“Super Fly,” of course!

If you are a musician who is also a visual artist, we want to hear from you, and potentially feature your work. Do you paint, draw, sculpt or create art in another interesting way? Let us know about it! Ideally, your art would represent something musical in nature, but this is NOT a requirement.

SUBMISSION INFO

To have your work considered for inclusion in this issue, please follow these 3 simple steps:

1. Email ben@performermag.com with the subject line: Art Submission for Performer

2. In the body of your email, you must provide answers to the following. Keep answers brief (1-2 sentences, max).

Your full name:

Band you are in (write ‘solo’ if you’re a solo artist):

Name of the piece you’re submitting:

Year it was created:

Medium (example: oil on canvas):

What does this piece mean to you?

How does your art relate to or influence your music?

Twitter username:

Your URL:

3) Attach a hi-res JPEG or TIFF of the work you’re submitting, or provide a link at the bottom of the email where we can access a hi-res version (this method is preferred over attachments).

Submissions of low-res artwork or incomplete questions will be discarded. All submissions must be received no later than July 1, 2013. Show us what you’ve got!

**Special thanks to Tony Hollums for permission to use “Violin,” featured above.**

Moog Music is pleased to announce that Mayor Terry Bellamy has issued an official proclamation declaring May 23rd to be Bob Moog Day in the city of Asheville.  The proclamation highlights many of Dr. Moog’s achievements, including the significant economic impact the company he founded has had on the greater Asheville area. Bob Moog, the founder of Moog Music and inventor of the legendary Moog synthesizer, made Asheville the home of his family and his company in 1978 and lived and worked here until his death in 2005. May 23rd would have been Dr. Moog’s 79th birthday. 

To celebrate this historic occasion, Moog Music is donating over $25,000 in instruments to Asheville City Schools. Said Mike Adams, Moog Music President, “As a product of the Asheville City School System, I’m very pleased to have this opportunity to give back to our schools, young people and the community. I hope that the Moog instruments we donate will inspire kids toward creative expression through the exploration of music. Who knows, maybe one of them is the next Bob Moog or Stevie Wonder!”

Moog employees will also be conducting clinics and instrument demonstrations at each Asheville City School over the next few months. Moog Music staff, some of whom attended Asheville City Schools, are grateful to be continuing Dr. Moog’s work and to be a small part of his enduring legacy. Thanks to Dr. Moog, Moog Music is driven by a company culture that lives at the intersection of technology and music. This culture will also be celebrated at Moogfest, April 25-27, 2014. Moogfest is the company’s multi-day festival in honor of the innovative spirit of Bob Moog, who was inducted into the National Inventor’s Hall of Fame earlier this month.

“Wow, that IS great,” you say. I know, right?

Anyhoooo, you can win tickets to see the show, on us! Simply leave a comment below and we’ll pick a winner at random to score a pair of tix, which will be waiting for you at the door. How’s that for service?

You’re gonna dig Sea Wolf, trust us. Want proof? Man, you’re hard to please. OK, well peep this!

EVENT DETAILS
San Francisco
@ Great American Music Hall
Tues. May 21
feat. Sea Wolf
Savoir Adore
Doors @ 7:00 pm
$16 – ALL AGES

BACKGROUND

The original 1176 was designed by the legendary Bill Putnam in 1968, and it’s one of the most famous compressors of all time. It has undergone many revisions, many of which are cosmetic or had to do with circuitry that didn’t involve the audio path. They are known for their ability to give a gentle brightness to tracks and when pushed give the material an aggressive edge. It compresses with ease and great flexibility. 

HOW IT WAS USED

The 1176 gets used on most everything that comes through the doors here at Palmquist Studios, In fact, they get used on most everything that comes through most studio doors. Many times it’s a star in my vocal chain. The presence that it brings is desirable and helps place it just so in the mix. On snare it can help with adding the right amount of “crack,” but watch out for the high-hat. Really, it’s like a well-seasoned frying pan, just having the burger cook in it brings out the flavor you were looking for.

INTERESTING FEATURES

With a unit this flexible, engineers and producers have developed many tricks over the years. One that I like utilizes the distortion capabilities of the electronics. When the attack knob is turned all the way counter clock-wise, the compression circuit is turned off. Then the input can be brought up to reach the desired amount of sweet, sweet distortion. The way it feels on bass can be a game changer.

MODERN EQUIVALENT

Universal Audio continues to make the classic 1176 and its popularity has not dwindled. Every plug-in manufacturer has made multiple emulations of the box. There are also several clones and spin-offs by other hardware manufactures.

LESSONS LEARNED

An 1176 is how I first really understood compression back when I was an intern at Orange Whip Recording in Santa Barbara. It’s very responsive; anyone who spends a few hours running different material though it, twisting the knobs and pressing the buttons, will have a greater understanding of its many uses and of compression in general.

ABOUT THE AUTHOR

Eric Palmquist is the owner and Principal Engineer of Palmquist Studios (at Infrasonic Sound). Formerly known as Infrasonic Sound, Palmquist acquired the East L.A. recording studio earlier this year, transitioning from studio manager to studio owner. His discography reads as a “who’s who” of indie rock, including the critically acclaimed album Leave No Trace from Fool’s Gold, 119 – Trash Talk’s 2012 release via Odd Future Recordings and Life Sux by Wavves (one of Rolling Stone’s Top 50 Albums of 2011). Palmquist is always eager to work with new bands as both a producer and engineer. For more info, please visit www.infrasonicsound.com.

Lady Lamb is practically considered royalty here in Boston. She’s paid her dues around the local circuit, and is finally shining as brightly as she warned us she would when she hit the scene a few years back. Her latest effort, Ripely Pine, is saturated with elements of what a female songstress should embody: elegance, craftsmanship, and above all else–attitude. It’s not her fault she makes it look easy.

LADY LAMB THE BEEKEEPER

THURSDAY MAY 9TH

BRIGHTON MUSIC HALL

9PM

18+

$12

www.ladylambthebeekeeper.com

Foreign Artists Touring the United States:

Obtaining a work visa in the United States is not easy.  Couple that difficulty with a minimal (or non-existent) payday, and the prospects can seem even more daunting.  This has been a hot-button issue for bands trying to get to the States for popular festivals. British newspaper The Guardian discussed the red tape prohibiting some UK bands from performing at SXSW, stating: 

“Artist manager Peter White, of Fear and Records, says the process of getting visas to play events such as SXSW and CMJ) can be quite confusing. Simply having an invitation to play does not guarantee you a visa; you also have to prove that you’re a professional band, serious about its career. According to White, there doesn’t seem to be a set formula for demonstrating this. He says one UK band that has had quite considerable success was recently denied US visas after they were deemed insufficiently famous. Meanwhile, American bands playing events such as Brighton’s The Great Escape have no problem getting visas, unless they have criminal convictions.”

So what can you do to make it to next year’s festival in the States?  All international acts performing for a paying public audience are required to obtain a work visa regardless of compensation.  To do that, you need to go through a few steps (below are the basics – for specifics, you’ll want to go visit your country’s checklist at the Department of State www.usembassy.gov)

Visa Type: You’ll be coming to the US as a non-immigrant, temporary worker, and required to get a Category P-1 or P-2 visa type, which is designated for individual or group artists and entertainers.

Pre-Requisites: Before you can get a visa, you’ll need the Department of Homeland Security and Citizen and Immigration Services to approve an application form I-129.

File Online: You can complete the visa application form DS-160 online at the U.S. Department of State.  Make sure to have a current picture (within the past six months) ready to upload.

Schedule & Attend an Interview: You must schedule an appointment for your visa interview, generally, at the U.S. embassy or consulate in the country where you live.  During your interview, a consular officer will determine whether you are qualified to receive a visa. You will need to establish that you meet the requirements under U.S. law to receive the category of visa for which you are applying.

Make sure you have all required documents: This will include:  (1) Passport valid for travel to the U.S. (must be valid for at least six months beyond your period of stay).  (2) Nonimmigrant Visa Application Form DS-160 confirmation page. (3) Application fee payment receipt.  (4) Receipt Number for your approved petition as it appears on your Petition for a Nonimmigrant Worker, Form I-129, or Notice of Action, Form I-797, from USCIS.

From there, after processing, you will receive confirmation of visa approval or a denial letter.  Under some circumstances, you may be able to travel to the U.S. without a visa under the Visa Waiver Program. For more information on this program visit travel.state.gov/visa/temp/without/without_1990.html.

Here are some other helpful links to get you on your way:

US Citizen & Immigration Services: www.uscis.gov/portal/site/uscis

US Department of State FAQ: travel.state.gov/visa/questions/questions_1253.html

US Citizens Touring Abroad:

For acts from the States, touring abroad can be more straightforward, but not without its complications.  The most popular destination for American bands abroad is the United Kingdom.  Here are the basics if you plan to tour there.

Get a valid passport:  New passports or renewals can be obtained online through the U.S. Department of State’s website: travel.state.gov. The cost varies between $55 and $165 depending on if you’re a first time applicant, renewing, or obtaining a passport book or card. Check out iafdb.travel.state.gov to view the passport facilities nearest you and apply at least two months in advance of your trip.

In order for your group to perform in the UK, you need the requisite permits or visas.  Here are the most popular options:

Work Permit: If you are planning a traditional tour, you’ll need a work permit, regardless of the duration of your stay or how many gigs you’ve lined up. Your work permit will be applied for by your employer – most likely your promoter or, in rarer circumstances, the club/booking agent. You’ll need a strict itinerary locked in prior to your employer applying for permits. If your band is less than 19 people, you’ll need a work permit for each member. Your UK-based employer can find applications for work permits for musicians specifically under the Sportspeople and Entertainers work permit category.  There is a fairly short turnaround for the work permit application process, generally around two weeks.

Entertainment Visa: An entertainment visa is the way to go if your band is (a) heading to the UK to perform in a music competition; (b) taking part in a cultural event sponsored by the government, or (c) taking part in a charity concert. These are generally good for six months and afford you the luxury of staying abroad without the same restrictions you’ll encounter with a work permit. Of course, an entertainment visa is essentially predicated on the basis that you (i) are not paid for performing; and (ii) can include proof that you can support yourself during your time in the country.

Adam Barnosky is a Boston-based attorney and writer. For music industry news, entertainment law updates, or to suggest an upcoming Legal Pad topic, find him on Twitter @adambarnosky.

Disclaimer: The information contained in this column is general legal information only. Consult your attorney for all specific considerations.

Lake Street Dive didn’t get to be one of the most unique bands around by resting on their laurels. Since founding the band as jazz students at Boston’s New England Conservatory, the quartet has been continually developing their sound and refining their songwriting. From the ashes of their short-lived initial concept – avant-garde, improvisational country music – grew quirky, charming songs at the halfway point between jazz and indie rock. Though it’s carried them to a wide variety of venues all over the U.S., and a record deal with Signature Sounds, the band refuses to be content with the status quo. 

Lake Street Dive introduces their latest developments on their new EP, Fun Machine. Drummer Mike Calabrese describes how the band’s sound has changed since their last release: “We began to distance ourselves from the jazz idiom, refine our songwriting a lot, and rely more on pop sensibilities.”

Their swanky, slow-grooving rendition of “I Want You Back” is emblematic of the shift toward a more pop-oriented sound, as is the addition of background vocals. Though Rachael Price’s stunning, sultry voice wants for nothing, and singing backgrounds was a new challenge for the instrumentalists, the harmonies add a striking new dimension to the music. “It wasn’t beautiful at first, but it’s highly practical,” Calabrese observes. “We realized people really respond to it, and the band and the music benefit from it and it’s super fun.”

Fun Machine also showcases the band’s rhythm duo: Calabrese on drums and Bridget Kearney on bass. The pair creates grooves that are deeply funky, yet highly sophisticated. “She likes greasy playing, and I like greasy playing,” Calabrese says. “We enjoy that slipperiness, being on the edge.

Studying jazz, you learn how to hear through the groove and trust that you’re gonna keep it together.”

photo by Deidre Schoo