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Guitar Musician e-zine     05/03/2006

In This Issue:

  "The guitar is a means of expressing music, When you get into the emotional side of it, then it's not the guitar that matters so much as the music itself. But the guitar is the vehicle I use. It's how I express myself. As for the emotional side, music takes up where language leaves off. To try and verbalize what music says, emotionally and spiritually, is futile. Let me put it this way, Louis Armstrong once said if you've got to ask, you'll never know."

                                                                             - Charlie Byrd - Jazz Guitar

Some Humor



Dear Diary,
For my fiftieth birthday this year, my wife (the dear) purchased a week of personal training at the local health club for me.
Although I am still in great shape since playing on my college football team 30yrs ago, I decided it would be a good idea to go ahead and give it a try.

Called the club and made my reservation with a personal trainer named Belinda, who identified herself as a 26 year old aerobics instructor and model for athletic clothing and swim wear. My wife seemed pleased with my enthusiasm to get started! The club encouraged me to keep a diary to chart my progress.


Started my day at 6:00am Tough to get out of bed, but it was well worth it when I arrived at the health club to find Belinda waiting for me.
She was something of a Greek goddess -- with blonde hair, dancing eyes and a dazzling white smile. Woo Hoo!!!!! Belinda gave me a tour and showed me the machines. She took my pulse after 5 minutes on the treadmill. She was alarmed that my pulse was so fast, but I attributed it to standing next to her in her Lycra aerobics outfit. I enjoyed watching the skillful way in which she conducted her aerobics class after my workout today. 
Very inspiring, Belinda was encouraging as I did my sit-ups, although my gut was already aching from holding it in the whole time she was around.
    This is going to be a FANTASTIC week!!

 I drank a whole pot of coffee, but I finally made it out the door.
Belinda made me lie on my back and push a heavy iron bar into the air, and then she put weights on it! My legs were a little wobbly on the treadmill, but I made the full mile. Belinda's rewarding smile made it all worthwhile.

I feel GREAT!! It's a whole new life for me. 
The only way I can brush my teeth is by laying the toothbrush on the counter and moving my mouth back and forth over it. I believe I have a hernia in both pectorals. Driving was OK as long as I didn't try to steer or stop. I parked on top of a GEO in the club parking lot. Belinda was impatient with me, insisting that my screams bothered other club members.
Her voice is a little too perky for early in the morning and when she scolds, she gets this nasally whine that is VERY annoying. My chest hurt when I got on the treadmill, so Belinda put me on the stair monster. 
Why the hell would anyone invent a machine to simulate an activity rendered obsolete by elevators? Belinda told me it would help me get in shape and enjoy life. She said some other nonsense too.

Belinda was waiting for me with her vampire-like teeth exposed as her thin, cruel lips were pulled back in a full snarl. I couldn't help being a half an hour late; it took me that long to tie my shoes. Belinda took me to work out with dumbbells. When she was not looking, I ran and hid in the men's room.. She sent Lars to find me, then, as punishment, put me on 
the rowing machine -- which I sank.


I hate that *#@^$ Belinda more than any human being has ever hated any other human being in the history of the world. Stupid, skinny, anemic little cheerleader. If there were a part of my body I could move without unbearable pain, I would beat her with it. Belinda wanted me to work on my triceps. I don't have any triceps. And if you don't want dents in the floor, don't hand me the (*&%#)(#&**!!@*@) barbells or anything that
weighs more than a sandwich. The treadmill flung me off and I landed on a health and nutrition teacher Why couldn't it have been someone softer, like the drama coach or the choir director?> 

Belinda left a message on my answering machine in her grating, shrilly voice wondering why I did not show up today. Just hearing her made me want to smash the machine with my planner . However, I lacked the strength to even use the TV remote and ended up catching eleven straight hours of 
the Weather Channel.


I'm having the Church van pick me up for services today so I can go and thank GOD that this week is over. I will also pray that next year my wife, the poor misguided soul, will choose a gift for me that is fun, like a root canal or a vasectomy.

A Lesson For The Learning

Interested in guitar lessons? - Be sure and check out the guitar lessons offered by Andrew Koblick at Amazing Guitar

Click here for all products by Behringer.

Behringer Eurolive Speakers

Get Eurolive if you want it

By Tom Frederick

Got Eurolive if you want it

It's a question of balance. In life, having a sense of balance can make the difference between crashing and burning on the boulevard of broken dreams or cruising down the highway of love and happiness. When it comes to purchasing a pair of loudspeakers for a PA system, one needs to balance price versus performance. If you take pride in how your music sounds, performance is non-negotiable. And unless you've got a trust fund or invested heavily in Microsoft stock or real estate in the '80s, price is likely to be a crucial consideration as well.

Behringer has been designing and manufacturing a full line of pro audio gear for musicians and sound engineers since 1989 under the working principle of "Double the features�Half the price." Whether they always achieve this aim or not, one thing is certain�you can count on Behringer to come through with a thoroughly professional product at such a low price that you may blink your eyes in disbelief. Behringer has just released two new loudspeaker series, brandishing typical Behringer bargain price points, under the Eurolive Professional and Performer banners, respectively. Do they deliver the goods? Let's break it down.

Two new flavors

You could think of the new Eurolive Professional and Performer Series as each consisting of a triple threat of speaker cabinets. The Professional Series, fittingly enough, is a high-octane series of cabs intended for pros�touring acts, large club and theater installations, and churches. The Performer Series covers the balance of other musical situations, including rooms and clubs where higher volume and power levels are not necessarily required.

Some of the features shared by the two series are a versatile angled cab design with both 10� and 35� angles that allows them to be used as either mains or floor monitors; built-in 35mm sockets for pole-mounting; recessed, ergonomic handles for easy hauling; rugged steel grilles over the entire front of the cabs for speaker protection; pro Neutrik Speakon speaker connectors; overall high-quality components and rugged construction.

The Professional Series includes the B1220 Pro and B1520 Pro, plus the B1800X subwoofer. The Performer Series includes the Performer E1220, the Performer E1520, and the Performer E1800X subwoofer. We'll compare and contrast these two tributaries of the Eurolive stream below.

B1220 PRO/E1220

The B1220 Pro is fitted with a 12" high-performance, long-excursion driver that handles with peak power handling way up to 800W (400W program). This kind of capability is unusual for a 12" speaker configuration and practically unheard of at this price. With their very efficient handling of Sound Pressure Levels (SPL), these speakers get plenty LOUD, with deep, satisfying bass response. To handle the high frequencies, Behringer has come up with an advanced 1-3/4" tweeter design that ensures all the upper-end details of your music flow as clear as mountain spring water. As with the whole Professional Series, the horn has a rotating design that allows flexible coverage regardless of how the speaker is positioned.

If all this seems like overkill for your particular needs, the E1220 is likely to be a better fit. I don't want to downplay the capabilities of this workhorse cab�it will handle just about anything that bands will throw at it for small and medium-sized venues, with very respectable 400W peak (200W program) power handling, 60Hz-20kHz frequency range, and a 93dB SPL level.

B1520 PRO/E1520

Behringer Eurolive series
Behringer Eurolive (shown: a pair of B1520's and a B1800X)

The modern bass-heavy music styles demand exceptionally heavy bottom-end presence. The B1520 Pro is perfect for such applications, with an extra beefy 15" woofer and 800W peak (400W program) power handling. With a wider 50Hz-18kHz frequency range, it reaches deeper into the lower end of the sound spectrum for bass response that's sure to keep the dance floor jumping. It's like a larger, brawnier older brother of the B1220 Pro that you can send into the fray when you need a bigger body to enforce the law. It shares all the versatility and design advantages of its smaller sibling.

For a similar level of wide-spectrum sound reproduction turned down just a shade, the E1520 is your guy. This solid citizen kicks out 400W of peak power (200W program), with a sound pressure level that's no slacker at 99dB. A pair of E1520s will project your music with depth and brilliance for many years and cover just about venue you play.

B1800X Pro/E1800X

Still need more bass? Call on the B1800X PRO. It's a high-performance subwoofer with an 18" long-excursion driver for concrete-crushing bass that you'll feel in your bone marrow. And it doesn't just bludgeon you with massive low end. The B1800X is a refined piece of technology with a switchable crossover for either passive or biamped operation. Don't fret about over-driving this sub. It handles intense high sound pressure levels with no sweat.

For bass-centric performance on a smaller budget, the E1800X has all the right stuff. The peak power rating of 800W provides a block-rocking sound foundation to build the rest of your system on, with bass reproduction that's precise and punchy.

Bet on Behringer

After considering your sound reinforcement needs, zero in on a configuration of Eurolive Professional or Performer series speakers that speaks to your particular situation and budgetary constraints. The sound quality will make you smile when you fire them up and keep the dance floor jammed, all at a price that's easy on your wallet. That's the kind of balance that'll inspire you to keep the music flowing, and isn't that the point?

Features & Specs:

    Eurolive Professional and Performer Series

  • Versatile profile for using PA speakers or floor monitors and stand mounting with 35mm pole socket
  • Parallel input connectors
  • Overload-protection circuitry
  • Ergonomically shaped handles for easy transport
  • Rugged steel grille
  • Neutrik Speakon connectors

    Eurolive Professional Series

  • Extremely powerful long-excursion drivers
  • 1-3/4" titanium diaphragm compression drivers (except 1800X Pro)
  • Ultrawide frequency ranges
  • High Sound Pressure Levels (SPL)
  • Rotatable, unsymmetrical horn design

    Eurolive Performer Series

  • Powerful drivers
  • 1" HF drivers
  • High SPL levels


    B1220 Pro

  • 12" driver
  • 800W peak/400W program & 8ohms
  • 50Hz-18kHz frequency range (-10dB)
  • SPL: 95dB (1W & 1m) full space

    B1520 Pro

  • 15" driver
  • 800W peak/400W program & 8ohms
  • 50Hz-18kHz frequency range (-10dB)
  • SPL: 96dB (1W & 1m) full space

    B1800X Pro:

  • 18" driver
  • 1,600W peak/800W program & 8ohms
  • 40Hz-300Hz frequency range (-10dB)
  • SPL: 100dB (1W & 1m) half space
  • Switchable crossover
  • Ported design

    E1220 Performer:

  • 12" driver
  • 400W peak/200W program & 8ohms
  • 60Hz-20kHz frequency range (-10dB)
  • SPL: 93dB (1W & 1m) full space

    E1520 Performer:

  • 15" driver
  • 400W peak/200W program & 8ohms
  • 55Hz-20kHz frequency range (-10dB)
  • SPL: 94dB (1W & 1m) full space

    E1800X Performer:

  • 18" driver
  • 800W peak/400W program & 8ohms
  • 45Hz-300Hz frequency range (-10dB)
  • SPL: 99dB 1W & 1m
  • Switchable crossover
  • Ported design




Breaking the Writer's Block

Brian Rhymes; Austin, TX

Q: Well, I've reached a block; everything that I seem to play sounds the same. How can I keep what I play fresh? Thanks for your help!

A: One of the biggest challenges that a musician has is keeping a fresh and creative perspective over long periods of time. Because of the amount of time that most musicians spend playing and practicing, it is easy to become stale. It seems that it's either feast or famine with creative ideas but here is a little advice that helps me a lot.

I have a little cassette recorder that is about 20 years old that I record all my ideas on. You can use any type of recorder that you have as long as you can record your ideas and listen back. When you have a creative period, record all your ideas even if it is just a riff, rhythm pattern, or melody line. I have about 50 cassettes full of these ideas. When I am going through a creative drought, I listen to these tapes and get instantly snapped back into that creative mind-set that I had on that recording and this usually helps me to get on track.

Try to find other things that will link you to a creative state of mind, maybe a favorite CD, painting, or even an event that happened in your life. These all can be great links to get your creative juices flowing.

Hope this helps!

Yours in Music,
John McCarthy
Rock House


Ownership of Recordings

By Jeffrey and Todd Brabec


Jeffrey and Todd Brabec Unless the contract contains other provisions, the artist agreement will usually state that the record label is the copyright owner of the performances recorded during the term of the recording agreement. In many cases, the ownership will be termed a "work made for hire" under the U.S. Copyright Act, and, if upheld, there may be no reversion of rights to the recording artist or record producer.

The general grant-of-rights clause of the recording agreement gives the record company the right, among other things, to manufacture and distribute audio and audiovisual recordings of the performances of the artist under the record company's trade name, to perform such recordings, and to package and exploit such recordings, all such rights being subject to the other terms of the agreement, including those provisions that guarantee royalty payments for most types of commercial exploitation.

Depending on one's bargaining power, a number of restrictions can be negotiated by the artist (e.g., initial release of any recording to be on the record company's "top line" label, no inclusion of a master on "compilation" or "television-only" albums until a certain amount of time has elapsed after the initial release of the recording, approval over certain motion picture or advertising commercial uses), but in most cases, the record company will have fairly unrestricted rights to exploit the master recordings in the manner that it sees fit to promote the artist.

In cases where the artist is able to cause a reversion of ownership of his or her recorded performances contractually via negotiation (an occurrence that usually happens only with the biggest superstars or in the case of a licensing of preexisting masters agreement), that right is often subject to the record company's having recouped all advances paid to or on behalf of the artist.

Such reversion provisions normally refer to a grant of rights that will last for a certain number of years after the expiration of the term of the recording artist agreement, with an automatic extension of time if the record company is still in an unrecouped position at the time of the agreed-upon reversion date. For example, a sample clause might read:

All rights in and to the recordings shall revert to the recording artist 15 years after the expiration of the term of the recording agreement, said agreement to expire upon the commercial release in the United States of the fifth album recorded during the term of the record contract.

Notwithstanding the above, however, in the event that the record company has not recouped all of the advances previously paid to the artist (e.g., signing advance, commencement of option advances, album delivery and acceptance advances, commercial release advances, etc.) or paid to others on behalf of the artist (e.g., audio and audio visual recording costs, per diems to performers, musician union fees, etc.), the rights to the master recordings shall remain with the record company until either all such advances and direct costs are recouped or until the artist repays the record company the total outstanding unrecouped advance balance related not only to the most recent album but all albums recorded under the artist agreement.

In the event that such a "repayment of any outstanding advance balance" provision is included in a recording agreement, the effective reversion date will usually be the last day of either the calendar quarter or semiannual calendar period during which the repayment by the artist is made.

For example, if the artist repays the unrecouped advance balance on July 14 of a particular year and there is an "end of the semiannual calendar period" reversion date, the transfer of ownership of the recordings to the artist would not occur until December 31 of that year. If an "end of the calendar quarter" reversion date had been used in the above scenario, the reversion date would be the end of September.

� 2005 Jeff Brabec, Todd Brabec
This article is based on information contained in the new, revised paperback edition of the book "Music, Money, And Success: The Insider's Guide To Making Money In The Music Industry" written by Jeffrey Brabec and Todd Brabec (Published by Schirmer Trade Books/Music Sales).

Brought to you by TAXI: The Independent A&R Vehicle that connects unsigned artists, bands and songwriters with major record labels, publishers, and film & TV music supervisors.

Recommended Listening - A Must For Your Collection!

Jessi Colter, Out of the Ashes/Shooter Jennings, Electric Rodeo
By Kenny Berkowitz

Twenty-four years after her last hit song, Jessi Colter has finished raising her son and emerged from semi-retirement with Out of the Ashes (Shout Factory). Over the same years, son Shooter Jennings has passed through a handful of bands, racked up his share of drug busts, and begun a bad-boy recording career of his own. For Shooter, whose gruff baritone and life of excess inevitably draw comparisons to his father, Waylon Jennings, singing outlaw country comes as a birthright. Here, on his second album, Southern-rock party songs like �Some Rowdy Women� and �Hair of the Dog� expand his father�s legacy of being lonesome, ornery, and mean. But Shooter is just as strongly infl uenced by his mother, and in his quieter moments, like on the three-chord country songs �Aviators� and �The Song is Still Slipping Away,� he writes movingly about the hard life. The struggles depicted on his Electric Rodeo (Universal South) and on his mom�s album�between God and whiskey, past and present, living with and without Waylon�are remarkably similar: While Shooter writes about riding shotgun to Hell with Jesus, Colter sings Bob Dylan�s �Rainy Day Women #12 & 35,� with its chorus of �everybody must get stoned,� on the same CD that opens with the gospel standard �His Eye Is On The Sparrow.� On piano and Wurlitzer, Colter�s playing never strays far from her Pentecostal roots, but her voice reaches deep into the blues for �You Can Pick �Em� before returning to the down-home country of �You Took Me By Surprise� and the late-night confessional �So Many Things.� Coaxed back to work by her son, Colter has arrived in the present, while Shooter continues to blaze his own wayward path into the future; musically, both keep getting stronger. (,


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