The Ministry of Sound club are arguably the first nightclub to understand how to build a brand name and launch products off the back of that. They first started out as a club in London and then went onto launch not only other clubs throughout the world but also their own record label and music videos.

The Ministry of Sound music videos are notorious for featuring women not wearing many clothes. Their cd albums have featured club DJs Boy George and Pete Tong and they have sold a total of over 50 million dance records.

The Ministry of Sound now have offices in Australia, Germany, UK and the USA. Their global branding strategy has allowed them to diversify their revenue streams and ensure that during the financial crisis they at least have some chance of coming through it relatively unscathed.

The Ministry of Sound have had a string of top 10 music chart hits in the UK including Eric Prydz, Kid Cudi and Basshunter. The label have also launched their own radio station on the internet. The radio station is syndicated on various music websites.

In 2002, Ministry of Sound Radio reverted to an online audio stream and stopped broadcasting on DAB. It launched a new schedule in January 2009, featuring a mix of programming linked in to Ministry of Sound’s leading album brands such as Anthems, to specialist shows with DJ’s such as Mark Knight. It also produces several syndicated radio shows from its London studios that are broadcast on radio stations all over the world.

Thursday, a post-hardcore band, is from New Brunswick, New Jersey. The band formed in 1997. Their first full-length album was released in 1999 with a New Jersey based company called indie Eyeball Records. Thursday is known for their notable advancements of artistic nature; many of the bands songs are as a result of books, real world events, and art of various forms. Successfully emerging from the underground indie scene, Thursday at the turn of the century attracted Victory Records attentios.

The band gained significant commercial radio airtime when they released their second album which became a breakthrough. Their hit single “Understanding In A Car Crash”, landed the band a major label record deal with Island. Their hopes were in continuing to create music and an image that truely represented themselves. This hope resulted in a magnificent artistic piece in which the band perfected their sound. The entire collection of Thursday albums were produced by Sal Villanueva and mixed by Rumble Fish.

Thursday Band members are: Geoff Rickley (vocals), Tom Keeley (guitar), Steve Pedulla (guitar), Tim Payne (bass), Tucker Rule (drums) and last but not least Andrew Everding (keyboard).

The sound of Thursday is built upon both post-punk atmospherics and hardcore’s visceral instrumentation. Repeated high-pitch guitar riffs stacked on top of heavy bass lines echo Thursday’s British influences such as The Cure, The Smiths, and Joy Division as well as New York City’s Sonic Youth. There is the odd time signatures, tempo and key changes, and multi-sectional song structures also play a prominent role, akin to progressive rock bands such as Yes and Rush. Lyrically, Thursday is a masterpiece with lead vocalist Geoff Rickly. Geoff concentrates on the struggles of growing up in the world today using violent imagery along side shimmering, and often beautiful phrases.

Thursday’s Discography
* Waiting (December 6, 1999, Eyeball Records)
* Full Collapse (October 18, 2001, Victory Records)
* War All The Time (September 16, 2003, Island Records)

Thursday’s Singles
* 2001 - “Understanding In A Car Crash”
* 2002 - “Cross Out The Eyes”
* 2003 - “Signals Over The Air”
* 2003 - “For The Workforce, Drowning”
* 2004 - “War All The Time”

Feel free to reprint this article as long as you keep the article, this caption and author biography in tact with all hyperlinks.

Ryan Fyfe is the owner and operator of Thursday Spot - www.thursdayspot.com, which is the best site on the internet for all thursday related information.

Belvoir Castle will be holding a Fireworks show this Saturday With a pretty back drop to set things away..
For the 2nd year in a row MLE Pyrotechnics is having the event in the grounds of the Duke of Rutland’s family home this will be judged by the crowds.

Vanessa one of the organisers, said: “It’s a enjoyable venue where we genuinely savor setting on an event. The fireworks reflect as if by magic in the liquid as they are set off from bottom of the lake.”

Visitors will be treated to three companies from across the land vying for that extra pizazz to win over the audience’s voting.

The firms are Celebration Fireworks from Evesham, Pyromania Displays, Knaphill in Surrey and Spyrotechnics from Chesterfield with from each one placing on a 10 to 15 minute display to music. But the extravaganza doesn’t end there.

prior to the contest there will be a demonstration to hear about the different types of fireworks and see how fantastic presentations that move to the music can be made by the team

and to round it of a breathtaking pyro-musical presentation by the promoters will be done while the guests are judging

With origins in 2002 this annual event, Is proving to be immensely productive. Such reputable titles as British Champions, British Musical Champions and Fireworks Champions has been won by the 3 lead professional firework companies

And it’s not just fireworks with a Khoom Fay or Sky Lanterns launch when the sky will be full with beautiful oriental sky lanterns that softly rise into the distance.

Parking and camping is of avail on site and from 5pm visitors can turn up so take a picnic or savor the solid food and drink available from accredited vendors while relaxing in the beautiful grounds of Belvoir Castle.

I’ve had a few piano teachers over the years. And I can’t say that they really helped me. Why? Because I can learn technique pretty much on my own.

What I needed was for someone to help me TRUST MY OWN INTUITION and act as a mentor guiding me to my desired goal, which at that time, was to create my own music.

Think of a visual artist as an example. This artist may be able to understand and apply different techniques to create a pleasing work of art, but the art itself won’t have that special X factor that only comes when an artist fully trusts their own intuition.

Intuition is the most confusing thing for someone without it to develop. That’s because they’ve had a long time not trusting in themselves and their own unique talent and ability.

Nothing is more important for without the ability to trust yourself, you really won’t be able to hear the intuitive voice that is always present and is always willing to guide you - if you let it.

The first step to accomplish this trust in yourself is to switch from a product oriented attitude to a process oriented one. You must let go of the need to produce something that is “good” or “bad.” Instead, allow for mistakes and experimentation. Improvise and start out by using simple means. A few chords, a scale, some brief instruction are all that is required.

You must be able to play! Children trust themselves and their power of intuition without exception. They haven’t learned how not to. I like to use the analogy of finger-painting as an example of this.

Put finger-paints and paper in front of a child and watch what happens. They can’t wait to get started in exploring this world of color and form. They’re not concerned with good or bad. What they are concerned with is pure joy. And this comes from their ability to suspend judgement and just play!

Edward Weiss is a pianist/composer and webmaster of Quiescence Music’s online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at http://www.quiescencemusic.com/piano_lessons.html for a FREE piano lesson!

“How do I buy a violin, (or fiddle)?”

That question has risen to the top of the fiddle FAQ list, even above “What’s the difference between a violin and a fiddle?”

This is an account of how Richard Blackwell, my student, actually purchased a violin.

He had been using a good quality student violin on loan from his sister. He was ready to upgrade to a better quality violin when his sister asked for her violin to be returned.

A violin was already on its way to him from a shop in Philadelphia, when he scheduled an appointment with a violin dealer in Plant City, Florida. Royce Burt, the part-time dealer had a good inventory of instruments ranging in price from about $500 to $8000.

He has a regular job as an accountant and does this other business part-time from his home. Aubrey Haney, a prominent Nashville session fiddler, buys violins from him when he is in Tampa visiting his folks.

Richard brought me along to hear the violins with him and also to play them. Many players recommend having an other violinist (or fiddler) with you when trying out instruments. Violins often sound quite different right under the ear, as compared to a few feet away.

He also had his current instrument with him to keep the base line of comparison.

This turned out to be a very good move.

When we got there we went right into the violin room. Royce began to hand Richard violins, making just a few comments about them. I kept Richard moving from violin to violin, not getting hung up on any one instrument. Then he would circle back and retry ones he had played earlier.

In between I played them and made comments about their sound and appearance. There was one that I found really intriguing, with a certain mystery quality to its sound. I wanted to keep playing it until I solved the mystery.

At one point Richard seemed to hit an indecisive stall in the process. It was at this point that he pulled out the fiddle he’s been playing. The comparison made Royce’s violins stand out. He could hear the superior quality of tone immediately.

That gave him fresh encouragement as to his inclination. And he was drawn to one violin in particular. It was a truly fine instrument suitable for a professional player.

By this time it had come down to choice of two fiddles. Going back and forth settled the matter. Even though the one he chose was much more expensive, he made his decision. He knows he has a violin that won’t let him down as his ability improves.

There is one thing about Florida that you should know. Land may be pricey, but moveable goods are not. Almost everything costs less here than it does up north or out west. Royce’s prices are on the low end of the spectrum.

When Richard was clearly gravitating towards the one he chose, Royce reminded him of his complete satisfaction guarantee. I don’t believe I would buy a violin without such a guarantee.

Richard left with a violin he really liked. He also knew that he would be receiving on trial one more instrument to compare to it. That trial violin did not displace his choice.

This is not the only way to find a better violin to play. You might know a fiddler who has more than one violin and would be ready to let one go.

In some cases you might even be able to take the violin home for a week or so.

You could find a sleeper in an estate sale. Or, even a yard sale.

When it comes to trying out violins, there are three factors from Richard’s experience that are key in making a wise choice.

1. Take someone with you who can also play, as well as listen. If you can find someone knowledgeable, that’s ideal.

2. Take your current instrument with you. At some point, take it out and compare it to the violin or violins you have been playing.

3. Make your evaluation in a stress free, no pressure setting.

If the dealer brings out a violin exclaiming, “I have just the violin for you!” and he proceeds to rip off a few cadenzas, then hands it to you, make a quick exit. I was with one of my students when a “respected” dealer pulled this stunt.

Noticing how echoey the room was, I asked him if he practiced in this room. He said he didn’t.

You should also play the candidate violins in a room with normal acoustics. That’s another aspect of stress free environment.

One last point may be: know what your budget is. Don’t sell the cow to get a violin. There are more violins down the road.

Elan Chalford, MM.
Learn How to Play Fiddle without Reading Music

After I had blown quite a few thousand dollars in a recording studio, a sound engineer friend made a cool suggestion. “Why don’t you buy an ADAT, and do some tracking at home?” So I purchased that venerable 8 track digital tape recorder and saved oodles of time and money putting all my synth tracks on tape. That was my start in home recording, and oh, the fun I’ve had since!


What are the basic pieces of equipment and software one needs to record at home?


There are so many ways to do this! Well, since you’re reading this, you probably have a computer, so let’s base our home studio on the computer. We’ll start by understanding the different functions we will need filled in home recording. Then we’ll understand what the best hardware and software products to do it are. In general, the principle I recommend is to use fewer pieces of equipment with more functions. That approach saves time and, usually, money. As you advance in your recording skills, you can go for more specialized equipment.


There are two distinct phases in recording a song. One is the “in” phase, referring to everything needed to get your music performance into a basic recorded form, with however many tracks you need. The second phase is the “out” phase, where you will take that raw music, process it and create the final stereo version.


The “in” phase — sending the music to your computer


Music can be put into your computer either as audio or as MIDI. Audio is actual sound recordings. MIDI records no sounds, but only the digital instructions for an instrument to play. It is much like a combination of a pianist and sheet music. Without an instrument, he can make no music. With MIDI, you are saving the note and volume instructions to be played on the instruments of your choice later on.


Although some programs let you put MIDI notes into your computer through your computer keyboard, and other programs have music generation features that allow you to create an entire backing band without playing a note, the best solution is a velocity sensitive MIDI keyboard. It gives a much more realistic performance. For example, playing a key softer will record a softer note. Other features, such as aftertouch, allow you to add vibrato and other realistic effects.


Audio simply means actual sounds. Audio tracks will include vocals, acoustic instruments, and electronic instruments whose sounds you wish to use. You will do well to get at least two microphones. Some microphones are better constructed to record vocals, while others are optimized for instruments. In addition, having two mics allows you to record in stereo, or two soloists performing at the same time.


Receiving the music into your computer


All of this will get your music up to your computer’s door. How do you get it inside? With an audio interface that has: a microphone jack that fits your microphone cable and preamp function (so that the signal is strong enough to be properly recorded), phantom power (if you use a condenser mic that needs it), a line input for synths and sound modules, and a MIDI interface. Remember the principle - less products that do more. Some find it simpler to run every audio sound, mics and all, through a hardware mixer (with phantom power and effects) and sending that pre-processed signal to the audio interface’s line input. You’ll still need the MIDI interface function for your MIDI recording, though.


Once your audio and MIDI are inside your computer, software takes over. For our recording we will use what’s called an integrated audio/MIDI sequencer. Famous names include Cubase, Cakewalk and so forth. These programs record multiple tracks of audio and MIDI in perfect synchronization.


Now you have all the equipment you need for the “in” phase. What will you need to take the many tracks of audio and MIDI you have recorded and make a song out of them?


The “out” phase — making MIDI into music


We mentioned that MIDI is simply digital instructions, it is not actual sounds. Now we will need to create actual sounds from those instructions. There are two options for this: external and internal.


External sounds come in little boxes called sound modules (or keyboards with their own great sounds). Sound modules have hundreds of high-quality patches that re-create every instrument in the orchestra, classic electronic sounds, spacey new synthesizer creations and sound effects. To use them, you send the MIDI back out from the sequencer program through the audio interface’s MIDI output and into the sound module. You then take the audio output from the sound module back into your computer via the line input on your audio interface and record it on a new audio track in the sequencer. It is now a real sound and is perfectly lined up with the other tracks.


Internal sounds come in lots of different types. Instruments that you use from within your audio/MIDI sequencer include VST instruments and software synths. The latter may automatically come with your audio interface, or require installation like any other program. Option two is a full-blown sampler/synthesizer program, such as “Reason”, that you connect your sequencer to through a software function called “Rewire.” And there are also sound modules that come in the form of PCI cards that you physically install on your computer.


Fine tuning and effects


Most every song will use spatial effects such as reverb and echo. You may find that some tracks are slightly out of tune. On others, there may be a consistent buzz that needs to be removed. For all of these, you will want to have an audio editing program or plug-in. A plug-in is simply a function you can add to your basic sequencer program. Plug-ins exists for all kinds of functions, including reverb, compression, equalization, noise reduction, pitch correction and so forth.


An audio editing program is a standalone program that does all of these things. With most audio/MIDI sequencers, you can configure your software to call up the audio editing program and fix the track without leaving the sequencer.


Mixing down


Once you have all of your tracks and sounds recorded, you will need to mix them down to stereo. Again, this can be done in an external or internal fashion. To do it externally, you would need a hardware mixer. This method limits you to the number of tracks you can send independently through your audio interface and the number of tracks your mixer can handle. Nonetheless, mixers give you a real surface to work on, and often include quality studio effects, reverbs and such.


Internal mixing means using your audio/MIDI sequencer to mix down the entire song to two tracks. The advantage of doing it internally is the expanded number of tracks you can use. The disadvantage is the difficulty of mixing with a mouse on a computer screen. There are, however, hardware mixing surfaces which simply control your software program.


Mastering and burning


Once you have your stereo mix, you want to put the finishing touches on it. These touches include overall compression, equalization, noise reduction, fading in and out and bringing the recording up to a normalized level of volume. Your audio editing program should be able to handle these adequately, although there are specialized mastering programs which offer higher quality and many more enhancement features.


Then you’re ready to burn your song to CD. Odds are that your CD writing drive came with a program that does just that and you won’t need anything more. I did mention that you’ll need a CD writing drive, didn’t I? Well, now I did! And if it’s MP3 you’re after, most audio programs encode MP3s as well.


And that’s it! Now you have everything you need to make your musical magic at home. Have fun, but I don’t need to tell you that, because it just is.

Seth Lutnick is a singer and songwriter who has been bitten by the bug of home music recording. His web site, offers detailed step-by-step plans for creating a home recording studio, song arranging and professional album recording.

The dynamic duo Brooks & Dunn have checked in with country music fans with the release of their most recent CD entitled Hillbilly Deluxe.

I should thank Dr. Phil for pointing me to this one as it was his show on which I recently saw the boys perform track 8 Believe and enjoyed their presentation so much I thought I should check out the entire CD. Good decision on my part.

Hillbilly Deluxe launches with a great track named Play Something Country, and from there proceeds to once again display why Brooks & Dunn have enjoyed their lofty status in the country music genre since hitting country gold with Boot Scootin’ Boogie way back in 1992.

Over the years B&D have managed to work out their own formula for success and have taken some criticism for it, but not from this reviewer. I’m from the school that says if you find something that works stay with it, unchanged, until it doesn’t work anymore.

Overall Hillbilly Deluxe is very good listening and is certainly a CD that country music fans, and fans of Brooks & Dunn in particular, will definitely want to add to their collection of country CDs.

The standout tunes on Hillbilly Deluxe are She’s About As Lonely As I’m Going To Let Her track 2, One More Roll Of The Dice track 6, and I May Never Get Over You track 11. My SmoothLee Bonus Pick, and the one that got Sore […as in “Stuck On REpeat”] is track 8, Believe. Very nice!

Release Notes:

Brooks & Dunn originally released Hillbilly Deluxe on August 30, 2005 on the Arista Nashville record label.

CD track list follows:

1. Play Something Country
2. She’s About As Lonely As I’m Going To Let Her
3. My Heart’s Not A Hotel
4. Whiskey Do My Talkin’
5. Hillbilly Deluxe
6. One More Roll Of The Dice
7. Just Another Neon Night
8. Believe
9. Building Bridges
10. Her West Was Wilder
11. I May Never Get Over You
12. She Likes Get Out Of Town
13. Again

To listen to samples of each song on Hillbilly Deluxe by Brooks & Dunn go to:
Brooks & Dunn CD - Hillbilly Deluxe MP3 Samples

Clyde Lee Dennis, a.k.a. SmoothLee is a life long music fanatic. In addition to writing CD Reviews like this one for several music related websites he also hosts an internet radio show, and invites you to join him daily for some of the best soul soothing smooth jazz you’ll ever hear at http://www.SmoothJazz247.com

Musical instruments have existed in one form or another for many thousands of years. There were several stringed instruments made before violins, but some of them are so ancient that modern scholars hardly know anything about them, having only seen them depicted in artwork or written record. The violin has existed in its current form since the 16-th century. The first Violin makers were Italians who were probably influenced by other ancient stringed instruments from around the world.

Some of the violin’s precursors date back several thousand years. The ravanstron, rebec, and rabab are ancient stringed instruments that were used thousands of years ago. By the 11-th century, the rote and vielle had been invented. These instruments looked somewhat similar to modern violins in that they fingerboards that containing strings which players could press in order to produce different tones. The vielle was probably the instrument most similar to the modern violin, different models had between two and five strings that could be plucked or bowed.

The history of the violin itself goes back to 16-th century Italy. The Medici family commissioned a famous lute builder named Andrea Amati to make a stringed instrument that was small enough for street musicians to use but had a sound quality similar to that of a lyre. His first violins were very successful and he was soon commissioned to build an entire orchestra by King Charles IX of France. The earliest known violin still in existence, dated 1564, was from this orchestra.

The Amati family — along with fellow Italian families like the Guarneris and the Stradivaris — continued to refine and develop the violin’s design until the 18-th century, when Antonio Stradivari built a violin that formed the basis for all future models.

Acoustic violins have not changed much since the 18-th century; the designs proved they could with stand the test of time. Some innovations, such as the advent of the electric violin have been made in recent years, but the basic design remains unchanged.

Violins Info provides detailed information about antique and electric violins, violin music, sheet music, strings, and shops; violin makers and repair; and explanations of how to play the violin and a short history of the violin. Violins Info is affiliated with Business Plans by Growthink.

Some things just never go out of style. Blue jeans and T-shirts. They’ve changed very little over the past 50 years. Sure, they endure phases ranging between menacingly large and precariously scant, but for the most part they are a staple of modern day attire and are a pretty safe bet.

Be warned that most fashion is not this way. It is commonly known that one should never chuck yesterday’s styles in the bin. This is because the universe, extraordinarily goofy as it is, has created the mystic fashion-recycling program, known to seers as “Trend Reincarnation.” This perplexing phenomenon manifests itself in the miraculous reappearance of such cosmic foibles as platform shoes, tie-dyed shirts and (shudder) powder blue polyester bellbottom tuxedos.

The catch is you have to hold on to these garments for 20-30 years until they are supernaturally reinstated to popular acceptance.

Shucks. If only I knew this tidbit at the tender and impressionable age of six, I would have stored my Star Wars pyjamas and Scooby Doo underoos in a cryogenic vault for successful and stretched reappearance in my late twenties. Alas. I do have a few pairs of my mom’s old hip-hugger bellbottoms from the early-seventies, along with an original “Sergeant Pepper’s Lonely Hearts Club Band” T-shirt, circa 1967. And though those charming antiques are older than I, remarkably they are the height of current fashion!

My MTV generation, “Gen-X,” has seen fashions come and go as fast as a radio jockey can change a record. Or is that reel-to-reel? Tape? 8-track? CD? DVD? MP3? Blue-Ray? Sheesh, in my short 29 years on this planet I have gone through more than eight playback mediums!

I can unflinchingly confess to a simpler time when we’d drive our olive green leaded gas "boat-mobile" with artificial snakeskin trim to the beach listening to the fresh sounds of Stevie Wonder, Billy Joel, Madonna, Michael Jackson and other 80’s greats. Soon enough MTV had new replacements on the top forty and we moved on.

I was driving my new non-snakeskin foreign import SUV along the other day when some familiar sounds came through the car speakers. There was my old pal, Stevie, singing about love lost with a … what’s that? Techno beat!?!

It seems a new fad is to take old 80’s tracks and spruce them up with heavy techno beats and booming bass. My goodness, anyone from ABBA to Elvis have been recycled by techno geeks! Elvis didn’t die, they just stuck him in the blue bin!

Then there are comebacks I never would have expected in a million years. Purple-haired, gum-smacking 80’s icon Cindy Lauper has recently been recycled with a new album of sultry jazz covers. On the idea of recycling music, the now-50-year-old artist said, "a song is like a dress… you try it on, you can’t wear that dress sometimes because we’re not all built the same so you have to take it in here, let it out there." Sage wisdom from the girl who just wanted to have fun back in ‘84.

My mother realised she was getting old when she heard “Stairway to Heaven” on an easy listening station. Just recently I heard a real heavy punk tune from my childhood on a tame CBC Sunday afternoon program and simultaneously my life flashed before my eyes.

In any event, I can safely say that there are some classic bands that will never go out of style. Maybe they’re not on the top-40, but they’re still tops in our collective musical consciousness. The symbolic “T-shirts” of pop music culture, the Beatles, the Rolling Stones and Led Zeppelin, are just as hip, groovy, and totally bitchin’ now as they were back when those words actually meant something.

What’s next, you ask? Well, it won’t be something I haven’t heard already!

**Rhiannon Schmitt (nee Nachbaur) is a professional violinist and music teacher who has enjoyed creative writing for years. She currently writes columns for two Canadian publications and has been featured in Australia’s “Music Teacher Magazine.” Writing allows her to teach people that the world of music is as fun as you spin it to be! Rhiannon, age 29, has worn the hats of businesswoman, performer, events promoter, classical music radio host and school orchestra music arranger in rural British Columbia, Canada. Her business, Fiddleheads Violin School & Shop, has won several distinguished young entrepreneur business awards for her commitment to excellence. Her shop offers beginner to professional level instruments, accessories and supplies for very reasonable prices: Visit http://www.fiddleheads.ca Rhiannon is also Founding President of the Shuswap Violin Society which promotes violin & fiddle music and helps young musicians in need: http://www.violinsociety.ca

You don’t find many negatives from iPod customers. All The Same, one thing often brought up is the inability to transfer music from their iPod to a second personal computer Though the iPod has no trouble copying music from your PC or laptop to iPod using iTunes, the opposite is disallowed. If you don’t use iPod to PC Software, you will not be able to copy your iPod files to an extra PC. This subject oftentimes occurs when iPod users get a new PC or have to install the operating system on their existing personal computer. Apple forbids this process because it doesn’t want unauthorized sharing of purchased videos and music from the iTunes shop. Still yet, there are many reasonable times that people need the power to move from iPod to computer. If a personal computer goes down and you need to re-run the system files, you might need iPod to Computer copy software to get your priceless videos and music. Otherwise, the clean installment of iTunes will wipe out your iPod, potentially costing you $100’s of dollars in unrecoverable files. Another common situation iPod owners require these types of software packages is when they buy a new machine and wish to move their existing database of iPod music and videos on the new computer. Over Again, if you don’t have this type of program, you could possibly lose your valuable iPod files. There are many developers on the market today that provide computer programs to accomplish this project. A speedy visit to freeware websites will bring out a lot of alternatives. You can also just type ‘iPod to PC transferring software’ into Google.