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founded march 12, 1995 _| : _____ t r a x w e e k l y # 93
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| TraxWeekly Issue #93 | Release date: 27 Mar 1997 | Subscribers: 935 |
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/-[Introduction]------------------------------------------------------------
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Welcome to TraxWeekly #93, yet another issue in the continuing saga of
the modern day electronic music scene...
This week, the Modsquad continues with their engrossing documentary on
music theory, its application in electronic music, and various other
issues which may or may not relate to music as we know it.
I have a short piece on "finding the right people."
Aim Higher is back, with REUNIFICATION.
...an a new music magazine needs your support, see ads.
Until next week,
Gene Wie (Psibelius)
TraxWeekly Publishing
gwie@csusm.edu
/-[Contents]----------------------------------------------------------------
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/ ____/_/ __/ \ __/ / _____/ \ __/ __/ ___/_
< \____\ \ \\ \ \\____ __/ __/_\ \ \\____ \_____ \__
\ \ \ \\ \ \ww\ \\ \\ \ \ \ \ \_
_\________\________\\___\____\ \_____\\_______\\___\____\ \_____\_______\
General Articles
1. Music Theory: A Modern Approach...............The Modsquad
2. Finding the Right People......................Psibelius
Group Columns
3. Aim Higher
Advertisements
Shock Value
Closing
Distribution
Subscription/Contribution Information
TraxWeekly Staff Sheet
/-[General Articles]--------------------------------------------------------
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--[1. Music Theory: A Modern Approach]----------------------[The Modsquad]--
Music Theory: A Modern Approach
To Perfecting An Old Art, and Learning
How To Better Yourself, and What You Track.
by
Finrez, Radio Shock, Neon Hunter, and Bottlehead
modsquad@juno.com
Hey there dudesies, its me again, bottlehead, and I'm introducing the chip
series again. Sorry I couldn't write anything for it this time, but thats
ok, right?
This is the fifth article in our second theory series. We expect the series
to have an approximate length of 8 parts.
--------------[ POETRY ]---------------
"Things that used to be mine."
_SPLIT_
--KFMDM
Here is the tough part. If you really want lyrics in your song, you have
to be a poet or get one. Doing this is really tough. Here is an example
of poetry in motion:
Would somebody please cue that bird?
(Squawk, squawk!)
Samuri Pizza Cats
(Oh yeah!)
Who do you call when you want some pepperoni?
Samuri Pizza Cats!
(Right on!)
They're stamping out crime, and you know thats not Baloney!
Theres Speedy Seriche, he's the leader of the bunch
(Thats right!)
A heck of a fighter, makes a heck of a lunch
And little Polyester, who's never afraid
(Thats me!)
Of going into battle when the bad guys invade!
Heres Guido Anchovie, a wild romantic rover
This cat gets down down with a long hangover
Here come the Pizza Cats! They're so bad,
They have more fur than any turtle ever had!
They're stronger than old cheese!
(Stronger than old cheese!)
Stronger than dirt!
(They're darker than dirt!)
If you step on their tail
(Not on my tail!)
You're gonna get hurt!
(Don't hurt me!)
Samuri Pizza Cats,
They're fighting crime,
All over the town!
Four, three, two, one, Pizza Cats are on the run!
Big Cheese is the villian, who's lower than low!
Its a rotten shame, he live in Little Tokyo
We've got our nasty Bad Bird and some nasty Ninja Crows
As soon as someone finds the script we might begin the show!
Sit right back, kick up your feet and turn the sound up high
And if you want the full effect, go eat a pizza pie!
Samuri Pizza Caaaaaaaaats!
This is a classic song from the girlfriend of the lead sinder of Pink
Floyd, Yoko Ono. She was the one who tore up a bible in front of a packed
audience about six months ago. You can tell that she is a significant
artist.
This is how you become a poet yourself. Since you don't need to become
a significant artist you dont have to do it in front of anyone, just rip
up a bible in your room.
If you are a Heavy Christian, try these lyrics on for size instead.
Don't let the sun go down on me.
Although I search myself its always someone else I see.
Just allow a fragment of your life to wander free.
But losing everything is like the sun going down on me.
This is from a man named Elton John. It has long been suspected that he
sexually molested his daughter. I mean, he definitely didnt like his sun
... son.. heh heh heh. So to write lyrics like this, you have to first get
daughter. Its a lot of work to do this, so why don't you just go to a
literature school or something to learn to compose?
----------[ I HEARD A DOPE BEAT ]----------
"To Share is to Split"
_SPLIT_
--KFMDMFMDK
I heard that Puck did it. But if Finrez didn't do it I cant fuck wit it.
I know you're wondering how the masters create such dope beats in their
drumloops, while you can't track drums worth shit.
(in case youre wondering, the followup to that line is "NWA is a mix of
fix of tricks, real niggaz with big dicks. yer takin a chance when you
think that.. talkin under your breath won't lead to young death.")
Lemme show you a couple important cool tricks. Here is the first thing
you have to do for a good drum line: GET GOOD DRUMS! I mean, if you have
to PAY, go into a pawn shop and sample their drum machines or -- GASP --
REAL DRUMS!
The NEXT thing you need to do is to get a bunch of DRUMLOOPS and REALLY
listen to it! This way you know EXACTLY what you're trying to emulate.
Listen.. the strange thing is, you'll find that the main beat of your
average drumloop is, of all things, a TAMBOURINE. So, now you gotta go
back to the store and sample that damn tamobourine that you ignored
because it didnt sound as cool as the snare and base drum. ("bass" you
say? yeah I really want a fucking fish as a drum). BTW you also should
sample drum combinations, like a base drum and a snare drum right after
it in the same sample, that way it will sound more realistic. Of course
its almost exactly the same if you play them with NNA continue in Impulse
Tracker, but then you lose all the subharmonics and resounding frequencies
as the two waveforms interact.
Now that you have the important things: a base drum, snare drum, open
hihat, ride cymbal, tambourine, and a splash (NOT CRASH) cymbal. Repeat,
do NOT USE A CRASH cymbal, because a splash sounds SO much cooler.
Now lay out a wikked pattern with your tambourine:
TTt-TTt-TTt-Tt-TTTt-TTt-TTt-Tt-TTTt-TTt-TTt-Tt-TTTt-TTt-Tt-Tt-Tt
Base Drum:
b---b--bb---b--bb---b--bb---b---b---bb---b--bb---b--bb---b--bb--
TTt-TTt-TTt-Tt-TTTt-TTt-TTt-Tt-TTTt-TTt-TTt-Tt-TTTt-TTt-Tt-Tt-Tt
Snare:
b---b--bb---b--bb---b--bb---b---b---bb---b--bb---b--bb---b--bb--
TTt-TTt-TTt-Tt-TTTt-TTt-TTt-Tt-TTTt-TTt-TTt-Tt-TTTt-TTt-Tt-Tt-Tt
s--s--s----s-s----s---s---s---s---s--s--s--s--s-s-s---s---s---s-
These are the basics, now lay out the other ones (open hihat, ride
cymbal, splash cymbal):
b---b--bb---b--bb---b--bb---b---b---bb---b--bb---b--bb---b--bb--
TTt-TTt-TTt-Tt-TTTt-TTt-TTt-Tt-TTTt-TTt-TTt-Tt-TTTt-TTt-Tt-Tt-Tt
s--s--s----s-s----s---s---s---s---s--s--s--s--s-s-s---s---s---s-
o---o---o---o---o---o---o-o-o-o-o---o---o---o---o---o---o-o-o-o-
--r---r---r---rr--r---r---r--rr---r---r---r---rr--r---r---r--rr-
c-----------c---c-----------c-c-c-------c--c--c-c-------c--c--cc
Or another rad one:
b---b---b--b-b--b---b---b--b-bb-b---b---b--b-b--b-b-b---bb-bb-b-
----s-------s--s---s--s-s--s-ssss---s--s-s----s-s---s--ss-ss-ss-
--o---o---oo--oo--o---o-oo-oo-oo--o---o---oo--oo--o---ooooooo-o-
r------r-r------r------r-r------r------r-r------r------r-r------
T-t-TTt-T-t-T-t-T-t-TTt-T-t-T-t-T-t-TTt-T-t-T-t-T-t-TTt-T-t-T-t-
c-------cc-c----c-------c-------c---c-------c-c-c-------c--c--cc
Now track that, and go into Impulse Tracker and save it as a sample.
Load up Sound Forge, Cooledit, or Goldwave and add a shitload of REVERB.
This is the SECOND MOST important thing, after the TAMBOURINE.
Now what you want to do is to record it on tape, then resample it, for
that analog noise feel (I hope that makes you happy, Radio Shock).
----------------[ GROOVE ]-----------------
"This song is a piece of shit."
_Split_
-KFMFMDKFMMDK
Lets say you're trying to come up with a serious groove. You heard some
cool tracks and want to duplicate how rad they are. Where do you think
they
learned to come up with serious groove like that?
Well lets go into a bit of history for a moment.
Historically, the music of white people has concentrated on MELODY and
LYRICS. The music of blacks, contrastingly, is mostly based on GROOVE.
Groove is composed mostly of two things: drums and base. This is where
DRUM&BASE music came from, btw.
In this way, copyright law has also shown the white path. It has been
developed to protect 50% melody and 50% lyrics. However, if blacks had
been the ones to write these laws, it would protect 90% groove and the
remaining 10% split halfway between melody and lyrics. Due to recent
rulings (circa 1992) drumbeats are protected under law, but the base line
is still mostly public domain.
So if you want to listen to good commercial groove, pick up some rap
records. Yes I know you all hate rap, but they are the epitome of pure
groove. Not even instrumental: the original rap music was created very
simply, literally with two turntables and a microphone (where its at,
where its at). The groove relies almost entirely on the rapper and dj
syncing in a brilliant display of rhythmic talent.
However since we are doing this in a tracker, we will give an example
from an advanced but classic rap album. Here is an analysis of a song
from the NWA rap, EFIL4ZAGGIN. This is the perfect example, because it
was done by an established group so they were fairly trendy, and they
had the money to do a very thick mix, and finally because 1991 was the
peak of rap overproduction, and so the details can be lost and still
there will be a lot there to describe.
The tune starts out with a gospel like chorus.. and MC REN: "Nineteen
ninety motherfuckin one" and the chorus stops suddenly the groove hits.
We hear a quick brass blast, then a drumbeat and smooth base line. A
muted guitar is heard picking the same note over and over in a not-quite-
offbeat pattern. Each bar there is an open hihat and every four bars, we
hear someone saying "oooh" and every 8 a flanged cymbal hit.
MC REN introduces the track "NWA back in this motherfucker. Kickin out ALL
you commercialized ass niggaz. We on this laid back track, and we doin
this one kinda smooth. So whatcha gonna do, Dre?"
DR DRE, overlapping MC REN at the last syllable in an unrealistic
conversation manner but with wonderful addition to the groove: "Kick it.
And so on. Let the shit flow on. Cause I need something to go off on.
The motherfuckin D R E servin a death wish, so I'm a hitcha like this:"
DJ YELLOW starts scratching a few syllables back and it reaches its peak
here. The drumbeat stops for a single beat, then comes crashing back with
a high pitched three note riff from the start of the Doctor who theme song
with the last note going until the end of the "pattern", then it repeats.
Near the end of the pattern, we hear a fast guitar wah-wah riff. The base
line hear gets lower and louder.
Meanwhile: "Early in the morning, hop into the B N Z, I got fourty four
ways of gettin paid sittin in my lap as I roll up the Compton block to
scoop up Ren I heard shots. One two three, then I see a nigger, hoppin
the fence and it was Ren on the motherfuckin trigger. He got in the Benz
and said 'Dre, I was speakin to your bitch, Oshay.'"
Here we hear a few guys saying "aaaaaaaaaaAAYEah!" in a rising, almost
singing pattern, very cool. This pans left and right as it repeats, and
every other pattern it stutters on and off in a fast repetition.
"And as we roll on, I seen a patrol on creep, so we got ghost before they
beat me and Ren and the black C D, yo. Hoppin some funky shit by the
D O C."
Right at this point, perfectly, we hear a stock voice sample that can't
quite be made out, and more DJ scratches.
This is less than half the entire song. But you can see, how the
combination of hard lyrics and a dope beat can create an impressive
groove. Of course since you can't have lyrics, you have to have more
instrumental groove, just add more variation of sound.
----------[ BAD SONGS ]----------------
"Split this song into two pieces of shit."
_SPLIT_
--DKMFKKDMDMDMKKFMFKDDD
There was this one kids that I heard somewhere that went something like
this:
Oh Mr. Rabbit, your ears are mighty long.
Yes, kind sir, they're put on wrong!
Isn't that fucked up? I mean, say that a little kid heard these and tried
to repair his pet rabbit. He would get a knife and just slice em off, and
then glue them on backwards or something.
And take a look at this one:
Rock a by baby on the tree top
When the wind blows the cradle rocks
When the bow breaks the cradle will fall
And down will come baby, cradle and all
I mean, what if some really fucked up kid who was babysitting heard
this song and went out to get her daily dose of crack-cocaine and
when the baby cried, she went back and put her in a tree cause she
noticed it was windy and the baby stopped crying when it was rocked.
And when she came back to light up, she found the baby on the floor
not quite dead, but she didn't call 911 cause she would get in trouble
and she left it lying on the floor and left a note saying "Sorry I
killed your babby, but if you get another one I will babysit it for
half price." and then smoked her crack-cocaine and left.
---------[ MORE AND MORE INSPIRATION ]----------
"I HAVE BEEN INSPIRED"
--Rev. Joe Jackson, at the moment of his apostasy
I was at the bus stop to go to work one day and I decided to keep track of
all the people who I saw there, so I could write a tune about them.
First, there was this mexican chick who sat next to me on the bench. I
asked her the time then mentioned that the bus must be late. She said
she was just going to her apartment down the street and didn't want to
walk. Then she started making a basket for valentines day out of a few
scarfs and a heart on a stick.
A fat drunk guy sat between us and put his hand on my shoulder. He told
me my daughter was going to grow up to be very pretty and asked me for
some change. He said he was a recovering alcoholic and was hit in the
left ear and robbed of a dollar earlier in the day. The chick left, and
the drunk guys bus pulled up and he went on it.
The mexican chick came back and sat down. My bus hadn't come for an hour.
I went and called my boss to tell him. When I was back, there was some
oriental chick with a dog collar and a pierced chin (at least thats what
it looked like, I mean it WAS dark) sitting in my place. Then a pregnant
woman with two small kids came up.
The bus I needed didn't come and the mexican chick needed the same one.
Eventually she gave up and walked all the way home. I went home too.
I tracked a song about drunk guys who get hit in their left ear and hot
mexican chicks who walk home while weaving baskets for their boyfriends.
I played it for my boss, but he didn't like it. He has no taste I guess.
%%%%%%%%%%%%%%[ Good deals in pawn shops
]-%^@%!^!#$%!%#$%<au-greet>!@#%!
"Ohh ohh ohhh!! OH YES!!!"
---Dana _Step_By_Step_, at the moment of her Apostrophe
Now I know all have you have been to a pawn shop at least
once in yourlife times, even if you yourself decided to go there,
you went with your parent or whoever.. either way, you've been there
... I'm sure you remember the horrible deals they made.. Don't
you remember hearing your dad say stuff like:
"12 dollars for that brand new turn table?! Screw you!"
or "You wanna charge me 26 dollars for that 250 wt amp!? Hahaha!"
Right? Right? We know you've heard those lines before..
So what, you, what you're asking, is how to haggle with the lil
bastards, eh? You wanna know how to get some good deals out of those
prune-juice sippin old whitebread men, so, so, eh, ah pappa's gonna
tell ya his lil secret of haggling.. Heres a diagram for you.
O <-- Prune sipper
-----========================================================
| =
| O <-- You =
| xxxx xxxx =
| _____ xxxx xxxx <- some 10000 wt amps =
|___| \__________________________________________________=
^
door
Now.. lets start off from the conversation: "+ = prune sipper,
% = you"
+ Eh, how ya doin?
% Well uhh
+ Looking for anything specific???
% Yeah well I was uhh
+ Great! Lemme direct you toward our specials..
% But dont you want me to tell you...
+ Now dont worry, I know how to handle these things..
+ What is it you're looking for? I didnt hear you the first time..
% I wanna buy a Korg X3...
+ Ahh a Korganorgan eh? Well its much more than an organ but I
+ like that lil rhyme.. Anyways how much are you lookin to spend
+ on a fine and dandy korganorgan?
% Well.. I only have about 52 dollars to ..
+ Wonderfull, and how many knobs of this korg did you want to buy?
% I dont want the knobs, sir, I want the korg.
+ Yeah well uh I can give you 4 knobs and 2 sliders.. Hows that?
% Knobs and sliders! All I see are knobs and sliders!!.
+ Thats what its made out of ..
% How about I give you 52 dollars and a pair of socks
+ For the korganorgan?
% Yup
+ You gotcher self a deal mister!!!
% Wow! Thanx!
You see? That, now THAT is how you haggle.. You just go up to those
prune drinking prune faced whitebread knob selling cock suckers
and start a deal.. Once their blood gets flowing (since they usually
just sit there watching reruns of Silver Spoons when theres no buisness),
they're glad to give you a good deal.. One thing you have to remember:
once the silverfish start crawling out of their ears/noses, you gotta
get the hell out of there, and practice haggling somewhere else, cuz
you dun pissed demz off.
---------[ TOTALLY HIDDEN PREDATOR ]--------------
"Hello?? Who is this??"
--Maelcum
Theres this great show on channel 5 at 8pm on Sundays called Totally
Hidden Predator. I don't know where they got that huge predator, but it
sure is rad to see him in action.
You see, they hide this huge monster (the predator) somewhere where
unsuspecting people will walk by, and when they do, it eats them!
Its so damn cool.
I'm writing because yesterday on one of the segments it was hiding in
someones computer (how did it fit in there!?) and ate him.. while he
was tracking! I thought tracking was an "underground" thing, not the
kind of thing that would show up on TV.
What will this mean for the rest of us?
---------------------------------------------
That was the fifth installment of our second music theory series of
articles. If you want to contact us, our email address is at the top
and bottom of the file.
Love,
Finrez,
Radio Shock,
Neon Hunter,
and Bottlehead
modsquad@juno.com
(c) 1997 FuNkY MoDSQuaD iNC
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--[2. Finding the Right People]--------------------------------[Psibelius]--
I usually don't feel it is necessary to respond to every single letter
that arrives in my mailbox, but I must have not been on a really great day,
because this particular arrival set me off for a good quarter hour. If
nothing, please let it serve as an example of how NOT to approach
musicians to join your group.
>Date: Sun, 16 Mar 1997 00:19:22 +0400
>From: Samara Review <review@transit.samara.ru>
>To: smil@embe.fi
>Cc: mah196@easynet.co.uk, skie@wrath.berk.net, shawnm@citenet.net,
> gwie@mailhost2.csusm.edu, langebrd@fys.ruu.nl, pinion@netcom.com,
> petador@ketchup.rave.org, marco72@unive.it, fimarkus@online.no,
> mclifton@pheonix.csc.calpoly.edu, panther@global.co.za,
> perseus@xs4all.nl
>Subject: join us!
>
>hi. my name is jazztiz. i'm xm-composer and plan to organize
>new musicgroup named "purple fog side". i wish you to join our it.
>
>descriptions for "purple fog side":
>
>1.format for music: xm, 44khz, 16bit
>2.maximum zipped module size: 1.5mb
>3.appearance: in www and ftp server.
>4.competitions allowed.
>5.ratings for modules.
>6.music style:ambient, new-age and other athmospheric styles. [no]
>dancemusic.
>if your music doesnt agree with upper rules, you must leave group.
>however, while in "pfs", you can also join or leave other musicgroups,
>but you must write [ambient] at least twice for month.
Okay, I guess I like the name of the group, but I have a few problems
with the above material. You want people to join your group, yet I seem
to get the impression that we are getting limits placed on our creativity
in order to serve the group's quota for output. "xm, 44khz, 16bit?" I'm
sorry, but as a musician myself, I will make my own decision as to what
tracker I use and what format I wish to release in, and what samples I
use. "Competitions allowed?" As a musician, I will choose whether or
not I wish to enter in competitions, regardless of any group policy on
such. Gee, this group sounds great. Not only am I limited to writing
XM's in FT2 using only 16 bit samples, I get to have my modules rated
(and we all just love being rated, don't we?), plus I'm now limited to
composing ambient, new-age, and atmospheric styles. Wonderful. Oh, and
let's not forget having to write ambient twice a month. What is wrong
with dancemusic? I'll compose whatever the hell I feel like.
And what would I get for doing all this???
>promotion and distribution of music:
>www page with modring. ftp server. your own news on www. your personal
>profile and photo on www. #chat. russian headquarter bbs.
>foreign headquarter bbses (in future). audiocassettes with ordering.
>parties.
Well, I guess that sounds pretty nice, except for that fact I could
probably do everything here myself without having to conform to some set
standard of musicality. None of this here is worth the hell I'd have to
put myself through to become another ambient-producing clone in "pfs."
>cya. jazztiz/liquid dreams.
>
>e-mail : review@transit.samara.ru
>voice: +7 8462 345911, 344771
Take a hike. If you really cared about putting together a music group,
you'd write a personal message *REQUESTING* a person's contributions, not
*DEMANDING* them.
-psibelius
gwie@csusm.edu
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/-[Group Columns]-----------------------------------------------------------
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--[3. Aim Higher]-----------------------------------------------------------
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P R O D U C T I O N S
UPDATE
Hello again from the land of igloos and welcome back to another
installment of the AIM Higher update.
The main reason for this update is mostly in part to the overwhelming
response that we received since our article in last week's TW #91. My
mailbox has been filled with questions - many of them the same - and I
will try to answer some of those here in this article.
Their seems to be some misunderstanding - or better yet misbelief -
surrounding the nature of the group. People seemed to be surprised that
such a wide-open and free-moving group was around, but it's true.
Once again I shall remind everybody that the main focus of the group
is to help out anybody out there who wants to get better as a composer,
or just wants to get into PC Composition because they find it unique and
interesting - like us :).
There is NO obligation to actually release anything, there is NO
obligation to stay tied down to the group, their is NO particular
composition style involved with the group and getting in the group is
as simple as asking - there is NO rejection :).
Those were the main areas of concern surrounding the group. Other than
that I'm happy to say we have nearly doubled our memberlist solely
through the release of last week's article and we wish the best of luck
to Psibelius in keeping it (traxweekly) going.
WEB PAGE
The web page is coming along slowly. Most of the page is done, except
our provider isn't up until April the 1st, so expect it to be up then. If
you are another PC music group and would like to add a link to your page,
please let me know in email (see bottom of article). We will announce the
site of the page and the opening in a later version of TW.
MUSICDISK
The big news from the seniors of AIM Higher is that we have set a date
for the (hopeful) release of our fourth and comeback musicdisk:
Re-Unification.
The release date is May 1st which we hope will give enough time to
everybody to do their songs including guests.
If you would like to show your support by releasing a guest tune,
please email me at the address given below. We'd love to hear anything
you have to offer!
DISTROS
If you'd like to become an AIM Higher distribution site by all means
email me at the address below and say so! We are currently looking for
as many boards as we can so we can get our stuff out there! :)
MEMBERS
Several people were curious as to what our memberlist looked like so
here is the current list:
SENIORS
Atlantic atlantic@argos.org Musician
Hypnotic Melody hypnotic_melody@tvo.org Musician
Master of Darkness tandlar@jupiter.scs.ryerson.ca President.Musician
Paganus paganus@dark.tor250.org Musician
ARTISTS
Andr0meda s960511@uia.ua.ac.be Musician
Ba'alzamon ba'alzamon@dark.tor250.org Coder
Behemoth behemoth@mscomm.com Musician.Coder
Blizzard diablo8439@aol.com Musician
Devega devega@dark.tor250.org Musician
Direktor direktor@dark.tor250.org Musician
Enci cybertic@hitel.kol.co.kr Musician
Jones jones@followme.com Musician
Magna-sail magna-sail@sns.gryn.org Musician
Paradox techno@vcn.bc.ca Musician
Porus mlad@echo-on.net Graphician.Musician
Primal Scream prmlscrm@netcom.ca Musician
Rebel fhafez@jupiter.scs.ryerson.ca Coder
River riverg@hotmail.com Musician
Rubidium Bromide ruby.bumrah@dark.tor250.org Graphician.Musician
NOTE: if i don't have you in here yell at me!
CLOSING
So there you are, all up-to-date (hopefully). Any other questions
you might have concerning the group, the disk, or music in general can
be sent to me at the address immediately preceding this paragraph :)
Thanks for your time,
Master of Darkness (tandlar@jupiter.scs.ryerson.ca)
Aka Todd Andlar
"I'm not only the president, I'm also a client!"
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P R O D U C T # I O N S
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(c) AIM Higher 1997
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/-[Advertisements]----------------------------------------------------------
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--[Shock Value]-------------------------------------------------------------
My name is C. J. Cauley and I am starting a newsletter called
SHOCK VALUE Music Newsletter. I did not get your name from a
mailing list, nor will I give your name to a mailing list. I am not
trying to sell you anything, I just want to get the word out about this
much needed project. SHOCK VALUE is aimed for music lovers,
and especially to the not-so-rich-and-famous music makers of this
world. It's going to be a newsletter where unknown singers and bands
can advertise their CD's for sale to people around the country without
the advantage of a record deal. It's not a catalog, there will be articles
designed to help starving artists get a leg up in the business, articles
about music, recording, performing, etc., and also information about
the "other" music business. We need to take the music business back
from the Milli Vanilli's of this world!
I thought you might be interested in SHOCK VALUE, or know
others who are. The first issue is free to readers and advertisers. I
would like to send you the first issue free, so you can decide for
yourself if it's worth your time and money. I don't want any money,
just an address to send the first issue to. I am a new entrepreneur
trying any means I can to get the word out about this project. I think
there is a definite need for this type of newsletter, and I hope it will
grow into a magazine.
I want to thank you for your time and consideration. I believe
SHOCK VALUE can change the face of music. With your help,
independent musicians can have a opportunity to be heard by people
who would have never had the chance otherwise. I feel SHOCK
VALUE can help you, or a musician you know, so please allow me to
send you the first issue of SHOCK VALUE for free. Please send your
name and address to SHOCK NEWS@aol.com, if you would like to
receive the first copy for no charge, and with no obligation.
Advertising information may be sent via snail mail to: P.O.
Box 303 North Bend, OH 45052. Advertising must include your full
name, address and phone number. See additional advertising
information below. Bands may also send a CD and band bio to be
considered in a feature article.
Thank you,
C.J. Cauley
President
SHOCK VALUE
SHOCKNEWS@aol.com P.O. Box 303
North Bend, OH 45052
*In the first issue, advertisers receive one free standard size ad for
CDs, or one free quarter page ad for goods and services. Standard
size ads are approximately an inch, and includes the band/artist's
name, record name, year, label, if any, price, contact information, and
any pic or CD art you would like displayed (optional). Quarter page
ads are based on an 8" x 11" page and should be ready to print. Ads
will be printed in black and white. Ads must be received by April
15th to be printed in the first issue.
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