2014 CVSW February

THE Custom Lifestyle Magazine for Car, Motorcycle, and Music Enthusiasts

Every Mon Doc's Angels

Every Thur Arena Tribute

Every Fri Arena Tribute

Every Sat Arena Tribute

Fremont St Main St Stage Las Vegas, NV

Fremont St Main St Stage Las Vegas, NV

Fremont St Main St Stage Las Vegas, NV

Fremont St Main St Stage Las Vegas, NV

Feb 1 Smashing Alice the DiveBar Las Vegas, NV

Feb 2 Smashing Alice Vinyl Las Vegas, NV

Feb 5 Brad Bailey the DiveBar Las Vegas, NV

Feb 7 Daze Gone By

Backstop Sports Pub Boulder City, NV

Feb 7 the Solid Suns the Cheyenne Saloon Las Vegas, NV

Feb 8 Cyanide Vamp'd Las Vegas, NV

Feb 8 Daze Gone By Backstop Sports Pub Boulder City, NV

Feb 13 Blackbox 13 Vamp'd Las Vegas, NV

Feb 13 Lynch Mob Vamp'd Las Vegas, NV

Feb 13 T.O.D. Vamp'd Las Vegas, NV

Feb 15 Future Villains the Troubadour West Hollywood, CA

Feb 21 Smashing Alice BB's Clubhouse Las Vegas, NV

Feb 21 the Solid Suns Bar 702 Las Vegas, NV

Feb 22 Smashing Alice the Firehouse Las Vegas, NV

Feb 25 the JES Project BB's Clubhouse Las Vegas, NV

Feb 28 Systemec Vamp'd Las Vegas, NV

Mar 17 the Solid Suns the Cheyenne Saloon Las Vegas, NV

Mar 29 the Solid Suns Backstage Bar & Billiards Las Vegas, NV

CV SouthWest is granted an audience with the king himself, Nadir D’Priest, during his ascent back to the top...like all stars, he’s a hard man to keep down...

<CV SW> As always, we start with "who's in the band and what is his/her role"?

Nadir D'Priest (vocals)

Chris Sanders (guitars)

Alan Krigger (drums)

Billy the Fist (bass) keyboards players vary

<CV SW> Who are your musical influences?

My musical influences vary quite a bit and I enjoy different styles. Frank Sinatra, Elvis Presley, Rob Halford, Ronnie James Dio, Ian Gillian, John Anderson, Al Green, Sun House, Howling Wolfe. The list gets longer but those are good examples.

<CV SW> You've got a great metal voice, when did you first discover it was in you?

I discovered it when I was told to move from being a drummer to singing. So I did! I then joined a band of cats older than me and worked on defining my style as a heavy metal front man. That‘s basically the beginning of my first singing gig with an Orange County band called ‗Thunderbolt‘.

<CV SW> Did you have any other interests

growing up? How did you "get into music"?

I had many interests as a kid. I was in a junior military marching band playing drums and the bugle. 30 snares and 30 bugles thundering in front of the military for a little kid was pretty bad ass. It made me who I am. I rode horses with my father and siblings, did rodeos in Mexicali Baja California. I helped a local band play cow bell LOL!! Lots of things to say the least. I had a lot of fun with my family as a kid. I was very fortunate to have a mom and dad, unlike some others.

<CV SW> The early years were very chaotic...do you think that was just a "sign of the times" back in the late 70's & early 80's, people jumping around from band to band?

Not chaotic at all from my end. LONDON was a force to be reckoned with and we had our shit together. We built our stages, posters, banners, props, dancers, pyro, you name it, we did it! All the guys that went through LONDON went through our band camp and you either endured it or you did not. It was not for posers that‘s for sure! Back then, people bounced from band to band either by choice or by being AXED! It was just the

way things were.

<CV SW> For the first few years, it was really a conveyor belt of people...Michael White left, then Henri Valentine, then founding member Nikki Sixx and Nigel Benjamin, then Blackie Lawless left and London sort of broke up for a while...what do you think contributed to so much turnover?

I think it was a bit of many things within each one of the names you mentioned. I was not there during the early years, maybe Lizzie Grey and the rest can answer that period. I don't want to speak of anyone....seems to me everyone had a priority and wanted their own bands.

<CV SW> You joined the band in 1985 after a (nother) resurrection - and even then, more changes to the lineup...tell us how you came to get the gig.

I was offered the gig by Lizzie Grey and basically joined the band. Not much of a story, it was a bit blurry since the party was so good!

<CV SW> Your arrival really signaled a big rise

for the band, what was the difference that you brought vs prior members?

Yes it did! The difference was that I was a metal singer and did not try to do the British Pop Rock thing. I made changes to sound and production arrangements to fit my style. I had a really high voice so I needed more of a challenge. I‘d say my record speaks for itself...

<CV SW> After your arrival London released their debut album "Non-Stop Rock" to some positive reviews (including "London's got it if you want it, Non-Stop Rock, with no time to take a breath"), tell us about that recording process, how focused the band became with you at the lead.

LONDON became a Heavy Metal band and delivered at the same time. So we looked like girls but played HARD as F**K! ―Non Stop Rock‖ was my first born and we had peanuts to record it; it was not the best situation but I had delivered our first LONDON pressing. Lots of shit happened but that‘s for another time.

<CV SW> Well, here’s your chance bro, the time is now.

Lots of shit happened like drugs, of course! And women, of course! Law enforcement...No Bueno! Fights and basically drama all around. We had a reputation of being a bit out of control and lots of people liked to challenge us so you just have to take care of business. It seemed like many bands had this hate for LONDON and really had it in for us. The people you thought were your friends would turn on you just because someone did not like the fact that their girl was at our shows. Drama-Drama-Drama from lots of posers and wannabes, leeches and cock whores who still roam the streets to this day. We stood our ground with ―Non Stop Rock‖! You hear it on our songs; therein lies all that living that made the album what it is! A London Gem!

<CV SW> "Don't Cry Wolf" in 1986, your sophomore effort, again to positive reviews, London is really taking off - yet you covered a Beatles song "Oh! Darling" - why cover that song?

Yes ―Don‘t Cry Wolf‖, my second child. This album was under a lot of pressure to deliver a soni-

cally sound album so we decided that we needed to find someone to co-produce with and decided to go with legendary Hollywood Dog Kim Fowley (The Runaways). We also had hired engineer Gene Meros (Van Halen) and famed keyboard player David Carr. We recorded ―Don‘t Cry Wolf‖ at Track Records Studios which was an awesome studio to be in. We were a very lucky bunch but we deserved it. Not everybody was happy for us so we lived it as much as possible. The Beatles tune is a great choice because it is a great song and challenging to me. Girls loved it so we had no problems playing it. Even the hardest crowd loved it.

<CV SW> "London - the Metal Years" on YouTube (part of the documentary "The Decline of Western Civilization") - you said "this is the training school for rock stars" talking about how many of your members went on to fame with other bands - but the interesting thing is that you didn't seem angry or bitter, everyone just seemed to take it with amusement - did it not really bother you guys much?

It did not bother me a bit at that time in my life. I think it bothers me now that I am older and a little wiser. I never asked for any handouts at an early age and won't start now. There is no love in this business. I move forward and concentrate on making my own path and maybe one day we will meet up and jam!

<CV SW> On that video, you make fun of the fact that outside LA/Hollywood, you guys are gods, but locally, "no one wants to know about us" - why do you think that was?

Because I believe LONDON had a lot of negative forces surrounding the band when I joined it. Or

maybe they became negative when I joined LONDON. LOL! The truth is that Hollywood is not to be trusted Chris. Not ever!

<CV SW> The interesting conflict was that London was packing houses all around the country yet had little commercial success - what was the motivation to keep going, it had to be frustrating...so frustrating that Lizzie Grey left in 1988? My motivation was that I had a mission and I would not give up, I have a lot of determination. I don't think Lizzie left for that reason but you can ask him directly.

<CV SW> Still, it was a time of rock and debauchery, fun times, eh?

YES very much so Chris! I have partied like no others and still do today…but in a moderate way.

<CV SW> Talk about the "rebranding" of "London" to "D'Priest" for the next couple of years...you really took over the band, in name and status?

I am the Chief and Commander of this Starship and it is about to take off again! It is my baby! It has been abused, dissed, laughed at and many have tried to destroy it! But we are here, we are LONDON. NOW! LONDON is back!! Bigger, Better, LOUDER THAN HELL!!!!

<CV SW> "Playa Del Rock" is released in 1990tell us about the status of the band, the energy and focus at that point - there was a burst of publicity and play, but ultimately the band split in late 1991 - tell us about that, and your feelings about splitting up...

LONDON's "Playa Del Rock" was the album that gave us that boost we needed. We had famed pro-

ducer Richie Podolor (3 Dog Night, Steppenwolf, Black Oak Arkansas, Alcatraz) and engineer Bill Cooper work with us. It was one of the best times for me and the boys; we had a great studio and a great producer. We spent about 9 months at American Recording Studios with Richie Podolor and Bill Cooper. We brought in guest players like Jimmy Greenspoon on keys, B3 (3 Dog Night) Guy Babylon B3 Strings Keys (Elton John). We had a great time recording it. But also, splitting up was not hard to do at all. We had reached a point of aggression towards each other and everyone just went their own ways for the next 22 years. Now we‘re BACK!

<CV SW> Nearly 20 years before your reunion show, what were you doing between 1991 & 2010? Did you *gasp* "go domestic" on us? In 1993 I ended up putting together a funk band called WORD. We performed all around Los Angeles and out of town. After that I became project director for The Rolling Stones‘ ―VooDoo Lounge‖ CD Rom. Went on tour with them as a Multimedia Producer for the biggest band in the world, The Stones. I was featured on the cover of MultiMedia Producer Magazine and also in WIRED Magazine. I was a very lucky guy and was also a very good producer for my time with The Rolling Stones. After that I started working on my solo album and started writing material for my Rock En Español album. That kept me busy and I also got married & became a dad. Then I moved to Barcelona, Spain. I stayed in Spain for a while then came back to the US. I then put together D'Priest with Chris Sanders and some other players. That lasted for a year then I started working on getting LONDON back on the map and HERE WE ARE! Eventually I had another child and became domesticated but I‘m not unhappy about it at all. Music has always been my wife, I think.

<CV SW> How did the reunion show come about? Did that show really fuel the fire to resurrect London one more time, because, well, here we are…

The reunion show was put together by me and booked by my drummer Krigger around 2 years ago. We never missed a beat the first time together again. It was emotional for me, I definitely have paid my dues and have given it 200 percent…and

YES, the FIRE IS LIT!

<CV SW> London is back, with Krigger & West from the old days...also, Chris Sanders, Toni Aleman, & Eric Ragno...what is different today compared to those years ago?

Brian is on family leave, Toni Aleman was hired for a few shows only, not actually in our band. Eric Ragno is one of our keyboard players I feature onstage. Billy the Fist is playing bass and kicks ASS! The difference is that the music scene is not as HOT as it was back then. The Sunset Strip has been dead for a while and it will never recover from its loss. We all miss those great times of Music, Love and Happiness.

<CV SW> How have you guys matured or changed, or dare I say "adapted" - musically and with your attitudes?

We have all matured and are in a better place this time. We are focused and we look forward to blowing doors as much as possible. We work really hard to give our fans a great show. We are a well-

<CV SW> Do you see "glam metal" as also becoming popular again? Did the reunions of many of your contemporaries have any impact on your decision to get back together? I got my band together because we left some things unfinished and now we are going to finish them. Glam is becoming more popular again and clothes we wore are showing up at retail stores now. So YES, I hope it rules the world once more! I have not changed a bit and I know Krigger and I will never change ways.

<CV SW> London was infamous back in the day in Hollywood, but now you're ready to be famous - how do you see the music industry today compared to years ago, and how do you plan to navigate London in a changed music world? It‘s changed quite a bit and it will never be the same. I see music like any other business and you must adapt to your environment and trends. I don't have time to f**k around I need to make the best moves possible and present LONDON the right way. :)

<CV SW> Of course, if you had to do anything different, given the knowledge of experience, what would that be, if anything? I would have invested my money in real estate.

<CV SW> Seriously…

Hell Yeah! I would have bought property in Ecko, Burbank, Downtown LA, and the Las Vegas Strip.

Fortunately, the money did not go to waste; we made sure that we partied as much as possible. Life is too short to regret!

<CV SW> What advice would you give yourself back in 1985, if you could?

DON‘T DO DRUGS! I don't RECOMMEND IT! And make sure you spend time with family.

<CV SW> Tell us about social media - necessary evil or savvy tool?

Both! It‘s the reality today and it will only get bigger!

<CV SW> Where do you see London in terms of status in the glam metal pantheon?

I wish I knew that answer, but I cannot answer it since it is the fans who will decide a placement for LONDON. My status now is to expose the Real Sunset Strip Players which is us, LONDON, to the last of the strip.

<CV SW> What message do you want to say to your fans reading this feature?

Please join my fan page on Facebook!

Come and join us at our live shows and please pass the word around that LONDON is BACK! We need your total support! And we Thank You!

<CV SW> Tell us what’s in store during 2014 for London – what are your immediate & long term goals these days?

We are working on our new studio album. I have released the new ―LONDON Live!‖ album, produced by LONDON, engineered by Michael Wagner & Roy Z Ramirez. I have also re-released LONDON "Don't Cry Wolf" which has all new packaging and was re-mastered at Capitol Records. I also have our new merch and more things on the way. Shows are coming up and we look forward to seeing you all. Please visit us at... www.LondonTheBand.net

Global

Music Product Industry’s Passion Reflected at 2014 NAMM Show

The four-day annual event proves once again that the music community knows how to have a great time while still taking care of business.

Carlsbad, CA, January 27, 2014 The music product industry returns to businesses in every corner of the globe with a renewed confidence following the 2014 NAMM Show held in Anaheim, Calif., January 23-26. Promising signs of revitalization brought together more than 5,000 brands from around the world looking to reach the global buying audience found at the NAMM Show. Expanding product categories such as technology-driven music products and emerging brands pushed the show to its one of its largest and most diverse editions ever.

―As the global platform for the music products industry, the NAMM Show is an annual checkup for what is happening in the music marketplace worldwide,‖ said Joe Lamond, president and CEO of NAMM. ―A focus on doing business reflected confidence among buyers and manufacturers alike. Fortified with NAMM U education, networking and fun opportunities that only occur at the NAMM Show, NAMM Members expressed to me a renewed spirit for the year ahead. I believe that the stage is set for growth in 2014.‖

Emerging brands, growth in pro audio and the music technology category, and an increase in international exhibitors, converged for the secondhighest exhibiting company number ever. In total there were 1,533 exhibiting companies representing 5,010 Brands. Meeting those brands was a 2% increase in buyers over 2013. Buyers arrived in Anaheim focused on rebuilding inventory after a strong school music season, and on building up categories currently experiencing strong consumer demand.

In total, 96,129 members of the music product industry registered for the 2014 NAMM Show.

Exhibitors noted that crowds arrived eager for new products and ready to get down to business. "I don't know what's going on, but this year is phenomenal; we have been slammed! The buyers are buying!‖ said Ari Baron, vice president of marketing for Eastman Music Company. Dave Smith of his eponymous instrument brand also saw a lot of traffic, "NAMM is the only trade show we attend. This is it the hub of our outreach, our PR, our marketing. We meet with our current dealers, sign up new dealers, and show artists our new instruments so they can play them and hear how they perform. We've been incredibly busy the whole show!"

Retailers large and small return to their businesses with new product lines and categories that will hit shelves in a matter of months. ―I‘m most

focused on meeting up with major suppliers that I‘ve done business with or do business with and seeing what they‘ve got new products in particular,‖ said Richard Ash, CEO of Sam Ash Music. ―We are also looking for new companies that come out of the woodwork and have a product that will break through to the marketplace. If you‘re a musician, it‘s the ultimate kid in a candy store thing.‖

In addition to products, retailers search for valuable ideas gleaned from five full days of educational offerings. ―I come for inspiration and I always find it,‖ said Rob Kittle of Kittle‘s Music in North Platte, NE. ―I find products I never knew were out there. The buying I do and the things I see at the NAMM Show definitely influence my business for the year.‖

New entrepreneurs and categories entering the music market brought 303 new exhibiting companies to the show. NAMM Membership and in turn the NAMM Show is increasingly global, as reflected in the 6% increase in international attendees. The global scope of the NAMM Show is most clear walking the show floor. This year 636 exhibitors from outside of the United States made

up more than one-third of the total exhibiting companies. These companies come from 49 different countries to unveil their brands‘ new products at the show.

About NAMM

The National Association of Music Merchants (NAMM) is the not-for-profit association with a mission to strengthen the $17 billion music products industry and promote the pleasures and benefits of making music. NAMM's activities and programs are designed to promote music making to people of all ages. NAMM is comprised of approximately 9,000 Member companies located in more than 87 countries. For more information about NAMM or the proven benefits of making music, interested parties can visit www.namm.org, call 800.767.NAMM (6266) or follow the organization on Facebook, Twitter and YouTube.

Bringing the Goods to YOU from NAMM

The National Association of Music Merchants convention (or NAMM to those ―in the know‖), held in Anaheim at the Convention Center January 24th - 26th, is an annual get together for companies in the music industry to show off their latest products to buyers and sellers of musical equipment. Everything from guitars and drums to turntables and microphones were on display in the Anaheim Convention Center all weekend. CV WorldWide again had the opportunity to attend this years convention and get a glimpse into some amazing products coming in 2014. Jason Constantine, our in house music equpment reviewer, will be showing us some products over the next few months that are new to the market. Below is a small sample of what is to come in the next few issues.

Our FIRST Review, in this issue

Legator Guitars - Helio 400C Single cut LP style guitar

Upcoming Equipment Reviews

Mojo Hand FX - DMBL Distortion / Overdrive Pedal

Mojo Hand FX - Dewdrop Spring Reverb

Mojo Hand FX - Speakeasy EP Preamp

Dean Guitars - JCV C450F ―Jacky Vincent‖ Signature Guitar

Ibanez Guitars - Universe UV70P 7 String Guitar

Ibanez Guitars - ARZIR20 FB the latest Ibanez single cut style guitar

Revolution Amplification - Newly designed heads by famed amp designer Tony Krank

Rhodes Amplification - Orthos

Lang Amplification - Lang Flagship 2x12 Combo amplifier

We will have photos and we will have some video features as well on our new YouTube Page. So be sure to check those out as well.

Gear Review: Legator Guitars

Legator is a fairly new company to the market, offering many different styles and options of guitars. Anything you can imagine is offered from Legator; 6, 7, 8 and 9 string guitars, S style, T style, LP style, Dual Cut, Acoustics and Basses are all available.

Legator Guitars was established in 2012 with one goal; to create the finest music instruments in the universe! This is a bold statement to be making, especially in a market where it seems everyone and their cousin is making guitars. Legator offers many instruments at various price points. They offer Korean imports and USA Hand made guitars so anyone can afford to play a Legator. Our resident reviewer Jason Constantine stopped at the Legator booth at NAMM 2014 to really put these guitars through their paces and see if they are truly some of the ―finest musical instruments in the universe‖.

Helio - HSC 400-LE:

This single cut LP style guitar is part of Legator‘s USA line. This guitar features all of the adornments of a typical LP style guitar with some refinements that truly makes it all Legator.

The HSC 400-LE Offers:

 African Mahogany Body w/ Maple Top

 Mahogany Neck

 Ebony Fingerboard

 22 Medium Frets

 24 ½ Inch Scale Length

 Seymour Duncan Antiquity JB and Jazz Model Pickups

 2 Vol / 2 Tone Control configuration w/ 3 way switch

 Graphtech Bridge

 Hipshot Locking Tuners

MSRP: $2499.99

So what‘s the verdict? These guitars played amazingly well. The sculpted neck heel gives you fiull access to the upper frets with no restrictions, unlike other LP style guitars. The 22 Medium Jumbo frets were

polished and trimmed to perfection. The ebony fingerboard was evenly colored and showed no signs of being a cheap piece of wood. After playing this guitar for about 5 minutes it felt like an old friend. Chords and notes sung with sustain, string bends were easy and the pleasant C neck profile was very comfortable. The guitar sounded excellent running through one of the soon to be released Legator Tube Amplifiers, and even with extreme gain settings I was able to roll back the volume and clean up the tone nicely. The finish on this guitar was flawless, and the quilt top was deep and lush. The burst was even, and the binding was finished perfectly. You could not tell the difference between the clear coat and the binding.

Ratings:

Overall Value: 9 - Slightly above the price you would pay for a LP style guitar of similar quality. Finish: 10 - Flawless perfect mirror finish and gorgeous deep rich color

Tone: 10 - Deep rich lows, clear crisp highs, notes sustained for days

Playability: 10 - Fast neck, not too fat, but not too thin, a perfect balance of modern and classic

Overall Score: 9.75

Final thoughts:

Legator Guitars is truly out there to cover the market. Their range of guitars and quality puts them immediately in the ranks of some of the finest instruments around. Their list of endorsees is nothing short of a who‘s who of the current trends of the music industry (and includes Jake E Lee, Jon Donais of ANTHRAX, Greg Tribbett of HELLYEAH, and many others). Their popularity is growing and I can see why. These instruments are finely crafted instruments with every attention to every detail.

Sights Around NAMM

Through the Eyes of Sherry K

Sights Around NAMM

Through the Eyes of Sherry K

NAMM Vendor Spotlight!

At Yamaha, we will continue to create 'KANDO' and enrich culture with technology and passion born of sound and music, together with people all over the world.

Yamaha is featuring the TRBX Series, a full line of electric basses, at the 2014 NAMM Show. Combining advanced design, precision engineering and timehonored craftsmanship, these new instruments offer easy playability, comfortable body shapes and road-ready durability.

The four-string TRBX304 and TRBX504, along with the five-string TRBX305 and TRBX505, include new EQ and pickup innovations. All four models feature a five-piece Maple/ Mahogany neck for outstanding stability and excellent tone, along with finely crafted solid Mahogany bodies that are perfectly balanced and lightweight.

The 500-level basses are equipped with a 3-band Active EQ Control that can also be turned off for passive play. An Active/Passive switch lets players move between the two modes without losing any gain, ensuring the instrument’s versatility during live settings. The 500 Series also includes new H5 dual-coil pickups that deliver clear, punchy sound and a Battery Alert LED.

On the 300-level models, a Performance EQ Switch offers five performance-tuned full-spectrum EQ curves, which lets players switch between styles and sounds on the fly, including Slap, Pick, Flat, Finger and Solo settings, plus 2-band active EQ controls. The newly designed M5 hum-bucking pickups also feature built-in thumb rests.

“For years, loyal Yamaha bass players clamored for instruments in this price range and these new models will make players across the musical spectrum very happy,” said Armando Vega, product manager, Yamaha Guitars, Yamaha Corporation of America. “The EQ options offer unparalleled tone-shaping possibilities and the new pickups sound like nothing else on the market today.”

Yamaha today introduced the redesigned Stage Custom Birch drum set at the 2014 NAMM Show. Already considered to be pound-for-pound among the best drum sets in its class, the new generation Stage Custom Birch has received several significant upgrades.

Many of the changes are subtle, yet substantial. Yamaha upgraded the shells with the same thicker ply concept used on Live Custom and rounded the bearing edges for more head to shell contact, which provides a fatter sound. The Absolute style lug, which attaches to the shell using a single screw, requires fewer holes in the shell and less metal inside the drum, allowing the drums to resonate more fully. Die-cast claws and new spurs now adorn the bass drum and the snare drum now includes ten lugs for more precise tuning.

Stage Custom Birch kits also come in new sizes. Tom and floor tom sizes are now available at traditional depths and diameters, offering wider tuning and dynamic ranges. The floor toms, trimmed down to be under square, provide a better tone to attack balance. The drum sets also offer excellent finishes, high-end specs and superior hardware at a great value.

“The Stage Custom Birch has been a very successful drum set due to its incredible value,” said Dave Jewell, marketing manager, Yamaha Drums, Yamaha Corporation of America. “We listened to dealers and consumers and improved our number one selling drum set in many ways. From pro finishes to the new Absolute lug casing, the Stage Custom Birch drum kit will continue to set the standard for the industry.”

Yamaha is featuring the portable and affordable MOXFSeries at the 2014 NAMM Show.

MOXF compatibility with the Voices and Library of the MOTIF XF, MOTIF XS and the MOX Series data ensures the immediate availability of a large collection of sound and sample libraries and optional software. The 88-key Graded Hammer Standard MOXF8 and 61-key semi-weighted action MOXF6 come with 741 MB Wave ROM, 3,977 waveforms and 128-note polyphony, with up to 1 GB of Flash board sample expansion. In addition to a 16-track Song and Pattern Sequencer with real time loop remix, MOXF Series synths come with built-in, four channel USB audio/MIDI interfacing and extensive DAW/ VST controls.

Performance Mode enhances creativity by allowing players to combine multiple voices together and play them on one MIDI channel and with the interactive Arp engine, playing simple chords or even single notes provides complete musical performances to inspire creativity. The MOXF also features 256 preset performances in a wide variety of music styles. For music production, a built-in sequencer lets musicians produce high-quality tracks recorded in real-time without the need to plug into a computer or other external devices. The keyboards come with incredible presets, from pristine grand pianos to vintage keyboards, enhanced by advanced Virtual Circuit Modeling effects, which provide the textures of vintage analog compressors, EQ and stomp-boxes, down to their component transistors and resistors.

For producers who prefer to use the latest DAW and VST technology, the MOXF serves as the center of a professional-grade music production studio. Bundled software includes the MOXF Editor for detailed editing of Voice and mixing parameters along with MOXF Remote Editor for controlling VST templates and Remote Tools, which simplifies integration with Cubase. Audio and MIDI hook ups require a single cable for recording to a variety of DAW options and a special remote mode and AI knob makes it easier than ever to control recording functions automatically. MOXF keyboards come with Steinberg Prologue VST, a rich-sounding virtual analog synthesizer with a wide variety of textures that includes sounds ranging from lush, detailed pads to bright, acerbic leads.

“The MOXF Series is expandable, portable, affordable and compatible with a wide range of other products,” said Athan Billias, marketing manager, Pro Audio & Combo Division, Yamaha Corporation of America. “These new synths bring MOTIF music production power to a whole new generation of musicians and producers.”

Yamaha today introduced the new generation of MG Mixer Series at the 2014 NAMM Show.

All MG models come with Yamaha state-of-the-art discrete Class-A D-PRE microphone preamps. By using an inverted Darlington circuit topography, these studio-grade preamps feature multiple circuitry elements designed to provide more power, deliver lower impedance and supply an impressively wide frequency range that can handle signal from any source without coloration while faithfully retaining the original sound.

With varying input/output and processing capabilities, the new MG Series includes four XU models that feature an upgraded version of the renowned Yamaha SPX effects processor, including a comprehensive suite of 24 different effects that add professional polish to any mix (upgraded from the 16-effect version in the previous MG series). A favorite of sound engineers since their introduction more than 20 years ago, SPX processors have become the industry standard for both recording and sound reinforcement applications. The MG06X also comes with six non-editable SPX effects (but does not include USB integration, found on the XU models). Five Standard models range from six to twenty channels. New XU models offer digital connectivity and software that streamlines the recording process, including Steinberg Cubase AI. A USB 2.0 audio interface capable of 24-bit/192kHz sound quality allows for playback of digital content from a PC and recording of the mixer output using DAW software. USB Audio Class 2.0 is also supported so that compliant tablets and other devices can be used without installing drivers. All models in the XU line are compatible with Apple’s Camera Connection Kit or Lighting-to-USB Camera Adapter for seamless recording and playback of digital audio content to and from an iPad or iPhone.

The MG mixers also feature 3-band channel EQ and high pass filters; models with more than 10 inputs are equipped with newly-upgraded, 1-knob compressors that add optimized compression to a wide variety of input sources with the touch of a single control.

The entire MG line has been redesigned with an emphasis on durability to withstand the rigors of the road or rough handling. A powder-coated steel chassis provides improved structural strength, while the placement of the knobs above the chassis surface protects internal components by absorbing any impact or pressure on the knobs themselves.

NAMM Metal Jam 2014

more...Motorcycle Riding Tips

We all have enough "In memory of…" patches on our vest and do not wish to add any more. So here are 11 motorcycle riding tips to remind us of the things that can keep us in one piece and out of the hospital. Recently we‘ve heard of TOO MANY fatal motorcycle accidents, especially in my SouthWest market (Vegas & LA)...CVWW is sorry to beat this drum again, but you can NEVER get enough tips on riding motorcycles safely...

If you are a novice, sign up for and attend a Motorcycle Safety Foundation course. Not only will this course teach you lots of the things that will help keep you safe but your motorcycle insurance will probably be slightly lower as well – and who doesn't want to save on insurance, especially when riding in states with Helmet Optional laws that require large bodily injury coverage to enjoy the right for those who ride to decide.

Remind yourself where your suicide or kill switch is located. This switch, if you realize you are going to have to drop the bike, can save you from having your own motorcycle run over you causing injury.

If you are just learning to ride and live in a highly populated area, have an experienced rider take you and your bike into an area with little or no traffic. A parking lot of a closed business works very well. Neighborhood streets can cause the residents to complain. Ride in this controlled environment until you feel completely in control of the vehicle.

Learn how to stop and start easily and smoothly. Learn how long it takes to stop safely – it isn't the same as stopping a car.

First-time street riders should choose a time of day when the traffic is at a low. Jumping into rush hour traffic can easily lead to an accident on your very first outing. Select a route that takes you into very low traffic zones such as through neighborhoods, scenic routes and avoid at all cost getting on a freeway until you gain quite a lot of experience. Never, ever become aggressive toward a car or truck driver. Those cars win every single time in a road rage situation. They are bigger, heavier and have a lot more power. If someone tailgates you, tap your brake lights a few times and if they don't back off, change lanes or give them the road by pulling off to the side

We all know black is the only cool biker color, right? Well, if you are going to be riding at night in a poorly light area, it is much more important to be seen than to be cool, no matter what your friends say! Be sure your lights are bright and clean for maximum visibility but also consider placing reflective tape on the back of your helmet (if you use one) and maybe a glow in the dark patch on your back.

Never trust cages. Car drivers somehow, no matter how loud or how rowdy bikers can be, manage to simply not see us! The blind spot in most cars is sufficiently large for a motorcycle to be completely hidden from view. But other cage drivers simply don't seem to look for us. Unless, of course, they son, daughter, husband or wife happens to ride; unfortunately, we can't tell who those people are and have to be doubly aware of other vehicles than when driving a car.

Never assume that just because there is no turn signal on that car that it isn't going to turn right in front of you. No matter how many other drivers don't use turn signals, ALWAYS use yours and, if you have a passenger during daylight, hand signals can be an extra preventative measure.

You know those trucker bumper stickers that say "If you can't see my mirrors, I can't see you"? Well, use this same common sense when riding. If you can't see the driver's face in the rear view mirror of the vehicle in front of you, chances are they can't see you at all. Stay out of blind spots at all times.

Once you become an experienced rider, when riding on city streets, always allow room for other people's errors. An added safety tip is that you should remain aware of where you would choose to put the scoot down if the need arose. If you get in trouble and have any time at all, select where to lay the motorcycle instead of allowing traffic or the bike to determine that for you. If you can elect to place the bike on the ground, allowing it to move

DON’T let this be you! Ride Safely!

out from between your legs at low speed, you will experience much less road rash than allowing momentum to take you with the motorcycle.

Novice riders should never carry passengers. That comes later with more road experience. The movements of a rider can cause a situation where you can easily lose control, especially at very low speeds.

Above all, plan for safety so you will come home safely to ride again another day. Be defensive and be aware to avoid losing your bike – or worse, your life.

(reprinted from www.whybike.com)

Gear the Pros Use!

Chris Sanders - Guitarist for LONDON & Knight Fury

"As I stood watching Chris and his technique, I was reminded of another young guitarist I once had the pleasure of seeing many years ago at The Starwood. The band was called Quiet Riot. The guitarist was none other than Randy Rhoads." Lucky, SugarBuzz Magazine

Guitars

My first guitar ever was a Gibson Les Paul Studio. I still have it and occasionally tour with it. I used it for some of the rhythm tracks on the Knight Fury ―Time to Rock‖ album where I blended it with Jackson Guitars. Jacksons are my real work horse. Every solo I ever record was done on a Jackson RR1. Only thing that varied was the color of the guitar. On the road I have been known to also use Jackson RR3‘s.

Pickups

Seymour Duncan does it for me. SH2, TB4 and TB10

Pedals

I don‘t use analog pedals anymore. It‘s the old way of doing things. I suppose if you are on a limited budget and only want a few added tones it‘s all right in the home. On the road I don‘t want to deal with changing batteries or power adapters.

I have a vary colored sound and every effect I use is processed through rack gear. From EQ and a noise gate to chorus, delay and reverb. I even use a pitch shift to add an additional pitch 7 cents above signal. Having total control over these effects is essential. Knowing when to have what on and to switch tones at a moments notice for solo‘s to rhythm to clean can only be achieved through a ROCKTRON ALL ACCESS midi controller. This controller also controls my amp so I have total control over effects and channel switching.

Amps

I have used many over the years and have blown them all up. The first thing I do is put an antinuator on them. This allows me to have great tone from an amp that is cranked to 10, without the volume associated from a cranked amp. Speakers also sound the best at lower volumes. The Rocktron Vendetta 100 watt tube head is what I have used on every USA tour since 2008. EL34 and 12ax7 tubes are used.

Speakers

I use Wizard speakers from Eminence. They are the best speakers I have heard and I stand behind them 100%. I still have the original 16 speakers they sent me to reload my cabinets with. I have not been able to blow these speakers up. I love the efficiency (sensitivity) of them. Serious db and sound pressure levels.

Strings

I tried them all. Most are crap. Around 1995 I started using GHS strings and have never looked back. They continued to be the best string. I toured their factory in Battle Creek MI a few years ago and was very impressed with what I saw. Great company, product and people.

Tuned to standard I use 8-38, Eb 9-42, and tuned to D 9-46

Picks

They are purple and have turtles on them. Delron 500 1.5mm are what I tour and record with.. 2 hours a day I practice with Stylus picks. They have a diamond shaped head and are great for training and economy of movement.

Cables

Monster cables for tour and studio.

More from Chris:

CVWW: Have you done any specific mods to the guitars, or are they straight out of the box with the pickups & strings you mentioned?

No. Everything is the way it comes. If it isn‘t right out of the box, I‘m not gonna mess with it.

CVWW: Tell us a little about how you got started playing guitar, how often you practice, and a little about your advice & philosophy on guitar…

A steady practice routine is a daily requirement in my life. Usually starts about 7am or 2 hours after my workout begins. Testosterone is higher in the morning and allows to push harder. I do split guitar training. 2 hours in the morning and 2 hours in the afternoon.

I warm up. Go over a mental inventory in my mind of what I will be doing. There is always a focus on technique, old repertoire, new music, ear training, harmony's and posing in the mirror. Be conscious of your body's movements when so when you are playing live you get the best pictures.

Led by the Giancana siblings, originally from North Carolina, the guys in Masses Beware threw caution to the wind and relocated to the music city, Nashville, TN, to pursue their future as a band. Despite being a hard rock band in a country music city, Masses Beware has held their own in the music scene, playing local venues, expanding their fan base & notoriety with every new show. For these guys, it’s all in on their music careers, and based on their success so far, it’s a solid bet!

CV WorldWide had a chance to squeeze some quality time from their busy schedule...

<CV WorldWide> Alright, CVWW Interview 101, tell us who is in the band and his role.

Casey Self - Vox

Brandon Giancana - Drums

Nick Giancana - Guitars and Keyboard

Bryant Giancana - Bass and Live Background Vox

Sam Deyton - Guitar and Background Vox

<CV WW> I see 3 “Giancana” names in that list, is this an incredible coincidence or are you guys re-

lated?

<Bryant> We are 3 brothers from the same motha.

<CV WW> Who started the band initially, was it the brothers? What were the goals back then?

<Brandon> The band started with me, Bryant, and Nick. We really started a band because we had worked with other bands in the past and no one really had big goals other than just jamming and wanting to play local bars. No one wanted to finish writing

songs, or even put money up to record in a studio. So we kind of teamed up and said ―do you want to start a full project together, and put our money into the pot and record, do videos, and make the initiative to make it a full time job?‖ So that‘s what we did and so far it is working great! The goals back then was really to start the project and see how far it would go; kind of a trial and error situation and see if brothers could work in a band, and live together at the same time.

<CV WW> Any cool stories how the name Masses Beware came about?

<Nick> We started the project as my old band's name that I made with my nephew Erik - ―The Mask We Wear‖. We showed up to a gig about 2 and half years ago and the sound man announced us by misstating the name as ―Masses Beware‖. He did not hear us correctly, but we thought that is a good name, we searched it no one had that name, so we changed the name to Masses Beware.

<CV WW> Did you have any other interest growing up, or were you focused on music early?

<Sam> I was focused on music from the time I was 14, which is when I started to learn the play guitar on my own with no instruction. I would play Metallica, Pantera, Dire Straits and some heavier tracks, then started to form lead riffs. Casey started to play Bass in Orchestra, and started to back up sing in a band we were in together in High School. Bryant, Brandon, and Nick all played through High School

band, and started small garage bands as early as 8th grade. So we were all focused on music very early; it is our passion.

<CV WW> You state “Our Goal is to play music as our only option” was that and has that been the ultimate goal when you started this. <Casey> Yes I think that was our main goal, since we have all been doing music about our whole life. I made the move the Nashville to play downtown at places like Tootsies and just hit the cover country music scene as a bass player, and make good money doing that as my job. When Bryant, Brandon, and Nick asked me to join with Masses Beware I got excited, because I love Country Music but my passion is to sing in a rock band.

<CV WW> Tell us about the Journey in putting this line up together. Casey is fairly new (August of this year?), what about Sam?

<Sam> I came into the mix of Masses Beware at the beginning of September 2013. Casey called me up one day and asked if I was still serious about making music

like I was before he moved to Nashville. My reply was ―absolutely‖. I have had to come back and forth from NC to TN to get to the studio, because I don't live there yet. But I make these guys my priority and I really enjoy working with them.

<CV WW> Let’s break out a couple of quotes from your bio…

A: “We all came from different backgrounds of music”; alright tell us your different influences?

<Casey> Shinedown, Seether, and Nickleback.

<Brandon> Asking Alexandria, Ice Nine Kills, and some punk like Blink 182

<Bryant> Mudvayne, Korn, and Peter Gabriel

<Nick> U2, Killswitch Engage, and Taking Back Sunday

<Sam> Eric Johnson, Dire Straits, even some country guys like Brad Paisley

B: “Each of us brings a uniqueness to the band”; explain what uniqueness each of you brings?

<Bryant> We all add our uniqueness to the band in that we all get together and will tell everyone different things to do to compliment the song. Nick and Sam play every instrument so they will say try this here and see if it works, Casey plays bass too so he will say why don't we try this on bass, sometimes the parts fit sometimes they don't. But we all help each other to make it the best possible.

<CV WW> What do you think it is about the lineup that works so well.

<Casey> We are like a band of brothers, we click well, we get up all the time, to not only write songs, but go bowling about eve-

ry Thursday, and play games like Call of Duty. So we are not band mates, we are also good friends.

<CV WW> You are a rock band based in Nashville, a county band city-why Nashville?

<Brandon> Well, it is not only a country band city, but also the music capital of the world. They have the best studios with millions of dollars‘ worth of equipment. They have these studios all in a block where you can hit places like Quad, Oceanway, Ben Folds studio, and the tracking room just to name a few within walking distance. There are the big labels like Warner Brothers Nashville, Sony Nashville, Word Records, Razor and Tie, and many others not even 1000 feet from where we hang out every day on Music Row. You could throw a stone and hit them right out the front door where we hang out that is how close they are. The best producers, tens of thousands of songwriters, this is why Nashville is the music capital of the world. It is so amazing to live here, and walk the streets, and run into big name people all the time.

<CV WW> Does being a rock band in that city make it any harder or easier for you, tell us about the hard rock scene in Nashville.

<Nick> It is harder because in all the places you can play for easy exposure like downtown Broadway, rock bands are not allowed to be there. It is for cover country music only, there is one rock bar but you can only play covers. So that makes it harder. Rock bands have to play away from downtown but the good news is there

are many places to play. The Rutledge, 12th and Porter, The Basement, and The Foobar are great places to play, and they have great sound as well. There are some rock bands out here, the scene is alive but more underground, and it is hard to get people to come to the events. So it is rough, but if you get up with a few bands, you can get a decent show; but there is barely any pay. So you have to love rock music to play here locally.

<CV WW> Have you ever thought about moving to another city, one that might be more rock friendly?

<Casey> Nashville is our home for now. There are many places like New York, and California that would be easier to live in for the rock scene, but we really don't know yet. We all think Nashville might be the place to stay because it is the musical capital of the world.

<CV WW> On FB it says you have been involved in many #1 Parties, which is an honor to all of

us; what is a #1 Party?

<Brandon> A #1 Party is a party that is thrown by BMI, ASCAP, or SESAC to show thanks for not only the artist but the songwriters in Nashville as well. When we first moved here in January 2013, our friend Dale invited us out to the Carrie Underwood #1 Party for her song ―Blown Away‖. He wanted us to see how Nashville is different by honoring the songwriter as well as the artist; it‘s really about the entire team here. We got to shake hands with her, and the song writers, meet people at her label, heads of BMI, and ASCAP, so it was a great experience. He invited us out to many others later like Jason Aldean, Florida Georgia Line, Justin Moore, Randy Howser, and The Band Perry. The biggest honor was getting to meet Mr. Scott Borchetta of Big Machine Records, not once but twice. He is a person Bryant, Nick and I kind of idolize; he started the independent label, and made it to the top with hard work. So that was a big achievement for us.

<CV WW> You released the album in Nov. 2013 how has that gone so far?

<Bryant> It has gone great, we have 2 videos from the album out as well, we have had nothing but good comments on the album so far. With our videos out we just won a Beat 100 contest for ―Burn The Past‖ we got 2nd place on their world charts in the UK, which helped land us a Press Release to many papers, magazines, and online blogs to get the name out in the UK, and opened some doors for us, which was very helpful. Many radio stations are playing the new songs. ―Kingmaker‖; cross your fingers, it should be on a Movie soundtrack soon. So since November we have had a lot of success with the album.

<CV WW> Produced with Warren Peterson - quite a name - what did you learn from working with a heavy weight like this?

<Brandon> Yes we learned a lot. He co-produced My Little Psycho, Craving The Hunt, and helped engineer the tracking for a few other songs not released yet. He taught us professionalism in the studio. We had to learn fast how to chart the music for the Producer and Engineer which many people do not do in places

other than Nashville. He worked fast and we had to keep up, and also made us follow the grid or click to the songs. It was a great learning experience and a crash course on professional recording 101, which we needed badly.

<CV WW> Even working with such a professional, was a full length album easier or harder to complete than you thought?

<Bryant> Both easy and harder; it was easy working with Warren for 2 songs, he kept us paced, on time, and ran the session at a full professional level. For the other songs Brandon had to track and engineer the rest. I had to learn the patch bay, and get all the microphones patched in correctly, and we had to go back and forth between members recording, and punching in on mistakes. So that is when the hard part started to show up. We had an assistant Engineer help with some vocals, and some punching in on a few songs, so a big thanks to JP Sells for that. We took a few weeks to finish up everything, but we learned for the next album we will have qualified Engineers like

JP Sells to work with us the whole time.

<CV WW> Try to describe the feeling of holding your own CD in your hands?

<Sam> To me, having a full length album in its completed entirety not only gave me a huge sense of accomplishment, but also excites me that I have a finished project that I can share with the world, which is really cool.

<CV WW> Have you heard your own songs on the radio? When you’re with friends and say “that’s our song” what do they think?

<Nick> Yes I actually recorded our first big radio interview and they played 5 of our songs from the old EP before the album. It is really something special when you hear your own song played in another state, and others are listening. Most of our friends are musicians, so they would all call up after the show and say sounds great, or I never heard that one. It is just a big accomplishment.

<CV WW> Any particularly memorable shows, why were they memo-

rable?

<Brandon> Actually the most memorable show I think we had with Masses Beware was the first show in Nashville. Our friend Kevin aka ―Spaz‖ actually got hot sauce with a mix of pineapple sauce from the wings in his eyes. He is allergic to pineapple so he started seizing after the show and had to go immediately to the hospital in Murfreesboro. So we were an hour away from home, in a town we don't know, and stayed with him ‗til they rinsed his eyes out, and epi penned him. The worst part is we all got the flu a few days later. So I guess it was very ―memorable‖.

<CV WW> Pineapple sauce AND hot sauce?! Do I even want to ask?

<Brandon> Haha! Spaz is bit of a messy eater, especially with wings so he ended up rubbing his eyes somehow, probably not wiping his hands off with a napkin first; even though he did, he wanted to stay the rest of the show. The bad part was he was the lead guitar player for the band at the time; during the show he started to yell during the 3rd song

and curse bad, so we stopped the show to check on him, then he started seizing. So the whole show stopped after that, a nurse in the audience called 911, and started to give pre-care by getting everyone away from him, checking his vitals, and trying to find out what the ingredients in the food were. A few minutes later 2 ambulances and 3 fire trucks show up, the whole street looked like a massacre happened, people outside in the dorms near the college were coming over, it was a total clusterf**k. He started to tell everyone he was allergic to pineapple when he awoke which was in the hot wing sauce. At the hospital they gave him a epi pen to control the allergic reaction. But the part of the story I left out was the nurse in the ER could not control him washing his eyes out, so they made me help hold him down and keep his eyes open. Then a few days later

we all got the flu.

<CV WW> Ahh, the life of a musician, good times.

<Brandon> Yeah…

<CV WW> Any of your songs speak deeply on a personal level to you guys?

<Sam> The songs on the new album defiantly speak to me on a personal level. I am the type of person, that I don't necessarily need lyrics for a song to hit me in the heart. I put a lot of time, sweat, effort, and achy fingers into this project and hearing the lead riffs, rhythm parts, and other sections where we added my ideas in the songs speak to me.

<CV WW> I see you use Social media some, but not overly too much - how do you see social media; necessary evil or savvy marketing tool?

<Casey> It is very savvy, I don't know where we would be without it. It is a great way to branch out and hit new fans in other states, and even countries, without even touring there.

<CV WW> How has signing with Endless Beat Management taken the pressure off you guys to do the heavy lifting of the management?

<Bryant> It really helped a lot. Not only do they help line us up with the right people for the job like music videos, they help promote us every day, and get major contacts to check us out. That is where we got ―Kingmaker‖ on the soundtrack for the preproduction of the movie. Plus they helped cut some budgets by working our deals with other professionals to help keep costs like the studio down and affordable.

<CV WW> Did you just finish up a mini tour, did I see that right? Tell us about how that went for you guys.

<Brandon> Well, we had 2 tours lined up with 2 different bands from Victory Records a few months ago. We were really excited about it, got new gear, and put down some money for renting a decent van. But one of the bands broke up a month before the tour started, and the other band had to cancel the other tour for some reason, so it was a no go

for touring. We are talking with many other booking agents who are lining us up some small tours for the end of this coming spring though.

<CV WW> In a “country city” what is it about Masses Beware that appeals to the hard rock fans?

<Nick> We put on a great show, but mostly I think it is the music that speaks to them. We have always picked up a few new fans every time we played, so we are very grateful we have good support of fans for always showing up.

<CV WW> How did you guys feel before your first show, where you nervous, wanting to head on stage?

<Casey> Not at all. We are all performers; I personally love to get on stage, it is the one thing I look forward to every time I play a gig.

<CV WW> If you had one Band to open for during a show who would it be?

(All) There are so many good bands, we wanted to add a few Led Zeppelin, KISS, Van Halen,

Rush, and newer bands like 30 Seconds to Mars, Creed, and Shinedown.

<CV WW> What is one of the best pieces of advice someone has given such a young band?

<Nick> ―Play with a Metronome or Click‖, and ―don't get married‖.

<CV WW> Where do you guys feel you are in the musical journey of Masses Beware? Where do you see yourselves in 3 to 5 years?

<Bryant> I think we are established enough to really make Masses Beware a go right now. We have the right members, we have the right attitude, and we all have the same goals. Hopefully in 3 to 5 years we will be with an independent label, moving towards a major label record deal, we are reaching for the stars and our dreams, and we think it can be accomplished.

<CV WW> 2013 has come and gone; more popularity, a full length album out, what is in store for Masses Beware in 2014?

<Brandon> Well. we are working on some spring and summer touring, we have a few more songs we might be cutting soon to start the next album, and get them tracked and ready to go. New radio stations playing our songs overseas in the UK, Germany, and the Netherlands, and a big concept music video coming soon it is in the works. It is going to be a busy year, but we can't wait for it.

I have to first say...personally, I was blown away by the energy they put into their performance at Vinyl (located at The Hard Rock Hotel and Casino). The crowd was bursting with enthusiasm that took you right back to when music video's were King! Ladies throwing themselves at the band and the sea of horns \m/ raised in praise! The youngest fan stood to my left and rocked it out all night with me.

By now I am sure we have all heard that the 80's music was quite influential from L.A to New York. Growing up in the Hair Metal days, I don‘t think I could have gone a day without hearing rocking songs like ―Never Enough‖ or even beautiful ballads like ―Ballad of Jane‖ and not blast it out on the radio or my walkman (thought to self ―I miss that damn walkman‖). Without being a child growing up in the 80's I would have never plastered my wall with posters of these men. My idols...

Anyhow, moving on...L.A. Guns helped move and motivate the metal scene above and beyond your average band of their time. The band has always carried a more Glamorous/Vamped out image and to this day it still sparks in my memories. How no one could forget the pale skinned, long black haired, red lipstick wearing sexy men that they were and still are today. Watching their performance was a blast from the past with a few new faces now in the band who fit like a glove.

We saw founding member Phil Lewis (1987–1995, 1999–present); some would call him ―Glam Rocker‖ (Vocals & Guitar), I call him a ―Gypsy Vamp Rocker‖ he still has a swagger to drive the ladies wild. It‘s either his swagger or his English accent. Either way the girls wanted a piece of his pants or leg or never mind... Phil has some outstanding vocals to this day and can give his music to you with a great passion, I only ask that you listen...I would dare call Phil a lady killer with that alluring smile and long hair, yeah he is ―acquitted‖...

The beast behind the skins Mr. Steve Riley (1987–1992, 1995–present), still behind the drums that keep the party rolling, the band is very much still alive and kicking your asses! Some of you may have also experienced momentary memory loss due to head banging to Steve's drum beats. My guess is it‘s got to be a great brotherhood between these men.

Then we have the handsome Scott Griffin (guitar/vocals), who joined L.A. Guns (2007–2009, 2011–present) and has been with them since stepping away only momentarily to join ―Hookers and Blow‖ and ―The King Mixers‖ days. Being a long time fan of L.A. Guns, when Scott rejoined the band the fans made it quite clear that they are happy he is back and in full action with the band.

The we get a new and younger face to add to the mix of seasoned pro's; Michael Grant (guitar/ vocal/ contortionist) being the baby of the band and having only been performing with them for a year, he will knock your socks off with his talent and personality on and off stage. Not only is he heavenly eye candy but he plays effortlessly. During the set he broke a string and keep rolling out the professionalism throughout the song. Lucky for him Brent Muscat of Las Vegas's own ―Sin City Sinners‖ was quick with a draw and offered his guitar to Michael ‗til his was re-strung...

So now to get you out of work mode and back to a great show, L.A. Guns is energetic, fun loving and

without a doubt one band not to miss live. So get out and enjoy a fantastic show that contains many of the songs you loved, mixed with a few newer bonuses and they could even cover some of your favorites from the past!!! No matter the situation get out and show these hard working musicians how much you appreciate their hard work in a live venue!!! I don‘t want to give away the set list, I will however say my ―Gypsy Soul got pushed Over the Edge‖!!!

A Trucker’s Guide on Winter Driving

In eight years as a truck driver, Alan Wrobel has driven 810,000 miles (accident-free) in 45 states and Ontario. Here's his advice on how to handle yourself when the snow starts falling:

When you face a nasty winter storm, use your best judgment. Don't go out unless you have to, and always make sure you have an emergency kit, warm blankets, and rations in the car. Now, here are some tips, basic and advanced, to help ensure you won't need to use that emergency kit.

Relax:

Breathe and stay calm. Panic causes people to overreact. You need to focus.

Slow Down:

Drive only as fast as your abilities and the capabilities of the vehicle permit for the road conditions. If you're out of practice on snow and ice, slow down. If your tires are bad, slow down. If your car has a low ride height, it won't handle accumulating snow well. Again, just slow down.

Be Smooth:

Your actions need to be controlled and deliberate. Hard acceleration, hard braking, and sharp curves all decrease traction. Maintain a consistent speed, open up the distance between you and the car ahead, and be easy on the brakes. Steer gently, and remember that inertia will be a factor.

Let There Be Light:

In inclement weather, turn on your headlights. This is so other drivers can see you. Your taillights will be brighter too.

Use Your

Signals:

Here's a trucker's rule of thumb for lane change: Dry or rainy (not freezing) weather: three blinks, then move over for three blinks. Winter weather: four or five blinks, then move over slowly. Signal

for turns before you start slowing down.

If you're going significantly slower than the traffic around you, turn on your four-way hazards, take the rightmost lane, and just let everyone pass you. The hazards let other drivers know you're going slower than they are, and this can help prevent a pileup.

Observe Tire Spray:

Pay attention to the water coming off of other vehicles' tires. If there's a lot of spray, the roads are wet. If there's less spray and the road's look wet, take extra caution; the roadway is starting to freeze. If the road looks wet with little or no spray, you're on black ice. Be extremely cautious.

Watch the Truckers:

When the weather goes south, if the big trucks are slowing down, you should too. If they're pulling off, perhaps you'd better take a break as well. By no means do I recommend keeping pace with them. (We're kind of a crazy breed with the advantage of more weight, higher road clearance, more tires, and bigger tires.)

Do Not Stop:

If visibility is zero (i.e., you can't see beyond your hood), do not stop where you are! You WILL be hit. Creep along until you can safely get your vehicle off and away from the road.

Waiting it Out:

Exit ramps are typically plowed after the main highways. Rest areas are cleared after that. If you need to get off the road, wait it out in the parking lot of a gas station, 24-hour restaurant, or hotel. You stand a better chance of not being snowed in.

Traction is Everything:

Loss of traction in snowy/icy conditions doesn't happen because you're on ice. It means you're hydroplaning on an almost microscopic film of fluid water (in a transitional state) between the ice and the surface of your tires. The lack of cohesion in the fluid gravely reduces friction, which results in less traction.

Make sure you have snow tires or all-weather radials with wide and deep tread valleys. Siping (small cuts that look like squiggly lines) on the tread studs will help with grip on packed snow and ice.

When is Cold-Weather Driving Riskiest?

You face the greatest risk of losing traction on snowy, wet roads when temperatures are between 22 and 35 degrees Fahrenheit. At colder temperatures (10 to 20 degrees or less) snow-covered and icy roads afford more traction than at those warmer (22 to 35 degree) temperatures.

Don't believe it? Try this: Take two ice cubes. Place one in a deep freezer for 30 minutes. Drop the other in a glass of water. Try picking it in up with your fingertips. Notice how slippery it is? After 30 minutes, get the other ice cube from the

freezer. My bet is it practically sticks to your fingers for a bit.

The same principle applies to driving. The ice is almost sticky in more extreme cold. But during heavy and slower traffic, more heat is applied to its surface, and traction will be commensurately reduced.

Ultimately, you're responsible for exercising your best judgment. If the weather is bad, stay put and let road crews do their jobs.

Be safe out there.

Order in the Chaos

Why independent songwriters should register the copyright for their music

[Article by special guest contributor Anthony Ceseri]

Please Note: This article discusses opinions on copyrighting your music and should not be considered legal advice. If you’re unsure about how the copyright laws in your country will affect you, please contact a lawyer before proceeding.

When you submit a song for copyright you‘re simply proving the date of submission of your work. The fine folks of the copyright office don‘t sit around listening to every submission to see if they‘ve heard it before. That would be an impossible task. When you write or record your song, technically, you‘ve created it and thus you own the copyright to it. By submitting a song to the copyright office, you’re protecting your music simply by acknowledging the date of its creation.

It’s also important to note that certain aspects of your song are not protected even if you’ve registered the copyright. These include:

* chord progressions

* the overall idea or concept of your song

* and a title or short phrase

Just think about how many songs have used cliche ideas like ―I wish you were here,‖ or ―What doesn‘t kill you makes you stronger.‖ Also, imagine how many copyright infringements there would be if the I – V – vi – IV chord progression could be copyrighted. On the other hand, melodies and the actual lyrics are very much covered under copyright protection.

Beginning the copyright registration process

The website for submitting your song for copyright in the United States is http://www.copyright.gov/.

On this website, you‘ll be able to print forms for mailing in the music you want to copyright, or you

can submit your music for copyright online, which makes submitting even easier.

When it comes time to copyrighting your music, there are two forms you can use as a songwriter. They are Form SR and Form PA. Technically, there are three forms, if you consider the fact that there‘s also a short-form version of the PA form. But that offers the same protection as the PA form. SR stands for Sound Recording, while PA stands for Performing Arts. So how do you know which one to use? The following is from the Copyright Office‘s website and will answer that for you:

When to Use Form SR (Sound Recordings)

Use Form SR for registration of published or unpublished sound recordings, that is, for registration of the particular sounds or recorded performance.

Form SR must also be used if you wish to make one registration for both the sound recording and the underlying work (the musical composition, dramatic, or literary work). You may make a single registration only if the copyright claimant is the same for both the sound recording and the underlying work. In this case, the authorship statement in Space 2 should specify that the claim covers both works.

Form SR is also the appropriate form for registration of a multimedia kit that combines two or more kinds of authorship including a sound recording (such as a kit containing a book and an audiocassette).

When to Use Form PA (Performing Arts)

For registration purposes, musical compositions and dramatic works that are recorded on disks or cassettes are works of the performing

arts and should be registered on Form PA or Short Form PA. Therefore, if you wish to register only the underlying work that is a musical composition or dramatic work, use Form PA even though you may send a disk or cassette.

Examples of the Proper Use of Forms PA and SR

Jane Smith composes words and music, which she entitles “Blowing in the Breeze.” Even though she records it, she is not interested in registering the particular recording but only in registering the composition itself. If she decides to submit “Blowing in the Breeze” for copyright registration, she should use Form PA.

Emily Tree performs and records Jane Smith’s “Blowing in the Breeze” after complying with permissions and license procedures. If Emily decides to submit her recording for copyright registration, she should use Form SR. The same principles apply to literary and dramatic works. A recorded performance of an actor speaking lines from “Hamlet” could be registered on Form SR as a sound recording. The claimant in the sound recording, of course, has no copyright in the underlying work, “Hamlet.”

Copyright registration costs…

There is a cost associated with each application, whether it‘s a Form PA or From SR. Check the Copyright Office‘s website for the most up-to-date fees. The good news is, if you’re copyrighting your own music, you can submit multiple songs under one application for one application fee. So if you‘re copyrighting an album of ten songs, as opposed to copyrighting them one by one, you‘ll save a few hundred bucks when protecting your work. Plus it saves you the paperwork of copyrighting all of your songs separately.

Poor-Man’s Copyright, and Other No-No’s

It‘s also worth mentioning that there are a couple makeshift copyright alternatives that songwriters occasionally like to talk about. I don‘t recommend doing these. The most popular is called the ―Poor Man‘s Copyright.‖ This is when you physically mail a recording of your song to yourself via certified mail and keep it sealed. Supposedly the postmark on the envelope will date your music and therefore protect you if someone comes along after that and steals your song. A newer version of this idea is simply putting your song on YouTube or another time-stamped social media outlet. The idea is that your music is dated and therefore protected by the time stamp on the social media site.

All I can say about these kinds of alternatives is DON’T DO THEM! Their ideas may make sense to you, but if it ever came down to a court battle, you would absolutely want your music properly registered with the copyright office. Especially considering the fact that it‘s really not that expensive if you submit a whole collection of songs at once. Taking the proper means to protect your music is something all artists should do as they move forward with their music careers.

Now that you have a background on how to get your music copyrighted, move forward with the process so you can get your music out to the masses and get heard!

For a lot more songwriting information, grab your FREE EBook here:

http://successforyoursongs.com/freeoffer/

Special Bonus: Pamela Moore

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