Cellphone Do Not Call Registry

There is an e-mail being circulated with a phone number to call to register cellphones on the National Do Not Call registry. The email proceeds to say that all cell phone numbers will be made public within a few days, so you need to hurry. That info appears to be bogus.

All phone numbers, land line or cell, can be registered online at www.DoNotCall.gov. It is free. You only have to enter a phone number and an email for authentication. It takes about 30 seconds to complete the entire process. Once registered, your phone number will stay on the “Do Not Call” list for 5 years.

It may take a few months, but once you are on the list those sales calls should disappear to almost nill. In some states you can take a company to court if they telemarket you three times. Automatic judgement in small claims court of $500.

Lyrics – I Release and I Let Go

rickie-bb.jpg Lyrics for I Release and I Let Go as performed by Rickie BB (Rickie Byars – Beckwith) from AGAPE. Visit www.RickieByars.com for more info or to purchase CD’s of her music.

When you see her perform live it is moving beyond words. Several years ago I attended her music workshops at AGAPE. She is on the forefront of incorporating chants for worship in a contemporary setting.

Rickie Byars-Beckwith, a prolific composer, singer, performer, and music director, is widely known as an intuitive channel of healing music. Her songs are a profound experience that open the heart, touch the soul, and lift the spirit.

I RELEASE AND I LET GO – Lyrics

SOLO:
There was a time in my life
I thought I had to do it all myself
And I didn’t know the grace of God was sufficient
And I didn’t know the love of God was at hand

But now I can say
If you are discouraged
Struggling just to make it through another day
You got to let it go, let it all go
And this is what you have to say

CHORUS:
I release and I let go
I let the Spirit run my life
And my heart is open wide
Yes it’s only up to God

No more struggle, no more strife
With my faith I see the light
I am free in the Spirit
Yes it’s only up to God

Audio Compression Settings for Kick Snare and Bass

 *NOTE: The answer to this question is based on ACOUSTIC kick, snare and bass. For compressing digital samples you can hit them as hard as you want. Your ear is the guide.*

Question: What type of compression settings should I use as a starting point on the kicks and the snares and the bass. and are there any other tube pre that are less expensive that can work , I’m on a bit of a buget and I trying to upgrade to an Pro Tools HD rig.

P.S Thanks for your info it nice for you to share this info I like to learn as much as I can.

Answer:

1) Any other tube pre less expensive that can work?

Yes. With DIGITAL preamps the idea is to not colour the sound. Alternately, the usual intention of a TUBE preamp IS to colour the sound with tube warmth. So the answer is any preamp will work that will give you the tube warmth, and it just so happens that the higher end tube preamps tend to do better at this (that’s why they’re more expensive). I prefer the Avalon, but I also have an ART tube pre. The difference is night and day, and you won’t really appreciate the difference until you hear it. My suggestion would be to google reviews to find what’s currently out that is working for audio engineers. I consider MIX magazine an excellent resource. Spending an entire day or two reading reviews on tube preamps would NOT be a waste of time in my opinion. Might be the best time you spend for improving mixes.

1) What are good compression Settings for Kick, Snare and Bass?
First thing is to know in your head what sound your going for. Where you’re going will dictate how you steer the ship. If the kick and bass guitar are meant to work as one whole, then you may want to daisy chain the bass guitar compressor and kick compressor together so they work in tandem. If you want a beefy 40kz 808 bass sound compress it hard and fast to keep it even. If it’s jazz then let the kick breathe a little. IN GENERAL your attack can be between 3 and 14 milliseconds. Release depends on the style, adjust it so there’s no “pumping”. You will destroy a mix more often with too much compression than with not enough. Don’t try to get as much overall volume as the latest major artist release, 99.9% odds if you get it that loud then you’ve crushed any life in the mix. Let Bernie Grundman and Glenn Meadows do that work, they are the masters.

If you have a really good studio bass guitar player, you won’t have to use much compression. But for most bands you’ll have to use stronger compression to “tame” the playing of the bassist. Overall I like the bass guitar working together with the kick drum, so that will dictate my compression settings which vary.

If you’re using ratios more than 6:1 then something else might be a little off. For a jazz kick you might use 12ms attack, 30ms release and 2:1 compression ratio. For a heavy metal kick might be 3ms attack, 12ms release and 4:1 compression ratio.

The biggest single tip I ever got about audio engineering: Know what you want before you reach for a knob.

Hope that helps.

Conrad

Brigadoon Auditions

Brigadoon Auditions 2007
Lyric Light Opera of the Northwest

All roles needed! All lead roles, supporting roles, ensemble members, townspeople, etc.  Please prepare a song and to do some cold reading. A monologue is optional. Please see below for a detailed list of characters.

Auditions for Brigadoon:
Saturday, January 27th
10am – 4pm

Sunday, January 28th
1-5pm

Location:Â Camano Senior and Community Center
606 Arrowhead Rd.
Camano Island, WAÂ 98282
************************************************

Wednesday, January 24th
1-3pm

Thursday, January 25th
1-3pm

Friday, February 2nd
5-9pm

Location:Â TPS Office & Studio 4
4th Floor, Seattle Center House
305 Harrison
Seattle, WA 98109

For auditions at TPS (Seattle), please call Brenda at (360) 387-3948,
or email her at Brenda@lyriclightopera.org to schedule an appointment.

Call Backs:

Saturday, February 3rd
10am – 2pm

Location:Â Camano Senior and Community Center
606 Arrowhead Rd.
Camano Island, WAÂ 98282

Rehearsals
Rehearsals begin in April, and are planned on Monday and Thursday evenings. In May, we plan to add a weekend rehearsal every other week.

List of Characters Needed

Andrew MacLaren
Father of Fiona and Jean, a hearty soul. He is a bit pompous and has a loud gruff voice.

Angus MacGuffie
Seller of eggs, milk and cream in MacConnachy Square.

Archie Beaton
A kind looking Scot 40-60 yrs. old, and seller of plaids and wool.

Charlie Dalrymple
A sandy-haired youth in his twenties, he is betrothed to Jean. A Dancer.

Fiona MacLaren
Graceful and altogether lovely, she is about twenty-two. She is bright, has a gentle sense of humor and  is completely frank to the point of being quite often disarming.

Frank
A New York bartender

Harry Beaton
Archie’s son. A young man with a dark personality. Harry is in love with Jean MacLaren.

Jane Ashton
New York, she is in her twenties, chick, very attractive, though maybe a bit severe; engaged to Tommy.

Jean MacLaren
Attractive, shy and diffident, she is about 18. She is betrothed to Charlie Dalrymple. A Dancer.

Jeff Douglas
From New York. In his 20’s-30’s, retiring and good natured with a dry and sarcastic sense of humor.

Kate
A friend of Jean’s.

Sandy Dean
A Scottish child, a seller of Candy.

Meg Brockie
20’s-30’s. An outgoing, bubbly young woman who is very interested in men, and while she is forward with them, she is still basically friendly and honest and loved by the townspeople.

Mr. Lundie
The wise old sage of the village. He is the schoolmaster, and loved and revered by all the townsfolk for his wisdom and insight. He is gentle, deep-thinking, slow moving and thoughtful.

Tommy Albright
A handsome young man from New York, 20-30, engaged to Jane, but attracted to Fiona. He is warm and charming, open, honest and unassuming.

Ensemble
The Brigadoon ensemble consists of a number of named characters with small speaking parts. The music is very fulfilling for the singer, with lots of lush and important musical numbers throughout the show.

Singing High Notes on the E Vowel

If a single vowel is sung over multiple notes it’s usually good technique to keep the vowel sound consistent through the passage. (Unless it’s for intentional effect, aka rock and blues). One of the factors between a mediocre and professional chorus is consistent pronunciation throughout the group.

To sing a closed locked vowel like the “eee” sound, prepare the back of the throat as if singing an “ah”, but keep your lips in the pronunciation of the “ee”. This will allow the voice to open up through the higher register while keeping a consistent vowel sound.

In difficult classical passages for sopranos and tenors it may be necessary to slightly adjust the “ee” to more of an “ah” sound. The deciding factor is to keep the vowel sound as consistant as possible without negatively affecting the vocal tone. Only use as much “ah” as is necessary for good tone.

Birthday Meme

My compulsory entry for the latest birthday meme wave. (Go to Wikipedia, enter the month and day of your birth, but not the year, and pick 3 events, 2 bithdays, one death, and one holiday or observance).

For May 27th:

EVENTS

1328 – Philip VI is crowned King of France.

1703 – Tsar Peter the Great founds the city of Saint Petersburg.

1924 – The Music Corporation of America (MCA) is founded.

BIRTHDAYS

1911 – Vincent Price, American actor (d. 1993)

1935 – Ramsey Lewis, American pianist

DEATH

1840 – Niccolò Paganini, Italian violinist and composer (b. 1782)

HOLIDAY OR OBSERVANCE

Lag Ba’omer in Judaism (2005)

Grand Canyon Staff Response to Creationists

You may have heard the rumor that the National Park Service staff at the Grand Canyon is instructed to refrain from telling visitors how old the Grand Canyon is. The reason stated was that they did not want to offend creationists who believe in a 6,000 year old Earth. A 6,000 year old Earth is in contradiction to the current understanding of mainstream science. As it turns out, it is NOT true that the staff is instructed to say this.

Read how Skeptic Magazine was duped by the Grand Canyon story. Michael Shermer, editor of Skeptic Magazine offers a detailed blow by blow account of how the story got printed and it’s quick fallout. In a nutshell he got duped by the PEER organization and is pretty steamed about it. (Article link is at the beginning of this paragraph.)

A statement from the now deprecated article read:

Washington, DC — Grand Canyon National Park is not permitted to give an official estimate of the geologic age of its principal feature, due to pressure from Bush administration appointees.

Peer review is the backbone of the scientific process. And it was Skeptic Magazine’s own readers who called it’s staff on the misinformation about the Park Service stance on this issue.

Here is a detailed response from Dave Barna on current protocol for National Park Service staff working at the Grand Canyon. He also provides an explanation as to why this rumor might have started. . Thank you Mr. Burna for addressing this issue with a detailed response.

RESPONSE FROM CHIEF OF PUBLIC AFFAIRS
NATIONAL PARK SERVICE
Recently there have been several media and internet reports concerning the National Park Service’s interpretation of the formation of the Grand Canyon.

The National Park Service uses the latest National Academy of Sciences explanation for the geologic formation of the Grand Canyon. Our guidance to the field is contained in NPS Director’s Order # 6 and requires that the interpretive and educational treatment used to explain the natural processes and history of the Earth must be based on the best scientific evidence available, as found in scholarly sources that have stood the test of scientific peer review and criticism.

Therefore, our interpretive talks, way-side exhibits, visitor center films, etc use the following explanation for the age of the geologic features at Grand Canyon. If asked the age of the Grand Canyon, our rangers use the following answer.

The principal consensus among geologists is that the Colorado River basin has developed in the past 40 million years and that the Grand Canyon itself is probably less than five to six million years old. The result of all this erosion is one of the most complete geologic columns on the planet.

The major geologic exposures in Grand Canyon range in age from the 1.7 billion year old Vishnu Schist at the bottom of the Inner Gorge to the 270 million year old Kaibab Limestone on the Rim.

So, why are there news reports that differ from this explanation? Since 2003 the park bookstore has been selling a book that gives a creationism view of the formation of the Grand Canyon, claiming that the canyon is less than six thousand years old. This book is sold in the inspirational section of the bookstore. In this section there are
photographic texts, poetry books, and Native American books (that also give an alternate view of the canyon’s origin).

The park’s bookstore contains scores of text that give the NPS geologic view of the formation of the canyon.

We do not use the “creationism” text in our teaching nor do we endorse its content. However, it is not our place to censure alternate beliefs. Much like your local public library, you will find many alternate beliefs, but not all of these beliefs are used in the school classroom.

It is not our place to tell people what to believe. We recognize that alternate views exist, but we teach the scientific method for the formation of the Grand Canyon.

I hope this explanation helps.

David Barna
Chief of Public Affairs
National Park Service
Washington, DC

Registered Professional Geologist (AIPG #6528)
Licensed Geologist (North Carolina # 129)

Visualization Rehearsal Tip

During an initial rehearsal with the vocal chorus of a musical, something seemed out of place to me. The cast was very talented, there was just a lack of focus. How do you get all that talent to bring it as far as they can? I spent the better part of a week mulling this over. I came to the conclusion that the lack of focus had nothing to do with a lack of intent. It had more to do with a lack of knowledge on how to rehearse most effectively. Or more accurately, a lack of quality rehearsal habits.
Thoughts and actions repeated become habits. Through repetition you can create the habits you want for your cast that will make the difference in between an ok show and an exciting adventure.

Breaking in a cast can seem a little like breaking in a horse. So know in advance what your expectations are and keep driving that home until it happens without thinking. Here’s a two step process I used tonight for breaking in a new cast and I feel it was effective.

FOCUS AND CONCENTRATION

I think a non-equity (read non-professional) cast needs a delineation for when concentration begins. I began by showing them a hand clap signal. I clap a “ta-ta-teetee-ta” rhythm and they respond in like. Over the evening we repeated this with an expectation of total silence at the end. Perhaps a little grade-schoolish, but a good tool bringing a large cast back to focus. If there wasn’t silence then I would repeat the sequence. The whole idea being to make the instant focus switch a habit.
Most pros have an imaginary veil they step through that delineates a time for focus. At some point they were probably taught how to do that. If there’s something you do well, there’s probably a little pause you take before beginning the task. That’s your mental preparation.

VISUALIZATION

I had the cast split up into four sections. We did “Row Row Row Your Boat” as a round with each part singing once through and starting every other line. There were some snickers because that was a bit silly. Then I asked them to do it again but not to sing. They were instructed to hear the parts in their head. There were a lot of confused looks and hands went flying up, and I just cued the first group who started singing. A few started singing, not quite understanding the game yet. I stopped and told them again that we were doing the song but no one should sing, they should just hear it in their head. I started the first group, then the other three.

Here’s the great part. In many of the cast’s eyes I could see a lightbulb shining. An “AHA” moment. Many of them could indeed hear the singing in their minds. I wonder if for some of them this was the first exposure they had to visualization as a rehearsal tool.

Then they were instructed that while one part was practicing, they should be running their own parts in their minds. That’s the purpose of this exercise. For cast members to get in the habit of rehearsing parts in their head while other groups are singing.

Keep demonstrating different takes on visualization until it becomes a habit for the cast. As a musician, I can see most of the music I play in my head. If I can’t see it, that means I don’t really have a grasp on it. Many times I’ll practice in my head to find out the rough parts I need to work on. If I can’t see it, then that’s what I have to work on.

May seem like work, but this is one rehearsal tip for lazy people. By incorporating visualization into your practice time you can get as much done in 1/3 the time.

If you have other visualization tips for actors and singers please drop a comment here and let me know about them.

Music for Robert Burns Supper – Toast to Lassies and Laddies

rburns1.gif
You may copy, distribute and perform these two pieces freely, I just ask that you link to this page so people come here for the source material.

More info on Scottish Poet Robert Burns and the annual Burns Supper.

Choir music for A Toast to the Lassies (Male Choir -Tenor/Bass) and a Toast to the Laddies (Female Choir – Soprano/Alto) created for the 16th Annual Robert Burns Scottish Evening presented by the Celtic Arts Foundation of Skagit County, Washington on January 20, 2007.

Both songs were received very well on their debut. The Toast to the Lassies is straight ahead Burns poetry, and our new response The Toast to the Laddies filled the room with laughter.

Toast to the Lassies Burns Dinner Choir Music MP3 – Audio
Toast to the Laddies Burns Dinner Choir Music – Audio

Vocalists on the recording include Ruth Haines, Kelly Pollino, Rebecca Wright, Natalie Howell, Judy Sjernen, John Haines and Evan Erickson.

TOAST TO THE LASSIES – Listen MP3
Lyrics by Robert Burns
The Henpecked Husband – 1788

Curs’d be the man, the poorest wretch in life,
The crouching vassal to a tyrant wife!
Who has no will but by her high permission,
Who has not sixpence but in her possession;
Who must to she, his dear friend’s secrets tell,
Who dreads a curtain lecture worse than hell.
Were such the wife had fallen to my part,
I’d break her spirit or I’d break her heart;
I’d charm her with the magic of a switch,
I’d kiss her maids, and kick the perverse bitch.

Note – Last word omitted on recording. Men’s chorus can motion with hands in a “ta-da” fashion on the beat of that nasty “b” word. Also over enunciate the word “switch” and everyone will know what word should have been there. A good way to present authentic Robert Burns coarse material in mixed company. The word has a different feel to it now than it did in Burns’ time, and I think it offends modern sensibilities. Your choice on how to perform.

TOAST TO THE LADDIES – Listen MP3
Lyrics by Conrad Askland – 2007
(An updated response to and similiar metre for Robert Burns “The Henpecked Husband”.)

A toast to the Laddies for the very best in life,
And a few concerns from your lovely wives.
It seems to us you’ve misplaced your thinking cap,
Why when you’re lost won’t you just ask for a map?
When you hear us talking do not act like we’re dull,
And could you just one time give up the remote control?
You should know when we ask you about our behinds,
We expect a sweet reply that’s gentle and kind.
Remember that we know the form that God hath wilt,
So stop exaggeratin’ bout what’s beneath yer kilt!