Reverbnation.com Review

Artists First: Since 2006, ReverbNation has helped millions of emerging Artists build their careers. We’ve connected Artists to venues, festivals, brands, publishers, labels, and the fans themselves. ReverbNation’s mission puts Artists First.

Our powerful career management and online marketing tools, combined with rapidly growing A&R capabilities and broad industry relationships offer emerging Artists from around the world access to the global music industry.

The results speak for themselves. ~ Reverbnation

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Last year I put my band on the Reverbnation.com site. It didn’t cost me anything and was easy to set up. A year later and I am happy to say I am so pleased with the site I might close down my other Internet page. Here are the highlights:

  1. Stats, data, and info ~ this place provide data on everything from who comes to your page, to who friends you, to how many listens music you post on the site gives.
  2. Networking ~ is just too easy. When I put an event on the reverbnation site, it props to where ever I want. Currently I have it going to Facebook on both my own profile and the band profile pages.
  3. Music ~ we did a CD last year and I have promoted the heck out of those recordings. It is an easy way for customers to review our sound.

I like their culture and modus operandi too. Here’s what they say about that:

We focus on innovation and continual improvement—in our products and with our people. Our entrepreneurial roots lead us to ask tough questions and work hard to find the true answer.We believe that to create great things, to continually bring value to our musicians and the industry, we need an exceptional team. We strive to create an environment that lets each team member excel at what they do best. Yet despite this intensity, we believe that our people have lives outside of work. We not only respect that balance, we also believe that it’s our responsibility to support them there as well.The personality and drive of each employee makes ReverbNation a great place to work. But don’t just take our word for it. In 2013, the company added 24 new employees, made the Inc. 500 list of fastest-growing, privately owned, companies, and was voted one of the Best Places to Work in the state.

I recommend this resource to any music ensemble out there, especially if you don’t want hire a web designer to set up your site.

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Music = Life

“And those who were seen dancing were thought to be insane by those who could not hear the music.” ~ Friedrich Nietzsche

MusicLife

I was putting away my sax the other day and was struck, once again, with the amazing realization of how a 2 hour practice with a good ensemble can seem like five minutes. Why does it seem that time spent with those you love, making wonderful, sometimes sensual music, speeds by so fast? I don’t have the answer, but I’m sure part of it deals with the dopamines flowing free and easy during the exercise. 

Posted in Music, My World | 2 Comments

Gaslighting

Gaslighting or gas-lighting is a form of mental abuse in which information is twisted or spun, selectively omitted to favor the abuser, or false information is presented with the intent of making victims doubt their own memory, perception, and sanity.

If you are puzzled by the bizarre “press conference” put on by the White House press secretary on Saturday, the 21st of January, where Trump’s Press Secretary, Sean Spicer, angrily claimed that Trump’s inauguration had the largest audience in history and accused the Press of faking photos and lying about attendance, let me help explain it. This spectacle served three purposes.

PrezCrowds

Obama Crowd | Trump Crowd

1. Establishing a norm with the press: they will be told things that are obviously wrong and they will have no opportunity to ask questions. That way, they will be grateful if they get anything more at any press conference. This is the PR equivalent of “negging,” the odious pick-up practice of a particular kind of horrible man (e.g., Donald Trump).

2. Increasing the separation between Trump’s base (1/3 of the population) from everybody else (the remaining 2/3). By being told something that is obviously wrong—that there is no evidence for and all evidence against, that anybody with eyes can see is wrong—they are forced to pick whether they are going to believe Trump or their lying eyes. The gamble here—likely to pay off—is that they will believe Trump. This means that they will regard media outlets that report the truth as “fake news” (because otherwise they’d be forced to confront their cognitive dissonance.)

3. Creating a sense of uncertainty about whether facts are knowable, among a certain chunk of the population (which is a taking a page from the Kremlin, for whom this is their preferred disinformation tactic). A third of the population will say “clearly the White House is lying,” a third will say “if Trump says it, it must be true,” and the remaining third will say “gosh, I guess this is unknowable.” The idea isn’t to convince these people of untrue things, it’s to fatigue them, so that they will stay out of the political process entirely, regarding the truth as just too difficult to determine.

They are laying important groundwork for the months ahead. If Trump’s White House is willing to lie about something as obviously, unquestionably fake as this, just imagine what else they’ll lie about. In particular, things that the public cannot possibly verify the truth of.

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So I dropped my sax …

I was notified that our principal saxophonist (in the WCB) wasn’t going to make it to practice, so I pulled out my Selmer Ref 54 hummingbird to work on the lovely but gnarly alto sax solo in Armenian Dances. It’s a 5/8 and 6/8 time signature. It counted 1-2-3, 4-5 and then 1-2, 3-4-5, alternating almost on whim and then a random 6/8 time and a couple of 3/8. Checkout the at the 4:11 minute mark:

As I went to lower the case, my beautiful, perfect sax dropped about six inches onto a carpet. Oh nosssss! I picked it up and gave it a try, but the whole scale was wonky. Checking the keyworks I note that a couple of the bell pads are not closing and some of the linkage is bent. Sigh …

So I am taking it to my fav tech today, dunno how much that will cost. Fortunately I had my wife’s Ref 54 as a backup but imagine my surprise when I found that the inherent intonation on her instrument was *much* different than mine. And I’m going to be sharing a duet with an oboe. Zutt alors!

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Turns out the low C# cup was bent and there was a cracked high F spring. The Eb pad was going bad anyway, I’m guessing here, so two pads (low C# and Eb) were replaced. It took two hours to suss this out. My baby is back home now. Thank you John at Union Hill Winds! It nice to be able to play down to a low Bb and at a whisper.

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What is a Musician?

Musician

Image | Posted on by | 3 Comments

Smartmusic: Increase Your Concert Attendance and Community Support

By Glenn Pohland

empty seats showing lack of concert attendance

Have you ever wished that more of your teaching colleagues would attend your concerts? Wouldn’t it be nice if they could hear and see what your students are capable of?  How might you get more of your community involved in your program? Would you welcome having more than just the parents of your students in your concert audience?  

These are just some of the questions that I have asked myself over the course of 33 years of directing bands and choirs at multiple levels. While some answers remain elusive, I’m glad to share a few of the ideas I’ve come up with for increasing faculty and community involvement.

Read more …

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Romero System Sax and Clarinet, in a Nutshell

Taken from the Woodwind forum mostly because a now deceased friend of mine said he would write this article for me. Instead Pete, one of the admins on the Woodwind forum did.

RomeroMain

A few days ago, I came across a couple of saxophones that I had never seen or heard of before and they looked really, really interesting:
https://www.acimv.fr/nouvelles-news/instruments-volés-stolen-instruments/ (really big pics)’’

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I had heard of the Romero System before, but only on clarinets. Then I looked back to see where I heard of them from. Hey, it’s Gandalfe’s website. However, the article was written by Terry Stibal (SOTSDO), a gentleman who was a clarinet Content Expert here until he passed away in 2015.

I thought the keywork was extremely interesting and that led me to undertake a trip surfin’ the Internet today. Here’s some stuff I found:

PICTURES
Full Romero System tan-stained boxwood clarinet from Lefèvre (Paul Bié, the co-author on the Romero patent, owned Lefèvre).
Full Romero System black-stained boxwood clarinet from Paul Bié. This example has a few extremely large zoomable pics.
Partial Romero System blackwood clarinet. This “half Romero” horn is somewhat similar to the #656 saxophone in the above link to www.acimv.fr.

Romero     Romero3   Romero2

VIDEO
There’s a well-produced video here. (Here’s a bit better version, on YouTube.) It’s in Spanish. There’s a subtitle track here. You can translate the subtitles with Google Translate, if you’d like. The video’s got some great shots of the clarinets — including the patent drawings and original cases — so you can easily enjoy it without the subtitles.

OTHER
There’s a fingering chart for the clarinet on page 186 of this Google Book, The Clarinet, by Eric Hoeprich. There’s a nice bit of exposition about what the design was supposed to do.
There’s a PDF article here, from the Galpin Society (see pages 4 and 5). The pic is of the tan boxwood horn that I mentioned above.

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Here’s a PDF of the exhibition of Antonio Romero at the Real Conservatorio Superior de Musica de Madrid. It’s in Spanish. There’s a close up of the tan boxwood horn in the flyer.
I’m relatively sure that there are only four or five remaining Romero System clarinets.

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As far as the saxophones go, I believe the two listed on www.acimv.fr are the only examples, as I could not find any other references to them.

Pete Hales, aka SaxPics, Admin for the Woodwind Forum.

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