Indie musicians dream of many things. Fame. Fortune. Somebody playing one of their songs. Despite the realism of that last point, a great many indie artists are so naive that people can sell them a load of hooey if it’s called something like “the tools you need to succeed” and packaged in some important-sounding music conference confab clusterfrack event.

After enduring too much verbiage from all these affairs, I wanted to react in an appropriate way. By screaming, of course, but also by exposing a lot of the telltale signs that indicate you are about to be fleeced. So, here are the steps that an immoral group of bastards need to take to begin financially raping unwary musicians.

Name Game

You’ll need a solid-sounding name for your event. Quick, write down everything that pops into your big greedwhore head, like “Weaseling Cash From Musicians: The Tenth Annual Music Millennium Summit.” Sure, the first part of that name is a little too on-the-money, if you know what I mean, but the second part is very strong. In fact, let’s go with it. Say it with me now: Tenth Annual Music Millennium Summit. TAMMS. Very cool.

Keep in mind that you don’t need to have actually conducted nine previous events. That’s just a logistical detail. Besides, musicians are too self-absorbed to look up anything about the history of your event. Nor will they take the time to research all of the lawsuits in your own background, or any of the interstate commerce complaints filed against all your business partners. Trust me, they won’t do any checking up on you at all. They’re musicians! Need I say more?

The Look

A snappy-looking logo for your event is something to consider. A good design will help attract the sensitive singer-songwriter types. However, the vast majority of musicians have no visual sensibilities (have you seen the album cover designs and band logos these people use?!) so you can pretty much put “TAMMS” into any type font you want. Let your web designer pick something. We all know how much taste and sensitivity those people have.

Painting a Word Picture

In all of your online communications, you’ll want to insert lots of Key Phrases that trigger a strong reaction and act as a CALL TO ACTION that will excite the typical musician. Consider utilizing a few statements like these:

“Is it time that your music is heard by people who can jump-start your career?” That’s a great question because every indie artist and music wannabe will say “Yes!” But you are not promising anything with that question so everyone associated with TAMMS is in the clear, lawsuit-wise.

Describe your confab in a way that cannot be disputed. “Our panelists are the type of industry pros you only dreamed of meeting, but now you’ll be in the room with them!” Dreamed of meeting, had nightmares about meeting; pretty much the same thing.

Tell your readers that “We will feature the movers and shakers who have a direct line to the platinum-selling artists, top hit producers, ad agency production teams, motion picture and television music supervisors, music distributors, and touring organizations you’ll need for your own superstar career!” Who’s to say these dweebs on your panels are not movers and shakers? Look, they move. And some of them tremble from drinking their lunch, and that makes them shakers.

You Are A Smart Reader

And you are so good looking, too! See how this works? Tell musicians exactly what they want to hear: “Your music deserves to be played for true industry insiders!” Can’t argue with a statement like that.

Also, use scare tactics just before asking for them to send you a check or give you their parents’ credit card number: “Don’t hold back just when opportunity presents itself. Don’t miss this chance to advance yourself and your music to the next level and beyond!” Yeah, you don’t want to miss a chance to go beyond the next level.

Phrases for Free

Since I am such a helper, here is a list of phrases that are proven effective in creating hype for music conferences:

Top-Tier Gathering of Professionals

Get on the Road to Inspiration and Success

Obtain New Insights

Networking!

Landmark Event

Make New Contacts (same as Networking! but use it anyway)

Career-Making Opportunity

Marquee Events

Top Industry Talent (same as Top-Tier Gathering of Professionals, but use it anyway)

Access to Business Professionals (same as Networking! but use it anyway)

Premiere Event (alternate with Red-Carpet Event and Industry Insider Event)

Word-Flow

You’re going to want to hire a word nerd who will deliver hard-hitting prose. Anybody can write something like this: “The Tenth Annual Music Millennium Summit is at the very heart of today’s entertainment scene!” But it takes a pro to write something if your event is being held in Jerkwater, Florida or Fungusbrain, Alabama. You may need wording like this: “While we’re outside the traditional entertainment capitals, TAMMS features major industry players direct from the very heart of today’s entertainment scene!”

Try to sound important without saying anything: “With the intense focus of a laser beam, TAMMS takes you beyond the cutting edge of where the entertainment industry is right now and explores where everything will be tomorrow!”

Do not be afraid to pile on the words: “You will be able to take advantage of a plethora of non-stop Industry Seminars, Exciting New Talent Showcases, Vital Hands-On Workshops, Creative Concert Presentations, and much more!”

Promises!

Promise great results without promising results: “By featuring the go-to professionals from the frontlines of the entertainment industry, our seminars and workshops will enable you to take your talent from amateur to pro and from good to great!” Sure, whatever.

Be specifically vague: “Here is where you’ll mingle with the executives and company representatives who are dedicated to discovering the new talent and new artists who will be ready to succeed in all the vibrant areas of the industry!” I wrote that sentence and even I don’t know WTF it means.

You probably should come up with a Mission Statement that sounds lofty: “Created, developed, and produced by a cadre of acclaimed industry veterans, TAMMS and its founders are using our decades of success in the entertainment industries to follow through on our dedication to providing opportunities for new talent to flourish in the always exciting and continually evolving world of entertainment.”

Remember: you only need to be truthful in a Romney-esque sort of way. Actual facts are not required.

Affiliate with Everybody

All large companies employ someone whose job it is to get that firm’s logo in front of as many eyeballs as possible. So ask every music-related corporation to become a sponsor of your event. If they just want to have some brochures on the Media Table, fine. You’ll still be able to put their company logo on your Sponsors Page (that part of the website that looks like the side of a NASCAR racer).

But if they give you some products to use as prizes, or they send you money, or they provide some broadcast or print advertising, then you might toss their name into the name of the event: “Tenth Annual Music Millennium Summit Brought to you By Universal Musical Instruments Retailers.” Which would be TAMMSBTYBUMIR but you’ll still be able to keep on using your TAMMS logo.

Don’t turn down anybody or anything. There can be product mentions anywhere, even in the mundane line-item listings: “Build Better Bookings: A Seminar on Getting the Gigs You Deserve, sponsored by Flivitz Hair Extensions, the Rockstar Wave of the Future.”

Have some awards: “TAMMS Star of Tomorrow.” Think quantity not quality on this. Arrange the award categories by genre and by gender so there are lots of them.

Plus, you might be able to rake in extra cash by selling plaques or trophies to the “winners.” Remember, indie artists are desperate for some recognition and many will shell out an extra hundred bucks for a three dollar laminated certificate. And some of them will pay two hundred bucks for a seven dollar bowling trophy that has a microphone or musical note glued on top.

Bigger is Better (and it’s bigger, too)

Don’t be afraid to list everything several times. In addition to describing every part of your presentation, take each heading and put it in a litany of offerings, like so: “Pre-party gatherings! Exclusive industry parties! Guest speakers! Showcase performances! Red carpet interviews! Celebrity photo-ops! Panel presentations! Networking! Round-table discussions! All happening in real time! Taking place in the physical realm! Actual people will be attending! All attendees will be breathing actual air!” And so on.

Always hype these events to the max: “Your opportunity to be seen in front of media, A&R, and industry decision makers! Enjoy delicious food and great cocktails during these superb opportunities to meet and greet the people who may control the next steps in the advancement of your career!” (Note the double-dip in using certain power words: “opportunity” and “opportunities.” Sure, this is from the Department of Redundancy Dept., but musicians won’t notice and they are always impressed by the sheer number of words in any document. You’ve seen the contracts these people sign, right?)

Seminar Naming Schemes

The trick is to take your normal, everyday, mundane panels and name them so they sound like “Must See” assemblies of the best talent and latest technology from the leading companies in the entertainment world. Thus, a panel discussion on streaming becomes “Using New Technology to Boost Your Music Income!”

Here are a few suggestions for making rubbish sound fascinating and worth the horrendous price-gouging fees you will be collecting from unsuspecting indie artists:

***Brand & Brand: The Togetherness Synergy Concept for Global Success!

***Money Can be Music to Your Ears AND Your Wallet: A Profitable Look at Revenue Streams!

***Team-building to Maximize Your Profits!

***Touring Tips & Tricks: Your Guidebook of Money-Making Opportunities!

***New Media Means New Revenue for You!

***Impress the Press and Reach All of Your True Audience!

***$elling Your $tuff: Super Secrets of Merchandising Millionaires!

Showcases

Indie musicians are fine with pay-to-play, so you should have no problem getting hundreds or even thousands of dollars for artists to play your pre-show events, your lunch breaks, your lobby display areas, and your evening networking cocktail schmooze-fests. Remember, you just have to say this to musicians: “Now is the time to Show the World What You’ve Got!”

Goose everything up a notch or two with the promise that “Showcase performers will be competing to receive industry contracts!” Well, sure, they’re competing just by performing, right? “Plus, there will be awards of fabulous gear and accessory packages!” (A box of earplugs counts as a gear and accessory package.)

And who knows, maybe some P.R. geek will offer a “V.I.P. Marketing Campaign” to some lucky winner. (Yup, I was roped into this once; the band was so disgusted with the event that they never asked me to do any work for them.)

Multi-Media

Reach a wider audience by conducting a “Creative Film & TV Production Summit” and a “Movie, TV & Theater Acting Summit” at the same time. Get a local college to hold student film screenings at the afternoon break and you can claim to be offering a “TAMMS Film Festival” at the same time.

Don’t forget the models. You’ll want a “TAMMS Model-of-the-Future Contest.” Same thing can work with dancers, poets, rock critics, comics, DJs, booking agents, gardeners, and yoga instructors, for all I know.

Video everything. Maybe you can sell podcasts of each panel discussion. That way, you can pick the pockets of the indie artists in other cities. Who among them wouldn’t want to pay fifty bucks for a grainy, out-of-focus, and barely audible 40-minute video of people droning into microphones while the audience members count the death of their own brain cells?

Who’s Not Who

So many record company personnel have been let go, downsized, terminated, retired, or fired in the past few years that you can pick up a lot of panelists who actually have decent-sounding resumes. (This is quite apart from the fact that they are out-of-work and ain’t never going back into the record industry unless they learn new technological skills.)

I won’t belabor the point here, but you’ll be able to mention dozens of people appearing as part of your Exclusive Industry Insiders, and all of their bios will look something like this:

Barry Backslapper has a three-decade-long history of success at the very pinnacle of the entertainment industry. Long recognized as one of the premiere observers of new talent, Mr. Backslapper was instrumental in the careers of The Beatles, The Rolling Stones, N’Sync, Madonna, 2Pac, Cher, The Who, Elvis Presley, ABBA, Michael Jackson, Elton John, Led Zeppelin, Red Hot Chili Peppers, Miles Davis, Merle Haggard, Mariah Carey, The Bee Gees, Justin Bieber, Bob Wills and his Texas Playboys, Pink Floyd, Kelly Clarkson, Rod Stewart, Carrie Underwood, William Hung, Rihanna, and The Three O’Clock. He currently is serving as CEO, President, Chief Operating Officer, and Office Manager of Backslapper Entertainment, a very limited partnership.

Go For It

Follow these steps and you will be on your way to the bank as well as on the way to hell. Oops, I mean you will be on your way to a highly-regarded position in the indie music community.

 
Article is Copr. © 2012 by John Scott G, and originally published on MusicIndustryNewswire.com – all commercial and reprint rights reserved.

It is just before midnight and I am standing on the tacky floor of the Sunset Strip tourist trap known as the House of Blues, wondering about my purpose in life. Why am I in this oversize dive, I ask myself. The HOB has long been a clip joint where every surface has a layer of grime and every employee has the haunted look of a carnival grafter looking for ways to bilk the next mark, the next rube, the next chump.

At last, the background music fades out, the house lights dim, and the soiled curtains part to reveal a tuxedo-clad conglomeration of soul-bop funk ‘n’ rollers who have whipped themselves into a frenzy. Whether they are truly possessed by the spirit or are simply acting up a storm is something we will never know; either way, the effect on the audience is considerable.

The group is epic, starting with a ten-piece brass section that is punching and swinging at the same time. Their sound alternates between superb and something slightly better than that. There are also two keyboard players plus a rhythm guitarist, bassist, drummer, and five backing vocalists. They are wound up tighter than a skinflint’s purse strings and they conspire to lay down an irrefutable beat that shakes the entire square block of Sunset Boulevard.

I glanced at the crowd and saw people bobbing and weaving, often with awestruck expressions or big smiles on their faces. Many on the dance floor appear to have lost some control of their hips which are now undulating in a manner that is suggestive, to say the least.

High NPM (Notes Per Minute)

Insinuating its way over and under this churning, burning, and finger-poppin’ sonic stew is the electric guitar of Sam Mayfield, a musician who seems to defy the laws of physics when playing his axe. His approach to the instrument might be looked at in this manner: while strumming an eight chord progression is all well and fine, listeners might find it interesting if the player picked out each individual note in each of the chords, all in the same amount of time it would take a regular performer to simply strum. Mayfield is positively phenomenal. You know about high MPH (miles per hour), Mayfield has high NPM (notes per minute).

The Man

After three high-energy numbers from this powerhouse band, the time was ripe for the big guy, the main man, the true king, the prime shouter of the soul review, the legend, Doctor Solomon Burke. He emerged from the wings slowly, regally, all three hundred pounds of him. His royal badness entered wearing a floor-length ermine robe, seemingly floating through an aura of rarefied air.

His presence alone caused a visceral change in the crowd. Clad in a blinding gold suit, he made his way to the edge of the stage and created a near-riot when he began handing out roses which he gently kissed in between delivering lines of one of his slower (read “still pretty damn fast”) songs. I was nearly trampled once and several times knocked off balance by whooping or crying females who rushed forward to obtain one of those flowers.

Burke was in full voice and he had come forth to take no prisoners. He was an unstoppable force of nature and one of those acts of God for which there is no possible insurance policy. All the while, Burke’s very big band slammed out the chunka-chunka-ka-pow-pow beats and Mayfield worked his Fender six-string in an attempt to perform at a never-before-heard rate of speed. But it was the big guy who controlled everything. After all, Burke is larger than life in every possible way.

Throughout the concert, he thundered, he crooned, he coaxed, he demanded, he talked sweet, he talked funky, he made you dance, he made you sweat, he made girls cry, and he made us all dizzy. Let’s face it: Solomon Burke conquered.

Commercial Tie-In

The whole grand affair was part of the promotional launch for one of the greatest collections of bompin’ stompin’ rockin’ music ever recorded. I am speaking of the Rhino Records product, the superlative “Beg, Scream & Shout: The Big Ol’ Box of ’60s Soul.” I love mine (please note my dutiful helpful hype) and have enjoyed every one of the 144 (count ‘em!) tracks containing some of the thickest, nicest, and nastiest soul grooves you’ll hear anywhere.

Coda

Led by Burke, the entire ensemble performed with exuberance, ebullience, and exaltation. They played like this was the very last concert anybody was ever going to hear and it was absolutely magnificent. I left the venue on such a high that I almost didn’t notice my shoes sticking to the floor with each step.

Such was the state of our music temples in the nineteen nineties; I have returned to the HOB on several occasions in the last decade-and-a-half and the grime has always been apparent and annoying. Some things never change.

For more information: http://thekingsolomonburke.com/

Video of “Cry to Me”

Article is Copr. © John Scott G, and originally published on MusicIndustryNewswire.com – all commercial and reprint rights reserved. IMAGE CREDIT: ”Best of” album cover from Rhino Records.

Any of the 48 final mixes in the ASPEN matrix can be assigned to any one or more of the Dante channels for transport to other endpoints in the network. Dante signals can also be imported into the ASPEN matrix in a local processor sub-system for mixing with other local and network signals, and then routed onward to other local or network devices.

Audinate is leading the way networks are connected by transporting high-quality media over standard IT networks. Its Dante products deliver a no-hassle, self-configuring, true plug-and-play digital audio network that uses standard Internet Protocols. Dante offers a market leading solution today, while de-risking the future by providing a migration path to upgrade to new standards such as the IEEE Audio Video Bridging (“AVB”). The Dante network provides plug ‘n play simplicity with auto discovery and master/slave configuration to synchronize the system clock.

The new processor was debuted at the ISE2012 Convention in Amsterdam in January and met with an enthusiastic reception. A redundant network was installed in the exhibit stand between two ASPEN processor stacks, with audio transported back and forth for demonstration. Part of the demonstration was to disconnect one of the network cable connections while listening to the audio signal to test the redundancy. There were absolutely zero audible artifacts when the cables were disconnected and re-connected. Attendees visiting the exhibit stand were extremely pleased to discover a network audio transport solution that was so simple to set up, yet so flexible and robust.

“Lectrosonics has been one of our OEM’s that understood from the beginning the power of Dante and how to utilize its powerful features to help their customers reap the benefits,” says Lee Ellison Audinate’s CEO. “Each time I walked past their booth at ISE, it was very evident that their new Dante enabled ASPEN processor was getting a lot of attention.”

To quote Gordon Moore, Vice-President of Sales at Lectrosonics, “We spent the entire ISE show demonstrating the system to interested users and, in spite of our deliberate efforts, failed to break the system. Dante has proven to be robust, reliable and incredibly easy to configure. Our customers have long asked for a low latency, easy to use, audio transport over Ethernet system. Dante delivers all that is promised. To say that we are excited about the potential is an understatement.”

The combination of the advanced networking solution of Dante and the massive processing power of ASPEN will no doubt lead to significant advances in system designs for telepresence, room combining, courtroom complex, distance learning and multi-endpoint sound systems.

ControlBLADEs are all-in-one music production stations complete with piano keys, drum trigger pads, knobs, sliders, thousands of sound presets and software for live and studio use. They allow users to compose, record, mix, and master songs that are ready for radio or direct Internet distribution.

The new Gen2 ControlBLADEs are powered by high-performance computer cores utilizing Intel® Core i-series® third-generation (Ivy Bridge) processors that are perfect for today’s demanding musicians and the virtual instruments and software application they use. Options include i5 and i7 quad core versions. The Windows 7 (64-bit) operating system is pre-configured for music production and can run virtually any software application or plug-in. Capable of running over 500 plug-ins at once, sequencing thousands of tracks simultaneously, and storing millions of sound presets, the ControlBLADE packs a serious punch for the money.

ControlBLADEs are also available for Mac OS X, which are powered by the latest Mac® mini from Apple®. Both i5 and i7 processor options are also available as well as a variety of RAM, hard drive, SSD drive, and other upgrades.

“At Music Computing, we strive to bring the latest technologies to our users.” Said Victor Wong, CEO, Music Computing. “The release of the new ControlBLADE Gen2 models reinforces that fact and our commitment to being the very best at what we do.”

The ControlBLADE is available as 25-Key and 61-Key models. About the same size as a typical keyboard controller and weighing only 22-lbs (61-key) / 13-lbs (25-key)…FULLY LOADED, the ControlBLADE brings true portability to the keyboard production station world.

New with the Gen2 models is the option for the ProTouch™ piano keybed. The new ProTouch keybed brings higher levels of playability and better feel to the ControlBLADE line via high quality semi-weighted keys with after-touch. The optional upgrade is priced at: $199.

ControlBLADEs all come with built-in Wi-Fi standard. This mean the user can be online anywhere there is a hot spot. Send and retrieve files, log into remote servers, collaborate with others, or download new software and sounds directly into the ControlBLADE. Users now have the freedom to create virtually anywhere they like.

Upgrades for Gen1 models to the new Gen2 versions are available. Complete ControlBLADE information and images are available at: http://www.musiccomputing.com .

GEN 1 VIDEO:

LadyBoss, who recently added the name “Amanishakhete” (A-ma-ni-sha-kete) to her stage persona, says that “Murder 2012″ is bold with music and lyrics guaranteed to stir up a variety of emotions. Boss explains that while recording her vocals for the song, she felt enrage as well as sadness.

“This song could be considered controversial and may even anger people,” says Boss. “But the truth I speak through my lyrics need to be at the top of everyone’s mind.”

LadyBoss produced “Murder 2012″ in cooperation with Anuff who composed the music. Anuff also composed the music and co-wrote the lyrics for Boss’s 2011 album “Epiphany of Lady,” currently being sold online at CD Baby, iTunes, Amazon.com, Amazon MP3, Last.fm and other major online retailers. As of May 1, Murder 2012 will also be downloadable from CD Baby (http://cdbaby.com/cd/ladybossamanishakhete) and soon at iTunes and other online retailers.

“People should definitely buy a copy as a reminder of Trayvon and all the issues that have come up,” says Hip Hop Artist Anuff. “Murder 2012 will cause you to think.”

To hear “Murder 2012″ visit: CD Baby, Indie Charts, IMRadio or Jango Radio. You can also hear Murder 2012 at http://www.Ladyboss-neosoul.me . Later this month visit the Ms. Lenora Channel on YouTube to view the Murder 2012 video.

About LadyBoss LLC:
Established in 2011, LadyBoss LLC is a limited liability company that represents the LadyBoss-Amanishakhete (A-ma-ni-sha-kete) brand. LadyBoss added the stage persona Amanishakhete, a name that is synonymous with the Nubian Queen Amanishakheto – which means motherhood of beauty and love – who ruled Nubia from 10 BC to 1 AD. Queen Amanishakheto was known as a great warrior and woman of great wealth.

LadyBoss, who sees herself as a warrior for humanity, recently redefined the term Boss (for herself) to mean ruler of oneself rather than in the traditional sense. Essentially, LadyBoss-Amanishakhete defines her name to mean “ruler of oneself through beauty and love.” Such is the mission of LadyBoss LLC which is to “Inspire humanity through the heart and soul of a woman.”

According to Arturia, the package upgrades include:
* If you buy Spark you will get a FREE V Collection (value $549/499Eur)
* If you buy Analog Experience THE PLAYER, you will get 1 FREE Software Instrument (value $229 / 249Eur)
* If you buy Analog Experience THE FACTORY, you will get 2 FREE Software Instruments (value $458 / 498Eur)
* If you buy Analog Experience THE LABORATORY, you will get 3 FREE Software Instruments (value $687 / 747Eur)
* If you buy Analog Experience THE LABORATORY 61, you will get 4 FREE Software Instruments (value $916 / 996Eur).

Accorsing to the company, “This is a unique chance to add to your sonic arsenal instruments that every major studio now considers classics. This a unique chance to combine a great deal and a great opportunity to grant your music with the quality instruments it deserves.”

U.S. customers can enter the Mega micro contest by visiting the following URL and entering their information for a chance to win. www.Korg.com/megamicrogiveaway

The compact and portable microKorg Synthesizer / Vocoder was released in the summer of 2002. This virtual analog keyboard opened a new avenue for music-making. Combining mini-keys, battery power, a simple-to-use interface, and popular sounds, all at an attractive price, microKORG made the synthesizer available to every musician. Bass players, singers, guitarists, producers, DJs and horn players all flocked to add the professional sounds of the microKorg to their instrument arsenal.

The iKaossilator is an expressive music synthesizer app offering 150 diverse sounds, combined with a five-part loop sequencer for creating multi-part tracks. As with all Korg Kaoss products, the iKaossilator is controlled by tapping or sliding a finger on its X-Y touchpad. This intuitive form of control is instantly rewarding, and allows users to quickly create music, regardless of their instrumental training.

New features added in iKaossilator Version 2.1 include:
* Audio Loop Import
* Seamless operation in tandem with the Kaossilator 2
* Support for “AudioPaste”

Audio Loop Import:
Users’ Audio loop files can now be imported into each part of the sequencer. ** A filter effect assigned to the touch pad can then be used to vary the character of the song, similar to the function of Korg’s Kaoss Pad Effects Processor.

Seamless operation with Korg Kaossilator 2:
The Audio Loop Import feature also enables closely coupled operation with iKaossilator’s hardware sibling, the Korg Kaossilator 2. Loop recorder data created with a Kaossilator 2 can be imported into iKaossilator, or an audio loop created in iKaossilator can be loaded into a loop recording bank in the Kaossilator 2. Data such as loop length and BPM is retained, resulting in seamless transfer between the software and hardware.

Support for “AudioPaste”:
iKaossilator now supports the “AudioPaste” function developed by Sonoma Wire Works, which allows audio data to be copied and pasted between iOS apps. Audio data can be exported from Korg’s other apps such as iElectribe or iMS-20, or from any “AudioCopy” compatible app, then imported into iKaossilator with ease.

For additional iKaossilator product details, please visit: www.korg.com/ikaossilator .

Born in Johannesburg, South Africa, and now calling Colorado home, Gregory Alan Isakov has been traveling all his life. Songs that hone a masterful quality beyond his years, tell a story of miles and landscapes, and the search for a sense of place. His song-craft lends to the deepest lyrical masterpieces, with hints of his influences, Leonard Cohen and Bruce Springsteen. He has been described as “strong, subtle, a lyrical genius” but the source of his writing often remains a mystery to him.

“My songs have nothing to do with me; they have a life of their own. A lot of times I won’t know what a song is about when I’m writing it. It just has a certain feeling about it,” says Isakov.

Gregory is now back in the studio recording a new album with anticipation of a release in the summer/fall of 2012.

About Grades of Green VERTE Event:
“VERTE,” which translates to green in many languages, was created to recognize environmental champions who have grown a local program in just two years to reach over 66,000 students in over 100 schools across 19 states, Canada and Australia. The event, now in its second year, will also raise money and awareness for Grades of Green’s vision to make environmental protection second nature in young minds.

Environmental advocate and former educator, Ranae DeSantis, will be honored for her unwavering support of Grades of Green and the environment. Grades of Green will also honor Wells Fargo for bringing Grades of Green’s program to numerous inner-city schools and the Sanitation Districts of Los Angeles County for sponsoring a Trash Free Lunch Challenge that will result in 10,000 bags of trash being diverted from landfills annually.

JD Roth, executive producer of ABC Daytime’s “The Revolution,” as well as long-running television series “The Biggest Loser” and “Extreme Makeover: Weight Loss Edition,” will host the evening’s festivities. Grades of Green students and educators will provide live demonstrations at “Eco-Stations” that highlight Grades of Green key programs, such as In-Class Composting, Trash Free Lunches, and Walk to School Wednesdays, and will explain how guests can take Grades of Green’s free and easy to use templates to bring to their own schools.

“The impact Grades of Green has had on our school is profound,” stated Dawnyell Goolsby, principal of Warren Lane Elementary. “Since launching Grades of Green’s Trash Free Lunch activity, our school has reduced the number of lunch time trash bags from eight to four. Its educational activities are also teaching our students how to compost, which will reduce the number of trash bags even more!”

For more information on the event, or to purchase a ticket, go to https://gradesofgreen.ejoinme.org/?tabid=339232 .

About Grades of Green:
Grades of Green is an international nonprofit 501(c)3 that provides parents, students and educators with free instruction on its website. Anyone wanting to implement sustainability programs can register their school online – at no cost – to get tips and measure their success on reducing trash, emissions, harmful classroom chemicals, plus dozens of other ways to help the environment. Grades of Green has been honored with many awards, including the U.S. EPA’s prestigious Environmental Award. The nonprofit is growing rapidly, with over 66,000 students enrolled across 19 states and Canada and Australia, including many low-income schools.

Additionally, Grades of Green recently partnered with Republic Services to provide environmental education on recycling and composting to nearly 1,100 schools within the Los Angeles Unified School District. Grades of Green’s goal is simple – to enroll thousands of schools with millions of kids- all caring for the environment and collectively making a difference.

For more information about Grades of Green, please go to http://www.gradesofgreen.org . For more information about Isakov, visit: http://gregoryalanisakov.com .

VIDEO:

Part sampler, part synth, SKANNER XT utilizes a unique synthesizer architecture to create a wide variety of intense and cutting-edge sounds for contemporary electronic music production and sound design. Two oscillators ‘scan’ a sample, which at low frequencies deliver a scratch sound. At higher frequencies the oscillators, shaped by the sample waveform, become the dominant force. In this way, SKANNER XT provides a broad range of highly distinctive sounds – from heavy and dirty bass tones to morphing soundscapes and organic pads.

Developed together with NI synthesis mastermind Stephan Schmitt, SKANNER XT offers two interface views for different levels of interaction with the complex architecture under the hood. Besides a simplified page with a preset morpher and four macro controls, a second view provides access to more detailed parameters in order to further explore the sonic potential of the instrument. A morph control option allows for convenient switching between eight different snapshots – producing unpredictable, evolving sounds that range from the ethereal to the extreme.

SKANNER XT runs in the free REAKTOR 5 PLAYER or the full REAKTOR 5 version, and is also optimized for easy browsing from the MASCHINE hardware.

SKANNER XT is available at the NI Online Shop for $59 / 49 EUR. Users of the previous free version SKANNER, are entitled to crossgrade to SKANNER XT for a special price of $29.50 / 24,50 EUR until May 31st.

Additional information on SKANNER XT is available at
www.native-instruments.com/skannerxt .