Top Ideas for Music School Trips


Sometimes, when looking to broaden your students' awareness of music, school trips might have an important part to play.
Cultural links
For example, there is a connection (even if the history is disputed) that links the music of parts of Scotland, to Ireland, Wales, Cornwall and Brittany in France. Sometimes called 'Celtic music', perhaps the best-known example is the bagpipes. This instrument and the accompanying music are found in Scotland, Northern England, Ireland, parts of western Normandy and Brittany. In the latter area of France, there are numerous Breton music festivals where the Celtic heritage across Western Europe is explored in music. It's also possible for students on music school trips to put those links into a much broader cultural context including links between art, architecture and linguistic traditions.
Music school trips and more recent links
Of course, musical legacies aren't just about times past. More recently, Liverpool was the centre of a phenomenal explosion of musical talent that was for a time known as the Merseybeat. A decade or so later, the centre of UK musical inspiration moved to London, then again to Manchester. Movement and trends in popular music such as Punk and New Romanticism can be explored in various venues and centres.
The central belt of Scotland has also produced its own superb modern music, often reflecting a blend of traditional and industrial Scottish culture. It's also worth considering trips to the Welsh Valleys, where a legendary choral tradition blends seamlessly with brass orchestral and a proud, if today rapidly receding, memory of a past based around tight communities, mining and heavy industry.
Combining history and music
Some towns, such as Warwick or York, evoke the medieval past through their architecture and ancient remains. Exploring medieval music in great local centres or via local music societies can sometimes make a little more sense if students are close to the buildings and art of the period. Sometimes it's easier to understand the sentiments and motivation behind some earlier music when you have something to provide a broader insight into the minds of those that originally composed and performed it.
London and the great orchestras
The effects of a sense of place upon musical interpretation can't be over-estimated.
The great orchestral works arguably demand epic acoustics and space. London has many venues par excellence where some of these great works can be heard at their very best - perhaps during world-famous events like The Proms.
Some forms of music also reflect the periods, values and aspirations of the times they were written in. For example, some might argue that some of Elgar's works can be best heard in the surroundings of a type that were originally built as part of the same cultural system.
Music in isolation
Music can be experienced for itself and some might argue that is the purist way to experience it. Yet linking it to a broader environment is often extremely useful for students, and music school trips to some of the above destinations might just help achieve that.
Angela Bowden works for EST (Equity School Travel), the UK's largest educational travel company, providing music school trips for secondary schools, primary schools and colleges. School trips with EST can encompass a wide range of learning opportunities in worldwide destinations.


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Best Tube Overdrive Pedals: Hard to Beat the TS9


You want a great tube overdrive pedal. You're in luck because the Ibanez Tube Screamer TS9 comes punching out of the box. This green hornet still provides the crunch many of your favorite artists desire, including The Edge, Billy Joe Armstrong (bless his soul - hope he returns to the scene soon), Steve Vai, Chad Kroeger, and of course, the man who brought the pedal it's immense fame, Stevie Ray Vaughan. After 30+ years of rockin' and rollin', this tube overdrive review explains why the Tube Screamer still has game.
To be upfront, the Tube Screamer is a pedal that is on the lighter "crunch" side. The beauty lies with it's ability to allow a guitarist's true sound to come through. That's a problem if you don't dig your clean tone because then you ain't gonna dig the TS9. But seriously, what guitarist isn't obsessed with their own sound? Also, because it was first designed to push your clean tube amp, many guitarists find it's a great addition to any amp they use.
Let's get into some specs. There shouldn't be any head-scratching with the Tube Screamer because it's based upon simplicity. You can tell by it's weight that this pedal is built to last. The working parts include the chrome footswitch, one input and output, and only three knobs: 1. Drive 2. Tone 3. Level. Default settings are 12 0'clock. Turn counter-clockwise for less effect, turn clockwise for more.
To control how much your clean signal is affected by crunch, turn the Drive knob either left or right. Default is 12 o'clock and will give you a real bluesy distortion. Crank it left, at it's lowest setting, you'll get more of a straight-line crunch without the roundness of the 12 o'clock setting. Also, the sustain is shorter the further left you turn the Drive knob. If you want mostly crunch with a medium-length sustain turn to the right of 12 o'clock. This will give you a George Thorogood guitar sound.
Changing the high and low frequencies is done with the Tone Knob. Farther to the left = higher frequencies. Farther to the right = lower frequencies. Dial in your sound by adjusting the positions on both the Drive and Tone knobs.
Your volume control is handled by the "level" knob. It doesn't effect the level of your normal signal, but does give you that "gain" element when you stomp the pedal "on". This is most effective when you need to jump above the rest of the band during a solo.
There you have it. You should be able to jump right in and create a great sound with your new Tube Screamer!
I've also written a detailed review of the Boss Loop Station if you're in the market for combining overdrive with the flexibility of a one-man band. The possibilities with both the Tube Screamer and the Loop Station are limitless!
Cheers and see you at the next jam!


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Musicals and Musical Theater


Musical theater, or "a musical," as it's come to be called, is one of the best forms of entertainment ever devised, in my opinion. You can get it all in there - you can have comedy and/or drama, music, songs, and dance all rolled up into one production on stage, on a movie screen, or even on a television screen.
You are told a wonderful and compelling story (drama) or you are made to laugh until you roll in the aisles (comedy). But above all, the whole story is told with more than just words or pictures.
"The Black Crook" is recognized as the first musical, and it's what gave America the right to claim having created the musical entertainment genre. The play was based on the novel by Charles M. Barras. "The Black Crook" opened on September 12, 1866, and ran for a record-breaking 474 performances. It was performed at the at the 3,200-seat Niblo's Garden on Broadway, New York City. There have been countless "revivals" of "The Black Crook" over the years.
Musicals are presented as big-budget, high-end extravaganzas on Broadway stages and in smaller-budget off-Broadway theaters. They're presented in big-budget movies and in not-so-extravagant low-budget films. They're presented by professionals, by amateur community theater groups, and by high school drama departments. Even kindergarten classes stage musicals starring vegetables and animals.
Musicals are generally profitable, no matter what venue they are presented in. Leave it to corporate America to find a cash cow. Today, Broadway musicals are most often corporate-sponsored. Musicals are making a comeback on television today, as well.
There are even musicals that have been created for the Internet! The best example is "Dr. Horrible's Sing-Along Blog," about a low-rent super-villain played by Neil Patrick Harris.
Concerts as Entertainment
I doubt anybody would argue the point that concerts could be called anything other than part of the "entertainment industry."
The definition of "concert" is: a live performance, usually of music, before an audience. You'll notice that the definition doesn't specify what kind of music or the venue of the performance. That's because there are concerts that feature music from classical to rap, and every genre in between.
Concerts are held in wonderful old theaters and concert halls that were built especially for the performance of music and have positively amazing acoustics. Concerts are also held outdoors in open-air venues where there are no acoustics at all. And we've all attended a junior high school band concert that was held in the school auditorium, gym, or cafeteria, where the acoustics are absolutely atrocious with sound bouncing around everywhere.
Nevertheless, no matter what kind of music or what the venue of the performance, a concert is entertainment. Although I must point out that sometimes audiences are drawn to concerts and are willing to pay dearly for tickets to concerts not just to hear the music being performed. Sometimes the audience is drawn to a concert because of the venue (Woodstock), the performers (famous singers or musicians), or because it is their duty as a parent to attend no matter how bad the music might be.
Famous singers and musicians often go on concert tours. The same concert is performed, but each night the performance occurs in a different city. Particularly in the rock and roll, pop, or rap genres, concert tours are very popular avenues to allow fans the opportunity to see their favorite singers and musicians perform. Ticket sales for concert tour performances usually represent a large percentage of the profits made by record companies, managers, and producers.
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Showtec XS-6 - The Best Lighting Effect of 2013?


The first time I spotted the XS-6 was in Frankfurt earlier this year at the annual MusikMesse show. Standing over two-foot tall and looking like something straight out of War of the Worlds, the XS6 dominated the huge Showtec stand. I couldn't wait to check it out further see if this beast was to live up to its', quite substantial, first impression.
Let's get the basics out of the way first, XS6 features 6, individually controllable moving heads on a pan/tilt base. Each head has a narrow 4-degree beam angle for creating powerful beam effects and each offers 9 gobos, 7 colours, full dimming, shutter, strobe and manual focus. Obviously this is all very impressive but how does it translate into a lightshow?
If you're as old as me (and you have my utmost sympathy if you are) then you may remember 'helicopter' effects from the 70's and 80's. These were effectively a number of coloured spot lights which were attached to rotating base. Depending on the size of the fixture, often, smaller groups of spots were on separate 'arms' that would be geared to rotate independently of the base. Anyway, the overall effect was coloured spots that would move all over the club in a seemingly random fashion creating a very dynamic effect. Well, nostalgia aside, my point is that the Showtec XS6 is effectively an updated version of this classic effect with but with a number of improvements that bring it directly into the 21st century.
Unlike the classic helicopter effects of the 70s and 80s, each spot on the XS-6 isn't tied to just a single colour. In fact every head can be changed individually to one of 7 colours and 9 gobos. Each head can be electronically dimmed from 0-100%, strobed and manually focussed. Each head can be precisely controlled and positioned through DMX and the XS-6 introduced the Y-axis to the party giving a 3 dimensional effect to your lightshow.
Aside from the additional features, the use of LED technology brings further advantages above and beyond traditional effects. LEDs are far more efficient than traditional lamps meaning that more light can be generated using less power and generate far less residual heat. LEDs also have a significantly longer life meaning fewer awkward lamp-changes making them perfect for installation purposes.
So, technologically, the XS-6 is amazing, visually it's very impressive but who's it designed for? To be honest, this is the one question that's been bugging me ever since I was blown away by the effect earlier this yet. The XS-6, despite its' capabilities, is not a viable alternative to using half-a-dozen 'normal' moving heads. The versatility simply isn't there and for lighting design and production it would be difficult to integrate into an existing show. It might be a touch on the pricey side for mobile DJ's and although having an XS-6 either side of your rig would look incredible, at three-and-a-half grand it will be out of a lot of mobile entertainers budget.
However, where the Showtec XS-6 really comes into its' own is as a standalone effect for bars and clubs. Singly as a centrepiece or linked in multiples in master/slave mode these fixtures can, with the help of a little smoke or haze, create an entire colourful and dynamic lightshow. The sheer size and presence of these effects add the wow factor and thanks to use of reliable technology, despite their apparent complexity, they should remain reliable for years to come.
Find out more and buy Showtec XS-6 at http://www.getinthemix.com
Get more details on the Showtec XS-6 moving head effects light at http://www.getinthemix.com We are the UK's No.1 store for DJ equipment, disco lighting effects, studio and PA gear. Call us today on 01206 845125 for information, advice or to purchase from our range of thousands of DJ equipment products.


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The BIC Subwoofer: Size Does Matter With Bass Response


You want a subwoofer but you're on tight budget and you don't want to sacrifice quality? There is a subwoofer that is budget friendly and will give you high end quality sound and is practical, sturdy, and long-lasting. It's the BIC America F12 subwoofer system. With the BIC America F12 you don't get a cheap subwoofer; you get an inexpensive, high-end subwoofer.
What distinguishes the BIC America F12? The most important component of a subwoofer is the size of the speaker cone. Most cheap subwoofers have nine or ten inch cones. The BIC America F12 has a twelve-inch cone, which means the subwoofer is more resistant to distortion that results from the intense vibration of low-frequency signals. Other cheap subwoofers with smaller cones deliver adequate sound, but the BIC America F12 delivers twice the performance.
So how much is your investment going to cost you? Subwoofer systems cost between $500 to $700. The BIC America F12 premium subwoofer system can be purchased for as little as $200. The key is to shop around and find when it is on sale. When you find one, don't hesitate. They are extremely popular and it could be gone in no time. Search online for a sale and also search music stores in your area.
The BIC America F12 subwoofer system is unique from other brands. Apart from the twelve-inch cone this cheap subwoofer has the unique Venturi Port that you won't find in other cheap subwoofers. The Venturi port stabilizes low-frequency sounds, which all subwoofers do, but there is always the problem of distortion and fuzz from movies and music with low-end frequencies that are too demanding on the subwoofer. The Venturi Port controls and stabilizes any noise distortion. Everything you hear is dynamic and pleasing to the ears. The powerful bass rivals most expensive brands.
The BIC America F12 subwoofer is intelligently designed. It detects minute changes in sound. Once frequency fluctuations are detected the Venturi Port goes to work adjusting automatically to the shifting frequencies.
So if you want quality at a cheap, inexpensive price seriously consider the BIC America F12.
Another smart choice for a cheap subwoofer is the Polk PSW10. This subwoofer is power and value rolled into one. It is notable for its small size and exceptional bass response.
The speaker is ten inches in size, which is adequate for most users. The ten-inch cone is designed to attenuate any distortion and deliver stabilized bass.
The Polk PSW10 subwoofer was designed using laser technology. Laser technology makes it possible to create a cheap subwoofer that adjusts to every level of bass output while stabilizing minute changes in low-end frequencies. It doesn't matter if you are listening to massive explosions or hearing the voice of a baritone. This subwoofer adapts.
The smart design of the Polk PSW10 subwoofer casing is able to utilize more power or less depending on the timbre of the bass. It's a very durable subwoofer. It's made with a nearly indestructible hybrid polymer that protects the components of the subwoo


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Listen to Learn - Learn to Listen


Learning to listen is a skill which I have come to put into practice when I'm recording my own blues and R&B. And listening to learn plays an equally important part too. Now just what do I mean by this and how did I accomplish this.
When I listen to a song I listen for enjoyment or I listen to really hear what the different instruments are doing. In this case I'm listening to the two guitar parts that are being played together or one over the other if you like. I pay attention to how they fit together and compliment each other. When I'm doing "this", I am listening to learn.
So now when I start my recording I put down one guitar track and I play that back and begin to get an idea in my head of what will sound good over that. Of course I have my guitar in hand to start the process. As I start to listen, I kind of use my " music intellect" which is what I will call it, to listen if what I'm creating is going to work. If the two guitar parts together don't conflict with each other, if they sound good, then I can move forward to the next verse or bridge or turn around, etc.
As an example here I would like to use the Rolling Stones, though there have been and are, other bands that have this talent for constructing great interweaving and complimenting guitar phrasings. But I've always found that the Stones, ( Keith and Ron Wood ), are so gifted in working with each other when creating they're various guitar parts in a song. Its a type of magic.
But of course, listening to learn, and learning to listen, aren't just limited to two guitars. When I'm working on my own, and adding the bass lines or keyboard fills, this same practice needs to be implemented. As I record and listen, is what I'm doing going to hit the mark? Is it starting to sound good, are the "parts" fitting together nicely and building upon each other? If so, to my satisfaction, then I've accomplished what I've set out to do. And that is to create a great blues or R&B tune.
As I continue to grow in my guitar playing, I continue to do a lot of listening to others whom I greatly admire and respect and who have been proven to be successful in their careers. And of course that's according to the general public who are the listeners and consumers of their music. So the "proof" is in the pudding as they say.
I cannot forget about Jeff Beck who in my opinion is so gifted. And of course the musicians he works with are equally as talented. How he constructs his material is beyond my comprehension. He is just so awesome! But I am quite sure he does a lot of listening to learn, and learning to listen.


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Stark Still Has It - Iron Man 3 Movie Review


After the slightly disappointing sequel to the original Iron Man movie, Marvel needed to turn it up for Tony Starks' third time going solo. Robert Downey Jr was seemingly made for this role and plays it to perfection, he just needs a great story to match his performance.
The movie begins in 1999, and to the tune of Eiffel 65. Tony is having an elevator ride with inventor Maya Hansen, the creator of Extremis, and Aldrich Killian, who offers them both a place at AIM (Advanced Idea Mechanics). Stark rejects the offer, and humiliates Killian. The movie then fast forwards you to present day with Pepper Potts running the company Stark built, while Stark spends his days building Iron Man suits. A string of bombings by a terrorist known as the Mandarin grabs Tony's attention, who issues him a challenge. This backfires on Tony leaving him with nothing. The whole world thinks Tony is dead, so he decides to team up with a ten year old boy named Harvey to investigate the Mandarin and stop him before he causes even more mayhem.
Robert Downey Jr is outstanding, as always in the role he seemed destined to play. He delivers the one-liners with elegance and is extremely entertaining to watch. I think the franchise would be nowhere near as successful without Downey in the title role, he very much makes it his own.
I was surprised by Ben Kingsley, although his character didn't turn out quite what I was expecting, he was thoroughly entertaining to watch.
I was slightly disappointed with Gwyneth Paltrow. I liked her in the role of Pepper Pots, but I thought she took up far to much screen time. It was all a little dull, and uninteresting. I think they were trying to meat out a thin character, and it didn't come off too well. If they had went into her backstory, a little more, or even fleshed out her character over the previous two movies, then this would have bought me into her character more this time round, but unfortunately that wasn't the case and I struggled to connect to her story.
I thought Guy Pearce was well cast as Killian, he seemed to perfectly fit the character, being an intellectual genius and extremely slimey at the same time. He created a character that I instantly wanted to hate, which is an excellent character trait for a bad guy.
The movie excels with its special effects and super hero action. The CGI seemed to blend into the movie perfectly for me, as I sometimes find to much CGI a great distraction, this seemed to blend and balance it perfectly for me. I would not say that this has as much Iron Man action as previous outings, but still more than enough to wet your action apetite. A special mention needs to go to War Machine/Iron Patriot, who I felt got a great crack of the whip. One thing about the Iron Man franchise that I have always liked is that it gives War Machine a nice amount of screen time, as I like the character.
The movie had a great mix of action, humor and story development that makes the movie extremely entertaining, as well as marching along the Marvel Universe timeline nicely. The movie tries to restrict the seriousness, and plays to Downey's charismatic humor which comes over on screen so well. The only down point for some fans may be the lack or Iron Man, and the over exposure of Stark, but I thought it was OK.
Overall though, this movie is great superhero fodder that will no doubt continue the trend of box office super hero movies and do extremely well. Although it does not measure up to The Avengers, it is not far behind, and in my opinion the best Iron Man movie to date.
**Note: Stick around after the credits to see an entertaining scene with Tony Stark and Bruce Banner a.ka. The Incredible Hulk.


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