“Weird Al” Yankovic began marketing his music by sending homemade tapes to the Dr. Demento Radio Show when he was a teenager. Today, Yankovic has become a pop culture icon and the best-selling comedy recording artist of all time. His first recording was released in 1978 on LP, Slo Grown. The song “Take Me Down” was written to benefit the Economic Opportunity Commission of San Luis Obispo County, California, and mocked famous nearby landmarks.

Shortly before his senior year of college in 1979, “My Sharona” by The Knack was topping the charts. Yankovic took his accordion to the restroom across the hall from the radio station he was working in and wrote “My Bologna.” Yankovic later met The Knack and introduced himself as the writer of “My Bologna” and found that Doug Fieger, the band’s lead singer, enjoyed the song and suggested that Capitol Records release it as a single.

Yankovic is a five-time GRAMMY® Award winner and a 16-time nominee. He has four gold and six platinum records and countless movie and television appearances. Yankovic also shares the distinct honor of being only one of four artists to have a Top 40 single in each of the last four decades, a privilege he shares with Michael Jackson, Madonna, and U2. In 2011, Yankovic added New York Times bestselling author to his resume with the release of his children’s book, When I Grow Up. In spring 2022, Yankovic will embark on his latest tour, “The Unfortunate Return of the Ridiculously Self-Indulgent Ill-Advice Vanity Tour.”

For more information on Yankovic, including upcoming tour dates, please visit https://www.weirdal.com/home/.

Mr. Bonzai is an award-winning photographer, author, and interviewer. He has written more than 1,000 articles for outlets in the United States, Europe, and Asia, and has published numerous books, including Studio Life (Mix, 1984), Hal Blaine and The Wrecking Crew (Mix, 1992), The Sound of Money (Focal, 2000), Faces of Music (Cengage, 2006), Music Smarts (Berklee Press, 2009), and John Lennon’s Tooth (BookBaby, 2012). His photos and articles have appeared in Rolling Stone, The New York Times, Los Angeles Times, Billboard, Mix, EQ, Keyboard, Daily Variety, Hollywood Reporter, Los Angeles Magazine, Disney Channel Magazine, Sound & Recording, and Relix, among others. http://www.mrbonzai.co

The TEC Awards “recognize the individuals, companies, and technical innovations behind sound of recordings, live performances, film, television, video games, and multimedia.” With award categories spanning 28 Technical and Creative Achievement categories, the TEC Awards is considered the highest honor dedicated to the pro audio and sound recording industry.

TEC Awards finalists are identified through a three-step process starting with a “Call for Entries.” After the entry period, a panel comprised of industry leaders and professionals nominated eligible products and project submissions that “represent superior accomplishment in their respective fields.” Professionals in the pro audio, live event, and music industry are invited to vote for the finalists in each category, with one taking home the title of “Product of the Year.” Voting is currently open and will close on March 31, 2022.

The Microphones - Sound Reinforcement category includes products and accessories used in live sound applications.

audio-technica – ES947C/XLR: The water-resistant cardioid condenser boundary microphone with an XLR output features a ”low-profile design that mounts unobtrusively in tabletops, ceilings, or panels for minimum visibility.” It also provides “clear, highly-intelligible audio that is perfect for conferencing, recording, monitoring and other demanding sound pickup applications.” The microphone is protected by an all-metal case with a two-layer perforated grille, and thanks to its cardioid polar pattern, the ES947C/XLR has a 120-degree pickup angle. All of this is combined with a UniGuard® RFI-shielding technology that helps reject radio frequency interference.

DPA Microphones – 4488 CORE Headset: DPA Microphones presents a one-size-fits-all solution to a variety of microphone needs with its 4488 CORE Headset. The headset comes equipped with a three-point grip to ensure comfort for its users, and its frame, boom length, and placement can all be easily adjusted. The 90-degree adjustable cable guide allows for your cables to remain out of sight while the headset frame, boom, and capsule all feature a non-reflective PVD surface.

Heil – PR 37 Microphone: This microphone from Heil is “designed for live sound reinforcement and recording applications with the vocalist in mind.” As the next evolution of the PR 35 and PR 22, the PR 37 “delivers an ultra-clear and transparent sound that brilliantly cuts through any mix.” The rear noise rejection makes it a great fit for live applications, especially in situations with high stage volume. The microphone is housed in a stable mounting system to reduce handling noise and is encased in a rugged metal body to provide durability while not compromising sound quality.

sE Electronics – V7: sE Electronics describes its V7 handheld microphone as “reliable, rugged and roadworthy meets lush, vibrant and musical.” The all-metal design and durable zinc alloy chassis endures under stage stress and the beveled edge prevents the mic from rolling around when set down. The V7 features a gold-plated XLR connector to ensure a “loss-free and reliable signal connection for years to come.”

Sennheiser – MD 445: Sennheiser presents the MD 445, a microphone they describes as “tailored to modern stage set-ups with B stages and runways in front of the PA. The MD 445’s fast transient response ensures a very detailed, nuanced, and transparent sound that is complemented by rich mid-range and bass.” The mic features a metal casing and a shock-mounted capsule to protect it from structure-borne noise, while a hum compensating coil also protects the microphone from electromagnetic interference.

Shure – DuraPlex DL4: The DuraPlex subminiature DL4 lavalier microphone. The DL4 is “consistent, long-lasting, and resistant to dust, dirt, water, and sweat” and offers professional-quality audio perfect for film, broadcast, speech, theater, and performance applications. Shure reports that this microphone is “perfect for everyday situations but excels in the harshest environments such as broadcast audio or sound for film.”

For more information about the TEC Awards, including the entire list of finalists, please visit https://www.tecawards.org/. Voting is now open at http://tecawards.org/vote.

Once he earned his degree in electronics, Wilkinson entered the professional world as a bench-technician, repairing audio amplifiers and wiring audio systems for hotels and writing installation procedures and repair guides for electronic products. After gaining some experience, he advanced to a Customer Support Manager for a semiconductor equipment manufacturer. In this position, Wilkinson continued to develop troubleshooting procedures and maintenance literature while also running the international service department.

With a wealth of knowledge in hand, in 2007, he began Austin Ribbon Microphones. Wilkinson was searching for an entry-level ribbon microphone to help record a client. Ever the engineer, he was heavy into his research on the best product to buy when he stumbled upon a website and discussion groups that outlined how to modify a low-priced ribbon microphone to improve the sound. Inspired by the idea, Wilkinson took it one step further and became determined to build his own ribbon mic - if he could only find a complete tutorial. After an extensive search, he realized that such a manual wasn’t readily available. Wilkinson did the only thing he knew how to do - write one himself. Three weeks later, a new DIY ribbon mic was born and had a step-by-step guide, with photos, readily available for a new generation of aspiring engineers and musicians.

As word spread about Wilkinson’s new ribbon mic, he started to receive some repetitive feedback, “Do you have DIY Kits?” By 2009, he had officially combined his unique building plans with a box full of specially curated parts to build his microphone and put the kits on the market.

Never one to rest, Wilkinson became determined to fix another annoying problem facing fellow engineers and novice builders alike, the unstable “3rd-hand” alligator clip. This clip safely holds parts in place when soldering. We sat down with Wilkinson to talk about his latest product, the Hot Holder and Hot Holder Pro.

Wilkinson continues to update and improve his products by incorporating unique tips and tricks directly from his customers and students.

For more information on all of Wilkinson’s products and projects, please visit https://www.austinmics.com/, www.musikding.de, www.diy.re, www.jenode.co.kr, www.truesound.com.tw, www.radioshack.com, and www.LoveMySwitches.com.

Now in its twelfth year, the annual awards hono retailers who have demonstrated a commitment to best practices, creativity, and innovation in music products retail.

The Top 100 Awards will celebrate retail innovation across nine award categories, including the “Best Community Retail Store;” “Best Customer Service;” “Best Store Design;” “Innovation Award;” “Best Marketing and Sales Promotion; “Best Online Engagement;” “Music Makes a Difference Award;” and the “Customer’s Choice Award” which at press time is currently underway.

All submissions will be evaluated for effectiveness in marketing, customer engagement, and innovation in retail by a panel of independent judges. From the winners of these categories, one store will be recognized with the coveted “Dealer of the Year” Award.

While there may not be a secret to winning one of the top awards, past honorees are pulling back the curtain to give us a sneak peek into what it took them to take home this impressive distinction and what being a Top 100 Dealer has meant to their business.

Dietze Music earned the title of “Best Marketing & Sales Promotion” at the 2021 Top 100 Dealer Awards. When the pandemic hit in 2020, retailers worldwide were forced to think creatively for marketing and sales promotion. With traditional means of sales coming to a grinding halt with stay-at-home orders, Dietze Music decided to take what could have been a tragic turn of events for their business and use it as a platform to reinvent their marketing strategy.

Cue the Dietze “Days of Deals” campaign featuring Larry Landers and his daughter, Anna Mae. This light-hearted yet well-crafted campaign harkens back to the days of the 1980s infomercials.The spots featured big and purposely low-budget graphics shooting across the screen and promises of a deal of a lifetime from a carnival barker-like character that Larry has developed, Anna Mae took on the role of disinterested teen, absorbed in her phone. No bit of description can do the campaign justice, so here it is for your viewing pleasure.

We sat down with the owner of Dietze Music, Tim Pratt, to discuss the campaign, the importance of fresh marketing, and how Dietze Days of Deals clinched a win for Dietze Music at the 2021 Top 100 Dealer Awards.

Are you hoping to take home an honor? Be sure to submit for the 2022 Top 100 Dealer Awards by visiting https://topdealer.namm.org/. The submission period closes on March 18, 2022. Retailers ranging from mom-and-pop stores to retail chains are encouraged to participate to be recognized for their achievements, inspire other retailers, and showcase their staff’s fantastic talent.

In 2014, Kerry was working on her ranch in Simi Valley, California, when a thumb injury prevented her from completing the tasks at hand, namely sweeping out a barn. As a self-described lifelong cowgirl, it was shocking to Kerry that something as small as a thumb injury could hinder her entire way of life. Determined to finish the job, Kerry grabbed some duct tape and made a loop across the broom’s handle, slipping her injured hand inside. The new alternative setup allowed her to sweep while maintaining control of the broom with minimal grip, and more importantly, she was able to work pain-free. Like most inventors, a proverbial lightbulb went off for Kerry, and she began thinking of all the people who may be encountering a similar problem.

While the EazyHold may have been developed to aid people in accomplishing some of the most basic tasks, its customers quickly began sharing photos and videos showcasing how the product adapted to have applications in assisting them in playing their instruments. Kerry and her sisters became convinced of the product's further applications when they witnessed the EazyHold assisting musicians. The EazyHold was being used to hold everything from violin bows to ring bells, increase participation in drum circles, and helping children play rainsticks to maracas, shakers, xylophones, and more. Through application, it has become apparent that the EazyHold was providing easily adaptable solutions to retrofit musical instruments to allow people with grip disabilities and finger and limb loss an opportunity to make music.

EazyHold and the Mellin sisters will be participating in their first NAMM Show this June, and they are determined to bring inclusive, all ability products to the mainstream marketplace. Kerry says, “I am so looking forward to attracting this new community of musicians, buyers, distributors, and retailers who would benefit from supporting an inclusive marketplace. Our goal is to represent all children and adults more fully in the industry and help grow the marketplace year after year. Inclusion is not a hard thing to accomplish when adaptive tools are accessible. That is what is going to be great about The NAMM Show - we will have the opportunity to have a booth solely dedicated to music tools that make playing instruments possible for everyone.” 

As a new exhibitor, Kerry has been blown away by the outpouring of support from the industry. When asked for advice for new exhibitors considering attending the show, she shared her experience working alongside NAMM for the first time. “When I have had questions or concerns about the process or an event, all it takes is a quick e-mail, and all my questions are answered. It doesn’t feel like we are just one of many at The NAMM Show, but it feels like we are being welcomed into a big musical family. There is nothing to be intimidated about exhibiting at The NAMM Show. What are you waiting for? Join NAMM and exhibit,” says Kerry.

For more information on the EaZyHold, please visit https://eazyhold.com/ and be sure to attend The 2022 NAMM Show to see all of the amazing products. For information about attending or exhibiting at The 2022 NAMM Show, please visit /thenammshow/2022/attend.

The New Year’s Eve cancellation was a particularly big bummer since those shows are one of our marquee events each year and the budget for lighting is double that of a standard tour. In fact, the NYE show is a chance to introduce the winter tour design concept but on a much larger scale. I spent a lot of time preparing, workshopping, and programming the NYE design, so canceling really hurt.

Despite this, I am enjoying the opportunity to introduce these new ideas on tour.

My intention for this design was to continue growing through experimentation. So, I posed myself this question: ‘Is there a choice I can make that will be significantly different from both my past works as well as my contemporaries?’ I looked toward indie-rock - a genre of music that I love and that is different from jam bands for some inspiration.

One indie-rock production designer who blows my mind is Michael Brown. He works with bands like Bon Iver, Death Cab For Cutie, and the National, to name a few. Recently, Bon Iver did a run of shows celebrating the 10th anniversary of their self-titled record. Brown’s utilization of scenic drapery at those shows served as a huge spark of inspiration for this Umphrey’s tour design. It looked so spooky, ethereal, and cohesive.

Through slightly aimless and general internet dives, like a search for “stage lighting” on Pinterest (shoutout to Rebecca for the suggestion), I came across the company SewWhatRentWhat (SWRW), which fabricates custom materials and backdrops specifically for stage productions. They were immediately responsive and supplied the exact material I had in mind. We now travel with five 10’x23’ pieces of aluminum mesh material for backdrops, all thanks to SWRW.

Once I committed to incorporating this material, the next step was designing the lighting around it. Next, I had to figure out what types of lights and their placements on stage to ensure the backdrop, for lack of a better word, shines.

The first element of the previous designs that had to be updated was the ground package of lighting, which sits behind the band. This consists of lights on cases or truss behind the band. It has become a staple of jam band shows over the past decade, thanks to my predecessor, Jefferson Waful. Nearly every jam band features some variation of this approach. Beams shooting up from behind the artist is an iconic look. However, the backdrop and ground package together would become too busy and get in the way of each other. If I were to prioritize beam-focused designing, having the backdrop would not be worth it. The solution was to move the ground lights to the edge of the stage in a vertical ladder formation. A decision that put me well outside of my comfort zone. I don’t have traditional training in lighting. I am primarily self-taught through studying shows that I love. I could imagine more experienced designers rolling their eyes at this but removing a horizontal ground package felt like blasphemy at the time.

Sticking to the prioritization of the backdrop, I kept the rest of the lighting package as simple as possible, using only a few spots, beams, side light, front light, and strobes.

Here are some reflections on this design after six weeks of touring.

• First, the stage looks cleaner, especially from the balcony.

• Close-up photographs of the band have extra texture and depth.

• The rig is flexible. It can go from dark and moody with just side-lighting and the backdrop to bright and high energy with the addition of all the beams.

• The backdrop takes the show to a specific yet abstract place. I’ve heard people say it looks like the band is performing in a “pretty cloud,” in front of a “spooky wall,” and on a “different planet.”
• My fear of removing the traditional ground package has been silenced! In fact, I like it better. I find it easier to focus on the band members. Additionally, the show does not suffer from a lack of movement or beamage. The songs “Wappy Sprayberry,” “Triple Wide,” “Nothing Too Fancy,” and “Cemetery Walk II” all have the same rainbow chaos that I, and fans, have come to expect and love over the years.

I’ll end with a bit of a cliffhanger. An unexpected opportunity the backdrop brings is the potential for video projections. Since backdrops take light so well, pointing a projector at it creates a very cool look. During our shows at the Fillmore in Detroit, I got the chance to try this out by using the in-house projector. It was AWESOME. When our NYE and NYC Shows were canceled, I spent a lot of my time learning the TouchDesigner and Resolume program, with the long-term goal of developing a system that connects lighting, video content, and generative visuals altogether. I am looking forward to using this new backdrop as a canvas for future endeavors!

Ben Factor is the lighting director for Umphrey’s McGee. He explores the ever-changing relationship between technology and music through his work. While operating the show, Ben leans on his background as a musician to help ensure the lighting is as tasteful and dynamic as the music on stage. He is based in NYC.

About Umphrey’s McGee
The music of Umphrey’s McGee unfolds like an unpredictable conversation between longtime friends. Its six participants—Brendan Bayliss [guitar, vocals], Jake Cinninger (guitar, vocals), Joel Cummins (keyboards, piano, vocals), Andy Farag (percussion), Kris Myers (drums, vocals), and Ryan Stasik (bass)—know just how to communicate with each other on stage and in the studio. A call of progressive guitar wizardry might elicit a response of soft acoustic balladry, or a funk groove could be answered by explosive percussion. At any moment, heavy guitars can give way to heavier blues as the boys uncover the elusive nexus between jaw-dropping instrumental virtuosity and airtight songcraft.

Umphrey’s McGee is a touring powerhouse, performing 85+ shows per year, headlining annual shows across the US, including Red Rocks Amphitheatre in Morrison, Colorado, and the Beacon Theatre in New York. Umphrey’s is a constant US festival staple, with performances at major events including Lollapalooza, Austin City Limits, Rothbury, and Bonnaroo, as well as international festivals Fuji Rock Festival (Japan) and Byron Bay Blues Festival (Australia). The band hosts their own festival in Illinois, Summer Camp Music Festival, where they perform three nights and have hosted the likes of Primus, Jane’s Addiction, Thievery Corporation, and Willie Nelson, to name a few. Umphrey’s McGee has also hosted and headlined Jam in the Dam (2005, 2006, 2008, and 2010), a three-night mini-festival at the Melkweg in Amsterdam.
https://www.umphreys.com

Cover Photo by Tara Gracer

A pioneer in the revolution of sound since 1968, Orange CEO and Founder Cliff Cooper has continuously experimented and pushed boundaries to produce new and innovative ways sound is perceived. It is in this spirit that the NAMM Member was motivated to expand its offerings to include education to help its customers grow their musical talents.

The journey to Orange Learn began in 2016 with the launch of the Orange Rock Guitar Foundation course. Cooper has always been a proponent of education, so he wanted to give back to the community and encourage his customers to learn music. The Orange Rock Guitar Foundation course was provided, free of charge, to anyone who purchased an Orange Amp as a motivational tool to “start learning” and acquire a solid foundation in music.

While this was a great start, Cooper still desired more, so he sought a partnership with Online Music Exams. Online Music Exams is a UK government-accredited exam platform where students are recognized for their achievements. Upon completing a course, students can take an optional exam on the Online Music Exams platform, a site regulated by The Learning Machine, a government-regulated entity. Pupils are then awarded grades on the National (RQF) and European Framework (EQF) and translated to credits within the two systems.

Seeing the success and the reach of the initial curriculum, Orange Amps added intermediate and advanced courses to its catalog. As the interest in the content continued to grow, the team at Orange saw the evolution of a new entity on the horizon, officially creating “Learn the Orange Way.” The manufacturer saw an opportunity to expand its courses to include other instruments and genres to reach a whole new segment of musicians, further expanding the accessibility to music education. Orange Vocal performance exams quickly followed and targeted guitarists who doubled as vocalists as a natural next step.

Orange Learn officially launched in early 2022 as an independent entity with its debut release of the Graded Guitar Series, which offers digital and physical books, online courses, and optional qualifications through online exams. The addition of the vocal performance course will be launched this year, with plans to expand to include more instruments in the future. Orange Learn still maintains its partnership with Online Music Exams, providing students an opportunity to earn recognition for their achievements which can help to further their education or take up a job in music.

We spoke with Orange Learn Course Content Creator, Alicia Lyons, who noted the massive increase in student signups since the onset of the COVID-19 pandemic. She also reflected on the relationship with the UK charities Youth Music and Take it Away that Orange Learn benefits. “Both Youth Music and Take it Away have endorsed what Orange Learn aims to achieve in music education, which is to improve the accessibility of music education globally. Respectively, Orange Learn endorses them, as they are both important organizations that help increase access to music education. It is important to not just help students with education but also to help guide them on what options they have to further their careers. So we are working with partners such as The Institute of Contemporary Music Performance (ICMP), a music college in the heart of London that assists students in their learning journey and helps them find a path to a career in music," she said.

In January 2022, Orange Learn provided over 15,000 eligible students, free access to all materials needed to support their learning journey and earn a qualification. Lyons encourages anyone that knows of a project that could benefit from what Orange Learn is able to achieve, to reach out to see how Orange Learn can help.

For more information on Orange Learn or Online Music Exams, please visit them at https://www.orangelearn.com/ and https://www.onlinemusicexams.org/.