A Word On Booking

There has been a substantial amount of weirdness with booking lately, and I wanted to post something about it.

Very simply, I want to make sure that everybody out there knows that they are NOT being jerked around in any intentional way.

What has happened, though, is that a lot of dates that were planned for quite a while have fallen through, and I have also come under some temporary circumstances that require slowing, or outright freezing of booking. Additionally, bookings that were in force five minutes ago may or may not stay that way.

The bottom line:

I always handle bookings based on what I know at that moment. If something changes in the next moment, it can be frustrating, but I don't have a way of telling the future.

Now, nobody has said anything to me about the goings on - this is just to pre-empt any rampant speculation, as I definitely recognize that Underground may appear to be acting a bit strangely at the moment.

Ear Plugs

Last week, on a whim, I decided to go back to using my "expensive" ear plugs. They're supposed to preserve the natural frequency balance of the sound entering your ears, even while getting the level down to something "safe."

I used them for a loud show (metal), and was very quickly reminded of why I retired them. They certainly cut quite a bit of broadband level when inserted, but they seem to let through a disproportionately high level of the highest frequencies. Beyond annoying, it's disconcerting, and it's particularly noticeable with metal bands that use lots of cymbal wash (because cymbals have harmonic components that go VERY high). Also, the high-midrange resonance caused by the plugs was downright painful at times, but I won't go into that...

Anyway, the most expensive earplugs that I own are also the ones that I like the least.

I had some Etymotic/ Hearos plugs that I used (and liked a fair bit), but they were tough to clean, and I never felt sure of the balance I was getting. Their supposed "higher accuracy" just made me feel like I wasn't really being protected from the loudest parts of the night.

For quite a while now, I've been back to using earplugs that you can buy at Smith's Marketplace for about $3.00 - and I like them a lot. Even though they really kill off the high frequencies, I somehow feel like I know what's happening when I have them in. (Of course, I might be totally wrong, but I don't get many complaints about my mixes being wildly inappropriate, so...)

Sometimes, the cheap component is the right choice. Notice that I said "sometimes."

New Song Underground - A Case For Support

Last night, I was sitting at FOH, enjoying the TRAGWAG/ Katie/ Sara Janey/ Nicholas Allen show, and I thought:

"You know, if Underground really is going to get funded, a case has to be made for it all."

My hope is that those of you who read this blog will "spread the word" to as many people as you know. The more people that know about the need, the more chance there is that the need will be met.

I will try to do my best in terms of making this case for support. It is only fair to state that I am the audio technician mentioned in this document, and so I have a vested interest in the future of Underground as it pertains to my own interests. It is also only fair to state that this document is only my own observations and opinions, and not necessarily those of anyone else.

Introduction

At least, by the standards of the regular music business, Underground doesn't work. However, in a sense, the core workings of Underground are not intended to. Underground was not carefully undertaken so as to provide a solid return on investment, experiencing sustainable growth in profitability for its operators. Instead, the whole point of what's being done is to give. The idea is to be as extravagant as possible with time and resources, so that local musicians will benefit from them. There is some offset to this, as local musicians do split the door with the house - but, in the long term, that won't be enough to keep the Underground vision alive.

Underground has, in some way or another, been a part of the local music scene since "the bottom half" of 2005. There have been some fits and starts, and times when Underground was a part of something else, but its identity has always stayed alive (at least a little bit). In 2008, a decision was made to re-ignite that identity, and Underground is currently operating (although with a recent slump) as 2009 begins to wane. During the last year, Underground has had success greater than anyone anticipated. However, Underground is facing rather substantial cost increases over time, mostly in the realms of retaining professional staff, and upgrading its facilities. If Underground is to serve the arts in the long term, these challenges must be met.

Why New Song Underground Is Important

New Song Underground is important because it fills a niche that rarely receives any great attention in the music world. It is a place that is friendly to almost any musician who desires to perform within its confines (both physical and those of "policy"), and also exists to benefit these artists at least as much as itself. The aim of Underground is to supply performing artists with the classiest, and most professional live-music production that can be achieved with the resources available to us.

Underground strives to operate on the premise that every show is important, and so is every performer. This importance is not tied to a performer's notoriety, musical taste, or ability to sell tickets - rather, this importance is inherent in their desire to speak through their art. Underground also strives to operate on the premise that it is far more rewarding to give our best to as many as possible, rather than to reserve our best for a priveliged few. Underground is based on a Christian worldview which espouses an "economy of grace," as outlined in this document:

http://newsongunderground.blogspot.com/2009/05/why-of-new-song-underground.html

The Numbers (Such As They Are)

Because quite a bit of historical data (2007 and previous) was mixed in with other information, it is difficult to extract an accurate picture of exactly what Underground did and did not do in regards to income and costs. However, accurate data is available from 2008 and 2009 (to date). Here is what that data shows, as of this document's creation:

Total Performances:

07/26/2008 - 12/31/2008: 43

01/01/2009 - 08/22/2009: 104

Total Income From Performances:

2008: $3,858

2009: $7,717

Average Income Per Performance:

2008: $89

2009: $74

Audio Technician's Pay From Performances:

2008: $2,874

2009: $6,937

Not shown in this dataset are indirect costs, such as facility rental, utilities, wear and tear on equipment, and expenditures related to miscellaneous costs, such as PRO licensing. These costs have been borne by New Song Presbyterian, and have made Underground possible when it otherwise would not be.

Challenges

There are two main challenges to New Song Underground's long-term viability:

A) New Song Presbyterian and New Song Underground are in a facility that is rapidly becoming inadequate.

B) New Song Underground's ability to retain professional staff is inadequate.

The facility currently occupied by New Song Presbyterian and New Song Underground is simply becoming inadequate for the church's vision. It is not accessible to those with limited mobility, it is difficult to heat and cool, it is not large enough for multiple groups to use the facilities simultaneously, and it does not have the flexibility to allow for a real diversity of outreach projects. Purely from the New Song Underground side, the building's electrical system is inadequate, it can be difficult to load-in performing groups with heavy or bulky equipment, the ceilings are too low, and the building transmits an undesirable amount of sound to the surrounding neighborhood.

Although a capital campaign for funding a new building is currently underway, there is some question as to how large a strain Underground will put on the rest of the project, financially speaking. The build-out (and equipment) costs for a "theater" type space with long term quality and viability will be quite high, and the costs to sustain such a facility will also be significantly higher than what is experienced now.

In terms of retaining staff, Underground is primarily fueled by a personal commitment to its vision. This commitment has made it possible for Underground to have the services of a professional audio technician, full time, for substantially less than the federal minimum wage would require for an ordinary worker. This has been perfectly acceptable to all parties in the past, but this situation can not continue indefinitely.

The Request

New Song Underground needs gifts of all sizes. Small gifts make everyday impacts, whereas major gifts ensure Underground's long term viability. Also, gifts need not be restricted to New Song Underground. A gift made simply to New Song Presbyterian helps to reduce Underground's impact on New Song's budget, and a restricted gift to the building fund also has an implicitly positive impact upon Underground.

Some examples of gift impacts, in powers of 10:

$10 - Can replace a mic cable or other interconnect.

$100 - A new or replacement microphone, or several cables.

$1000 - Upgrades or replacements for audio processors, or for lighting instruments and control. Significant amount towards down payment on new facility.

$10,000 - Extensive upgrades to audio or lighting, or two-thirds of audio technician's salary for 2010. Substantial amount towards down payment on new facility.

$100,000 - Substantial cost of audio and lighting refit for new facility, or audio technician's salary and raises for five years. Significant amount towards total new facility purchase price.

$1,000,000 - Cost of world-class audio and lighting refit for new facility, or audio technician's salary and raises for 24 years. Substantial amount towards total new facility purchase price.

If you would like to discuss Underground in more detail, I would be very happy to do so. You may contact me via Myspace at http://www.myspace.com/newsongunderground, by phone at 801.638.7975, or by e-mail at dmaland0@gmail.com (the character trailing dmaland is the number zero).

If you would like to discuss the particulars of making a gift, such as tax deductions, New Song Presbyterian's mission in general, or other such topics, it is best to speak with a New Song Presbyterian staff member directly (all gifts, whether restricted or not, must be made to New Song Presbyterian Church). The office can be reached at 801.326.4239, or you can e-mail one of the staff members listed in the contact info section of http://newsong.org/.

Thank you very much for reading this case for support, and considering it.

I Haven't Forgotten About This Blog!

...and, to prove it, here are some pictures from the recent Gorgeous Hussies show.

I wanted to document this show, because it was out of the ordinary. Instead of a standard "rock band" setup, I got to interface a stage and monitor rig (in ear monitors, or IEM's) with Underground's FOH setup. This was pretty sweet, as the band carried everything they needed to make their end of the show happen (like mics, a monitor console, and a passive signal-splitter), and just sent me a bunch of lines to drive FOH with.

Band-mixed IEM's are a great thing, because everybody can have pretty much anything they want in their monitors, delivered directly to their head, and without any realistic possibility of feedback.

There were one or two hums/ buzzes, but nothing that couldn't be cured with a DI box.

Please Help Underground IMMENSELY By Observing The Following:

Avoid interacting with our neighbors in ANY WAY, including making noise in the parking lot.

Just this week, I had a threat of another call to SLPD, because somebody had hooked up an amp, and was hammering away at their guitar while in the parking lot.

While I can certainly understand that the person involved had a fair amount of time to kill, and was excited to play a bit for their friends, I also have to say that every little issue stacks up against us.

I'm just an audio technician - I can't watch everybody at all times. Please do your part, and keep things contained within the walls of our building.

Thanks!

Mason Jones and the GT's

So,

After a recent show, Mason told me that he expected a good review on the site.

Now, normally, I've tried not to evaluate the bands when writing show reviews. However, I'm definitely willing to pass along info about a band that I particularly like, and Mason Jones and the GT's definitely fits the bill.

Bottom line:

From the first few notes of the first set that I heard these guys play, I have been in love. This is full throttle, straight ahead, turbocharged American rock. Think along the lines of what would happen if Bruce Springsteen and John Mellencamp got together for a tour that criss-crossed the Midwest. Mason Jones and the GT's are the soundtrack that plays whenever a classic Ford Mustang (with racing stripes) is fired up.

I urge you to go see a Mason Jones and the GT's show before they become huge, and you have to sacrifice a car payment in order to get a seat at an arena.

Check it out - one cool thing about this video (other than the rock, of course) is you can hear me fumble around with turning up the wrong guitar during the first solo:

Mason Jones and the GT's!

The "Why" Of New Song Underground

Every so often, somebody will ask about why New Song Underground came to be.  Most of the time, I don't really have the luxury of answering the question completely.  I have to condense the answer into something that can be delivered while doing a band changeover, or a load in/ out process.

It's been suggested to me that now might just be the time to put a "long form" answer up where people can actually read it.  In order to do this quickly, I've excerpted the following from a document I wrote a few months ago.  If anything is unclear, I will try to explain (if asked).

=====

I once heard an excellent quote, which I have since modified to describe various encounters that I have had with maturing as a child of God: “When God was holding me over the pit of hell by my neck, shaking me vigorously, He wasn't trying to hurt me, and He wasn't threatening to drop me. He just wanted my undivided attention.”

The end of my involvement with Rising Artists Studios was a moment like this, where an unsettling time allowed for listening to the Spirit, and re-evaluating priorities. It also meant that there was time to re-think what an Underground-esque ministry was really about.

The ultimate aim of Christ's Church is spreading the gospel.  It may be argued that spreading the gospel involves both the transmission of a verbal message, and the demonstration of how the power behind that message operates in people who have received it.  Underground is a ministry that is mostly focused on the second aspect.

In order to display the transformative power of the gospel, Underground's philosophy is to be in opposition to the "economy of the world" which holds sway over the local music scene.  This opposition takes the form of operating as an "economy of grace," which seeks to be welcoming and hospitable - rather than closed-off and self-interested.  The way in which this manifests is described in the following assertions:

The economy of grace is an “I'll go first” situation. Logically, if God reaches out to us and takes upon Himself the risks of acting first, it is probably right to model that. One has to initiate actions within the wider community, because waiting for the world to “play nice” will result in a very long wait time!

The economy of grace is, for Underground, based on the idea of “I was a stranger, and you welcomed Me.” The idea of Christian hospitality, manifested in making our facility and equipment available to those desiring to use it, is the basic principle of what is being attempted.  Everyone should get our best, because we have received the best ourselves.

The economy of grace demands that such hospitality be, at the very least, risk free to the recipient. A band promoting a show has already taken on risk and cost, so providing facilities for them to use is only hospitable if no additional risk is incurred. The recipient must be able to “Come, buy wine and milk without money and without cost.” Underground may take a door split out of necessity, but that split must always have the possibility of being zero – otherwise, there is greater risk to the band, promoter, production company...you name it.

The economy of grace does not evaluate the recipient before they receive the benefit of the ministry. The band already “rich” in fans should not get preferential treatment over a band with “5 people going to show up, maybe.” This means that whoever books a date first gets that date. Even if the most famous band in the world asks for that date, the least important band in the world should have its booking honored.

The economy of grace is secure in being a light to the world, with that light being undimmed by the recipients of its illumination. If one desires to reach people that others treat like "prostitutes and tax collectors," one must spend time with them and welcome them. It may not always “look good,” but it is necessary. By welcoming people who are not welcomed by the world (or, unfortunately, by other Christians) one is “preaching one's message” to them, and not the other way around.

The economy of grace is an undertaking that deserves seriousness and extensive commitment. It is not a hobby, to be given time and attention only when it is most comfortable. Rather, the attitude ought to be one of high availability – every day other than Sunday being available to the community at large. The Kingdom is not only open on weekends.

So, What's With This "BOTB" Thing?

Some of you may have noticed a whole bunch of "Best In Utah - BOTB" entries in the show listings - and maybe you're wondering just exactly what it all means.

Here's the deal.

Dave from Happy Time Music got me on the phone, and outlined a pretty major and ambitious plan. He wants to make a big, very positive impact on the local music scene by way of starting a new, first class, all-ages, treat the bands like actual human beings, music venue.

Was that a run on sentence? Probably.

Oh well.

So, Dave wants to do that, and he also wants to get bands playing shows ASAP - you know, make some noise and get attention.

The vehicle for this is a series of shows (a BIG series) in a battle of the bands format, with hopefully a pretty major kickback to the winning band(s) at the end. Of course, the even bigger hope is that there's a kickback for the entire local music scene when Dave is able to finance his main venue - but that will be a little ways off in the distance (not necessarily a long way, just not "right this very second").

Now, normally, I'm a bit leery of Battle Of The Bands thingamajigamas. In this case, though, I'm on board. The reason is that this isn't just a scheme to make money, so that a couple of folks can buy cars, videogame consoles, and HDTV's. No - this is an idea from a guy who wants to make a difference in the scene. I'm willing to take that at face value.

Here's what I need from you, the reader - most likely a person in a band. Please remember that I speak only for myself:

1. Forget about all this competition stuff. Forget about prizes and winning, or who is better at this or that, or who might or might not deserve to do well. Put it out of your mind, because it will just end up making you unhappy. When you're done with that...

2. View this as an opportunity to play sets with other very cool bands. Network like crazy. Get each other's business cards and Myspace pages. Exchange CD's. Set up shows at other places together. Get to know people - as many as you can. Make as many friends as you can possibly keep track of. Use this as an opportunity to build the scene at a grassroots level. Make this thing work for YOU, whether you win or not.

3. Be ready to do everything "festival style." With a lot of bands per night, the sets will be short and so too will be changeover time. You can bet that I will do my best to represent you with the PA, but soundchecking is going to be nonexistent. Sing loud, and get close to the mics. Stay calm. Be excellent to each other. Know your stuff. Be flexible.

4. Help the other bands. This ties in to #2. Be ready to lend picks, straps, cables, amps, kick pedals, etc. Help people load and unload. Go to other people's shows and cheer them on. Tell your fans that this isn't just an excuse to hear you play for 20 minutes - it's a show with multiple bands that they should stay at and enjoy to the fullest.

5. Be patient. Stuff happens. Also, protect your hearing.

There. I've said my piece. Let's see what happens. If you're interested in participating, Dave is the contact guy for this. He's at 801.867.9388

Soundproofing

The most excellent Nate McNeil put in a ton of work to help get these window coverings made.  They seem to block a fair amount of the music - but they can't stop the low end.  (Not even the cinderblock really stops that, of course.)

Huge kudos are also due to A Cassandra Utterance, who showed up and put in the winning shot by getting these painted up nicely.  They're a way cool band, and way cool people.  You should check them out.

With these puppies over the windows, I think we can push things until 9:00 PM pretty safely.  (Nobody's complained to me about that yet, and I'm hoping that will stay the way it is...)

Oh yes, before I forget, another venue that seeks to get the locals some money for their efforts has opened.  I think more venues are always a good thing - more venues means a community with more music!  The new place is called Happy Time Music.  If you can't get a show at Underground, I would consider trying to get your show there.

Lookie - A Picture!

So, the gig reports seem to be getting stale.

Instead, here's a picture of the aftermath of a Crashing At Dawn show.  Note the cool use of ropelight on Franz's 4X12.  I have an antipathy towards ropelight in general, but I think this idea was an excellent one.