The Most Heard, Least Known Composers In America
Category Archives: Stories
August 26, 2014Posted by on
Coming from a country where oil refineries are the bread and butter of life, you wouldn’t be surprised to know that a music career doesn’t sound too appealing to the ears of some parents where I grew up.
That was kind of my case.
I was born and raised in a little town in the north part of Venezuela, on a little peninsula called Paraguana. There are three things you can find out there: beautiful beaches, perfect weather and oil refineries.
I always loved music and I started playing music at a young age and had several bands growing up. But, when it was time to go to college, I didn’t have too many options given the local industry; it was either be an Oil & Gas Engineer, or an Oil & Gas Engineer! I lost my dad at a young age and he was a Mechanical Engineer his whole life, despite never recieving a college degree in it…So I went to college and got a degree in Mechanical Engineering, I knew its what he would have wanted
After six months and a horrible experience working in oil refineries I decided to follow my passion: Music! I came to the U.S. with $100 in my pocket and did not speak English. My best friend from high school was living here already, so I stayed with him; going to community college to learn English and working as a cashier to pay for my school. I went to Dallas Sound Lab, now called Media Tech.
After I finished I thought it was my time to shine. But nobody called; no emails, nothing!! So, Plan B… wait, there wasn’t a Plan B.
Finally I got an interview in Austin, to work in a Recording Studio there. The interview never happened, even though I sat in their lobby waiting for 4 hours AND after driving 3 hours to get there.
I remember that conversation like it was yesterday. Stephen said, “ I would like to bring you in for an interview for a paid internship.” … pause… I thought was a friend of mine making fun of me. I said, “look man, this is not funny, my day is a mess, don’t joke with me right now”… pause… Stephen: “I would like to bring you in for an interview for a paid internship”… pause.. me: “holy crap! So sorry man, sure I will be there!” Wow, I was speechless.
11 years later I still work for Stephen as a Senior Audio Editor and Sound Designer in the Creative Services Department. I have been learning from the best, because I want to be the best. Working at SAM has been a unique experience, learning so much more about the music business than I had ever even dreamt about. The quality of musicians I have the privilege to work with every day and the amazing writers, producers and engineers help me to grow professionally.
Learning the creative process of making music at SAM is such a unique thing, the way we walk step by step with the client to get to know exactly what they have in their mind is just amazing. Following my passion has taken me for a nice ride, and I am still learning. I’ve been doing Sound Design, Mixing, Recording, also I have the chance to do Live Sound and even working on Movie Sets as a freelancer. And of course I still get a band together when I can…. Gonzo City may have played its last gig in Ft Worth, but here’s a picture of the guys!
I guess the phrase “Follow Your Passion” worked perfect for me. A wise man told me once, “Find what you love to do and then find the way to get paid doing it”. Music is such of big part of everything, and learning how to be good at it has opened a lot of doors in my career; and it is because of working at a place like SAM that I am where I am in my professional career.
July 29, 2014Posted by on
Often, when you meet someone new, one of the first questions they ask is, “What do you do?” Which always means, “What do you do for a living?” I reply that I rep Stephen Arnold Music and explain that we produce original music for broadcast and cable networks, along with creating branded music packages for local television stations. With excitement and intrigue, they ask, “Oh, you’re a musician?” I anticipate the big let down when I’m forced to respond in the negative. “Well, do you play an instrument?” Again, my less than thrilling answer: “No.”
Yes, I work for a music company, but I do not have a musical bone in my body. I tried picking up the guitar, but my fingers are really not long enough or strong enough. I tried playing the piano; again, it’s helpful to have longer digits. I played the flute in elementary school, but there was just too much spitting – ewww, gross. I suppose if Stephen was in need of a tambourine player, I could keep a gypsy beat . . . or if he needed a cow-bellist, I’d be happy to volunteer.
I’ve been with Stephen Arnold Music for 10 years, and I still stand in awe of the talent and brilliance that surrounds me. Music moves us; it motivates us to do something – dance, sing, cry, or run into the room to catch a newscast – because we recognize the music. So I am proud to say, I am part of the music industry, even though I have no musical talent.
I was talking to Pat Beard from WCTI about this very subject, and he so eloquently stated, “Every great musician needs someone awesome to support them, and that person is you.” I like that!
So next time someone asks me what I do I just might say, “I am an awesome support person for some great musicians!”
Our talented SAM staff and their instruments:
Stephen: Guitar, piano, mandolin, banjo, ukulele, harp guitar
Chad: Piano, keyboards
Whitney: Guitar, banjo, mandolin, ukulele, piano
Noelle: French horn, mellophone, trumpet
Alice: Awesome support person
Michael: Violin, guitar (novice- with 4 songs under his belt!)
Clay: Saxophone, bass guitar, piano, guitar, and vocals AND flute, clarinet, French horn, trumpet, and tuba
Tinley: Awesome support person
Jesus: Guitar, bass guitar, congas and bongos, drums, keyboard
Lyndsey: Awesome support person
Katherine: Awesome support person
May 19, 2014Posted by on
Happy Monday everyone!
It’s another gorgeous Spring day here in New York and, after lounging in Central Park most of the weekend, I’m so thankful that I won’t have to leave the city for this year’s PromaxDBA: The Conference!
Stephen, Chad, and Lyndsey will all be joining me in NYC for the June 10-12th conference. I moseyed over to the Hilton Midtown last week to check out the venue, and I think we’re going to have another great convergence of creative geniuses! And, if you haven’t heard, Stephen and Chad will be giving conference-goers the inside scoop in a session featuring the rebrand and relaunch of CCTV China’s foreign language channels. Stop by the Mercury Room on Thursday at 3:45. Hope everyone’s able to check it out! #WTFuture
And if local creative is your game, keep pushing until the end of May book on Wednesday! Then give us a shout if you’d like to meet up in Vegas! This year we’ll be taking over The Mirage the last week of June for the PromaxBDA Station Summit. And yes, the wrap party Thursday night is a go. Feel free to send us a note to make sure you’re on the invite list and get all the official details.
Whether we’re seeing you in Vegas or NYC be sure to stop by, say hello, and drop your business card in for our drawing for a Tom Petty signed Road Worn Fender Stratocaster!
On a personal note – is it inappropriate to take a baby to Vegas? Nah, didn’t think so. Baby Alanis will be joining us at the roulette table. That’s his game. #STATIONSUMMIT
May 2, 2014Posted by on
2 weeks ago tomorrow, on Saturday April 19th, Jack White took to the stage in the Blue Room – an intimate venue attached to his Third Man Records store – and proceeded to crank out two tunes and record them straight to acetate. “The World’s Fastest Record” was tracked, pressed and sold in 3 hours, 22 minutes and 21 seconds.
At roughly the same time in my own neighborhood here in Dallas, – a few hours after doors opened at dawn to a line snaking around the building – several local bands took to the stage at Good Records on Lower Greenville, while patrons scoured the record bins and food trucks waited outside. What was the occasion? Record Store Day of course!
Since 2007, Record Store Day has been held to promote the independent record store – which ironically are the only record stores left! The days of Virgin Megastores, Tower Records, and even smaller chains like Peaches are all defunct. My first experience of Record Store Day was in 2011 at Rough Trade, just off of Portobello Road in London where I was living at the time – I snagged a numbered copy of Gorillaz “The Fall” (written entirely on an iPad during a 2010 US tour)
Working here at Stephen Arnold Music, we’re all audiophiles and are constantly fielding requests for mp3 versions of songs and the overall devaluation of music. And the idea that artists are timing the release of new material or packaging specialty releases in small batches – and specifically targeting Vinyl / LPs / 45’s as a delivery platform is incredibly refreshing!
I personally still remember finding my folks’ old Technics SL-D2 and an original copy of Led Zeppelin II…. for a 9 year old it was a musical awakening and truly blew my mind.
So here’s my advice to you: Take out your white earbuds, pause that compressed Apple m4a audio file, and take time out of your busy schedule next April to check out next year’s Record Store Day. There’s something for everyone – this year’s Record Store Day releases ranged from Gram Parsons to The Ramones to Public Enemy to Haim. And remember to play it loud!
Find out more here: http://www.recordstoreday.com/
April 16, 2014Posted by on
Throughout the year we’ll be highlighting some individuals here at Stephen Arnold Music. The names and faces behind the music! As you can imagine, it’s not just late night recording sessions and high profile clients… there’s blood, sweat, and tears that go into every part of our company – from our awesome sales team chasing down leads, to our admin folks answering the phones and drawing up contracts. Everyone’s got their own story, so we recently sat down with our Creative Director, Chad Cook. We asked him a few questions, and he was happy enough to let us know.
What was the first album you bought or remember listening to?
I was obsessed with vinyl records as a toddler and child. I called them “goo-gahs”. I had many 45s and full sized records and would take them everywhere with me, including the bathtub, pool, etc. Needless to say, many of them were not in the greatest of shape when I would try to play them. I’m told I was writing little songs and melodies on my toy piano from the time I could stand up. My favorite music and bands at a young age were The Beatles, Donovan, The Monkeys, Elton John, Paul McCartney and Wings, and ELO. The earliest albums that I remember playing over and over were The Beatles Sgt. Pepper’s and Magical Mystery Tour, Elton John’s Goodbye Yellow Brick Road, and Donovan’s Barabajagal. I remember being particularly infatuated with Donovan’s song “Atlantis” and The Beatles’ “A Day In The Life”. A 45 single I remember playing over and over when I was very young was “Put The Lime In The Coconut” by Harry Nilsson. Some trivia – I met and shook Paul McCartney’s hand in NYC a few years ago. But that tale is for another time.
What was your first musical instrument?
My first true musical instrument was a black Steinway baby grand piano when I was 9 years old (I still have it). I took piano lessons for many years, but spent most of my time writing my own songs and was never really interested in playing songs I did not write myself. Also, my father and uncle donated a pipe organ to our church when I was 8 years old. The church was near our house, so they would let me come in and play when it was unoccupied. I thought that was the coolest thing ever and remember many days after school experimenting and playing with that organ.
Today you produce branded music packages for some of the biggest networks in the world. How did you first learn to write / produce or learn music production?
Keyboards and programming songs became a reality when I was in high school in the 1980s, and my passion became writing songs with MIDI and collecting keyboards and sound modules so I could create and produce songs from start to finish. That led to purchasing 4 and 8 track tape recorders, a mixer, and some microphones so I could record vocals and harmonies. The first computer I used to program MIDI was an Apple IIe with 128k of memory. The program I used was called “Texture” and would only allow you to program 8 tracks of MIDI. Back then, most keyboards were not “multi-timbral” so you only had one or two sounds coming out of each keyboard. So I literally had around 7-8 keyboards, each being triggered to play an assigned sound through MIDI. My original collection of keyboards included an Emulator 2 HD, Mirage sampler, Casio CZ1, Korg DW8000, Casio RZ1 drum machine, Roland D-10, Ensoniq ESQ1, and an Oberheim OB-8.
As time went on, multi-timbral sound modules became available so there was no need to have so many actual keyboards to generate all those sounds. But those days were great because each keyboard had a distinct sound to it, so you would spend time on each instrument finding or programming each sound you needed for each part of the song. And in the case of the samplers, often creating your own sounds by sampling directly into microphones and then manipulating the sounds with various filters and oscillators. The most elaborate and powerful tool at the time was my Emulator 2HD which you have all seen in the movie “Ferris Bueller’s Day Off”. It was a very high-end sampler and allowed for getting very creative with my own sounds. At that time, new wave bands like Depeche Mode, OMD, Tears For Fears, New Order, and The Eurythmics were using the Emulator samplers as a big part of their sound.
Did you ever have a band or perform live?
I formed a band called “New Life” when I was a junior in high school, as I wanted to be able to play some of my songs live. We played at some clubs in Dallas and at some high school parties and functions. I had a bass player, guitar player, and a keyboardist. I would have to bring all of my keyboards and my computer in order to play all the parts that were not being played live (and there were many parts not being played live). I would set-up each song on the computer with an intro click track and then the band would play their parts as I would perform the vocals.
How’d the gigs go?
I never really liked playing live very much as it was such a hassle to get everything set-up and haul so much equipment around. I found that what I really liked was the creative process in the studio. To create something out of nothing, enjoy the moment you finish it, and then move onto the next idea and creation. I’ve never been one to linger. It’s go, go, go – onto the next.
Guess we have to ask you what your favorite color is and what you do when you’re not here at the studio!
My favorite colors are blue and green, so it’s no wonder I love nature and the outdoors – biking, camping, hiking, canoeing, kayaking, fishing, boating, and skiing. I love traveling and experiencing new cultures, countries, people, art, and cuisines. I’m a huge sports fan and, in particular, like football, basketball, and hockey – my favorite teams are all from Dallas, so of course the Dallas Cowboys and Dallas Mavericks. I love to read, educate myself, and grow as a person. I love the mountains, but if I had to choose, I would choose the beach, as nothing soothes my spirit more than the ocean. I am passionate about wine and the art and history of it in different cultures and regions. I live in McKinney, TX with my wife Michelle and son Keegan. I love my family, and nothing means more to me. We live near the wonderful, historic town square and close to the Stephen Arnold Music studios, so life is good. I’ve enjoyed carrying on my passion of creating and producing music and ideas with Stephen and our great team here at Stephen Arnold Music for over 20 years now and look forward to many more. There is nothing better than waking up each day knowing that the next project will bring, yet again, the challenge of creating something out of nothing.
March 4, 2014Posted by on
For the past few years Stephen Arnold Music has worked closely with an inspirational organization that has grown close to our heart: Little Kids Rock.
This innovative nonprofit transforms the lives of children by restoring and revitalizing music education in disadvantaged public schools all over the United States.
A bit of background: today millions of American children receive little to no music in their school curriculum. Major budget cuts continue to force school music programs to close, particularly in schools serving low-income communities.
Little Kids Rock partners with public school districts, training teachers with a groundbreaking curriculum. The nonprofit also donates all of the instruments and resources necessary to run the schools’ music programs.
Last Saturday, March 1st, I had a rare opportunity to sit in on one of the Little Kids Rock eight hour training workshops for instructors as they initiated the launching of 60 Dallas Independent School District schools.
That’s right, not six or 16 but 60 DISD schools. For a guy who grew up in Dallas, I can’t tell you how proud that makes me.
It was time consuming, painstaking work lead by Little Kids Rock founder David Wish and music director Scott Burstein. The pair led 25-plus DISD teachers (all of whom graciously donate their time) through a marvelous process on how to teach the curriculum. The seminar included everything from holding a guitar and a pick to tuning an instrument, to warm up exercises and learning songs (with “one-finger chords”) all the way through songwriting techniques.
Can you imagine the delight of seeing a second or third grader write and perform his or her song? The one-finger chord process was simply amazing: the very idea of playing The Beatles’ classic “Eleanor Rigby” with just one finger was unforgettable.
Since founded 12 years ago, Little Kids Rock has taught more than 120,000 schoolchildren to play guitar, piano, bass and drums. Currently, there are chapters in 25 cities with over 1,200 dedicated teachers at the helm.
But if you think the best part is the music, the lessons, or even the songs they learn to play, think again. It’s the fact that children with arts instruction are three-times more likely to continue their education and even earn a degree.
This program also gives schoolchildren something to look forward to. It provides confidence and, most importantly, teaches kids how to express themselves, literally transforming their lives. Simply, music is the vehicle that can make a significant difference in their lives.
One of the first things Little Kids Rock does in workshops is to show a video clip of renowned bassist Victor Wooten, a five-time Grammy Award winner who plays with Béla Fleck and the Flecktones. In Music as a Language Wooten makes the case for learning music in the same way as we learned our first language, calling for a more natural, less academic approach. He makes the point that, as babies, we weren’t taught our first language or corrected when we made a mistake. We didn’t have to write out our ABCs (read music) before we talked (played music). We didn’t even know we were beginners and got to ‘jam’ with people much better than us. Wooten draws on his own musical education as an example of how taking this approach can deliver great results.
It’s a powerful message, and to hear it from one of the world’s best players is even more inspiring.
I’d been at the workshop since 9 a.m. and at about 4 p.m. I was exhausted, but energized. But that’s when the real fun began. Little Kids Rock brought four or five students from DISD schools to perform. A pair of guitars, a bass, drums and a singer, all playing original compositions they had learned and perfected through the program. Before Little Kids Rock, not one of these musicians had ever so much as picked up an instrument. It was truly inspirational!
For years when people would ask me, “What comes first, the words or the music?”
I’d always say, “The deadline.”
After the Little Kids Rock workshop in Dallas, I think I’ll modify my stock answer. What comes first, the words or the music?
(For more information on Little Kids Rock click here)
February 14, 2014Posted by on
Would Peyton Manning or Richard Sherman play football during intermission of a Bruno Mars concert for free?
Because that’s exactly what Bruno did at their game a couple of weeks ago…
Bruno Mars is at the top of his game.
His second album, Unorthodox Jukebox, is at the top of the charts (as was his first).
In just three years, five of his songs have reached number one….
Forbes ranked him number one on their 30 under 30 list last year, and Time Magazine named him one of the top 100 most influential people…in the world!
Yet he was paid zilch for his performance that day, in front of 82,000 plus fans!
Granted, it was the Super Bowl, perhaps the most popular sporting event on the planet….but nothing?
I think an argument could be made that Mars is as skilled at his craft as any pro athlete is at theirs…
So it made me think:
The NBA…would Lebron James or Kevin Durant work (b/c that what Mars did – worked) for 30 minutes, for free, at a Justin Timberlake show?
MLB…would Derek Jeter or David Ortiz do a freebie at a Cold Play concert?
The NFL claims exposure was his payment, but does Bruno Mars need the exposure?
If we decided that exposure for one of our singer/songwriters was payment enough because of the popularity of a prime time show, a lawsuit would surely ensue.
Mars seemed to be okay with it, as was Anthony Kiedis and his crew, because of the once in a lifetime opportunity.
What do you think?
December 2, 2013Posted by on
Seasons Greetings, Everyone!
The holidays are here, and this year has a special meaning. I’d like to invite you to help us raise awareness for a great little cause with a very big heart.
It’s Little Kids Rock, a fantastic nonprofit dedicated to revitalizing music education in America. With your help, Little Kids Rock provides free instruments and music lessons to underserved public school kids, coast-to-coast.
Last year we produced a special CD called The Six Strings of Christmas, an album of holiday arrangements performed by our family of studio musicians — those great players we work with every day. They donated their services, and we all donated our time to make it happen, resulting in a collection of 16 great acoustic yuletide classics all played on a six-string… well, with a few 4, 8, and 12 strings thrown in just for fun.
Thanks to the generosity of clients and friends like you, we were able to give $3,000 to Little Kids Rock.
We’re at it again this year, and here’s the best part: just like last year…100% of each $9.99 CD purchase goes directly to Little Kids Rock.
One of my favorite videos is watching the faces of these kids as they each receive a guitar at this Little Kids Rock workshop.
You can click here to learn more about Little Kids Rock and listen to The Six Strings of Christmas CD by clicking here.
Thank you so much for you help. Happy Holidays, and thanks for helping Little Kids Rock!
September 20, 2013Posted by on
Go take a look at your DVD/BluRay collection. Go on … we’ll wait.
Notice anything in common? They all have some kind of “Dolby” somethingorother, right?
But have you ever wondered, “Just what the heck is ‘Dolby’?!” Well, that question has a few different answers.
Ray Dolby, who passed away this week at the age of 80, was a multi award-winning engineer whose contributions to the sound of our modern world can’t be overstated. He is best known for his pioneering noise-reduction system. What is noise-reduction? For that matter, some younger readers might even be asking, “What is noise, and why does it need to be reduced?”
For those of us who can remember the days before CDs (and long before the mp3 was even a glint in the milkman’s eye), our first exposure to the Dolby logo was likely on — what was at the time — the most portable method for listening to your favorite music: the Cassette Tape.
Youngsters will never truly understand just how bad these things sounded. Analog tape is inherently noisy. There’s actually an audible hiss screaming from the speakers at all times. Cassettes were just terrible … but they got us music junkies through the day.
While not as bad as the commercial cassette, the multi-track analog tape used in professional recording studios suffers from this same deficiency. In order to minimize the underlying noise, Ray Dolby invented a system that kind of changed everything. Ignoring for a moment the highly technical wizardry involved in actually pulling this off, the concept itself was brilliantly simple:
Since the noise on analog tape is consistent and predictable, it’s fairly easy to counteract with a two-step process. As you’re sending a sound to tape, you first pass it through a circuit that makes it louder in the same frequency range where the tape noise lives. Any part of the original sound that is similar to the tape noise gets boosted as it’s being recorded. Upon playback, you pass it through a similar circuit that decreases the volume of that frequency range.
What does this do? It essentially “turns down” the noise without turning down the sound you actually want to hear, and you end up with a much cleaner and clearer recording.
So what does this have to do with your movies? Well these days, not so much, actually. One of the great things about digital recording is that there is no noise inherent in the recording medium. You can record very quiet sounds without having to worry about that nasty hiss swallowing it up. Lucky for us, Mr. Dolby didn’t stop at noise reduction.
He and his fellow engineers at Dolby Laboratories created practically everything involved in modern surround sound systems. From innovative encoding techniques that deliver six (or more) discreet channels from a two-channel signal on a strip of celluloid, to standards and specifications on where you should put all those speakers in your living room, every blockbuster on your shelf owes its sound to the inventive minds of Ray Dolby and his team.
So the next time you hear something behind you and have to pause your movie to see if it was really there, you know who to thank.
August 30, 2013Posted by on
Everyone’s got that dog-eared book that’s barely held together at the binding from so many reads. Or that old holey t-shirt you can’t stop wearing. Or a ratty pair of sneakers you’ve had since high school. They’re comforting and comfortable and loved from overuse.
Instruments are very much the same – they grow with a person over the years in a symbiotic relationship. Dings and scratches mysteriously appear and eventually turn into holes and cracks. But rather than diminishing their sound, or appearance, or even their value – these are battle scars that define the personality of an instrument.
In recent years the ‘Road-worn guitar’ has become a sought-after item. Fender regularly distresses new guitars to give them that old feeling. But you can’t build “Trigger” in a day (Willie Nelson’s beloved classical guitar). It takes years of playing, frustration, and ‘eureka’ moments.
There are LOTS of guitars here at our studio, many dating back decades, even a century or more. And plenty have been played and played and played. But there is at least one guitar here that really shows what the power of playing can do to an instrument.
It’s a 1970 Guild D-40 NT. Serial number 48537. Its fret board is literally gouged out from thousands of hours of playing. Its pick guard not only isn’t there, it was essentially falling apart around the sound hole until a luthier worked his magic. The finish on the back of the neck is visibly worn off, as it is on the back of the body from rubbing against a belt buckle as it was played on stage.
On a personal note, I learned guitar on this Guild and it’s still almost my favorite acoustic to play (my own 2000 Martin D-28 has top honors!)
But don’t take my word for it – see for yourself in these pictures. And if you’ve got your own road-worn guitar we’d love to see it.