KEMPER PROFILER OS 7.5 released – New Features for the PROFILER and Rig Manager 3.0
Acoustic Simulator, Phase Widener, Delay Widener, Autoswell, etc.
KEMPER GmbH/ Ruhr Area/ August 27th, 2020 (ictw) – KEMPER announce the immediate availability of theKEMPER PROFILER OS 7.5 adding Acoustic Simulator, Phase Widener, Delay Widener, and Autoswell to the PROFILER’s arsenal of FX. The KEMPER Rig Manager Version 3.0 brings next level Library management and detailed Rig editing features. Both are free downloads for PROFILER players.
This is a simple Stomp that turns an electric guitar signal into a pretty authentic acoustic sounding tone. This is designed for the in-between strumming or fingerpicking parts during a live performance: The exact situation where guitarists would step up to an acoustic guitar mounted on a stand. PROFILER players from now on just switch their rig.
For the right seasoning and setting it up for the various guitar and pick up models, the Acoustic Simulator offers the parameters Pickup, Body, Bronze, and Sparkle.
Don‘t expect perfect results, as the mechanics of an acoustic guitar are quite different. The Acoustic Simulator though will simulate the characteristic body resonance and crispness of an acoustic guitar so closely that you might feel able to leave your acoustic guitar at home when you only need it for two or three songs that night.
The Phase Widener is an effect invented by KEMPER. It creates a wide stereo signal from a mono signal without coloring the result at all. Even when summed back to mono, no coloring will occur.
This is the condensed version of the well-known stereo-widening trick of delaying one side of a stereo signal by several milliseconds. In contrast to the Phase Widener, the Delay Widener is not mono-compatible and should be checked for coloration when used on a recording. Additionally, the Delay Widener will tend to emphasize the non- delayed side – this is a psychoacoustic artifact. Setting the Delay Widener to about 30 ms should lead to a pleasing result. For all Widener effects, it is mandatory to place them after the Stack section, where the effects are processed in stereo.
Auto Swell mimics a volume pedal swell with every new strike of the strings. The parameter Swell Rate controls the time of the swell, up to a maximum of 4 seconds. While the Swell Rate controls the attack, a complimentary compressor is also included, to shape the decay of the instrument once it has faded in. The Compressor parameter controls the intensity of the compression.
And then some …
Output Filters – Low Cut and High Cut filters are available. These will affect all outputs.
S/PDIF Slave Mode
Recent models of the classic PROFILER units (Head, Rack, PowerHead, and PowerRack) now provide the option to run as a slave to an external clock, as all PROFILER Stage units do. This is based on a hardware modification introduced during 2018 and enabled by this OS revision. Units with this capability will show an additional option “Auto/Internal” in the Output Section — this can be found on the same page as SPDIF Volume and SPDIF Clock.
Audio and clock signals are sharing one S/PDIF cable per direction. To avoid crackles and other artifacts two SPDIF cables need to be connected if your PROFILER follows an external clock and sends an audio signal for recording. Two cables need to be connected, too, if the PROFILER is configured as clock master and receiving an audio signal via SPDIF. We recommend affording two SPDIF cables and leaving them plugged in.
JACKSON® EXPANDS PRO SERIES DINKY™ DK PLATFORM; ADDS NEW COLOR FOR X SERIES SOLOIST™ SLX DX
Scottsdale, Ariz. (August 26, 2020) – Jackson® today announces the expansion of its Pro Series Dinky™ platform with the brand new Pro DK Modern EverTune® 7 and Pro DK Modern HT6 MS, new finishes for the Pro DK Modern HT6 and Pro DK2 Ash, as well as a fresh new finish for the X Series Soloist™ SLX DX.
The Pro Series Dinky™ DK Modern EverTune® 7 model provides the ultimate high-performance experience for today’s modern players.
Featuring a 26.5” scale length, this modern 7-string guitar’s basswood Dinky body is paired with a sturdy graphite-reinforced bolt-on three-piece maple/wenge/maple neck. The satin finish on the back of the neck creates greater playing comfort, while a heel-mount truss rod adjustment wheel makes for quick and easy neck relief tweaks. Designed for fast and intricate playing, the 12”-16” compound radius bound ebony fingerboard hosts 24 jumbo frets and offset pearloid dot inlays, while Luminlay® side dots provide fretboard guidance even on the darkest of stages.
Active multi-voiced Fishman® Fluence® Open Core PRF-CO7 bridge and neck humbucking pickups give this powerful instrument its dynamic tone — capable of over-wound hot-rodded crunch or vintage snap. With the five-way blade in pickup positions one (full bridge) or five (full neck), leverage the tone control with push/pull activation to switch from voice one to voice two. Pickups positions two, three and four all feature voice 3’s single-coil tone.
The EverTune® F7 bridge never goes out of tune, making this DK Modern the perfect instrument for both the studio or live performances. Other next-level features include a single volume control, Gotoh® locking tuners, Graph Tech® TUSQ® XL nut and Dunlop® dual-locking strap buttons.
No-nonsense style also arrives in the form of a Primer Gray finish, complete with a reverse 3×4 AT-1 color matched headstock and black hardware.
The Pro Series Dinky™ DK Modern HT6 MS features premium appointments catering to highly technical playing, multi-dimensional tone and ergonomic design.
The HT6 MS accommodates two scale lengths on one fingerboard (25.5”-26.5”) and improves overall playing comfort while improving tension and intonation. Its basswood Dinky body is paired with a sturdy graphite-reinforced bolt-on three-piece maple/wenge/maple neck, featuring a satin finish on the back for greater playing comfort. The 12”-16” compound radius bound ebony fingerboard hosts 24 jumbo frets, offset pearloid dot inlays, Graph Tech® TUSQ® XL nut and Luminlay® side dots.
A pair of multi-voiced Fishman® Fluence® Modern PRF-MH7 pickups are directly mounted to the body for improved vibration transfer. This re-imagined set delivers the most sought-after humbucking tones, from modern active pickup sounds to super-hot high-output humbucking tones. This instrument’s versatile voice can be explored with a five-way blade switch, single volume control and tone control with push/pull knob to switch from an active to passive tone for more dynamic picking attack.
The HT6 MS also features Gotoh® locking tuners and a Hipshot® 6 fixed bridge for improved intonation and enhanced sustain.
Unparalleled style arrives in the form of a dazzling Snow White finish, complete with a reverse 3×3 AT-1 color matched headstock and black hardware.
The Jackson Pro Series Dinky™ DK Modern HT6 is now available in a Baked White finish with a color matched reverse 3×3 AT-1 headstock and black hardware.
This next-level model features an ash body, sturdy graphite-reinforced bolt-on three-piece maple/wenge/maple neck, Graph Tech® TUSQ® XL nut, heel-mount truss rod adjustment wheel and 12″-16″ compound radius bound ebony fingerboard with 24 jumbo frets, offset pearloid dot inlays and Luminlay® side dots.
Active multi-voiced Fishman® Fluence® Open Core PRF-COC bridge and neck humbucking pickups provide dynamic tone. With the five-way blade in pickup positions one (full bridge) or five (full neck), leverage the tone control with push/pull activation to switch from voice one to voice two. Pickups positions two, three and four all feature voice 3’s single-coil tone.
The versatile HT6 also features a single volume control, Gotoh® locking tuners and a Hipshot® 6 fixed bridge for improved intonation and enhanced sustain.
The Jackson Pro Series Dinky™ DK2 Ash is also now offered in a Baked White finish with a color matched pointed 6-in-line headstock and black hardware.
The ProDK2 Ash features an ash body with sculpted shredder’s cut heel, bolt-on maple neck with graphite reinforcement and scarf joint and a heel-mount truss rod adjustment wheel for convenient neck relief tweaks. The 12″-16″ compound radius ebony fingerboard features 24 jumbo frets and offset pearloid dot inlays.
A pair of direct mount Seymour Duncan® humbucking pickups—JB™ (bridge) and ’59™ (neck)—deliver powerful punch while retaining clarity with enhanced note definition. This instrument is also equipped with single volume and tone controls plus five-way blade switching to tweak and refine tone, and a recessed Floyd Rose® 1000 Series double-locking tremolo bridge system for improved tuning stability.
The Jackson X Series Soloist™ SLX DX is a distinctive and affordable model offering many fine features desired by today’s shredders, including a poplar body and a through-body maple neck with graphite reinforcement and tilt-back scarf joint headstock. Hosting 24 jumbo frets and pearloid sharkfin inlays, its 12”-16” bound compound radius laurel fingerboard curves more dramatically at the nut for easy chording and flattens out as it approaches the neck joint for low-action bends without fretting out.
Duncan Designed™ alnico HB-103N neck and high-output ceramic HB-103B bridge humbucking pickups power this metal beast with an expansive voice loaded with crunchy, full-bodied tone ideal for brazen lead work or punchy rhythms runs.
Tone is fully customizable with three-way blade switching and single volume and tone controls, while a Floyd Rose® Special double-locking tremolo bridge system provides excellent tuning stability and dynamic tremolo action.
Sleek and sinister, the SLX DX is available in a new Silverburst finish with black hardware and pointed 6-in-line black headstock.
Remember Bill and Ted’s customised Flying V and SG from Bill & Ted’s Bogus Journey? I sure do. That movie was huge for me as a teenager, loaded with cool guitars and badass guitar playing (and even a cameo from Jim Martin of Faith No More). I’m sure every guitar company in the world tried to attach themselves to the new Bill & Ted Face The Music (I even helped one get a meeting with a producer) but it looks like Gibson was the lucky one to clinch the deal, with the movie featuring Gibson, Epiphone, Steinberger and Kramer instruments. Here’s a press release about the movie’s guitars, including a list of everything you’ll see onscreen. Cool huh?
Gibson: The Official Guitar Brand Of ‘Bill & Ted Face The Music’ New Film In Theaters And On Demand On August 28
Gibson, Epiphone and Kramer Guitars To Be Featured In The Movie
Iconic American Guitar Maker Collaborates With Creators Of Film, TV And Pop Culture
NASHVILLE, TN (August 26, 2020) Gibson Brands–the iconic American instrument maker–has partnered with Orion Pictures on the new film Bill & Ted Face the Music as the official guitar brand of the movie. The film finds the duo–now middle-aged best friends who have yet to fulfill their rock and roll destiny–as they head out for a new adventure when a visitor from the future warns them that only their song can save life as we know it. Along the way, the Wyld Stallyns will be helped by their families, old friends, and a few music legends. The third installment in the film franchise starring Keanu Reeves and Alex Winter is due out on Friday, August 28, in theaters and on demand, pre-order here: https://billandted3.com/watch.
Over 30 guitars from Gibson, Epiphone and Kramer are featured throughout Bill & Ted Face the Music including “Bill” S. Preston ESQ. (Winter) and “Ted” Theodore Logan (Reeves) epic Wyld Stallyns hero guitars, the classic Gibson SG Special, and the Gibson Flying V (see full list below).
To celebrate the release of Bill & Ted Face the Music, Mark Agnesi of Gibson TV recently sat down with Alex Winter to discuss the making of the film and what it was like to reunite with his co-star Keanu Reeves after 29 years; watch the clip HERE.
For the release of the film this week, fans can enter to win the following guitars below, as well as codes to watch Bill & Ted Face the Music for free. Open to U.S. residents only.
Enter to Win a Gibson SG Special just like Alex Winter aka Bill S. Preston ESQ. plays in the new Bill & Ted Face the Music film: HERE.
Enter to Win the Kramer Baretta in Purple played by WEEZER’s Rivers Cuomo in Weezer’s video for “Beginning of the End” the lead single from the film soundtrack to Bill & Ted Face the Music, HERE.
Gibson’s Entertainment Relations team worked with the producers of Bill & Ted Face the Music to get the right look and feel for the film. “Gibson Brands have been a huge part of the Wyld Stallyns story from the very beginning,” says Jonathan Leahy, Music Supervisor, Bill & Ted Face the Music. “When Rufus presents Bill & Ted with Steinbergers at the end of ‘Excellent Adventure’ that’s just an iconic movie moment, especially for all the guitar players in the audience. The customized Gibson SG and Flying V that Alex and Keanu play at the end of ‘Bogus Journey’ were a perfect match for the second film. In ‘Bill & Ted Face the Music’, we wanted to deliver for the fans and get the gear details right. Gibson came through for us in a big way; you can’t make a third Bill & Ted film without Gibson.” Bill & Ted Face the Music film producers Scott Kroopf and Alex Lebovici added, “Gibson has been a part of Bill & Ted since its inception and they have been amazingly supportive in the making of Bill & Ted Face the Music” (Kroopf); “You don’t need to know anything about guitars to be totally blown away by the Gibson guitars featured in the film. Gibson really made its mark on the film” (Lebovici). Ashley Waldron, Executive in Charge of Music/Co-Producer added, “Having Gibson continue to be an integral part of the Bill & Ted story has been a testament to their vision and brand.”
For the Gibson Entertainment Relations team, collaborating with filmmakers and producers is all about character development and working with both the actors and the film producers to find the right match, tone, and validity for the narrative. The guitar itself can take on a character of its own and help the story come alive. “Bill & Ted Face the Music celebrates the power of music to unite and save the world, which is a message we believe in and share at Gibson” says Beth Heidt, Global Director of Entertainment Relations at Gibson Brands. “This film is a great partnership and it’s been a lot of fun to explore the instruments that best fit these beloved characters and the music they create.”
Gibson Brands’ guitars have starred in thousands of Films, TV shows, and commercials across the world. Gibson specially created the two guitars which Bradley Cooper performed with in A Star Is Born including an acoustic guitar, the Gibson J-45 (“Shallow”), and an electric guitar in the film’s opening scene, a custom Gibson ES 345 in olive drab. Look out for Gibson in the forthcoming Bob Dylan film Going Electric, as well as the new Elvis Presley biopic, Elvis, co-written and directed by Baz Luhrmann, and starring Austin Butler and Tom Hanks. Other recent film collaborations include Many Saints of Newark (Sopranos prequel), Crazy Heart (Jeff Bridges), Blaze (Ethan Hawke), Ray (Ray Charles, guitars and pianos), I Still Believe, Coda (doc), School of Rock, Iron Man (1-3), among many more. TV collaborations for Gibson include, The Voice, This is Us, Silicon Valley, Nashville, Empire, Dead To Me, Jeff Garlin Comedy Special (Netflix), Songland, Daybreak, and Neighborhood, to name a few. In addition, global ads have taken center stage, including the Apple (Elvis), DHL (Bryan Adams) filmed at Gibson USA Nashville), Dior (Johnny Depp), and more.
Following is a list of the Gibson, Epiphone, Kramer and Steinberger instruments featured in Bill & Ted Face the Music:
TED (Keanu Reeves) HERO GUITAR – Gibson Flying V – Classic White
BILL (Alex Winter) HERO GUITAR – Gibson SG Special – Vintage Sparkling Burgundy
WEEZER MUSIC VIDEO – Rivers Cuomo – Kramer Baretta Special – Purple
Gibson Les Paul Standard 50s – Tobacco Burst
Gibson ES-335 – Pelham Blue
Gibson ES-355 – Custom Blue/Black Smoke
Gibson Les Paul Standard 60s – Bourbon Burst
Epiphone Slash Les Paul – Tobacco Burst
Epiphone PR-150 – Vintage Sunburst
Epiphone DR-100 – Ebony
Epiphone Faded G-400 – Worn Cherry
Epiphone Ltd Ed 1958 – Korina Flying V
Epiphone Casino – Vintage Sunburst
Epiphone Ltd Ed Bjorn Gelotte Jotun Les Paul Custom Outfit
Kramer – Voyager
Kramer Pacer Classic – Fl Green
Epiphone Ltd Ed 1984 Explorer
Epiphone DR-212 – Natural
Epiphone Les Paul Standard PlusTop Pro
Kramer Parra Nite V
Steinberger Spirit GT PRO – Hot Rod Red
Steinberger Spirit GT PRO – White
Epiphone Ltd Ed Electra Century Amplifier
Epiphone Dave Rude Signature Flying V
Epiphone Lzzy Hale Signature Explorer
Gibson 5-string EB Bass – Wine Red
Gibson HP Acoustic
Epiphone Hummingbird Pro
Across all of Gibson’s brands and collections, the story continues to be told with iconic and emerging artists that inspire the now and nurture the next generation of Gibson, Epiphone, Kramer, and Steinberger fans.
Gibson Brands, the world’s most iconic guitar brand, has shaped the sounds of generations of musicians and music lovers across genres for more than 100 years. Founded in 1894 and headquartered in Nashville, TN, Gibson Brands has a legacy of world-class craftsmanship, legendary music partnerships, and progressive product evolution that is unrivaled among musical instrument companies. The Gibson Brands portfolio includes Gibson, the number one guitar brand, as well as many of the most beloved and recognizable music brands, including Epiphone, Kramer, Steinberger, and the Gibson Pro Audio Division, KRK Systems. Gibson Brands is dedicated to quality, innovation, and sound excellence so that music lovers for generations to come will continue to experience music shaped by Gibson Brands. Learn more at Gibson.com and follow us on Twitter, Facebook, Gibson TV, and Instagram.
Metro Goldwyn Mayer (MGM) is a leading entertainment company focused on the production and global distribution of film and television content across all platforms. The company owns one of the world’s deepest libraries of premium film and television content as well as the premium pay television network EPIX, which is available throughout the U.S. via cable, satellite, telco, and digital distributors. In addition, MGM has investments in numerous other television channels, digital platforms, interactive ventures, and is producing premium short-form content for distribution. For more information, visit https://www.mgm.com.
Vast storyteller, and rocking troubadour Jack Bratt has today announced the release of his ripping new single The Outsider, a song about self-identity and perception [Listen: The Outsider], complemented by an entertaining spaceman-themed video clip [Watch: The Outsider].
A grand, existential exploration of fitting in when feeling like an outcast, The Outsider hits notes of timeless rock that will have fans of Holy Holy and Foo Fighters salivating. Recorded and produced by Joel Myles at Hunting Ground Studios in Brisbane, and mastered by Mat Bartlem (Matt Corby, Jarred James, Boo Seeka), Bratt’s timeless new single is a thoughtful and moving piece; an exciting next step from one of Australia’s favourite newcomers.
Jack Bratt’s emotive vocal strikes a chord from the outset with sharp, moving lyrics that reflect on feelings of isolation widely felt during this worldwide pandemic. “It’s about being left of centre, about not fitting in,” the Brisbane musician says about the song, “it’s about perception. You may have an idea about how others view you, but that’s not necessarily who you are. It’s easy to think somebody might be doing really well, but that could just be a front, while they’re dealing with a lot of problems. I think what I’ve learned from being in lockdown and having conversations with friends, is that nobody is really okay; we all have our own struggles.”
With plans of heading to New York City in June for a three month artist residency (thanks to his recent Grant McLennan Fellowship accolade) momentarily quashed due to the virus, Bratt’s new single speaks to the current halted state of the music industry and the effect it has had on mental health, explaining, “Anxiety is at the core of the song. It’s really about trying to get by, but everybody is carrying around some sort of pain with them. It’s alarming how many people I know especially in the music industry who suffer with anxiety and mental health.”
The video clip for The Outsider brings an extra-terrestrial element into the fold, spaceman cometh! Directed by Bradley Murnane from Spilting Films, the video tells a story of an astronaut who has fallen to Earth and is trying to find his way home, only to find love along the way. “I was just thinking about the most extreme version of somebody who doesn’t fit in and stumbled on the idea of a man who falls from space and is trying to find his way home,” Bratt says of the charming clip, “but in the end, he transitions into a normal life on earth, adding a fun little twist.”
Jack Bratt has begun work on his debut albumwhich is set for release in early 2021, and with new music on the way his fans are champing at the bit to hear more from this exciting rocker.
These days it’s common – nay, expected – for a big blockbuster movie to have a kickass soundtrack packed with original new tracks by the big heavy-hitters of the day. But it wasn’t always like that. Once upon a time the ‘movie soundtrack’ section of a record store was populated largely by recordings of the actual orchestral music scores of films. If a soundtrack featured pop songs, they were often classic tracks that everybody knew. Even in the case of big blockbuster soundtracks which featured a healthy amount of original new songs – like the album which accompanied the release of Dirty Dancing in 1987 – the tracks were very much mainstream radio-friendly pop. So the 1993 release of the Arnold Schwarzenegger film Last Action Hero and its soundtrack sent shockwaves through the hard rock and heavy metal scene of the day because it was fricken loaded with crushing tracks by metal, thrash, grunge and alternative icons.
This was an album which featured new, never-before-heard tracks by some of the biggest names in heavy music at the time, including two of thrash’s Big Four. Check out this track listing:
“Big Gun” – AC/DC
“What The Hell Have I” – Alice In Chains
“Angry Again” – Megadeth
“Real World” – Michael Kamen and Queensrÿche
“Two Steps Behind” – Def Leppard
“Poison My Eyes” – Anthrax
“Dream On” [Live] – Aerosmith
“A Little Bitter” – Alice in Chains – 3:53
“Cock the Hammer” – Cypress Hill – 4:11
“Swim” – Fishbone – 4:13
“Last Action Hero” – Tesla – 5:44
“Jack and the Ripper” – Michael Kamen & Buckethead – 3:43
AC/DC’s “Big Gun” kicks off the album, and although they’ve never played the track at a concert, it was heavily visible at the time of its release, particularly due to the pervasive presence of Arnie himself in the video. A classic driving AC/DC twelve-bar-blues-based track with a monster single note riff punctuated by a slinky, bendy melody, the song is classic Acca Dacca. Check out the video, and watch for Arnie doing his own version of Angus Young’s famous duck walk, complete with Gibson SG. While the SG looks huge on Angus’s diminutive frame, it looks like a ukulele in Arnie’s hands.
Alice In Chains’ two contributions, “What The Hell Have I” and “A Little Bitter,” are especially noteworthy entries in the band’s catalog because they represent the first tracks recorded with bass player Mike Inez, who was fresh from Ozzy Osbourne’s band at the time, replacing the departed Mike Starr. (Trivia buffs will know that Inez wrote the bass riff to Ozzy’s “No More Tears”). The two songs were mixed by Andy Wallace, although both were remixed by Toby Wright for the band’s 1999 Music Bank box set.
Three of the soundtrack’s songs continued to be played live regularly by their respective creators for quite a while afterwards. Def Leppard’s “Two Steps Behind” was released in two versions: an electric version from the band’s Retro Active compilation of rare and unreleased tracks (the song was also a B-side to the “Make Love Like A Man” single) and a stripped-back acoustic version. It’s the acoustic rendition that was used for the Last Action Hero soundtrack, and this is the version of the song that the band still plays live to this day.
Another enduring live track is Megadeth’s “Angry Again.” Written specifically for the film and later appearing on Megadeth’s Hidden Treasures rarity EP, the song was nominated for Best Metal Performance at the 1993 Grammy Awards. Apart from Marty Friedman’s brilliant guitar solo and the impressive handlebar moustache sported by Dave Mustaine in the video, the song is particularly interesting for a neat little songwriting trick used in the verses. During the first verse, Mustaine sings over the second half of a two-bar riff, but in the second verse he sings over the first half. It’s a great way of creating a sense of movement from one verse to the next, and probably one of the reasons it’s such a fan favourite.
The album’s other thrash legends, Anthrax, contributed a song leftover from the sessions for their 1993 album Sound of White Noise, their first with Armoured Saint vocalist John Bush and last with lead guitarist Danny Spitz. While the song features the same big riffage as the Sound of White Noise tracks, it has a much more adventurous arrangement, including the use of record scratching.
Queensrÿche and composer Michael Kamen collaborated on “Real World,” a sweeping epic in the vein of their previous work together, “Silent Lucidity.” In fact, “Real World” represents a step beyond “Silent Lucidity,” with Kamen set free to push the Pink Floyd-esque progressive elements of the band’s sound even further. Like “Angry Again” and “Two Steps Behind,” “Real World” was performed live on many Queensryche tours.
A few of the album’s tracks had been released previously, including Fishbone’s “Swim” (from their album Give A Monkey A Brain And He’ll Swear He’s The Center Of The Universe). Cypress Hill’s “Cock The Hammer” is from their 1993 classic Black Sunday. And of course Aerosmith’s “Dream On,” presented here as a live version with orchestration by Michael Kamen. Tesla’s “Last Action Hero” is a powerful 80s rocker, although it felt a little out of place in the grunge-friendly climate of 1993, even on an album with such 80s megastars as Def Leppard and Queensryche. But it’s a rockin’ song with some very cool Thin Lizzy-esque twin guitar harmony work.
The album is closed out in spectacular fashion with another collaboration between Michael Kamen and unlikely partner: Buckethead, whose alternatingly haunting and rocking guitar weaves through orchestral ambience and electronica. Although Buckethead was already known to hard-core guitar fans, this was probably his first ‘big time’ exposure, and as an introduction to the world at large it’s a very impressive one.
There have been plenty of innovative soundtrack albums since Last Action Hero – the rap/rock collaborations of Judgment Night later in 1993 being a particularly noteworthy example, pairing Dinosaur Jr. and Del tha Funkee Homosapien, Helmet and House of Pain, Teenage Fanclub and De La Soul, Living Colour and Run DMC, Slayer and Ice-T, Sonic Youth and Cypress Hill, Mudhoney and Sir-Mix-A-Lot, Pearl Jam and Cypress Hill, Faith No More and Boo-Yaa T.R.I.B.E. and more. In fact the Judgment Night soundtrack may have been a big factor in the rise of rap-rock and nu metal a few years later. But perhaps that’s a story for another time.
Wayne Hussey has brought in a bunch of his goth mates to record a new version of The Mission’s ‘Tower Of Strength,’ with proceeds going to COVID-19 related charities chosen by each contributor. It’ll be released digitally on August 28 and on CD and vinyl on October 2, but you can hear a little preview in the video above.
Credited to ReMission International, there will be various versions released including vinyl, CD and a digital bundle.
Collaborators include: Andy Rourke, Billy Duffy, Budgie, Evi Vine, Gary Numan, James Alexander Graham, Jay Aston, Julianne Regan, Kevin Haskins, Kirk Brandon, Lol Tolhurst, Martin Gore, Michael Aston, Michael Ciravolo (Beauty In Chaos, Schecter Guitars), Midge Ure, Miles Hunt, Rachel Goswell, Richard Fortus, Robin Finck, Steve Clarke, Tim Palmer and Trentemøller.
“When Covid-19 hit I started receiving messages asking ‘why don’t you re-issue Tower Of Strength for the front line workers?’,” Hussey says. “The song had apparently been adopted as an anthem by some NHS workers, and it got me thinking that I would like to contribute something to the greater cause at this unprecedented time and the only thing I could really contribute is music. So in conjunction with my good friend Michael Ciravolo, I came up with the idea of recording a new version of Tower Of Strength for charity by enlisting the help of musician friends and acquaintances. Tower Of Strength was first released by The Mission as single in 1988 and then again in 1994. It charted twice in the UK top 40 and has proved to be probably our biggest song and the one we generally close our shows with. It is anthemic. I wondered if recording a more well known song might have a greater reach but neither Michael or I could come up with any suggestions that seemed to fit lyrically without getting too corny. So Tower Of Strength it was then.”
“Usually I detest things that are done for charity that are also self-serving, but I came up with a plan that satisfied my conscience. I spoke with my fellow Mission band members who co-wrote the song – Craig Adams, Mick Brown and Simon Hinkler – and we agreed to give up any publishing income generated by the new version to nominated charities, including mechanical and performance royalties and 100% of any revenue raised by sales. TOS2020 has been renamed to divert funds from the original version, and the charities will all be personally nominated by the people involved in its recording and release. Because the musical contributions are global our idea is that the proceeds will be divided and distributed equally among all the beneficiaries.”
“Whilst all the versions will be available to listen to on all streaming platforms I’m gonna ask you to help the cause by buying at least the digital package which is priced at only £2.99. It’s not much, is it? For the price of a coffee you’ll receive all five versions. Come on, help us to help others.”
Vinyl Side A (cat no: SPV 243541 LP)
1. TOS2020 (Beholden To The Front Line Workers Of The World mix)
2. TOS2020 (single)
Vinyl Side B
TOS2020 (Trentemøller Remix)
TOS2020 (Albie Mischenzingerzen Remix)
CD (cat no: SPV 243542 CD-EP)
1. TOS2020 (Beholden To The Front Line Workers Of The World mix)
2. TOS2020 (Trentemøller Remix)
3. TOS2020 (Albie Mischenzingerzen Remix)
4. TOS2020 (single)
Digital Bundle (cat no: SPV 24354D)
1. TOS2020 (single)
2. TOS2020 (Beholden To The Front Line Workers Of The World mix)
3. TOS2020 (Trentemøller Remix)
4. TOS2020 (Albie Mischenzingerzen Remix)
5. Tower Of Strength (original – new remaster) – The Mission (free bonus track with bundle only)
Charities to benefit from the single include: NHS Charities UK,St. Jude’s Children’s Hospital Memphis, Music Venue Trust UK, Covenant House, New Orleans, Disasters Emergency Committee, MusiCares, Plan International, Direct Relief, Alzheimer’s Scotland, Liberty Hill Foundation, The Shrewsbury Ark, Memorial Sloan Kettering Center NYC, Prostate Cancer UK, The Teddy Bear Clinic, Red Rover, Help Musicians UK, Crew Nation, Venice Family Clinic, The Anthony Walker Foundation, Projeto Cáo Communitário and The City Of San Francisco COVID-19 Fund.
By the way, have you seen Wayne Hussey’s signature Schecter Corsair-12? Beautiful instrument with a unique pickup configuration.
The platform features a curated selection of enriching stories, product guides, interviews, and more
Los Angeles, CA, August 4, 2020 — Roland today announces the launch of its new multimedia platform of written editorial, in depth mini-documentaries, and more, Roland Articles. The new long-form platform features a curated selection of enriching stories, product guides, and interviews, marked by a focus on artists, instruments, and the Roland brand.
Content on Roland Articles is organized into two distinct collections: Stories and Learn. Articles in the Stories section provide in-depth journalism by contemporary voices that appeal to music fans interested in thoughtful, investigative writing. The Learn category educates musicians, producers, songwriters, and content creators by providing them with extensive music-based educational content written by subject matter specialists.
“We are thrilled to officially launch Roland Articles,” said Toshi Ikeda, Roland Head of Global Marketing. “We created this platform to provide Roland fans and newcomers with a unique destination to learn and explore new sounds, discover new artists, improve their skills, learn about Roland gear, and read compelling stories.”
The first slate of articles available on the platform includes a marquee feature on up-and-coming dance/electronic artist Linafornia, an interview with American electronic musician, producer, and visual artist Mux Mool, a guide to the Roland TD-17 V-Drums, as well as a piece about Jay Weinberg of Slipknot and the new VAD506 V-Drums Acoustic Design kit.
Roland has also published the first installments of two ongoing Roland Articles series: Scene Reports and Sound Behind the Song. The former features a deep dive into the music, food, and cultural vibes of Nashville, Tennessee, while the latter offers a written history of the sounds used to create the song “Buffalo Stance” by Neneh Cherry.
To curate content for the platform, Roland is working with a contributor network that represents a diverse range of writers including Martin Douglas (KEXP, Pitchfork), Kristin Spruch (Billboard), Jake Uitti (Vanity Fair, American Songwriter), Francis Preve (Music Radar), Jason Heffler (EDM.com), and Jordan Blum (Kerrang!, Consequence of Sound).
GRETSCH® INTRODUCES THE G5230T NICK 13 SIGNATURE ELECTROMATIC® TIGER JETTM WITH BIGSBY®
SCOTTSDALE, Ariz. (Aug. 10, 2020) – Gretsch® today introduces the G5230T Nick 13 Signature Electromatic® Tiger JetTM with Bigsby®.
As the guitarist and songwriter for California trio Tiger Army (celebrating a quarter century in 2021), Nick 13 seamlessly blends his eclectic influences — from the twang and slap of early rock ‘n’ roll and hillbilly country, to the dramatics of dark, Orbison-esque ballads or the raw energy of first wave ‘70s punk. Whether at the helm of Tiger Army or with his Americana solo pursuits, Nick 13 manages to be retro-sounding while still pushing into uncharted musical territory.
Gretsch honors the left-of-center icon with the all-new Gretsch G5230T Nick 13 Signature Electromatic® Tiger Jet™ with Bigsby®.
“While not my first instrument, it wasn’t until I got my first Gretsch many years ago that I really bonded with a guitar and felt like I’d found my sound — something deeply emotional but unique at the same time,” said Nick 13. “As time went on, I realized that many of my favorite records and artists utilized this sound, whether 1950s rockers like Duane Eddy or Eddie Cochran, George Harrison of The Beatles, or bands associated with the early punk movement like The Cramps and X. To be part of that lineage as a Gretsch artist with my own model means the world to me; I never wanted to play anything else.”
For nearly 70 years, the Gretsch Jet has been the hallmark sound for iconic players. Nick 13 puts his own stylistic spin on the classic instrument with dark and moody design elements including a sleek Black finish, white binding, cream pickup inserts, chrome hardware, distinctive pearloid TigerBat inlays, oxblood pickguard with TigerBat logo and matching truss rod cover with his signature.
Black Top Filter’Tron™ pickups amplify and accentuate the Jet’s chambered mahogany body and maple top to produce a wide, balanced and transparent tone. Together, the body and pickups thunder with full, responsive lows and mids with a high end that sparkles without spikes. A complement of individual pickup volume controls, master tone and master volume with treble bleed circuit provides intuitive control over pickup and tone settings. This unique signature instrument also features a lower set mahogany neck for effortless access and performance, 12”-radius laurel fingerboard with 22 medium jumbo frets, Bigsby® B50 vibrato tailpiece and anchored Adjusto-MaticTM bridge.
“The tone of my Tiger Jet is expansive – one of my favorite things is the hollowed, enclosed chamber within the body,” said Nick 13. “You can’t see it, but it provides resonance that a completely solid body guitar couldn’t get, while still avoiding the feedback issues playing a hollow body with higher gain normally creates. It’s the best of both worlds. Aesthetically, I love the handpicked color scheme and my favorite feature is the ’TigerBat’ fretboard inlays, which Tiger Army fans will recognize as the band’s logo.”