Difference between revisions of "Bobby Owsinskis Big Picture Music Creation Blog 20200524"
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− | <p>I had the | + | <p>I had the satisfaction to produce a very interesting video shoot of a meeting at a residence overlooking the famous Zuma Beach in Malibu over the weekend. The event was put on by KoffeeHouse, an organization who regularly presents a number of fine singer/songwriters in an informal acoustic setting to improve donations for several charities. Originally created 9 years back by Jeremy Koff in his backyard as a way to expose regional musical talent, the occasions grew larger and more more formal over the years, and he was eventually joined by partner Chris Ng. KoffeeHouse now presents some really excellent talent to an target audience that basically appreciates what they're hearing (something not always true in Southern California). This weekend's event's location was at a magnificent mansion overlooking the main one of the best beaches in the globe in Malibu. If you've watched the TV show The Bachelor, then you know the place.</p><br /><p>The 5 artists during the daytime outdoor program included songwriters whose functions you're currently hearing or possess heard in television and the films like Mozella, Chris Pierce, and Tyrone Wells as well as the California Rasta stylings of Trevor Hall (really difficult to believe he's a white kid in LA) and Scottish songbird Sandi Thom. [https://galter.northwestern.edu/exit?url=https://sennimusic.com/cubase-tutorial-how-to-set-the-tempo-accelerendo-ralentendo/ music press release distribution] performed later on that evening inside the house, which unfortunately we didn't see or shoot. [https://www.pcb.its.dot.gov/PageRedirect.aspx?redirectedurl=https://sennimusic.com/tuneomatic-itunes-affiliate-money-generator-plugin-for-wordpress/ click for more info] was MC'd by college "Entertainer of the Year," comedian/magician Justin Kredible. We were capturing the event as a pilot for the new music network ARC, a Comcast on-demand channel dedicated to new, cutting-advantage entertainment. ARC already airs several shows that our company (2b Media) created and produces including Favorite Music of the Superstars and Guitar Universe. I must admit that the skill level as of this event was extremely high and method beyond what I expected. I adored each artist and liked every minute of their music, and the Malibu establishing wasn't as well shabby either. When you're producing a shoot, you generally don't have time to really enjoy the proceedings, but the KoffeeHouse event was thankfully an exception. KoffeeHouse puts on an event about once a month and they're virtually just word-of-mouth, invitation-just, but on July 25th they'll possess a fully open to public show at the John Anson Ford Theater in Hollywood. Check out the KoffeeHouse website for even more tickets and more info.</p><br /><p>Anyway, aside from my not really liking the tone or the neck, the scratchplate was installed such that the bridge pickup was in fact touching the bridge side of the pickup cavity - to the degree that the pickup was completely skewed and wouldn’t sit directly in its slot. An ideal example of a model that was great on paper, but was pretty grim in reality. I offered it in 1994 and I’ve under no circumstances missed it. Towards the end of 1983, the diversity hinted at by the CST-50 was capitalised upon by a wide range of new models, known collectively as the Modern Series. Through the first 1980s, one of the main buzzes in the wonderful world of rock guitar got centered around customising Strats. Many rock players not only wanted Strats with humbucking pickups - they’d also latched onto the alternative locking trem systems made by famous brands Floyd Rose and Kahler. With this thought, Fender Japan pitched itself headlong in to the world of ‘Superstrats’ on the doorstep of 1984, providing an array of different configurations, from fundamental styling with classic type vibrato as well as perhaps the easy addition of a humbucker, to totally humbucking metal devices with locking trem systems.</p><br /><p>For the very first time, the organization thought we would offer both Squier-top quality and fully Fender-branded models on the export market. The Modern Series guitars were hence the first ever to arrive in the UK as true Fender MIJs, without any hint of the term ‘Squier’ on them. There is an extremely significant divide in price between the MIJ Fender Contemporaries and the Squier Contemporaries. In the UK, you’d expect the Fender version to sell for around 50% more than the equivalent Squier, and with ‘higher end’ hardware, this would see the MIJ Fenders offering for more than the regular early ‘80s USA models, which were on their last hip and legs as the 1st Contemporaries came in. Some of the price difference between Fender MIJ and Squier was right down to brand power, so to speak. Most of these guitars got poly finishes of high quality, wood construction, and a typical of build which was normally very great, no matter branding. I in fact thought the Squier variations of the Strats were much more predictable when it comes to their build than the JV series stuff.</p> |
Latest revision as of 03:27, 22 October 2020
I had the satisfaction to produce a very interesting video shoot of a meeting at a residence overlooking the famous Zuma Beach in Malibu over the weekend. The event was put on by KoffeeHouse, an organization who regularly presents a number of fine singer/songwriters in an informal acoustic setting to improve donations for several charities. Originally created 9 years back by Jeremy Koff in his backyard as a way to expose regional musical talent, the occasions grew larger and more more formal over the years, and he was eventually joined by partner Chris Ng. KoffeeHouse now presents some really excellent talent to an target audience that basically appreciates what they're hearing (something not always true in Southern California). This weekend's event's location was at a magnificent mansion overlooking the main one of the best beaches in the globe in Malibu. If you've watched the TV show The Bachelor, then you know the place.
The 5 artists during the daytime outdoor program included songwriters whose functions you're currently hearing or possess heard in television and the films like Mozella, Chris Pierce, and Tyrone Wells as well as the California Rasta stylings of Trevor Hall (really difficult to believe he's a white kid in LA) and Scottish songbird Sandi Thom. music press release distribution performed later on that evening inside the house, which unfortunately we didn't see or shoot. click for more info was MC'd by college "Entertainer of the Year," comedian/magician Justin Kredible. We were capturing the event as a pilot for the new music network ARC, a Comcast on-demand channel dedicated to new, cutting-advantage entertainment. ARC already airs several shows that our company (2b Media) created and produces including Favorite Music of the Superstars and Guitar Universe. I must admit that the skill level as of this event was extremely high and method beyond what I expected. I adored each artist and liked every minute of their music, and the Malibu establishing wasn't as well shabby either. When you're producing a shoot, you generally don't have time to really enjoy the proceedings, but the KoffeeHouse event was thankfully an exception. KoffeeHouse puts on an event about once a month and they're virtually just word-of-mouth, invitation-just, but on July 25th they'll possess a fully open to public show at the John Anson Ford Theater in Hollywood. Check out the KoffeeHouse website for even more tickets and more info.
Anyway, aside from my not really liking the tone or the neck, the scratchplate was installed such that the bridge pickup was in fact touching the bridge side of the pickup cavity - to the degree that the pickup was completely skewed and wouldn’t sit directly in its slot. An ideal example of a model that was great on paper, but was pretty grim in reality. I offered it in 1994 and I’ve under no circumstances missed it. Towards the end of 1983, the diversity hinted at by the CST-50 was capitalised upon by a wide range of new models, known collectively as the Modern Series. Through the first 1980s, one of the main buzzes in the wonderful world of rock guitar got centered around customising Strats. Many rock players not only wanted Strats with humbucking pickups - they’d also latched onto the alternative locking trem systems made by famous brands Floyd Rose and Kahler. With this thought, Fender Japan pitched itself headlong in to the world of ‘Superstrats’ on the doorstep of 1984, providing an array of different configurations, from fundamental styling with classic type vibrato as well as perhaps the easy addition of a humbucker, to totally humbucking metal devices with locking trem systems.
For the very first time, the organization thought we would offer both Squier-top quality and fully Fender-branded models on the export market. The Modern Series guitars were hence the first ever to arrive in the UK as true Fender MIJs, without any hint of the term ‘Squier’ on them. There is an extremely significant divide in price between the MIJ Fender Contemporaries and the Squier Contemporaries. In the UK, you’d expect the Fender version to sell for around 50% more than the equivalent Squier, and with ‘higher end’ hardware, this would see the MIJ Fenders offering for more than the regular early ‘80s USA models, which were on their last hip and legs as the 1st Contemporaries came in. Some of the price difference between Fender MIJ and Squier was right down to brand power, so to speak. Most of these guitars got poly finishes of high quality, wood construction, and a typical of build which was normally very great, no matter branding. I in fact thought the Squier variations of the Strats were much more predictable when it comes to their build than the JV series stuff.