produce my own sticks and
convince one of the snare drummers to let me play a song. I got
noticed; one of my yearbooks shows me in my marching band
uniform, holding a pair of sticks in my hand asking “What song
are we playing?”

After high school, I dabbled with drumming. I’ve had several
sets over the years, and actually played with a heavy metal
group right after high school, but left when I found out they
were a less than desirable group of men. They were actually
working towards a record then.

I played with people I met in the Army; just jamming, and having
a good time. I had decided right after high school that I’d
never be the famous drummer I’d so dreamed of, but that was
fine- I just loved to play.

After I got out of the Army, I went about 6 years without so
much as holding a drum stick. That changed when I came to work
for the company I’m with now.

A man there, Rex, and his wife belonged to a Church where they
played for the Lord every Sunday. They had a drummer,
guitarists, a clarinetist, a pianist, and Rex played trumpet.
They played ‘Church music’, something I’d never tried because I
have a very heavy hand and foot when it comes to drumming. I did
play heavy metal, after all! A few years ago, their drummer came
on levy for Korea. Around the same time, our company had a
picnic where employees would get together and play, if they
wanted. Someone heard I was a drummer and wanted me to play.

“No way!” I said. “I haven’t played in years, and I really just
messed around with drumming”.

They persuaded me, and a couple of them came over one night to
rehearse. What I ended up doing was sitting there for 2 hours
while they tuned up and argued back and forth what they were
going to play. When they finally left, I had played all of 5
minutes, and had not made it through a single song. The picnic
was the next day, and I was to play ‘Sweet Home Alabama’ by
Lynyrd Skynyrd.

Talk about nerves being shot! That next day, I chickened out,
and let some management member play all the bubble gum songs. I
said I’d play ‘Sweet Home Alabama’ and that was it.

Well, they were awful. Not having rehearsed together, everything
was way off. People left in groups after just a few minutes. Our
manager was thoroughly embarrassed, but he had to stay. Finally,
they called me up there. I shook my head no. They called me
again, so I walked up to the drums on rubber legs, and said a
quick prayer for the Lord to give me the strength to get through
this, and to please make it fast! They had already started to
play, so as soon as I sat down, I just came in on the next beat.

I’d never played in front of a group of people as diverse as
this, but thankfully, my shaking was invisible as I played.
After a minute, my shaking stopped and my talent shone through.
I played almost flawlessly, missing just one cymbal crash that
was never noticed. The guys played well too, and we drew people
back into the small group of those employees daring enough to
stay in the first place. Throngs of people came back to see what
was going on, and who was that on the drums?”

It was ME! I felt great! When the song ended, I put my sticks in
my back pocket and started to get up.

“Oh, no!” I was told. Our manager came up and told me to sit
back down and play! Well, who was I to disobey a direct order? I
dutifully sat back down and we just jammed for 30 or so minutes.

When it was all over, droves of people came to me wanting to
know “Where did you learn to play like that?” and “Why did I
hide such talent?”

Rex approached me the next week asking if I’d be interested in
playing with his group at his Church. Now, I’m not a Church
goer. I have faith, I have beliefs, and I’m a very spiritual
person, but as a child and teen, I was forced into Church, and
the woman who adopted me was very cruel to me whenever we went
to Church, to the point of reducing me to tears every Sunday. I
still am uncomfortable in any Church, so I celebrate my life and
my faith privately, but faithfully.

Rex was insistent; they needed me. I finally agreed, but didn’t
feel good about it. Playing with brushes in a quiet church just
wasn’t my thing. Get me in a wide open space with electric
guitars and loud music, and let me feel free to really play, now
that’s my thing!

I prayed about it, and slowly felt better about the whole thing.
I even brought my kids to rehearsals and Church on Sundays. We
did this for a few months, and it came time for the Christmas
show, which I was looking forward to.

The day came, and I was nervous. We had picked several songs,
most of which I was to play quietly and in the background. I
just really didn’t want to mess things up! There were many
elderly folks in the congregation, and they were used to certain
things. The last song worried me because it was ‘Rock around the
Christmas Tree’ and it would be considerably louder than they
were used to. I had someone apologize in advance for me because
I knew I would be loud. Right before my cue, I sent a fervent
prayer up:

“Lord, please, I’m here to play for You! Please lend me your
hands so I might do that.”

We got going, and immediately I found myself playing quite loud.
I kept looking over to the other members of the group, watching
for the all too familiar signs that I was too loud. There were
none. I kept watching the congregation for signs I was too loud.
There were none.

Then something amazing happened; so amazing that I almost
dropped my sticks in the middle of it all.

Some of the congregation, I mean folks older than 60, were
getting up to dance! Right there, in a Methodist Church, these
normally proper and reserved folks were dancing! I looked over
at Rex in amazement; he winked back and we played on.

The louder we got; the more into the song we got, the more they
danced. We played; they danced.

I played for the Lord that day. My voice came through my drums.
Everyone there heard my voice. It was loud, clear, and flawless.
And it was all for my Lord.

Lord, lend me your voice so that I may share my joy- and voice-
with others.

Learning the guitar fretboard can seem like a daunting task to many beginning guitar students. However, if you adapt a systematic approach, it can be a fairly easy thing to do. But some of you may be wondering if it’s really necessary in the first place. Afterall, a person can get along fine these days by learning a few chords and knowing how to read tab, right? Well, maybe. But you might inadvertantly manage to limit your potential as a guitar player too. So please take just a few moments to consider what I have to say.

Having a good grasp on how your guitar fretboard works can open up new ideas and provide a greater means for creative expression. It will also help to expand your knowledge and understanding of chord structure, reading notation and using guitar scales to improvise with. If you have visited my website at ABC Learn Guitar, then you know that I like to use the musical alphabet as an introduction to teaching the guitar fretboard to my students. I do this because it makes it easier for the beginner to work with something they are already familiar with, namely, the letters of the alphabet A through G. At the same time, my students learn the important scale of A Minor without even realizing it! By the time they have learned the musical alphabet, they come to discover that they have also learned the A Minor scale in two octaves and know where all the natural tones in first position are on the fretboard! That gives them
a real sense of accomplishment and a greater feeling of confidence on the guitar because now they are more familiar with the instrument in general. This is the approach I always use with my students in order to help them establish a solid foundation on which they can build new skills.

After the student has learned all the natural tones in first position on the guitar fretboard, I begin to introduce them to the sharps and flats. The easiest way that I have found to do this is to use the Chromatic Scale. Even though my students are introduced to playing the Chromatic Scale from day one, they don’t have to memorize it, just play it. But, when they’re ready to learn where the sharps and flats are, I begin to have them say it and play it. They begin by starting on the sixth string and move forward chromatically (in half-steps) up to the first string. Then they repeat the process in reverse by moving backward chromatically from the first string down to the sixth string. The next step is to have them memorize the tones on each string one fret at a time. In other words, moving across the strings. For example the student would start on the sixth string/first fret- play and say the note F, then move to the fifth string/first fret- play and say the note A#, then move to the fourth string/first fret- play and say the note D#, etc. I would have them continue this process on up to the fifth fret. After these tones are memorized in this fashion, I do random recognition drills by having them play all the E tones in first position, then all the F tones and so forth. I also like to introduce my students to reading standard notation in first
position (without tab) during this time in order to reinforce their familiarity with this area, but it is not a necessary part of learning the guitar fretboard. In fact, I prefer that my students know where the tones are on the neck before they begin to read music. Finally, we move on to learn where the tones are on the fifth, seventh, nineth and twelveth frets across the strings in the same manner because these frets relate to other important positions on the guitar. Then all the additional frets in between these are added so that all the tones on the neck are eventually memorized.

Scales are another handy tool for learning the guitar fretboard. My students first learn how to play and say every major scale in first position in all twelve keys. Once this is accomplished, they proceed to learn the various closed fingering patterns for the major scales. Then they practice moving these scales up and down the neck, playing and saying the tones as they go. This can then be expanded to incorporate the minor scales and modes too, of course.

So, if you want to establish a systematic method for learning the guitar fretboard, why not begin by trying some of the things I’ve mentioned here. Take each suggestion one step at a time and be sure to include it as part of your regular warm up or practice routine. When you have the first five frets of the guitar fretboard memorized, move on to another step. Create some of your own ideas, mix things up a little in order to challenge yourself, but be consistent and don’t rely on short-cuts. With a little effort, you are bound to gain new insights and skills on the guitar, which will make all your hard work very worthwhile in the end.

FREE Reprint Rights - You may publish this article in your e-zine or on your web site as long as you include the following information:

Kathy Unruh is a singer/songwriter and webmaster of ABC Learn Guitar. She has been writing songs and providing guitar lessons to students of all ages for over 20 years. For free guitar lessons, plus tips and resources on songwriting, recording and creating a music career, please visit: http://www.abclearnguitar.com

The BOSE PAS was 1st brought to my attention on http://www.dj-forum.co.uk by Richard Mills. Since then I know that several members here have purchased one (or more) and my various excursions on the net to research this system got me thinking that it was worth looking (listening) into further.

On Friday I travelled to the only BOSE shop we have here in Ireland and asked the smiling shop assistant if I could have a demo of the Bose PAS. ‘What’s that?” he asked. ‘It stands for Personalised Amplification System” I said returning his smile

‘Don’t know it’ he said ‘Is it from the Pro Range?’ - ‘Yes’ I replied, already realising that my journey was in vain. He spoke to his colleague who had heard of it but told me that they only do home entertainment at that shop. He also said that he knew of one customer that had travelled to the USA about 18 months ago to preview it and subsequently brought one back with him.

Anyway to cut a long story short they gave me the number of BOSE Ireland and when I returned home even though it was 5.30pm on a Friday Bank Holiday weekend I called the number. The person who answered told me that someone would call me back shortly. Ten minutes later I had the contact details of the nearest PAS stockist - some 75 miles away.

Saturday PM I saddled up the car and rode out of town . 2 hours later, after battling with the Bank Holiday traffic I walked into this music store and my first impression was ‘That sounds sweet’. At that stage I didn’t know what was playing from what (it was a guy singing to a backing track) but as I walked down the shop I recognised the ‘Radiator’ of the PAS and it was obvious that this was where the sound was coming from. I then walked to each area of the shop, which was about the size of a venue that would seat 100, and, sure enough, the sound was as loud in the corners as it was standing right in front of the system.

I’ve heard 100’s of PAs during my career and this is not like any one of them. I tracked down a member of staff and asked them to play a CD & turn it up. They played a Bob Marley song and this is only way I can describe it:

‘In the late 1980s I heard my very 1st CD, played on a Sony Walkman with Sony headphones and, even though I didn’t know the song, it was like I was there as it was being recorded’. This is the second time when I have been taken aback with sound quality in that way because I did feel that Bob Marley was in that shop . Anyway I spent the next 2 hours in the shop, not trying to find Bob Marley, but to get to the nitty gritty.

So onto the system. The guts are in a base unit (PS1) which was larger than it looks on all the pictures I had seen. In fact when I saw this I thought ‘Why so big?’ but can’t think of any reason other than it houses 750 watts RMS in 3 amps and is designed for band use rather than disco (it goes behind the band). I suppose it could go behind the DJ too, The unit is robust plastic and can be stood on (this is recommended by BOSE when inserting and removing the speakers) but it does have a large ‘footprint’. The controls for the amplifiers are at the rear of the PS1 and covered by a rather flimsy flap that opens backwards (I would have preferred the flap to open the other way & protect the inputs/controls etc) from the front.

There are 4 inputs - 2 either balanced/unbalanced (jack or XLR) and 2 more unbalanced (jack) The 1st 2 also have the option of assigning them preset values so for instance pre-recorded music would have a value of ‘00′ (or ‘57′ for low volume) and a SM58 mic would use ‘14′ however these are only for direct input of the device and do not really apply when using a mixer. Most of the other presets are for various brands of guitar, double bass, microphones, keyboards etc. Inputs 3 & 4 are 0db lines and are designed for CD players etc.

The radiator (L1) contains all the mid/high range speakers (24 in total). It splits in 2 which is just as well as it stands over 7 feet tall. The connections are made automatically whenever the unit plugs in to the PS1 and there is a footswitch to release the locking mechanism at the end of the function. There is some movement when the L1 is connected into PS1 - it can sway a couple of inches from left to right and an inch front to back

The bass bins (B1) connect to PS1 using 4 way speakon connectors (the extra 2 wires are used by PS1 to determine if 1 or 2 B1s are being used). A lead is supplied with each B1.

The system also comes with a wired remote control (complete with Velcro) so that the volume, bass treble and middle can be controlled + the input from the 2 channels can also be balanced. There are 2 LEDs on the remote control unit which change from green to red if the system is overloaded. If a mixer is being used then the remote doesn’t have as much importance however if it is not connected the system uses a default ‘12 0′clock’ position for these controls when the input is on channels 1 & 2.

Whilst I was at the shop I helped the salesman unpack and prepare two complete systems. The padded bags for the PS1 were really tight and I managed to break the zip on one whilst trying to close it . The padded bags for the B1s simply slide on and there is a flap to access the handle on the speaker. The radiator splits in 2 and there is a bag for each - be aware that one bag is very slightly larger than the other and the only way to find this out is to lay them together (worth marking I think).

Weight wise, because the system breaks down into so many parts, even stairs wouldn’t be a problem. I carried 2 PS1s (16Kg each) for a short distance and it was similar to going on holiday with suitcases. The rest of the system is lighter and I found no problem with 2 x L1s (4 bags - 2 in each hand) for a walk of 20 meters. The B1s are even lighter still.

Pros.

Sound Quality
Sturdy overall construction
Ease of transportation/connection/storage

Cons:

PS1 bag too small
PS1 itself has a large footprint
Flap on PS1 for controls not protective enough
The bags for the B1s could do with a pocket for the speakon lead
An expensive system

My personal opinion is that BOSE have come up with something here that is different & special. It is expensive, however from my enquires it is unlikely to come down in price for some time yet - in fact at the moment demand is exceeding supply (the shop I was in now has a waiting list and during my 2 hours there was a constant stream of people who had heard that this system was on demo and had travelled, like I had, for some distance to hear it in operation). The salesman I was with, who had worked there for some 20 years, had never experienced an interest on this scale in any other product from musicians. (They received their first 12 systems last week and the two I helped to unpack were the last ones reserved and, as I said, they now have a waiting list.).

The appliances are made in China (what isn’t these days) and I suppose that eventually another manufacturer will come in with a comparative system at a lower price. How long until that happens though is anyones guess.

You may use this article on your blog / forum or website provided the following credit and active link remains intact and unchanged.

For more information and reviews of professional Audio Systems by Bose, JBL, Mackie, Turbosound, Peavey and many more, please visit http://www.dj-forum.co.uk.