TC-Helicon Launches VoiceLive Play, Compact Multi-Effects Unit for Singers

At NAMM, TC Helicon introduced an intriguing new unit called VoiceLive Play, a compact multi-effects unit which appears to give singers the same kind of creative options normally reserved for guitarists. This could be an extremely useful tool both live and in the studio.

TC Helicon has this to say about VoiceLive Play, which will be available this Winter for $249.99:

“VoiceLive Play is a new take on a compact multi effects unit for singers, but it is also so much more. Obviously it is packed with TC-Helicon’s pro-level effects tailored specifically for vocalists and state-of-the-art harmony processing yet it is in the details where ‘Play’ really shines. Basically, singers will be catered to as if a dedicated vocal producer was sitting inside the box, always ready to fulfill their every wish and follow their slightest move.

Search. Find. Play.
Operating and navigating VoiceLive Play is a breeze. More than 200 amazing presets can be browsed either by genre or effect type. Many of the factory presets are designed to evoke a wide range of popular songs so singers can feel at home instantly – with more presets to download every month online. Every preset can be taken ‘over the top’ by stepping on the HIT button, which will add effects on top of the basic sound of each preset – perfect for making choruses stand out instantly! Also, selected presets can be stored as Favorites for super fast and easy access.

The Power of Practicing
The only way to really take it to the next level is by practicing, but that doesn’t mean that it can’t also be a lot of fun. VoiceLive Play has a dedicated Practice mode that analyzes singing performance in real-time. Detailed pitch statistics will help singers spot their strengths and point out areas that need more attention.

Singing along is another fun way of practicing, and VoiceLive Play accepts input from external audio sources such as iPods and computers via an AUX In connector or USB. To make it even more fun, VoiceLive Play has a Vocal Cancel feature that makes the performer’s voice stand out over the vocal on the recording. Finally, VoiceLive Play can even listen to the recording and generate harmonies based on the chord progressions of the track.

The Power of Looping
VoiceLive Play is the perfect tool for adventurous singers eager to explore the exciting world of real-time looping. Loops can be created easily on the spot with or without effects, and by adding a TC-Helicon MP-75 microphone, the integrated Mic Control button can be used for full looping remote control.

Versatile Room Mics – A Good Set of Ears
VoiceLive Play has a built in microphone on each side panel, which can be used in several ways. For example, they can add a touch of room ambience that will make the voice more natural and comfortable when using headphones. The mics can also be used for picking up room sound and base the harmony processing on chords on an acoustic guitar or piano playing along for example. Alternatively, they could even be used for recording to a computer via USB.

In short, singers everywhere should prepare to fall in love with their voice!

VoiceLive Play Main Features
• Complete Vocal Path – Tone, Harmony, HardTune, Reverb, Double and more
• Auto Key Detection – Harmonies Can Follow your Favorite Songs
• Practice Mode – Sing along and Analyze Vocal Performance
• Tone – Global Adaptive EQ, Compression, De-ess, Gate and Pitch Correction
• VLOOP Performance Looper with Undo/Redo
• RoomSense Microphones for Auto Key, Monitoring, Practicing and Recording
• Navigate Over 200 Presets by Genre or Effect with Favorites
• Aux Input for Connecting an MP3 player.
• Stereo XLR, Headphone and USB Stereo Outputs
• Low-noise Mic Preamp with Phantom Power
• Optional MP-75 Modern Performance Vocal Microphone with Mic Control
• Preset Download and Management Using VoiceSupport and USB”

“Suite Songs: NYC: Episode 2: ‘Alter Ego’” from Stacie Rose Launches on SonicScoop

Episode 2 of SUITE SONGS NYC — an original series about the personal and collaborative process of song making featuring songstress/series creator Stacie Rose – has launched exclusively on SonicScoop.

As the day continues with NYC singer/songwriter Stacie Rose and collaborators David Patterson and Mike Harvey, another guest arrives at the same NYC hotel suite where the first episode began, and the road map for the song Alter-Ego comes into focus. The song Alter-Ego and title track from Rose’s most recent release Alter-Ego Ep’s has been featured on Channel One and E!’s Keeping up with the Kardashians.

This is an intimate and vibey musical hang — an insider’s look at crafting pop songs on the fly. The series is presented by Enchanted Records.

Rose is a rising NJ/NYC songwriter who released the well-received Alter Ego EPs in 2010, and whose songs have been frequently licensed by the likes of MTV’s “The Hills”, VH1’s “Tough Love”, Paste Magazine’s “SONGS FOR HAITI” compilation, amc, FX, ABC, Escada fragrance campaign, American Airlines Radio, and FUSE TV.

“Suite Songs” is a series about the personal and collaborative process of song making. Each episode features Stacie Rose as the creator and MC, with a myriad of guest musicians she invites to a New York City hotel suite for some impromptu music making.  Personas are revealed, and lyrics/melody come to life, as viewers enter a secret world of creating songs from the ground up.

The HD series is directed by Patricia Chica, edited by Carol Butrico, and Mixed by Robert L. Smith (Defy Recordings).

CREDITS for SUITE SONGS:

Filmed and directed by Patricia Chica

Produced by Stacie Rose

Edited by Carol Butrico

Mixed by Robert L. Smith at Defy Recordings NYC

Title animation by Paul Gardener

Words & music for Alter-Ego, and Sucking up to the Saints

by Stacie Rose ASCAP 2010 © (P)

Enchanted Records/ BIGPICNIC Publishing

Alter-Ego (DJ Reverend Soul mix) and Standby (Caffeinated-Procrastination mix) produced by Thomas Hutchings & Stacie Rose

Special guest appearances by:

David Patterson

and

Mike Harvey

Field Technician David Deïas

Hair by Monet Moon

Makeup by Alyne Halvajian

Additional makeup and styling by Christine Karantais

Photos by www.angelshots.com

Thanks to Zoom and Michael Joly/OktavaMod

Rob McKeever

Ashley Martorana

Sugar Bytes Releases Turnado Multi-Effects Plug-In

Sugar Bytes is a plug-in and audio software tool manufacturer based out of Germany. Robert Fehse and Rico Baade – the meticulous minds behind Sugar Bytes – go by the philosophy of “…great products that can do more stuff with less buttons, that have more features with less instructions, that are simply more fun and less expensive.”

With their most recent release, the company fulfills their obligation with the announcement of Turnado – so named because it destroys everything in its path! In a good way!  Turnado is available now for Mac and PC for MSRP $179 as Standalone application or as VST and AU Plug-Ins.

Sugar Bytes has this to say about Turnado:

“Turnado is a revolutionary multi-effect tool, crafted especially for massive real-time audio manipulation. It combines unique and dynamic effects with the most intuitive and immediate control you can imagine. Just turn it on and crank it up. In the studio, simply dial in your effect from a super-sweet selection of 24 pro-quality algorithms, then mash up your audio content with minimum fuss, quickly adding dynamic variation to your arrangements. Take it to the stage and unleash Turnado’s true power. With instant access to eight effects and immediate control over key parameters, Turnado is guaranteed to cause devastation on the dance floor, shredding beats and crunking breaks to insane proportions.

The idea is simple:

Turn a knob and the effect is on.

Turn the knob further to adjust effect parameters and apply modulations.

Turn the knob down and the effect is off.

With its instantaneous, one-knob, multi-parameter modulation features, Turnado will lay waste to the audio landscape. Giving you the power to crunch, chop, twist, mash and elevate your music to new levels, Turnado will have you creating wicked new sounds that will blow any crowd away.

Unlocking the power of your MIDI controller each effect requires only one knob to control it. Underneath this simplicity lies a matrix of effect parameters and modulation engines, all controlled by the main knob. This control matrix provides serious depth to the plugin and gives you the ability to create original and truly unique effect programs.

If the power of one-knob action still doesn’t rock your boat, the awesome “Dictator” mode will sink your battleship. It allows you to animate all the main knobs and run that animation with just one fader. That’s one fader, controlling up to 8 different effects, with potentially hundreds of parameter changes!

Turnado’s primary focus is on beat manipulation, so you will find lots of loopers, slicers and grain tools in the rack. Alongside these beat-mashing effects are an arsenal of distortions and filters as well as first-class delays and reverbs. With extensive modulation possibilities each effect can produce millions of unbelievable variations that can be morphed and twisted into something new every time you tweak those knobs.”

Video Exclusive: “Suite Songs: NYC” Featuring Stacie Rose Debuts on SonicScoop

The new video series “Suite Songs: NYC” featuring the artist Stacie Rose and presented by Enchanted Records, is debuting globally on SonicScoop.

Rose is a rising NJ/NYC songwriter who released the well-received Alter Ego EPs in 2010, and whose songs have been frequently licensed by the likes of MTV’s “The Hills”, VH1’s “Tough Love”, Paste Magazine’s “SONGS FOR HAITI” compilation, amc, FX, ABC, Escada fragrance campaign, American Airlines Radio, and FUSE TV.

Shot in HD by award-winning film/TV director Patricia Chica, “Suite Songs” is an intimate series about the personal and collaborative process of song making.

The first edition, “Episode 1: Sucking Up to the Saints”, features special guest appearances by vocalist Mike Harvey and guitarist David Patterson. Each episode features Stacie Rose as the creator and MC, with a myriad of guest musicians she invites to a New York City hotel suite for some impromptu music making.  Personas are revealed, and lyrics/melody come to life, as viewers enter a secret world of creating songs from the ground up.

“’Suite Songs’ is a lively hang, a poetic journey that defies the myth that cities are impersonal, while illustrating the cozy, breeding ground a hotel suite can be, for intimate, soulful, collaborations,” Rose says of the inspiration to produce “Suite Songs”. “Each city has its pulse; each hotel suite has its vibe, and every group of musicians bring a unique spirit and sensibility to the process of song making. The party begins in NYC and is destined for other cities.”

Check out “Suite Songs” NOW!

CREDITS for SUITE SONGS:

Filmed and directed by Patricia Chica

Produced by Stacie Rose

Edited by Carol Butrico

Mixed by Robert L. Smith at Defy Recordings NYC

Title animation by Paul Gardener

Words & music for Alter-Ego, and Sucking up to the Saints

by Stacie Rose ASCAP 2010 © (P)

Enchanted Records/ BIGPICNIC Publishing

Alter-Ego (DJ Reverend Soul mix) and Standby (Caffeinated-Procrastination mix) produced by Thomas Hutchings & Stacie Rose

Special guest appearances by:

David Patterson

and

Mike Harvey

Field Technician David Deïas

Hair by Monet Moon

Makeup by Alyne Halvajian

Additional makeup and styling by Christine Karantais

Photos by www.angelshots.com

Thanks to Zoom and Michael Joly/OktavaMod

Rob McKeever

Ashley Martorana

Complimentary Webinar: Secrets for Great Film Sound on Tuesday, 1/11

Ric Viers, Author of “The Sound Effects Bible” and David Sonneschein, author of “Sound Design” will lead “Secrets for Great Film Sound”, a complimentary one hour Webinar on Tuesday, 1/11.

Registrants can sign up for a 12-1 PM EST or 9-10 PM EST session (being led live from California).

The Webinar gives the opportunity to learn from the experts how to solve audio challenges and boost creativity in sound recording, editing and design.

These issues and others will be addressed:
•    How do you talk to the producer to get the gig in the first place?
•    What kind of prep can you do with the script to keep in budget and get the best recordings?
•    What gear and techniques do you need to solve those tricky dialogue scenes?
•    How can you integrate your skills with the picture editor and music composer?
•    What tools are available to help audio support character, emotion and story?

Sign up here for: Jan. 11, Tues. 12-1 PM EST

Sign up here for: Jan. 11, Tues. 9-10 PM EST

For more information on Ric Viers and David Sonneschein’s “Sound Design for Pros” series, visit here.

Thwak! Music (NYC) Expands, Music Supervises + Scores for “Lights Out” on FX

Thwak! Music, based in NYC, announced that it has expanded its music supervision capabilities with a long-form division focusing on TV shows and feature films. This new division is headed up by Music Supervisor/Composer, Anthony Roman, leader of the band Radio4.

The development accompanies an influx of film and TV projects for Thwak! including Beware the Gonzo, a feature film starring Amy Sedaris, Jesse McCartney and Zoe Kravitz, which has been picked up by Tribeca Films for distribution.

This new division has also handled music supervision for the upcoming 2011 13-part series “Lights Out” which premiers on FX January 11th. On “Lights Out”, Roman helped the show find the right songs for critical scenes, and Thwak! also scored a significant number of original music cues for the series, including main titles and end credits.

In an expansion of creative licensing services for global ad agencies, Thwak! also recently added Music Supervisor Chris Tarantino, an established DJ and tastemaker who covers music for The Village Voice. Chris Tarantino is also part of the East Village Radio family with his show “The Private Sector”, where he joins renowned tastemakers such as Mark Ronson, Andy Rourke (of The Smiths), Eli Escobar and KCRW’s Jason Eldredge. Tarantino teams with a formidable line up of seasoned industry pros which includes Thwak! Music Founder Tony Verderosa, Music Supervisor Anthony Roman, Producer/A&R DirectorPat Mullen and newly added Associate Producer Audrey Caliguri.

Other recent music supervision projects for Thwak! include Miller Lite, Cuervo, and Olay.

Propellerhead Introduces Four New ReFills

Propellerhead has added four new Refills for Reason to its online shop. They are:

Sample Magic Organic House

Pumping house fused with disco, minimal, tribal and techno elements ($59.00). Fusing the underground sounds of pumping afterhours house with subtle disco, minimal, tribal and techno elements, Organic House delivers 870+MB of programmed loops and samples.

This version made specifically for Reason 5 comes with patches for Kong and Dr. Octo Rex.

Sample Magic Electro

Bass, beats, synths, filth, grime, lost-in-basement fx, and washed-out seqs are in SM20 Electro, the new collection from Sample Magic.

According to Propellerhead, “Running the ground between indie-dance and peaktime mainroom filth, Electro takes in the best of techno, Dutch, jackin’ and classic french disco, bending all the rules and mashing every genre along the way.”

This version made specifically for Reason 5 comes with patches for Kong and Dr. Octo Rex.

Dan Dean Bass Collection — acoustic and electric bass for Reason

From award-winning producer Dan Dean, a very large collection of widely different bass instruments; a combination of Dan Dean Bass Collections 1 & 2, plus more instruments not found on either previous collection, now in Propellerhead NN-XT format for Reason.

The collection includes classic basses from the 60′s and 70′s, recorded both direct and with amplifiers. Amplifier presets include some clipping and overdrive, producing a very realistic sound quality when used in a track. The Dan Dean Acoustic Bass is included in this collection in both Mono and Stereo versions.

Nucleus SoundLab MK Digital Keys — retro keyboard sample library

MK Digital Keys is a retro keyboard sample library by Nucleus SoundLab. It brings the ‘80s keyboard sound to productions with this faithful sampling of the MKS-20 keyboard synthesizer.

With 3.6gb of samples and 50+ patches – MK Digital Keys updates this retro classic for the modern sampler, while removing original limitations like polyphony and noise.

Stacie Rose: On Fearless Songwriting, Sharp Synch Licensing, and her ALTER EGO

RUTHERFORD, NJ: When an insatiable appetite for songwriting collides with a quest for success, artists like Stacie Rose are the result. You could say this career-focused New Jersey native is fast-emerging, except there’s a lot to suggest she’s already arrived.

A young but oft-licensed songstress with a clear ear for hooks, her cuts have already garnered synch uses from clients including MTV’s “The Hills”, VH1′s “Tough Love”, Paste Magazine’s “SONGS FOR HAITI” compilation, amc, FX, ABC, Escada fragrance campaign, American Airlines Radio, and FUSE TV. Those tracks, several off of her Shotgun Daisy! album, are about to get a run for their money from her dual ALTER EGO EP releases of Raw Sugar and Means to an End (Enchanted Records), going first to her Pledge Music supporters on July 20, and then to the big ole’ world on August 17th.

She’s no calculating bean counter, though. Rose’s approach to creativity and collaboration are what keep her energized, as she revealed in the SonicScoop interview. Listen to what she lays out here — we say this is How to Make it in Music, 2010 style.

You’re a pretty prolific writer. How does a song get started for you?

My approach to songwriting varies a little. It generally starts with a lyric, a gut feeling or story that leads to a lyric, or sometimes I just grab the guitar and start strumming, and humming, and then it’s racing around looking for a pen and something to jot ideas on, like junk mail or the back of a magazine, and then my digital recorder to sing into.

Then, it’s Demo One, followed by Demo Two, many versions, verse and chorus — sometimes days in between, then a bridge might emerge.

Maybe that’s more my process: My approach is really capturing the essence of the moment, or concept, I’m writing about. I try to bring my perspective to things, my metaphors, and create a mood, a picture, or emotional landscape. Sometimes I try to teach myself a lesson, work through a  personal challenge, or celebrate an epiphany.

I used to feel very evolved, but I seem to be going through a new phase where I am suddenly tripping upon survival skills, questioning things, reacquainting myself with my inner strength and writing through it all. Sometimes I don’t try to do anything at all, no goals — and the songs/words pour out.

That lines up with the very thing that I’m trying to relearn this week – that change is GOOD. So how does that songwriting approach reflect how you see yourself as an artist?

I view myself as a unique, pop songwriter, both fiery, and feminine. I’m almost always in motion, even when I am still.

I’m not an anarchist, but certainly do not conform to anything or anybody. I don’t follow the pack. I do take my work/songs very seriously, but don’t take myself tooooo seriously. I have dark comedy tendencies and the deepest love of melody and words. I’ve come to accept my own dichotomies. I can rock out pretty well, but can also turn a shy side. I’m part late-night, acoustic singer-songwriter girl, who sometimes likes to mash and trash it up!

That’s multiple personalities! But at SonicScoop, it’s not a disorder. What’s been your approach or strategy for developing your musical career?

My goals are to continue to create music on my terms with people whom I respect, and enjoy sharing the process with. I always want to give myself the room to grow and experiment. It’s important for me to be true to my heart, my vision and to stay in the moment as much as possible, enjoying, or at least feeling the process even when it’s more difficult.

I really make a grand effort to help these songs out into the world, so that they can have a life, and hopefully work their way into people’s homes, hearts, heads, and iPods.

You’ve built up a great track record all ready with synch placements – MTV, VH1, FX, FUSE TV. How did you get started on this track? What role have music-to-picture placements had in your artist development?

The Orchard managed to place my song “Here’s Looking at You” in an ESCADA “Sunset Heat” Webisode. When I saw the footage, it felt really fitting. The song is up tempo and free-spirited. The episode was summery, sexy, & beachy.

I’ve actually had two songs in racy bathroom scenes, which I think is kind of funny and interesting. My good friend and filmmaker, David Kittredge, used my song “Promised Land (remix)” in his award-winning film, “Pornography: A Thriller”. The song pumps in a club as two guys size each other up in the men’s room. Another song of mine called “Back to Life” made it into an episode of the FX show, “The Riches” (with Minnie Driver and Eddie Izzard). That song played in a bathroom scene in which Minnie got groped at a neighborhood house party by her husband’s colleague. Good stuff!

Then the placements in MTV’s “The Hills” and VH1’s “Tough Love” got a lot of buzz since those hit shows are such guilty pleasures! I had a song called “Find Your Way” in an amc movie spot, and it was wonderful because it aired just before my last record Shotgun Daisy! was released.

The movies being promoted were stellar and stories within the spot really meshed well with the lyrics and melody. The characters in the movies were in fact “finding their way” A really great spot, and good match! And, amc was super cool and artist-friendly, including an artist/song/label credit, which helped with record sales. The spot is on YouTube and gets a lot of love from fans, and made new people aware of my music.

In general, the licensing is a really great way for artists to earn money and to continue creating. The consistent placements have really helped me to build buzz, gain momentum, and get people’s attention.

Licensing PROPS. So does it get hard NOT to think of synch-ability as you continue to write? Do you find yourself wondering if a song is going to work for picture as you write it?

I usually don’t think about synch when I write. I might just have a knack for finding a universal way to convey things. I like being poetic, and crafty in my writing but I also want people to get it — I believe in the power of a good pop song!

It may sound obvious, but why do you think having an understanding of synch licensing is important for emerging artists?

You want to be able to market yourself and bring your songs to the surface, reaching the masses. You’ve got to know the game if you want to play. People are watching TV, webisodes, and films. They won’t always seek you out, so you need to find ways to bring the music to them.

This is a sneaky and savvy way of getting your music to be heard and felt. It’s quick and painless. And, if they dig it, they might come back for more, seek you out, purchase your music, stalk you, blog about you, etc…

Well put. Switching gears, do you have your own studio in NYC, or do you record at other people’s facilities? Where do you like to work?

I demo all my songs at home on a digital Sony mini recorder. If I’m on the run, with no guitar on hand, I will sing into my iphone(recorder ap). If I mean business and am going for a real recording or even a pristine demo, I will work at Defy Recordings with Robert L. Smith. He gets beautiful sounds. I work on a lot of arrangements with Jeff Allen at his place in the Bronx, and often bounce around to various studios (mostly in NYC) to work on various side projects.

When someone works with a variety of producers like you do, how do you decide who to work with?

I guess I mostly work with the people I love and trust the most because it’s like home. Robert and Jeff have really been constant collaborators. Both of them have introduced me to a myriad of amazing singers, musicians, and writers.

David Patterson and Rob McKeever (both guitar players) have consistently helped me find a voice for my songs through the years, so I often turn to them as I write.

I am really loyal to those who have been on board since the get-go and, at the same time, incredibly open to meeting new artists and melding my music with others. I feel as if I’ve been collecting new friends and building momentum mostly because of the exciting energy that comes from good, soulful, collaborating. It’s the key to my success as an artist.

That’s BIG. Did that work go into your new EPs – two different projects — that are about to come out simultaneously?

I’m about to release the most exciting project of my musical career thus far: The Alter-Ego EPs, officially due on on August 17th. I raised a good portion of the budget for this through PLEDGE MUSIC.  I have been sharing the process, and progress through PLEDGE, Facebook, my website, Twitter, blogs etc…

This is really the first of many concept projects for me. The Alter-Ego EP: MEANS TO AN END is a bit more raw than my other records, and veers off on an edgier, live-ish path.

The sound and approach is mostly influenced by some of my classic rock heroes. Jeff Allen ( the producer of this EP) and I got our dream band together, did two long rehearsals and then went right into the studio and recorded six tracks in one long day, so that the ideas would be slightly rough around the edges and possess that raw, unaffected energy that comes with the initial creation of something.

We recorded with Oliver Straus at Mission Sound in Brooklyn. He got stellar sounds, and the day is one of my favorite memories. Since then I’ve been finishing my vocals, and we’ve been adding a few exiting overdubs –The icing! It’s being mixed right now!

The Alter-Ego EP: RAW SUGAR is pretty dancy. It’s pop at its clubbiest for me and has been really exciting to make.

Robert L. Smith has produced this EP with me. It’s been intensely collaborative, constantly evolving and there are so many exciting people involved. It’s a departure for me in a way, but feels totally natural. I’ve worked with Robert to corral and empower the various producers, mixers, programmers and singers involved, to help shape, and make these songs a sensation.

In doing so, I have felt new sides of myself emerge. I see neon, champagne, and many costume changes in my future. So, I guess I would describe the overall project as gritty and pretty, pop and pow, sugary and savory, thunder and lightning. They go together but are totally different.

On another musical side of you — you introduced me to a really interesting project involving the Beatles and some ukuleles…

Well I’m sort of late to the party, but happy to have been invited nonetheless.  This whole thing happened pretty organically. I had the good fortune to have been introduced to the amazing singer-songwriter/vocal producer Mike Harvey. My friend/producer/collaborator Robert L. Smith hooked us up for the ALTER-EP project I am currently working on.

Mike’s soulful voice has become a key ingredient in the dance/pop songs. He introduced me to David Barratt who founded the high-concept art project THE BEATLES COMPLETE ON UKULELE with Roger Greenawalt. It’s like “Where’s Waldo?”, but with ukulele. You’ve got these amazing, intricate, arrangements, and exciting incarnations of beloved Beatles songs, and somewhere within each track there is a UKULELE! How fun is that?!!!

Sometimes the instrument plays a large roll, sometimes it’s a bit more discreet, but it’s the common thread that binds this project together. I loved having the opportunity to pick the song I wanted to approach in my own way. When I got the list of available songs, my eyes raced down the page, searching for I ME MINE (written by George Harrison)… it was free! It was MINE! once I declared it so, David built the most gorgeous, hypnotic track for me to sing to and the rest is history. The track should make its way into the world this summer!  It’s quite a unique and exiting project, with so many amazing artists lending their voices.

The track we heard was indeed awesome — although the latest post (July 2) on the blog makes note of “irreconcilable differences” between Roger and Dave. Intrigue! Anyway, so you’re off to a good start: What advice do you have for songwriters/artists who are just getting started now? And in that vein, what do you know now that you wished you had known a few years ago as you were getting started?

WOW — I wish I had known so many things when I got started and I really knew nothing. It was a blessing in many ways because it taught me to be resourceful, organized and creative.

I made countless mistakes, and made astonishing waves by being fearless, and stepping up to things. I always acted like I had it going on, and this confidence seemed to draw others into my orbit.  Sometimes I wish I possessed the same brand of moxie now.  Ignorance is bliss, to a point. Knowledge is power, always–and some place in between that–if you can remain open, stay focused. learn from mistakes, trials and errors, and hold onto that raw, gutsy, mojo… that’s magic!

I would also tell a newbie, to do things on your own terms. There’s no fast track, no tricks, and no finite way to make or promote music today. Find what works for you. Define your own sense of success. It’s ok if you don’t have all the answers, but you have to be willing to learn, ask, and try.

You don’t know? Draw from your heroes and influences but always try to be unique, authentic and GOOD! Persistence often pays off. Put good energy out into the world, treat others as you wish to be treated, seriously, and don’t do it if you don’t love it and burn for it.

Thanks for some inspirational insights. Lastly, why do this in NYC and not LA, Nashville or Nairobi?

Because NYC is still the best place in the world, with the best pulse, the hottest vibe, and an intangible energy force-field! There will always be a certain artistic history, and edge about NYC that reminds you that you’re alive and that anything is possible. There’s both a toughness and friendliness about it.  There’s an infinite amount of inspiration, beauty and grit, swirling about to draw from!

It might be the BIG apple, but when you’ve done the circuit for a bit and start to see how small certain circles really are, it’s quite a cozy, comfy place to be writing, recording and performing music. And that street cred thing about making it in NYC is still something to shoot for.

– David Weiss