Register for our recording masterclass – as part of ARIA Week 2013, in conjunction with Studios 301 and MusicNSW.
Australian Recording Industry Association Ltd (ARIA) and Studios 301 have teamed up with musicNSW to create a special workshop for emerging musicians and producers.
Less Auto / More Tune is a 2-part Masterclass on how to maximise your time in the studio, focusing on music production and recording in a studio environment. These workshops are a great pportunity for emerging musicians to see how an artist and producer work together on a professional recording in a professional setting.
The first workshop will be Unmixing Jagwar Ma. One of Jagwar’s Ma’s mix engineers, Anthony Garvin will go through how he mixed one of the tracks from ARIA-nominated album Howlin’, then Adam Maggs from Ableton Liveschool will demonstrate some in-depth techniques for remixing. This Masterclass will be of particular value to emerging producers and electronic artists.
The second, Under The Hood with Abbe May will be a Pro Tools recording Masterclass, and will provide you with an insightful opportunity to view the processes involved in a professional recording session at Studios 301 between the highly experienced engineer Simon Todkill and the ARIA nominated artist Abbe May.
What: Less Auto / More Tune
Where: Studios 301, 18 Mitchell Rd, Alexandria NSW 2015
When: Friday November 29th
Times: 12pm-2pm Unmixing Jagwar Ma / 3pm – 5pm Under The Hood with Abbe May
How To Enter: please read on for details
Spots are open to anyone from NSW, but you are responsible for your own accommodation and travel to Sydney. Be sure to read the T&Cs before entering.
- Send an email to email@example.com, and include your name, age, address, and phone number – write “ARIA workshop” in the subject header
- Specify if you would like to attend Under The Hood with Abbe May, or Unmixing Jagwar Ma
- In less than 100 words, tell us about your music and what you are hoping to gain from the workshop.
Terms and conditions
This competition opens 9am AEDT on Tuesday 19th November 2013 and closes at midnight AEDT Monday 25th November 2013. Only residents from NSW are eligible to enter. All musicians who submit their entries during this time will be considered. It is the entrant’s responsibility to ensure that the link to their music is complete and and can be accessed for listening. The organisers of the competition are not responsible for late, damaged, or unplayable entries.
MusicNSW is the organiser of this competition. Employees and contractors of MusicNSW, ARIA and Studios 301 and the immediate family members of these people are ineligible to submit an entry. This competition is open to all ages. If you are under 18 and you are selected as a winner, then you will need to provide MusicNSW with written consent from your parent or legal guardian to allow you to attend the workshop. If such consent is not provided, you will be ineligible to attend. Winners must be available to participate in the workshop, which will occur in the week commencing November 25, 2013.
Fifty (50) winners will be chosen by a panel of MusicNSW, ARIA and Studios 301 experts. Each entry will be judged on the basis of the creativity and originality of the entry. Chance plays no part in the determination of the winners. Judges’ decisions are final and no correspondence will be entered into. Winners will be notified by phone and email on Wednesday 27th November 2013.
The prize consists of the following:
– Participation in a recording workshop at Studios 301 in Sydney with Abbe May and Simon Todkill on Friday November 29th 2013 at 3pm. OR,
– Participation in a production workshop at Studios 301 in Sydney with Anthony Garvin and Adam Maggs on Friday November 29th 2013 at 12pm.
The prize is not transferable or redeemable for cash. No replacement will be offered in the event that the prize cannot be claimed on the stipulated date and/or time.
Winners will be responsible for their transport to and from the studio, accommodation, incidentals, and food. ARIA, Studios 301 and MusicNSW are not responsible for winners’ costs. Judges’ decisions are final and no correspondence will be entered into. If for any reason we are unable to conduct the workshop on the specified date and time due to circumstances beyond our control, we reserve the right to change the scheduled date or time or terminate the workshop without any liability to any person. The music that is submitted as a part of an entrant’s entry into the competition must be original music and must not infringe the copyright or any other rights of any third parties. MusicNSW is permitted to verify or require an entrant to verify that the entry is the entrant’s original work. If an entry cannot be verified to the satisfaction of MusicNSW, it will be deemed invalid. If you enter this competition you indemnify and hold MusicNSW, ARIA and Studios 301 harmless from and against any claims that are inconsistent with the foregoing. MusicNSW will require all winners to provide identification and proof of residency in order to claim the prize. If a person cannot provide such proof, then the person will forfeit the prize and no substitute prize will be provided.
MusicNSW, ARIA and Studios 301 and its agencies and representatives associated with this competition, will not be liable for any loss (including but not limited to indirect or consequential loss), damage or personal injury which is suffered or sustained (including without limitation to that caused by any person’s negligence) relating to this competition or the awarding or taking of the prizes except for any liability which cannot be excluded by law (in which case liability is limited to the minimum amount allowable by law). MusicNSW will only use any personal information that you provide to us for the purpose of running the competition and we will comply with the Privacy Act 1988 (Cth)
Organiser: MusicNSW (ABN 50416153997) email at: firstname.lastname@example.org or telephone: (02)9281 1600
For those lucky patrons who caught the incredible Neil Finn and Paul Kelly collaborative concert at the Sydney Opera House in early 2013, and for those who missed out on getting to the show, Music Matters has three copies of the Paul Kelly & Neil Finn Goin’ Your Way CD/DVD to giveaway.
We want to know if you went to the tour earlier this year, and what was your favourite song? Or if you didn’t make it to the show, which song would you have loved to see live at the Opera House? Post your answer on our Facebook wall, tweet us @musicmattersanz or just drop us an email to email@example.com.
For full T&C’s please contact firstname.lastname@example.org; this promotion is in no way sponsored, endorsed or administered by, or associated with, Facebook
Music Matters is gearing up to release our latest animation. Months of hard work has gone into animating the story of one of Australia’s favourite bands of the last couple of years. Watch this space to find our who we have put in the spotlight!
The animation looks at the touring side of a band’s career, a snap shot of some of the many venues they’ve played over the years. To celebrate the impending release we want to hear what YOUR favourite venue is in your city and why.
We’ve got a limited amount of Spotify memberships for those who tell us by tweeting @musicmattersanz
A Tidal Wave of Love
Carla Rocavert reviews the exclusive showcase of Capital Cities at The Standard, Surry Hills September 25, 2013. Photos by Brad Smith.
“Love. Just love away. Just do it every day. Just do it every way” chanted indie-pop outfit Capital Cities at their exclusive Sydney showcase last night. Industry folk swelled into rhythmic unison with heads bopping and hands clapping as the harmonic melody of a Los Angeles ‘love song’ played over funky indie-electro beats.
Meet Ryan Merchant and Sebu Simonian, the duo rocking a ‘tidal wave’ of hypnotic electro-pop songs on US and international stages. Both former jingle writers, their debut album is A Tidal Wave of Mystery, a melange of reimagined disco covers including Pink Floyd’s “Breathe” and Bee Gees’ “Stayin’ Alive” and original indie pop tunes including their global hit “Safe and Sound”.
Backed by Hollywood label Capitol Records the Capital Cities sound is perhaps a nod to the playful disco of Daft Punk or the quirky Scissor Sisters (who rose through the charts with a disco-funk cover of “Comfortably Numb”). Capital Cities’ secret weapon however is extraordinary trumpeter Spencer Ludwig, whose soulful, jazzy riffs lift each piece into the euphoric joyfulness they’ve become famous for.
Normally a five piece unit, only bassist Manny Quintero and Ludwig joined Merchant and Simonian for last night’s showcase; as a foursome they covered every instrumental base.
Sporting trademark sunnies and black jacket Simonian bopped alongside Merchant (on guitar) delivering cute choreography and perfectly synced harmonies. Sydney was quick to warm up to their charisma, revelling in base-filled beats and vibrations and moonwalking for “Farrah Fawcett Hair”, their eccentric track narrated by NPR’s Frank Tavares, featuring Andre 3000. “Do you want to see some American guys dance?” roused Merchant as the beat rose.
The eclectic riffs and synths of “Origami” and “I Sold My Bed But Not My Stereo”, and the fun-infused upbeat melody of “Kangaroo Court” built momentum (the latter an obvious coup for indie pop lovers down under) before the boys joyfully launched into “Safe and Sound”, the song that won them a global online fan base after it went viral in 2011. “Safe and Sound” has since hit eighth place on Billboard’s Hot 100 and topped the Alternative Songs chart. The well-known track hit its mark in the established sing-along atmosphere.
Taking full advantage of the intimate chic-grunge of The Standard the artists lived up to their sociable reputation, grooving up close with fans and encouraging a jacket (or shirt, wallet, shoe – whatever you could find) swinging fist-pump to the digital encore of “Safe and Sound”. The crowd soaked up the sweet electro-pop veracity, after especially enjoying a surprise cover of Madonna’s celebratory “Holiday”, for the finale.
Capital Cities have played to sold-out houses in California and have toured the US, Canada and Europe, making a splash on German and South American radio. They’re out to conquer the rest now.
As the crowd echoed their jingle-like pitch for life “I could lift you up, I’ll show what you wanna see and take you where you wanna be”, with no screen to hide behind, and the worries of the world offline for a change, they rejoiced in the live setting that music is meant for – safe and sound.
Ahh, Record Store Day is here again (and for the rest of this monologue-I hate the word blog-let’s just refer to it as RSD okay?) It’s been an interesting ride so far. Different levels of passion shown by the retailers, the record companies….the public themselves….. no surprises there. Until last year that is. Last year was different: there was real traction for the first time. People were coming in to Songland saying (very genuinely) “Happy RSD!” This happened in all the other stores I spoke to and it may be a watershed moment for this great concept.
There’s a long way to go of course in really drilling down to reach the greater population-but we’re all starting to head in the same direction.
I, personally, believe this should be a celebration of all physical stores. In Australia that means the Indies AND Sanity AND JB Hi-Fi. That thought is not totally supported by some of my indie brothers, but I stand by it. Please note I didn’t mention the department and chain stores that have stocked (and whored) music over several decades. Y’know, the same places that have turned their backs on music now demand has changed. Very good riddance to them I say.
On a totally positive note, I’d like to congratulate the RSD Ambassador for Australia-Russell Morris. His album “Sharkmouth” was embraced by the indie stores and, as momentum slowly snowballed, AND with the help of good radio stations and their presenters, the album is THE success story of 2013-and it’s only the beginning of this tale. With the sales support and instore exposure of JB Hi-Fi, Sanity, even all the ABC shops, we can ALL take this record and turn it into the drawcard that appeals to the largest of record buying segments. Remember the people that bought “Whispering Jack, “Brothers In Arms”…..and “21”?
Record Store Day is a special day. It’s a unique opportunity to say to EVERYONE what we mean, and what we do. Enjoy!
Yours in volume and rhythm, ‘Frog’ Songland.
The hardest part of creating music is needing to meet a creative deadline and not being able to switch on the creativity at all! It can be quite frustrating. I sit there and will it to happen! So I then go back to the drawing board, which usually has nothing on it at all! If I end up with a verse and a chorus I’m happy, but it’s the finishing of the song that stumps me the most. Sometimes I’ll wake from slumber and jot down songs in a flash, but it’s the somewhat forced creativity that I find a little intimidating.
My first memory of music is hearing Paper Roses by Hank Snow! There was a lot of country music being played in my household as a youngster. I do remember performing this song especially a fair bit! I always knew I was going to be singer. I remember sitting my Mother down and singing her a song, and at the end of the performance I then declared that I was going to be a Singer.
Music to us is more than a song, deeper than a melody, tastier than any chord or groove.. it’s a gift.? We’re grateful to be given Music to Help, Encourage, Heal & to tell our stories thus far. The world without music would be a world without Life. Everybody has a bit of music in them whether they know it or not.
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