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Music Here By Meijin Bruttomesso Photos by Lucas Garzoli As one strolls down 8th Avenue scanning the rows of unassuming high rises and approaches 38th street, the faint sounds of crashing cymbals, rumblings of bass, and echoes of singers belting seem to emanate out of thin air. Finally, at the base of 584 8th Avenue, the source of the noises becomes clear; it’s The Music Building! Aptly named, The Music Building is an ant farm of sorts for upand-coming bands. Except for allowing artists to actually live there, it offers secure, 24 hour access for writing and rehearsing, loading and unloading from shows, storing equipment safely, teaching lessons, and throwing the occasional gettogether. Situated in an area of town that has near non-existent noise complaints, bands can rest easy about their erratic hours or frustrated neighbors. Conveniently located by Port Authority and Penn Station, the 12 story Manhattan structure is available for artists from all over the Tristate area. “Officially opened as a facility strictly for musicians in July 1979 by Jack P. Lerner and taken over by his son, Roget Lerner, in 2010, the building is the largest rehearsal space in New York, offering 69 studios in its 42,000 square-foot capacity. Approximately 150 to 200 bands of every genre imaginable rent out the space each month, and in turn, sublease further to other artists, creating a huge network and sense of musical community. Some of New York and the World’s most renowned artists have jammed within the Manhattan location’s walls, including pride and joys, Madonna, Interpol, Living Colour, They Might Be Giants, The Bravery, The Strokes, who are leaving this month after 14 years in the building, New York Dolls, Patti Smith, members of Kiss and The Talking Heads, Billy Idol, The Fleshtones, Joey Ramone, The Smithereens, Blondie, and the list goes on. So, who will be the next legend to add to that list? Here are some of the artists currently quaking The Music Building. Lives Last Spring, Social Hero and Vinyette shared The Deli’s feature on Music Building artists. Channeling classic rock and classic metal, Social Hero bring back the power chords and power stances, while injecting melodic vocals ands a sense of fun, perpetuating hte spirit of rock alive. Vinyette’s edge lies in their intricate, ever-changing rhythms, and progressive style. The Dirty Grand produce dark and haunting electrodance rock. The NYC trio, consisting of Lou Reed’s touring guitarist and former members of BM Linx, create a grungy and echoing soundscape on their EP, Facedown. The Blackfires are yet another rock troupe to keep an ear on. Members hailing from all corners of the globe unite over a love for bluesy riffs, devilish guitar solos, falsetto vocals, and smashing drums. Headbangers can rejoice in the resuscitation of a spirited metal attitude. Nominee for Artist of the Month on the Deli, Lightouts indeed touch on the lighter side of the music spectrum. The two man band THe bLackFires & aToM sTrange Tony FroM THe dirTy grand Music buiLding MuraL by LusTer kabooM broTHers & THe Tye Trybe recently released a new single, “The Cure of Shyness,” which showcases their upbeat and ethereal Indie pop and multitasking abilities. Hip-hop infused electronic melded with R&B grooves backed by contagious beats define Inky Jack. These four Brooklynites know how to create an infectious dance track, and their self-titled EP is available and fitting for any night club around town. Bronx boys, The Tye Trybe combine the grittiness and laid back energy of garage rock, a distinguishable vocal growl, and underlying soulful vibe. The three-piece also pays homage to their roots in Spanish Harlem, adding a unique flair to their individual sound. As the number of bands rises throughout NY and beyond, the need for rehearsal spots similar to The Music Building grows. According to Roget Lerner, “The goal going forward is to provide more resources, beyond rehearsal space, that will allow the emerging bands to elevate their chances of success. This includes production of hi-quality videos, media partnerships, etc.” While that is in the works, we can all thank The Music Building for setting an example, supporting artists and their creations, and keeping music alive and well. Visit The Music Building on Facebook to hear about upcoming events: Facebook.coM/THeMusicbuiLding.
kitchen recording equipment news Line 6 POD HD Desktop Review by Gabriel Lamorie Line 6 has developed their own high definition amp modeling technology, and packed it into their POD HD line of guitar multi-effects modules. And this HD Modeling technology has been moved to the desktop with the introduction of the POD HD Desktop. The POD HD ($400) is a small desktop multi-effects unit that contains 22 HD amp models based on some of the world’s most iconic amps and over 100 “M-Class” effects containing 19 delays, 23 modulations, 17 distortions, 12 compressors and EQs, 26 filters and 12 reverbs. The amps and effects can be combined in a massive amount of ways, making the possibilities for customized tones nearly endless. All of the processing takes place in the internal DSP engine - so no load is put on your computer when recording. The POD HD has a USB connection to facilitate interfacing with any DAW software. The unit also includes a S/PDIF digital output for recording. The sample rate can be configured in the internal settings from 44.1 kHz up to 96 kHz. No need to worry about latency because when recording via USB, the signal actually splits – sending one signal to the computer through USB and another signal directly out of the main outputs and headphone jack. The USB connection also allows for direct playback of your DAW through the POD HD’s outputs. Some of my favorite go-to effects originate in the Eventide H3000. A great deal of the Eventide experience comes from tweaking and interacting with the hundreds of presets that come loaded in the box. They have funny names like “lush life” and “my bloody valentine” and “canyon” and they cover a lot of ground from subtle, usable room verbs to ridiculous, head-up-your-arse fun-blasts that aren’t so much usable as spatial effects as they are eartickling time suckers that you learn to love. Brought to you by Playing the POD HD live is a pretty awesome experience. The portability and setup time alone is a huge benefit. Whenever I play my PRS SE Custom guitar live, I am usually mixing on my own gear so I found that controlling my sound by plugging directly into a snake or mixer out of the left and right outputs of the POD HD is great, due to the fact that the mixer has absolute control over my guitar tone. If you aren’t partial to the idea of another person controlling your axe, but you still want the flexibility of the effect models and signal chains of the POD HD, Line 6 has included output modes that tweak the actual signal so that you can achieve the best results when plugging into your own external amp. Not only that, but Line 6 also includes pre amp versions of all 22 HD modeled amps for the best signal to noise ratio. Eventide SPACE Multi-Effects Pedal Review by Travis Harrison Eventide’s Space ($499) is the company’s play to put a lot of that crazy sonic diversity into a stompbox small enough to stuff in a gig bag. The Space also works equally well as a piece of outboard gear. Firstly allow me to simply declare that this thing sounds good. Most of the sounds I was able to coax from it were convincing, full range and unique, be they swirling vortexes of galactic-apeshit or far more reasonable plates and rooms. “if you’re looking for a little bit of that Phil Collins gated reverb for your three and half bar tom-tom fill, try the ‘Phil McCavity’ preset, which really nails the ‘In the Air Tonight’ sound.” Some of my favorite patches in this sucker were the crazy ones. My friend Nate Martinez from Thieving Irons used the Space as a guitar pedal on a session at my studio and found a beautiful delay called “Nero’s Ascent” which seems to finish with a puff of pitched up reverb. It was a heavenly sound. I found myself going to the “Hey Honey” preset quite a bit for a haunting pitched reverb that added a real mysterious color to some mixes. The “Spicy Spring” sounds like a spring-reverb on steroids which, to spring-reverb addicts like me, isn’t a bad thing. If you wanna take your mix on a one-way trip to the 1980s, the Space can take you there. “1985 Damage” is a wacky mid-’80s styled verb that when applied sparingly can induce a little Reagan-era spatial euphoria. And if you’re looking for a little bit of that Phil Collins gated reverb for your three and half bar tom-tom fill, try the “Phil McCavity” preset, designed by Alan Moulder and Flood, which really nails the “In the Air Tonight” sound. the deli_45
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