OREGON STUDIO/MASTERING - OREGON MUSIC / JANUARY 2002 - Two Louies Magazine
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02
N UA RY 20
A
SIC / J
ON MU
OREG
photo Pat Snyder
OREGON STUDIO/MASTERING
photo Pat Snyder
Sweaty Nipples at Satyricon 1991.
S
weaty was born in the AFM Local #99’s countless run-ins with crooked promoters, didn’t to Megaforce Records.
rehearsal hall, August 9, 1987. Before it miss a show for the first 9 years. After the Farewell gig in ‘97 members Brian
was over the band played 1,300 shows, The band was proud of bragging they had Lehfeldt and Davey Nipples found work in
did 3 coast-to-coast tours, released 3 CD’s, 2 slabs been signed to “No less than 4 failed record deals”, Everclear. New Years Eve 2002, Sweaty reunited at
of vinyl and a smattering of cassettes and despite the biggest of which was probably the ‘93 signing the Roseland in front of a thousand glistening fans.
LL
LETTERS Editors Response
Yo,
Since I’m the one who keeps writing about Art and
Meredith (and Billy) I thought I’d answer your thought-
Art or Meredith, It will usually be some other published
source speaking. It’s not important what some low rent
music journalist in some backwater music town says
Two Dufuses about Art, but it is important what Billboard, Rolling
Dear Two Louies Staff, ful note, Two Louies is a music trade publication. About Stone, USA Today, Entertainment Weekly and others say,
Why don’t you guys rename your rag “Two the business of music. Hence the column by the lawyer et especially when it enhances the image of the Portland
Dufuses Living In The Past” ? Or better yet : “The al. You may have missed that if you just joined us back music community, which it often does.
Everclear Rancher Brooks Fanzine”? Dudes, it’s simple. when we were hip. If you’re a music fan and not a player When some of those bands you’re telling us to get
It sucks when someone dies of cancer etc. but the truth I can see where Two Louies might confuse you. hip to, start showing up in those publications, you’ll read
is those guys you keep writing about are not players. Art Alexakis is one of Portland’s largest music busi- all about it in As The World Turntables, but by then,
Billy Rancher was at best a mediocre writer and player. nesses. He hires musicians, engineers, roadies and record- you’ll be bored with them.
Art and Meridith are nothing more than entertainers ing studios. He has his own label. He brings other bands When you’ve paid your dues you’ll figure out that
just like Brittany Spears and N’Sync. to Portland to produce them. He buys musical instru- newer is not always better and that what is hip today is
At one time, far away and long ago, your rag was ments, recording gear and pro audio equipment. He’s passe tomorrow and in the end the only thing that’s im-
actually hip. Now you are wasting natural resources, what’s called part of the infrastructure. portant is who owns the music publishing rights. But
namely paper. We would be a lame trade publication if we didn’t that’s just the TL slant.
Why don’t you geeks shut down your operation cover Art’s business. As to your statement that Billy Rancher was “at
for a while, get out into the kingdom and listen. Take Meredith is a different case. She’s part of best a mediocre writer and player,” I’d have to say you’re
a chance and buy some local artists’ CDs that you nor- Hollywood’s infrastructure now but not that long ago she full of shit on that one. Clive Davis signed him and a full
mally wouldn’t. Experiment and get well then start back worked up and down the street here and has left behind fifteen years after he’s dead people still believe in and
up. dozens of musicians, songwriters and technical people care about his music, which you would have seen for your-
Bob Olsen who are still involved with her and interested in what’s self had you been at the Roseland Grill December 2nd.
bob1313@onemain.com happening in her career. Her parents live here and she But full of shit or not, I do appreciate your concern
P.S. Clarke, your as deaf as most of the sound visits frequently. over our editorial direction.
people here in Portland. Two Louies exists specifically to document the ca- Thanks for picking up the rag.
reers of Oregon’s original musicians. (Since you can’t al- Yours Truly,
ways trust Steve Duin to get it.) When I’m up to bat for Buck Munger Continued on page 23
TWO LOUIES, January 2002 - Page 3
Camaro Hair @ Dante’s Page 4 - TWO LOUIES, January 2002
Purple Haired Persuasion
son
by Ford T. Pear Website pending. Email: lavendertommy@yahoo.com
Listed In The Studio Guide-Sponsored By Brownell Sound
And speaking of the off-the-clock-reduces-
stress characteristic, please welcome new re-
cording vendor Lavender Lab. “I’m just try-
ing to create the kind of studio I wished
existed when I was figuring things out,” said
Lab operator Tommy Harrington. Tommy
honed his craft in Los Angeles and has been in
the PDX market for just over 6 months. The lav-
KINKY Kudos ender-haired singer/guitarist has a frenetic cadence
www.kink.fm and a can-do attitude. “If a client needs session
W
hen was the last time a local radio Red Sector Revamps At Opal Studio players, perhaps some cello, violin, backing vocals
station dedicated multiple morn Website pending. Email: TheRedSector@yahoo.com or whatever, it’s not a problem, and no extra
ing-show segments to the local Listed In The Studio Guide-Sponsored By Brownell Sound
charge,” he added.
music scene, just for the sake of making it healthier? Drummer Adrian Ost has split Red Sector to Lavender is a 24 Track 24 Bit Digital facility
KINK Program Director Of The Year Kevin audition for the nationally-touring Powerman and Mr. H’s skills include the nowadays-prerequi-
Welch has stepped-up his ubiquitous promotion 5000, whose remix of Relax is featured on site ability to wield Pro Tools LE 5.1.1 software.
of local-music by bringing a week-long segment Zoolander, and a band looking to replace two re- His set-up includes a Yamaha 01v digital mixing
on the topic to the drive-time dominating KINK cently lost members, Dorian Heartsong and Alan console, a DIGI001 24-bit interface with 16 I/O,
Morning Show, featuring Welch, Terry Travis, and Pahanish. “We’re 100% behind Adrian and we wish running on a 1.1 GHz Athlon AMD with 640MB
his radio-royalness Les Sarnoff. The segments aired him the best of luck with the audition,” said Red of RAM and 40GB of hard drive space. Nifty pooter.
January 7th through January 11th, right smack in Sector chief Kevin Hahn. I can almost see the test-tubes and nitrogen cool-
the middle of the AM drive-time slot. The Red Sector will debut their new drum- ing-vents. Lavender Lab (503) 539-4287.
For those of you still face down in your own
ham at that time of day, a good chunk of what is
considered morning “drive time” covers the wee
hours during which throngs of people are migrat-
ing from slumber to schlep. And KINK’s numbers
(market share) are traditionally very strong dur-
ing the coveted time-slot. It’s killer exposure for
the bands and venues referenced on the show, and
an impressive display of support-local-music am-
bassadorship by KINK, which has always been
friendly to local artists.
I’m still chuckling over Les Sarnoff’s Roselind
reference.
Among the artists interviewed for the seg-
ments were Nu Shooz’s Valerie Day and local song-
stress Nicole Campbell. On that show, Valerie and
Les were discussing the difference between the
area’s music scene now as compared to the 80s hay-
day period, during which the Shooz were a top
draw, and a time when many bands could actually
make a living playing music full time. photo Buko
Of course, the dramatic impact of the Dram
shop laws was without a doubt the most devastat-
ing change to the live music community back then.
I think it was Beckman’s Faucet that sounded the mer Mike Collins (Dr. Unknown, Skinhorse,
death knell via the first local venue to be hit with a Thrillbilly) at a Saturday January 12th show at the Have Gear Will Travel
monster lawsuit associated with a drunk driver. Cobalt Lounge. After that gig, you won’t be able to http://artists.mp3s.com/ar tists/160/
Beckman’s insurance rates went up a gazillion per- catch the band until this summer, because they’ll walnut_studios.html
cent, and they and many other club-owners bagged be hibernating in Kevin Hahn’s Opal Studio work- Listed In The Studio Guide-Sponsored By Brownell Sound
it. ing on their upcoming CD. When Peter Orloff decided to ditch Seattle
One of my favorite statements during that Sound like an enviable pace? That’s just one and return home to Portlandia in the summer of
show was made by Ms. Day as she recapped the of the benefits of having a facility in the family. 2000, his plan was a short stay before he went to
environment back then. “We worked about 300 The as yet un-named CD will be crafted entirely West Africa to experience the culture and music
nights a year,” Valerie told Les. Sure, things were while the band is in Opal Studio, so the artists get first hand, and to refine his mobile-recording skills.
different back then. But, as you ponder the viabil- to run sans the stress that often accompanies the Best laid plans.
ity of making a living gigging in the ’02 PNW, be “STFU this is costing us a mint” tone common Almost two years later, Peter is still in PDX
sure to ask yourself, would you commit to a 300 when you’re on the clock and trying to work and his Walnut Studios is a flutter with various
nights-per-year schedule? Got that kind of work through a riff or find that perfect segue. The Red projects. From Demo tapes to church chat, Peter
ethic? KINK FM 102 (503) 517-6000. Sector/Opal Studio 503-774-4310. can match the tone of just about any client.
“I can turn any environment into a quality
Continued on page 21
TWO LOUIES, January 2002 - Page 5Weddle from the Flat Irons. Mike Yake, who helped tensity of “Scar.” Weddle’s brooding guitar sets the
to produce the project, played bass on five of the dark mood as Jamie enters the scene with a cracked,
six tracks included. Doris Dodge have since added croaking voice that could easily pass for Johnette
Eric Nichols as the permanent band bassist. Napolitano and Concrete Blonde. Jamie softens the
The first cut, “Sweet & Pure” is a pretty bal- second verse by singing an octave higher; such, that
lad. Kaineg’s voice is somewhat reminiscent of by the lovely chorus, where Kaineg displays a very
Aimee Mann, in her earlier days— when she was compelling upper register, Aimee Mann is again a
still heavily leaning upon Chrissie Hynde’s vocal comparison. “It should have never come to this/
mannerisms. Callahan’s 12-string guitar mingles We’ve gone too far/Will we take this chance?/Or
with the alternating Major 7th chords of Kaineg’s are we afraid it’s gonna leave a scar?” Brilliant and
rhythm guitar, while Brown furnishes lilting Coun- brilliantly rendered.
try-flavored sonorities, reminiscent of some of Neil “Let’s Go” is a dusty Folk number that again
Young’s early guitar work. A powerful chorus, with hearkens to Neil Young in his “Cowgirl In The
Callahan providing strong high vocal harmonies, Sand” period. Callahan’s electric 12 string guitar
helps to solidify Kaineg’s charmingly simple sonic filigrees and mournful slide guitar wails give the
conception. song a cactus desert, sunbleached steerskull sense
A haunting, Mexicali theme pervades of detail.
“Ophelia.” Brown’s succinctly subtle guitar machi- Weddle etches a memorable guitar figure onto
the 12/8 march of “Sink
Or Swim,” where Jamie
displays a fine vocal
range and a knack for
comely melody. “So
Rememberin’ Him”
could easily be taken
from the Natalie Mer-
chant/10,000 Maniacs
songbook. A loping, ar-
rangement, accompa-
Doris Dodge— Doris Dodge nies a gypsy melody, cer-
Self-Produced tainly worthy of Mer-
D
oris Dodge have chant, for what that
been together for a might be worth.
little over a year Jamie Kaineg
now, presenting a straight-for- evinces enormous talent
ward, Folk-tinged form of Rock. as a vocalist. Her voice is
Formed from the remnants of richly evocative, warm
the band Foma, singer and and alluring. While her
rhythm guitarist Jamie Kaineg songwriting shows occa-
and drummer Brian Smith ini- sional bright spots (es-
tially secured the services of bass- pecially “Scar”) there is
ist Brent Williams (drummer/ not always enough sub-
producer Greg Williams’ brother, stance in the material to
formerly of Lodestar), but he sustain interest.
later left the band, before the Not every musician
tracks submitted here were re- is gifted with a fine voice
corded. and the ability to write
Lead guitarist Maria great songs. Generally,
Callahan was added to the line- both crafts require great
up as well. Curiously enough, amounts of time and ap-
Callahan was a founding mem- plication in order to suc-
ber of Doris Daze. So the band ceed. At some point
name is particularly apt. Doris Kaineg may have to look
Dodge, however, is named after outside her own oeuvre
Kaineg’s trusty Dodge automo- in order to secure mate-
bile. Here, Callahan is utilized in photo Buko rial worthy of her voice.
purely a backup role, playing 12- Certainly Callahan
string guitar on some tracks, could be an invaluable
while contributing superb backing vocal harmo- nations help to lend Kaineg’s plaintive tale in- ally in the songwriting department. Her experience
nies. Kaineg wrote or co-wrote all of the half-dozen creased tensility. Again, Maria’s harmonies create as a songwriter could benefit Kaineg somewhat in
songs presented on this EP. dimension for Jaime’s dusky alto vocal delivery: developing her abilities. Or perhaps a songwriting
In addition, for the purposes of this record- who, at times here, calls to mind a post-nodal Stevie partnership...? Whatever the case, it seems certain
ing, Kaineg and Smith enlisted former Foma lead Nicks. that we will be hearing more from Jamie Kaineg
guitarist Ben Brown, as well as guitarist Scott But the true hit of this set is the gripping in- and Doris Dodge in the future.
Continued on page 8
Page 6 - TWO LOUIES, January 2002RECORDING CONTRACT ADVANCES If anything is left over, the band will pocket the istic) situation, which I am exaggerating here to
O
ne of the most frequently discussed, balance. Theoretically this is designed, among make a point.
and most hyped, aspects of record other reasons, to give the band an incentive to Let’s say that a band receives $200,000 for the
ing contracts is the issue of advances. record the band’s albums as cost effectively as pos- first album, and (to make it very simple), let’s also
Generally speaking, advances are designed to sible, since the band gets to keep whatever money say the record sells zero units and therefore gener-
cover recording costs, and also (at least in major
label situations) to provide a certain amount of
money to cover some of the band’s miscellaneous
other expenses. A separate advance is paid for each
album recorded by the band for the record com-
pany.
Recording contract advances are often mega-
hyped in press reports. For example, it is not un-
usual for a record deal for a new band to be hyped
as a “million dollar deal,” whereas in fact that “mil- it does not end up spending on recording costs. ates absolutely no royalties. Then the band records
lion dollars” is to cover, for example, the recording However, as a practical matter, however, even bands a second album for $250,000, and that record also
budgets for four albums at $250,000 per album, paid on this “recording fund” basis frequently run generates no royalties. So, when starting the third
all of which will be recoupable from the band’s over-budget. album (assuming that the band has not already
future royalties. Also, even in the case of this “recording fund” been dropped from the label at that point, which
A relatively small portion of that money will structure, there will often still be a recording bud- obviously is a very, very questionable assumption),
go into the band’s pockets as cash advances, and get drawn up so that the record company will have the band is going into the third album already
even that portion will be further reduced by de- some assurance that the band will not be trying to $450,000 in the hole. (In reality, the band in that
ductions for management commissions, taxes, etc., record the album too cheaply or too expensively. scenario would likely be even further in the hole,
with the balance then usually spent soon thereaf- Under many contracts for new bands, the band will due to the record company’s recoupable advances
ter for living expenses, new equipment, etc. And, not be entitled to start the recording of an album to make music videos, etc.)
If the band then gets an advance for the third
album of another $250,000, then the band is al-
ready $700,000 in the hole when the third album
is released. As a result, the band will see absolutely
no record royalties from the third album until the
total royalties from album sales exceed the amount
of $700,000. In short, the record company has the
right to recoup from an album’s royalties not only
the advance for that album, but also any past ad-
vances for earlier albums which have not yet been
recouped.
like advances for recording costs, any such cash until the record company approves the budget. There is also the “rolling accounting” prob-
advances will be entirely recoupable by the record Typically, part of the recording fund will be lem to consider. Often once royalties are starting
company from the band’s future royalties. paid at the beginning of the recording project (of- to be earned on a prior record, the recording com-
“RECORDING BUDGETS” ten one-half), with the balance to be paid upon pany is just starting to pay the costs of the next
AND “RECORDING FUNDS” the band’s delivery of the masters to the record record, and deducting the new costs from the roy-
There are two different ways in which record- company. alties about to be paid.
ing contracts can deal with the issue of advances: ADVANCES ARE NOT GIFTS If the band’s total royalties ultimately end up
(1) By providing for “recording budgets”; or (2) Advances are, in effect, merely loans to the being less than the total advance(s) paid to the
By providing for “recording funds”. In other words, band, which will be deducted by the record com- band, the record company will, under the terms of
the typical recording contract will be structured pany from the band’s record sales royalties, but only the usual recording contract, have to “eat” the
either on a “recording budget” basis, or alterna- from those royalties. shortfall, since the record company will only be
tively, on a “recording fund” basis. So if the recording costs for an album (and entitled to be repaid from the band’s record sales
1. “Recording Budgets.” In the case of record- related cash advances to the band) are $200,000, royalties. The band members will not be person-
ing contracts based on “recording budgets,” the
record company pays the recording costs directly
to third parties, such as recording studios, based
on recording budgets to be approved by the record
company. The record company holds on to the
money until the costs are incurred, and then makes
payment for those costs directly to those third par-
ties (such as recording studios).
The record company may also advance the
band, separately, a certain specified amount of and the album generates $300,000 in royalties pay- ally responsible for repaying the advance, hence
money for the band’s anticipated living expenses able to the band, the record company will reim- such advances are generally referred to in record-
during the recording project, and sometimes for burse itself (recoup) from royalties the first ing contract legalese as “recoupable but non-return-
other expenses as well. $200,000 (in order to reimburse itself for the able advances.” Any band being signed should be
2. “Recording Funds.” In the case of “record- $200,000 advanced), then pay the band the remain- sure that its recording contract contains similar
ing funds,” on the other hand, the record company ing $100,000. wording.
pays a certain specified amount of money directly The record company’s right to reimbursement
to the band on an album-by-album basis, which is carried forward from album to album. Let’s take,
the band then uses to pay for recording costs, etc. for example, an extreme (and admittedly unreal- Continued on page 19
TWO LOUIES, January 2002 - Page 7Semisonic— quirky, heartfelt and melodic. The that they are more than merely the sum of their
secret extra track is a madcap little number with influences. Wells, especially, distinguishes himself
racing Spanish guitars and an off-kilter ‘60s sensi- as a vocalist and songwriter, while the other mem-
bility and a story line that may or not involve necro- bers help to flesh out the nuances the songs pro-
philia. But hey, it’s all in fun. “It’s all so obvious, vide. As the band grows and matures, it would seem
Continued from page 6 why didn’t I suspect/It must be supernatural at- they would elevate the level of their songwriting
Hooks & Crutches— Rally Boy traction.” as well. They have a good start. Ii will be interest-
Jealous Butcher Records Rally Boy are definitely a cut above the aver- ing to see where they take it from here.
R
ally Boy have been around the local age bar band. Their musicianship is tight . Their The Electric Haze— Dead Poets Society
scene for a few years, slowly garner approach is simple, straightforward and absolutely Self-Produced
H
ing attention for their AltRock to the point. Continued improvement in their ave you ever heard of Sonic Foundry?
sounds; drawing comparisons to the likes of Big songwriting will bode well for this likable four- Well Dead Poets Society have. And
Star and Yo Lo Tengo, while making a splash per- some, for whom the future seems bright, indeed. that combination proves the old ad-
forming at a recent CMJ conference. With three Episode— Distracted age: “A little software is a dangerous thing.” Af-
songwriters in the band, the Boys are loaded with Self-Produced forded a modest library of Sonic Foundry loops,
H
diversity and the sort of DIY spirit that made stars ere’s an enterprising young quartet this trio entertain visions of Techno grandeur.
of Stephen Malkmus and Pavement. who exhibit a lot of potential, hav As such, this recording stands as a great dem-
Rally Boy are nothing, if not versatile, vary- ing gathered influences from some onstration of what beginners can do with the Sonic
ing their attack from song to song on this six-song of the Post-Grunge movement’s finest purveyors. Foundry software. This project sounds good. And,
EP. They start things off with the rousing anthem Distracted display a propensity for heavy, execut- while painfully awkward in places (some transi-
“Undrest.” The churning blustery guitars of Dan ing their parts with guillotine-like efficiency. tional passages, especially), there is some reason
Blaker and Ryan Matheson kick the song off, with Recalling, perhaps slightly, Pearl Jam’s “Jer- to believe that these novices will develop further,
a moaning riff akin to that found on the Breed- emy,” “Shane” is the tale of a physically abused kid, perhaps to the extent that they can eventually cre-
ers’ “Hammer.” But soon the song unfolds, sound- punctuated by the blistering guitar attack of vo- ate something original on their own.
The problem lies in the fact that the three
culprits here: Wa, ostensibly playing percussion
and keyboards, while doing the “songwriting” and
some of the programming; Raven Nightshado, who
apparently adds more keyboards, as well as the ever
popular “artistic mutilation”— and Tim Gibson
(somehow his name seems out of place in this set-
ting), who plays, yes, keyboards and “all things
ing like Green Day doing a ‘60s Who tune. Jagged calist Gavin Wells and lead guitarist Ario Lynch. stringed.” Presumably that would include some of
powerchord shards play against arpeggiated notes, Lynch’s subdued solo in the middle, gives evidence the bass sounds and the guitar— which makes oc-
creating a powerful and melodic guitar onslaught. of taste and restraint. Offspring and Sponge also casional appearances throughout the proceedings,
The song is a tale about misplaced commitments come to mind as possible influences, as well. and distinguishes itself among much of the pre-
and love gone awry. The band makes the declara- Over Greg Nibler’s heavily flanged bass, Wells recorded, sampled loop brouhaha.
tion “When your dress falls down/I want to be the intones the vocals on “Salvation,” a song that starts Not so successful are the frail attempts at uni-
one who’s standing there” sound like a pitiful re- out quietly enough, before exploding into the sec- versality and “world consciousness,” wherein the
quest for solidarity in the face of infidelity. Still, ond verse. Stone Brooks’ sure-handed drumwork lads hopscotch haphazardly through some long-
it’s a brilliantly wrought piece of work. helps to secure the foundation while Lynch pro- revered musical cultures, as if they were pulling
Taking another tack altogether, “Stuck” finds vides the overdriven guitar pyrotechnics. plates of musical unagi off the conveyor at Sushi
Justin Scott turning out a bouyant bassline, pro- “Down Here’ begins as a poignant ballad, that World, constructing nada.
pelling the song in a soulful style over the relent- slowly gathers momentum through the verses, fi- On the positive side, Mr. Wa seems somewhat
less chugging train that drummer Bob Ham engi- nally resolving into the expected fury , a full three adept at pasting together viable drum loop se-
neers. it’s as if Squeeze met Pavement to do a minutes into the song. A nicely developed piece of quences, upon which the others layer all this other
Creedence Clearwater song. Through the verses, work. “Temporary Minds” too, slowly builds in stuff. And, as mentioned, Tim Gibson seems to have
Scott’s “The Check-Out” is vaguely reminiscent
of a Cure song, with guitars flitting like rain on a
windshield. However, the song magically explodes
in the chorus, with hard crunching chords accent-
ing melodic vocals. Cool.
Blaker adds a fluttery clarinet to transitional
sections of “Low E,” as a soaring guitar swirls at-
mospherically around chunky rhythm guitar,
while Ham bashes out accents on a garbage can
lid. Somehow, it all works. “Slang-Tips” is more intensity, as Brooks artfully maintains a treacher- some command of the guitar, and possibly the bass.
angular and aggressive than the other tracks, pur- ously 11/8 time signature underneath the moan- It is unclear at this time as to whether Mr
portedly a “paranoid rant about linguistic purity” ing and crying guitars of Lynch and Wells, before Nightshado’s “artistic mutilation” are part of the
(whatever the hell that’s supposed to be), it is, in resolving in 12/8 time, which seems straight-ahead problem or the solution.
reality, simply an excuse for the boys to go off for in comparison with the frenetic pace of the first But the problem, and this is a tip to all you
a couple of minutes. half of the song. Very nice. kids out there experimenting with these loop pack-
The band redeems itself however, with “Sub- Distracted exhibit solid musicianship ages available at a music store near you: if you use
marine,” a tune reminiscent of the work of throughout the six songs submitted here, proving
Continued on page 20
Page 8 - TWO LOUIES, January 2002An Unreel World Don Ross Productions
Lake Oswego 3097 Floral Hill Drive
(503)639-9364 Eugene, OR 97403
Email: manfred@teleport.coma (541) 343-2692 Fax: (541) 683-
Owner: Karin Kopp 1943
Email: drossprod@aol.com
Anonymous Noise www.donrossproductions.com
(503)248-2136 Owner/Engineer: Don Ross
Owner: Karl Brummer Tracks: 32 track Digital, 24 track
Analog
Apache Recording Studios Rates: $70.00-$85.00
4009 E. 18th St. Equipment: Otari MTR90 II 24
Vancouver, WA 98661 track 2‰ Analog, Digidesign
Vancouver phone: (360) 694-5381 Pro Tools Mix + w/ 3-888 24 I/
Portland office: (503) 293-9266 O‚s, SSD, Waves gold bundle,
Bomb Factory, Meek & many
Big Red Studio other plug ins, 24 trk. Tascam
Phone/Fax: (503) 695-3420 DA-88‚s- mods by Audio
E-Mail: billy@bigredstudio.com Upgrades w/RC 848, SY88 &
Web: www.bigredstudio.com IF88AE, Tascam DA30 MkII, Fostex D-
Billy Oskay: owner, producer, and 10 Time code DAT,Tascam CD-RW5000 Freq. Mastering
engineer. CD recorder, Revox PR-99 MkII & B77 1624 SW. ALDER #311 analog)
1/2 track analogs; Tascam M-3700 32x8 PDX, OR. 97205 Rates: $40 for 32 track, $35 for 24 track,
Bill Scream Music automated console w/mods by Audio (503) 222.9444 $30 for 16 track, & $25 for 8 track.
2115 N. Vancouver Avenue Upgrades; Genelec 1031,Tannoy NFM 8, Web: www.freqmastering.com Equipment: 2 each XT Alesis ADATS,
Portland, OR 97277 Yamaha NS-10, & Auratone 5C Portland’s Pro Mastering Studio Analog 1" MS-16, Hard Disc, Cubase w/
(503)284-9494 monitors; Aiwa, & Tascam cassette decks; Contact: Ryan Foster Mark of the Unicorn 2408 (Multi Track
Email:scream@nwlink.com Lexicon PCM 80, TC M2000 LXP-1‚s, Equipment: Sadie Artemis 24/96 recorder/automation/remastering), All
Owner: Bill Scream LXP-5‚s w/MRC & Yamaha SPX90‚s Mastering System, DCS904 24 bit A/D & synced via JL Cooper Syncronizer, Que
Equipment includes: Yamaha O2R reverb/delays; Manley ELOP, Manley DCS954 24bit D/A both 192KHZ & DSD CD Burner @ 16X write speed, 24x8x2
console, 16 tracks ADAT, 8-track Vari-Mu, Aphex 661‚s,106, & 720 capable, Apogee1000 A/D & D/A, Soundcraft Mixing Console, Tascam 80-
Protools, MOTU Digital Performer Dominator II, Drawmer DL24, Ashly SC- Cranesong Hedd 24 bit A/D &D/A , 8 1/2 “(analog) , ART MPA dual tube mic
MIDI sequencer, Akai Samplers, Emu & 50 comp/limiters; BSS DPR-504 & Aphex GML 9500 5 band Mastering EQ, Weiss pre-amp,DBX 266 Dual Compresor/
Roland Synthesizers, Vintage Keys, 105 Noise Gates; Aphex Aural Exciter, EQ1 MK2 digital 7 band parametric, Gate,DBX, 160x, DBX 163x Compressor,
Outboard processing. Aphex 109 & Symetrix SX201 parametric Manley Vari-mu stereo compressor, Dbx163 Compressor, Biamp Quad
EQ‚s; Avalon 737SP‚s, Millennia HV-3C, Weiss DS1 digital split band dynamics Limiter/Gate, DBX 463x Gate, Yamaha
Blue Dog Recording Neve 1272‚s (4), Peavy VMP-2, Gaines processor, Maselec stereo compressor, 31-band EQ, Biamp Dual 10-band EQ,
1314 NW Irving MP-2 mic pre‚s. Mic‚s: Neumann U87‚s Genelec monitors, Mike Spitz ATR 100 Rockman Guitar preamp, Rockman
Portland, OR 97209 (mods by Klaus Heyne), KM84‚s(mods 1/2" Mastering deck, Tascam DA 45R 24 Stereo Delay/Chorus, Roland SRV
(503) 295-2712 by Kaus Heyne), Lawson L-47MP tube, bit Dat Machine, Panasonic 3800 Dat Reverb, Roland SDE 1000 Delay, Art SGE
Email:brobertson1@uswest.net AKG 460‚s, 451‚s, Sennheiser MD 421, machine, Dennon cd player, Dennon Mach 2 Effects Processor, Alesis Midi
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Owner: Bruce Robertson & 57‚s. Other Important Stuff: 1927 meter, Z-Systems 16 i/o digital router. Monitors, Auratone Monitors, KLH
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Ronn Chick Recording MX, Ensoniq EPS, Opcode Studio 3, JL Astralwerks, FT Records, Resistor, Machine, Otari Analog 1/2 Track
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Vancouver, Washington 98665 Pre CBS Fender Super Reverb, Zoom K Records, Top Secret, Darla, Rain mics: (AKG, RODE, SENHEISER, E.V.,
(360) 571-0200 9050, JVC CR-85OU 3/4” video deck w/ Records, Burnside Records, Jus’ Family SHURE, BYER, AUDIO TECHNICA)
Owner/Engineer: Ron Chick SMPTE address trk., Sony video Records, Bombay Records, M.A.H. MIDI EQUIPMENT: Mac G-4 w/
monitors 13” & 20”, Fostex 4010 SMPTE, Records, Empty Records, Dohnut CUBASE 5.0 Atari 1040 ST, Proteus 1
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Washington Square Area Zepher ISDN patch & a Braun10 cup Satan’s Pilgrims, Jesus Presley, Silkenseed, Module, Zoom 123 Drum Machine,
Portland, OR coffee maker. Chata Addy, Gino Vanelli, Land of the ESQ-1 Keyboard, Casio Midi Guitar
(503) 768-9336 Clients: Sony, Disney, PBS, Mason Blind, Ken De Rouchie Band, Hungry Clients: Greg Baker, Sid Brown, Bobby
Owner: David Fleschner Williams, Beth Singer, Justin King, Sugar Mob, Life Savas, Live at Laurelthirst, Daltry, Jodie York, Paul Bermen, Ralph
Beets, Paul Chasman, Byron Berline, Izaya, Heavy Johnson Trio, Daylights, Archenhold, Julie McClusky, GJ Rose,
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Studio Manager: Mike Moore www.donrossproductions.com. Ras Kass, Kurrupt, B-Legit and many, Chutzpa, Dead Roses, Dana Libonoti,
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Owners: OCP Publications Falcon Recording Studios (Please check out our website for a more Christine Young, John Gilmore, and
15A S.E. 15th complete list). Stuart Wyan Trio.
DeFunk Audio/Sonare Mastering Portland, OR 97223
4531 N. Albina Street (503) 236-3856 Fresh Tracks Studio Gung Ho Studios
Portland, Oregon 97217 Fax: (503) 236-0266 Southeast Portland 86821 McMorott Lane
(503) 288-3353 Email: falcon@cyberhighway.net (503) 235-7402 Eugene, Oregon 97402
Email: sonare@spirech.com Contact: Dennis Carter. Email: jon@freshtracksstudio.com (541) 484-9352
Owner/Engineer: Sean Gilbert Web: www.freshtracksstudio.com Owner: Bill Barnett
Owners: Jon Lindahl
Doctor Digital; The Sync Ward Studios Engineers: Jon Lindahl and freelance
Portland, OR engineers.
(503) 892-0043, 1-888-373-4485 Tracks: 32, 24, 16, & 8 ( 24 traks hard
Email: drdigtl@spiratone.com disk) 16 tracks of digital & 16 tracks of
Continued on page 14
Owner: Mark Frethem
TWO LOUIES, January 2002 - Page 9KINK fm102 hosted a great event for the food
bank on December 8th at the Roseland featuring
Joshua Joplin, Curtis “All World” Salgado, Taj
Mahal and Robert Cray. I arrived early enough to
enjoy a ballsy sound check from Curtis and chat
with his keyboardist D.K. Stewart whom I’ve tan-
talized (begged!) with an invitation to help in a
band I’ve started with the Cray bands first drum-
mer Tom Murphy, based around a New Orleans
style of blues called “second line”. My main mis-
sion for the evening however was to talk to Robert
about an upcoming event for the Oregon Music
Hall of Fame that could involve the Portland pre-
mier of Sue Turner Cray’s (Roberts Wife) movie
inspired by the bright yet tragic life of Portland
musician Richard Burdell.
H
ave you ever wondered what the
“Portland sound” is? Could it be this
papers namesake, the cornerstone of
rock itself “Louie Louie”? Maybe. Could it be
Quaterflash? How about Dan Reed? Billy Rancher?,
Johnny Koonce is a good choice? How about newer
bands like “Cherry Poppin Daddies” “ Sweaty
Nipples” “Gravelpit?” or now bands like “Craving
Theo”? These are all good choices and you can see
how we could go on forever with out determining
one band or song that well defines our unique, di-
verse and often challenging music environment.
These days more than a brief glimpse of stardom
is rare indeed and now that pop music is a world wide enterprise consisting of thousands of record After waiting several hours in the green room,
companies and millions of new entries almost ev- my first contact with Roberts band was when
ery day, who knows if one song, band or entertainer drummer Kevin Hayes slogged by me mumbling
will ever mark Portland with a signature sound or something about being well beyond tired, I found
style. It may be that not having a label (no pun out later that they had just finished a hundred and
intended) means we have no limits as well. Does one show tour and were headed home for a well
New York have a sound? Does Los Angeles? It may deserved rest, they then proceeded to play one of
be that Seattle is now limited in terms of immedi- the best sets the I have ever heard this band play
ate national acceptance for new music because of including a fresh sounding version of Smoking
the now historic “Grunge” tag and has San Fran- Gun and several other older tunes that the band
cisco ever been recognized for any sound that had offered as a special treat to his loyal Cray-o-holic
more impact than what happened in the sixties and fan base.
seventies? Long Live the Denny Beatle!
To me the best vibe to create in is one that It was George Harrison that first inspired me
has a very soft border, a dimly lit room with blurry to stand in the middle to “play my fiddle”
creatures moving in uncertain directions, the feel- So I thought it would be cool to mention some
ing that mistakes made as a result of experimenta- of the guitars George used while he was in the
tion are better than pecking out a pre determined Beatles.
result that becomes tedious and repetitious on A Dutch-made Edgemond, a Hofner Presi-
command just to kiss trendy pop culture butt. We dent, a Hofner Club 40 electric, a 1961 Czech made
still have this scene in Portland and we probably Futurama, a Zenith, a 1957 Gretch Duo-Jet model
always will. 6128, a Gibson ES-335, a Gibson J-160E, a Gretch
There is one entertainer that stands above the Chet Adkins Country Gentleman, a Rickenbacker
rest in my opinion. Curtis Salgado. 425, a Maton MS-500 Mastersound, a 1963 Gretch
Even though blues has some limits they can Tennessean, a 1963 Rickenbacker 360-12, a Ramirez
always be pushed. Portland is recognized, as a blues Classical guitar, a Gretch electric 12-string, a Sonic
town to many people around the country and Curt Blue Fender strat, a Framus Hootenanny, another
is probably one of the reasons, as he seems to tour Rickenbacker 360-12 (1965), a Gibson ES-345, a
quite often and represents us well all over the world. 1965 Gibson SG Standard, a Gretch 6120, a Burns
Rock and roll was born from blues and blues is Nu-Sonic bass, an Epiphone Casino, a Vox
born from Jazz which is probably the only art form Kensington, a Coral Electric Sitar, a Gibson J-200,
born in America. a Gibson 57 Gold Top earlier owned by and refin-
Blues is also a “melting pot” music, a com- ished for Rick Derringer then given to George by
mon denominator easily felt by most humans with Eric Clapton, a Fender Bass VI, and a heavy but
ears and, if that is our main tag it could mean that killer all Rosewood custom Fender telecaster (a
we still have an open playing field with good pitch- similar model can be seen at Portland Music’s MLK
ing and fielding, we just need some band to smack store!)
Curtis Salgado 2001. the ball hard enough heard around the world. Long Live the Denny Beatle!
LL
Page 10 - TWO LOUIES, January 2002H
ey Two Louies readers! 2001 is most every moment this year. I find him to be not writing about, or capturing the magic and
over and I feel a weight has been an inspiration. Sometimes Portland is not a sup- talent that is a fleeting force of nature. I also
lifted from my working girl back. portive town. There’re so many people with tiny enjoyed working with Jessica Flores, who is their
It’s hopeful to see a fresh year peaking around little axes to grind and major agendas. When Production Manager. She does great work keep-
the bend. I’ve been to three you see the dancers at Oregon ing the ballet running smoothly with efficiency,
funerals in two weeks and Ballet Theatre and you know humor and cool.
the wind is cutting the people that remain with the or- I spent Christmas Eve in a beautiful old
through the ganization, you realize that the press is house on NE Tillamook. I got to speak with the
Willamette painter Tom Kramer who I find exciting and
sexy. He said he’s on his way to India and was
Rosebud
thrilled that James Canfield and Oregon Ballet
Theatre are taking Jungle, (which Tom did the
set and costumes for) to New York City in July.
Steve Birch was in attendance and was politely
attentive. He’s such a charming person when he
Valley with an wants to be. He shared that his new band is go-
arctic bite. The rev- ing out on tour, as I happily looked into
erence I feel for the mighty names of his dark brown eyes.
the dead is overwhelming. Life is great, I spent a delightful Christmas
if you can look at it that way. I want it with painters Lauren Mantecon and
to snow like Buffalo. Cecilia Hallinan. The rest of the table
I know I’ve said enough about included filmmaker Ben Ellis and his
Shelby Lynn, but she’s my pick of the cohort and dear friend Tres Shannon
month because I got to see her live, front from X-ray Cafè days and Kurtz
row center at the Aladdin Theater on De- Project. It took a while to warm up
cember 1st. It was a great show and I still the room. Tres and Ben gave me
love Shelby! some shit about being a River Phoe-
The Le Happy Christmas party was nix groupie years ago at The Pine
filled to the gills with Portland’s beauti- Street Theater when TuTu Band
ful people. Paige Powel was there along played the wrap party for My own
with Heidi Snellman, Bridged O’Connor, Private Idaho. I admitted that I did
John Brodie, Thomas Lauderdale, and the have a crush on the boy, but no
lovely China Forbes. The food was great, more than the crush I had on three
the drinks flowed, and a cheery time was other people that night including
had by all. my husband. I thought about it
It was an honor working for the Or- and decided to rub it in that River
egon Ballet Theatre on Nutcracker this year. Phoenix ended up jamming on
I’m happy to report that the company is the song I sang that night. We did
filled with talent and the unity and frater- a rousing rendition of Rolling on
nal feeling backstage was wonderful. Many the River. We changed the words
of the dancers have blossomed in the last to fit the legend of Portland, the
three years. Alison Roper danced the boys club, and all the Gus
SugarPlum fairy with confidence and beau- VanSant stuff that was ruling the
tiful strength. James Canfield continues to town. It was a great time and I
survive the bad press he receives with opti- will make no excuses. I love River Phoenix! He
mism and energy. He was with the ballet al- is missed like all the rest of the dead people. I
find the arrogance of the living annoying and
such a drag. Is it just this country that celebrates
life so exclusively? Anyway, after dinner Ben,
Tres, Lauren, Cecilia and I went for a walk in
the park in the freezing cold. We got a second
wind, came back to the house and sang together.
We drummed on the table and harmonized. It
was great fun.
I flew non-stop and spent a rainy night in
Atlanta, Georgia weeping at the funeral of my
beloved sister Sally. I also attended the funerals
of Prop Master Jeff Dabil and carpenter Jimmy
Minjarez that were both my friends. May all my
brothers and sisters rest in peace.
Hang on it’s going to be a wild, wild ride!
Write to me: rosebud@teleport.com
LL
TWO LOUIES, January 2002 - Page 11The “un-recouped artist.” “In an unorthodox move, Smith’s label,
Record label code for an act that hasn’t Dreamworks, has agreed to allow him to Chris Newman is back in town.
sold enough records to pay for the recording release the tentatively titled From The If Elliott Smith really wanted to be on
and promotion costs. Basement on The Hill via the imprint of his an indie label that did it for All the Right
Still in the red on the books. choice.” Reasons, he’d be on Flying Heart Records.
An act that the high powered phone stars “Smith hasn’t chosen a label, but he Flying Heart launched in ’88 with blues and
in the promotion department couldn’t make hopes the album will be on shelves this jazz issues and shortly thereafter signed ultra
happen at least once, or maybe even twice. spring.” alternative power trio guitarist Chris
It’s a terrible position to be in as an artist “Smith’s management says the decision Newman & Napalm Beach. Flying Heart
because you have no clout and no way to win to seek an alternative home for his sixth issued six Newman projects over the years
new friends in the company. Un-recouped album reflects his present disillusionment including two Napalm Beach albums, (One
artists aren’t welcome wandering the halls of with the state of majors in general, not just recorded in Germany) 3 Snow Bud & The
the major label rallying the troops. Dreamworks, which he’s called home since Flower People lp’s and a Chris Newman solo
Jon Koonce remembers. 1998” lp entitled “Volunteer”.
When Johnny & The Distractions “Before Dreamworks, Smith recorded Chris Newman was a musical
bounced from a plug in Rolling Stone to a for indies Kill Rock Stars and Cavity Search. contemporary of Kurt Cobain and even the
deal with Herb Alpert’s A&M Records in While certain high-profile acts, most notably subject of a Courtney Love crush in the old
Hollywood Jon found himself starting all over Beck, occasionally ink contracts allowing for days, (According to Melisa Rossi’s Love bio;
in the pecking order. When the first album indie one-offs, Smith’s agreement with “Queen Of Noise”) Unfortunately, along with
didn’t take off immediately the label’s attitude Dreamworks was exclusive. At the conclusion attracting the same women, Chris shared
cooled quickly. “They went on to other of the cycle for his next album, Smith is Kurt’s worst habits and left Portland years ago
things.” Unfortunately for Koonce A&M had expected to return to the major”. behind un-resolved substance abuse issues.
also just signed another leather jacket Fat chance. On the lam, I think they call it.
frontman named Bryan Adams, and his first Smith’s Portland buddies say this is a Sources say Newman and his wife got
single; “Cuts Like A Knife” went huge. nasty divorce, not a civilized trial-separation. back to town before Christmas and shared
Koonce found out in the major label “Dreamworks has been spreading shit the holidays with Flying Heart label owner
galaxy the “un-recouped artist” is the lowest about him that’s not cool. Just be wary of Jan Celt and his family.
life-form on the planet. Limited input on what they say about their deal for his Chris Newman is booked for a show at
packaging graphics, release dates, radio ‘sabbatical’...I can guarantee that reality will the Ash Street Saloon January 26th.
singles and regional activity. You might as well play out different...”
have “owes us big-time” tattooed on your
forehead. The year in fractures.
The failed releases are always due to Calvin Baty is getting the major label Who got the biggest breaks?
product, never to promotion. treatment. Oregon’s music trade publication-
In the end, they always blame the music. His band Craving Theo hits the stores named after Portland’s Greatest Hit- the Two
on Columbia Records January 22nd. Louies Magazine, selected 12 artists in 2001
January 26th the band celebrates with an to grace the cover-representing our picks for
After two stiffs at Dreamworks Elliott all-ages record release party at the Roseland continued music industry success.
Smith is finding out what it feels like to wear Theater. Baty has spent the past few weeks in None of them let us down.
the sign around your neck at the corporate Hollywood filming a music video. January/Carmina Piranha, February/
meetings; “un-recouped artist”. The clock is ticking for Craving Theo Craving Theo, March/Stephen Malkmus,
Relationships are so strained Elliott’s (Remember Slowrush on Epic?) Typically, the April/Cowtrippers, May/Jonah, June/Dahlia,
next album will come out on an indie label, major labels work a new release to radio for July/Baseboard Heaters, August/4th Plane
which would indicate a corporate vote of No three weeks. The “Radio Add Day” for Jaiant, September/Del Toros, October/
Confidence in the material. Craving Theo’s single “Alone” was November TV:616, November/Cool Nutz and
Rolling Stone.com sez “Elliott Smith will 6th and as yet no sign of it on Billboard’s December/ Jon DuFresne.
return to the underground well from which airplay charts. They had a tough year to make it in.
he sprang”.
Page 12 - TWO LOUIES, January 2002At the beginning of last year local MATCHBOX 20 guests are locked out of the building for two
recording artists were reeling from the 2000 AND THE ROADIES REVENGE hours while MB20 does their sound-check in
Soundscan numbers that showed of the 6,188 Weeks later, when the MB20-EC show the empty hall. Proving once and for all, it is,
albums released in 2000 only 50 had sold a comes to Portland, home-boy heroes in the end, the Matchbox Twenty Tour.
million (Platinum) units, 65
went Gold (500,000) and only COLLEGE RADIO LEGEND
356 sold over 100,000 units. LAUNCHES FROM PDX
Or, As the LA Times Pavement hero Stephen
called it, “A 90% Flop rate.” Malkmus drifts into town
(The numbers are even worse and forms a band to snag a
this year-but that’s another solo deal on Matador
story.) Records. Before the year is
As depressing as the out the record climbs to #1
numbers are, they’re proof on the CMJ charts, Malkmus
Portland gets way, way more is picked and promo’d by
than our share of the country’s USA Today, linked with
original music action. Winona Ryder in
Entertainment Week, and
acclaimed as the standout act
at 2001’s South By Southwest
The year of 2001 in in Austin, Texas . Mister
review: Malkmus credits his recent
success to discovering Jicks
PINK MARTINI bandmembers; (Dharma
UPSTAGES BOB DYLAN Bums) drummer John Moen
The music business and (Elliott’s Smith’s
buzzed for months about Bob girlfriend-engineer) bassist
Dylan recording “Return To Joanna Bolme in Portland’s
Me” for the soundtrack of (“cheap studios”) original
HBO’s Sopranos. Show day, music scene.
most Oregonians are more
impressed to hear Pink EVERYTHING STILL
Martini’s “No Hay Problema” DANDY AT CAPITOL
in the same episode and two The Dandy Warhols
other Pink Martini recordings spent the year living up to
“Song of The Black Lizzard” their worldwide reputation
and “Andalucia” in other as the Best British Band
Sopranos episodes. From America, touring
Europe’s finest festivals and
EVERCLEAR photo David Ackerman venues generating the fab
UPSTAGES MATCHBOX 20 gear overseas music press
Touring behind Songs Chris Newman. buzz only the United
From an American Dream Kingdom can deliver. The
Everclear gets a great live review from Rolling Everclear are scheduled to host 100 school Dandy’s second Capitol release. 13 Tales From
Stone who say EC blows MB20 off the stage, children for a Northwest NARAS Chapter Urban Bohemia goes Gold in Australia and
and quotes concertgoers with gems like “Grammy Sessions” workshop at the the single “Bohemian Like You” hits #1 in
“Everclear blew the roof off, and Matchbox scheduled 4PM Everclear Sound Check. Portugal. The Portland music scene’s favorite
20 spent the rest of the night putting it back Grammy Session Day MB20 cancels the EC major label heavyweight; Perry Watts Russell,
on.” Backstage tension mounts . sound check and EC’s hundred NARAS the Capitol A&R executive instrumental in
Continued on page 22
TWO LOUIES, January 2002 - Page 13to speak to a person. Clients include: Dfive9, Hell Candidates, The Lavender Lab
For Live Sound recording: 1-2 Alesis Jen Lane of Barfly Magazine, Tillamook Recording & Graphic Design
Adats are available. The tracks are then County Fair in association with SE Portland (near39th and Powell)
mixed down and mastered to DAT. The Starshine Sound, Rorschach Test, Stage (503) 539-4287
turnaround time is usually two weeks Phryte, The Natrons, Witch Mountain Email: lavendertommy@yahoo.com
and the cost starts at $200.00 for the and many other locals. Owner/engineer/producer: Lavender Tommy
whole package. I also do studio work Other: Bill Cushman is House Engineer Tracks: 24 tracks of 24-bit digital audio.
(subject to availability) at the rate of at Club Satyricon and he invites you to Equipment: Pro Tools LE 5.1.1. software
Continued from page 9 $20.00 per hour. come in and say hello. As owner of and DIGI001 24-bit interface with 16 I/
Equipment: For PA System Rentals: For Intersect Sound, he guarantees O, running on a 1.1 GHz Athlon AMD
Haywire Recording example PA system “A” consists of the reasonable rates, professional service and with 640MB of RAM and 40GB of hard
Southeast Portland following: Console: Soundcraft Spirit well maintained gear—delivered, drive space. Plug Ins: BombFactory
P.O. Box 66381 16x4: Signal processing: Yamaha Rev-7, operational and on time! Classic Compressors (1176 & LA-2A),
PDX OR 97290 Midiverb 3, BBE sonic maximizer 322, FREE MULTI-TRACK RECORDING OF MoogerFooger Lowpass and Ring
503-775-7795 Aphex aural exiter type B, 2 Alesis 3630 YOUR BAND AS PART OF PA SYSTEM Modulator, SansAmp PSA-1, Voce Spin,
Email: haywirerec@earthlink.net dual compressor/gates, JBl m644 4 RENTAL PACKAGE. (mix down and and Voce Chorus & Vibrato; DigiRack:
channel gate, DBX 1231 dual 31 band 1/ mastering not included). OFFER GOOD Compressor, Limiter, Gate, Expander-
Intersect Sound, Inc. 3rd octave eq, 2 Alesis Meq 230 dual 31 UNTIL DECEMBER 30, 2001 Gate, De-esser, 1 and 4-band EQ, Delay,
Portland, Oregon band octave eq, Fender pcn-4 stereo 3 Gain, Reverse, Pitch Shift, and
503-649-7741 way cross-over. Speakers: 2 JBL active Jackpot! Recording Studio TimeCompression/Expansion; D-Fi: Lo-
E-mail: billmcushman@yahoo.com mid-hi packs, (l 15" & 1 2": driver with 1" 1925 SE Morrison fi, Sci-fi, Recti-fi, and Vari-fi; D-FX: D-
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intersectsound front firing & ported each), 4 floor (503) 239-5389 Delay, and Chorus; Focusrite D2
Owner/Engineer: Bill M. Cushman wedge monitors, (1 15" & 1 2" driver larry@tapeop.com EQ and D3 Compressor; Metic Halo
Intersect Sound Inc. specializes in PA with 1" horn each), 1 Yamaha drum fill, www.tapeop.com Channel Strip SP; Digidesign Maxim
System Rentals for festivals, small bars & (1 15" & 1 “ driver with 2” CD horn), Owner: Larry Crane Mastering Compressor; Speed by Wave
clubs, civic functions, church & Microphones: 4 Shure sm 58, 6 Shure Mechanics; and Antares AutoTune.
community events, private parties & sm57, 4 Audio technica pro 10, 1 Audio J.A.S. Recording Mixers: Yamaha O1V digital mixer, 24-
dances, & DJ shows. technica pro 25, 1 Shure beta 58. Amps P.O. Box 884 channels, with optical interface card
ISI also provides live sound production, used include: Crest, Crown, Yamaha, Beaverton, OR 97075 and 2 built-in stereo effects processors;
recording and mastering with post- SLM-RMA series & Yorkville AP series. (503) 274-2833 Mackie 1402-VLZ, 14-channel analog
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Rates: PA System rentals go out as a unit, boxes 1, Lawrence accoustic guitar KAOS Recording, Mastering & CDR Hip-Hop and Bass & Drums expansion
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contact billmcushman@yahoo.com or 4-12" cabinet, Big muff II Distortion Portland, OR CTK-611 keyboard controller...more
phone 503.649-7741 anytime for voice Pedal, MXR distortion pedal, Digitech (503) 287-5066 than 2000 sounds to choose from.
mail. Or between 1:00 pm and 6.30 p.m. “talker” voice-synth pedal. Owner: John Belluzzi Monitors/Amplification: Roland DS50-A
Page 14 - TWO LOUIES, January 2002You can also read
