I'm a pedal steel guitar player from Phoenix, Az. I have been playing steel and banjo for 15 years. I have a contemporary style and can adapt to other forms of music such as a classic rock, bluegrass, and some contemporary style jazz. I originally came from a bluegrass background playing banjo as my main instrument. I'm influenced by traditional scruggs style. I have mp3 samples of some session work I have done for local artists.
looking for:
I'm looking for a fiddle player, lead guitar that knows how to chicken pick, and a rhythm guitar player. I'm looking to complete a instrumental CD that features classic country, contemporary country, bluegrass and some classic rock.
I'm also need these instruments to complete backing tracks for live DUO gigs I'm trying to book.
I prefer to trade out services since I don't have a budget to pay musicians at this time.
http://imasongwriter.org/members/profiles/Tim.Pillow.htm
Tuesday, April 24, 2012
Friday, April 20, 2012
Raimund Weidinger
*Studio Recording time.
We manage, book and promote bands!
We have over 20 yrs experience. We have bands available. rock, country , you name it! We have a great solo artist for any occasion.
http://imasongwriter.org/members/profiles/Raimund.Weidinger.htm
Wednesday, April 18, 2012
Roger Bret
I've written 9 original songs on my album, "A Little Bit Country". They are unique ballads about life and friends from different phases of my life and times. All songs were produced at my recording studio, VECTOR STUDIOS in Laguna Niguel California where I do voice-over work as well. My group, The Other Band is currently playing casual gigs, in the form of weddings, parties, and events, in the local areas of Orange County and Los Angeles Ca. I also performs as a One Man Band, using a digital drummer that has sequenced bass patterns giving the sound of an actual 3 piece band and play harmonica along with it, so he creates 4 actual instrumental sounds. When you add to this mix of instruments the amazing guitar I use called a GUITORGAN, you get a 5th sound of an actual organ. The entire package of entertainment is great for small gatherings, and parties where cost, and available space are of major consideration. If music is not on your list of desired entertainment, I do a stand-up comedy act that is hilarious, and keeps the crowd in "Bent over stitches" as it has been described by many who've seen it.
Since I have been a professional photographer for 20 or more years, I've also been hired to do the still photography at a party and can supply the host with a CD of the photos before leaving the event. My felling is, “Why just stand around on my break when I could be taking pictures of everyone adding to the fun!”
http://imasongwriter.org/members/profiles/roger.bret.htm
Steve Campbell
Hi , I'm Steve , owner of I.M.P., an agency run for musicians by musicians. I am a seasoned drummer seeking employment and also groups to form, play with and book nationally. I can play bass, keys and sing back up vocals and also collaborate with digital music producers and connect them with other artist within my network. I'm close to being a one stop shop.
II I.P. (intellectual property) taken from the I.M.P. band induction manual.
The answer to questions regarding how I.M.P. works with respect to your intellectual contribution.
Co- writing rule Book
1. Songs written from start to finish are sole property of the writer.
2. No song shall be brought to the table or into the repertoire of scheduled original songs for re-arrangement or recording if it was co written with a member of the band and an outside party. The explicit written consent of the additional co- writers is the only remedy to this clause.
3. Songs arranged by members in addition to the writer(s) are not subject to publishing credits until after the songs are recorded for the purpose of distribution and sale. The recorded version of the song must reflect the influence of clear collaboration and in the witness the collaborators, to include the writers responsible for the works inception (ie those who started the ball rolling with an idea). It is rare but possible for an idea to invoke the plethora of ideas to follow and for those ideas to take precedence and for the original idea to be discarded. The line is drawn firmly in that for the sake of mutual benefit to those involved, that in the passion of collaboration it was an idea given to you that allowed you to better grasp your own contribution (the one the band kept) and for that, you are willing to share in the fruits of that creation. I call it “spark to fire” theory. This might happen when a guitar line sparks the bass line and we keep the bass line. The guitarist clearly pushed the bass player into a place of creativity. This kind of clause also helps almost every collaborator earn a publishing credit for the song and creates a more fair division of wealth between members hence giving all members the same level of ambition and drive to work for their band.
4. Works can be split as many ways as there are co-songwriters. Typically 4 to 6 different people may be on a Songwriting credit.
5. A collaboration would need to include melodic changes to song structure in addition to rhythmic accompaniment. The drum beat is not copy written however arrangement or instrumentation may influence the overall sound of the work. This changes the number of people who influenced the song, it is worthy of consideration. If by chance each member touches the song in this manner, all should in theory split profits from it's broadcast. Again the influence must be substantially more than what a mechanical royalty would cover.
A Production Royalty is usually awarded to the Producer. Production influence can include tonal, Effectual and procedural enhancements in the overall sound at the production stage of the recording project and finished product. This is part of the collaboration process between members. It is integral to the groups survival that credit is given where credit is due. It is important to recognize potential conflicts of interest and work together to avoid or remedy them before problems occur.
It is possible for a member to be the Producer depending upon their financial commitment. If the band splits the cost of the record evenly, the propensity for potential value to sway in the interest of certain members is grossly eminent. This is because the Co-writing credits may naturally favor certain writers as the songs are picked. Since we will vote on what goes to record based on the quality of the song and it’s commercial viability as oppose to whether or not we wrote it, we must think first of the overall final product and put our best songs forward. Often group members make alliances to encourage the production of a song they wrote. Often the band will have third party feedback influence the choice of material. Often the guy flipping the bill has final say. If this person is a band member, that record will reflect a larger influence from that member. The chips will fall where they may. In most cases by the time a song reaches the studio each member has touched the song, but usually only one or two added lyrics. This is a separation of interest in the song. Words and Music means 50% - 50%.
While a lyricist may get 50% of the song, the other five members may have to split 50% of the royalties with the lyricists and a chunk to the Producer for making it all possible. A Publicist will be hired in the event of a commercial Studio Recording.
Engineers are not producers. They will be paid prior to the release of the recording and will not receive a royalty. The person who told him what to do might. Or we will be pool from within the group since several of us have an interest in mixing and post production. I would prefer to keep everything in house.
looking for:
Several projects are being built right now. Rock, Jazz, Reggae and Pop/R&B
http://imasongwriter.org/members/profiles/Steve.Campbell.htm
II I.P. (intellectual property) taken from the I.M.P. band induction manual.
The answer to questions regarding how I.M.P. works with respect to your intellectual contribution.
Co- writing rule Book
1. Songs written from start to finish are sole property of the writer.
2. No song shall be brought to the table or into the repertoire of scheduled original songs for re-arrangement or recording if it was co written with a member of the band and an outside party. The explicit written consent of the additional co- writers is the only remedy to this clause.
3. Songs arranged by members in addition to the writer(s) are not subject to publishing credits until after the songs are recorded for the purpose of distribution and sale. The recorded version of the song must reflect the influence of clear collaboration and in the witness the collaborators, to include the writers responsible for the works inception (ie those who started the ball rolling with an idea). It is rare but possible for an idea to invoke the plethora of ideas to follow and for those ideas to take precedence and for the original idea to be discarded. The line is drawn firmly in that for the sake of mutual benefit to those involved, that in the passion of collaboration it was an idea given to you that allowed you to better grasp your own contribution (the one the band kept) and for that, you are willing to share in the fruits of that creation. I call it “spark to fire” theory. This might happen when a guitar line sparks the bass line and we keep the bass line. The guitarist clearly pushed the bass player into a place of creativity. This kind of clause also helps almost every collaborator earn a publishing credit for the song and creates a more fair division of wealth between members hence giving all members the same level of ambition and drive to work for their band.
4. Works can be split as many ways as there are co-songwriters. Typically 4 to 6 different people may be on a Songwriting credit.
5. A collaboration would need to include melodic changes to song structure in addition to rhythmic accompaniment. The drum beat is not copy written however arrangement or instrumentation may influence the overall sound of the work. This changes the number of people who influenced the song, it is worthy of consideration. If by chance each member touches the song in this manner, all should in theory split profits from it's broadcast. Again the influence must be substantially more than what a mechanical royalty would cover.
A Production Royalty is usually awarded to the Producer. Production influence can include tonal, Effectual and procedural enhancements in the overall sound at the production stage of the recording project and finished product. This is part of the collaboration process between members. It is integral to the groups survival that credit is given where credit is due. It is important to recognize potential conflicts of interest and work together to avoid or remedy them before problems occur.
It is possible for a member to be the Producer depending upon their financial commitment. If the band splits the cost of the record evenly, the propensity for potential value to sway in the interest of certain members is grossly eminent. This is because the Co-writing credits may naturally favor certain writers as the songs are picked. Since we will vote on what goes to record based on the quality of the song and it’s commercial viability as oppose to whether or not we wrote it, we must think first of the overall final product and put our best songs forward. Often group members make alliances to encourage the production of a song they wrote. Often the band will have third party feedback influence the choice of material. Often the guy flipping the bill has final say. If this person is a band member, that record will reflect a larger influence from that member. The chips will fall where they may. In most cases by the time a song reaches the studio each member has touched the song, but usually only one or two added lyrics. This is a separation of interest in the song. Words and Music means 50% - 50%.
While a lyricist may get 50% of the song, the other five members may have to split 50% of the royalties with the lyricists and a chunk to the Producer for making it all possible. A Publicist will be hired in the event of a commercial Studio Recording.
Engineers are not producers. They will be paid prior to the release of the recording and will not receive a royalty. The person who told him what to do might. Or we will be pool from within the group since several of us have an interest in mixing and post production. I would prefer to keep everything in house.
looking for:
Several projects are being built right now. Rock, Jazz, Reggae and Pop/R&B
http://imasongwriter.org/members/profiles/Steve.Campbell.htm
Monday, April 16, 2012
William Pruett
i want to help others learn their craft as well as myself the best that we can. i am a liberal person and i just love making music.
looking for:
all musicians
http://imasongwriter.org/members/profiles/William.Pruett.htm
looking for:
all musicians
http://imasongwriter.org/members/profiles/William.Pruett.htm
zeinab wehbe
http://imasongwriter.org/members/profiles/zeinab.wehbe.htm
Duane Gourdin
Duane Gourdin
Musical career doing back round vocals/cartoon voice-overs and transcriptions for TV and radio commercials in New York.
As a Musical Director / Synthesist for
The Joneses
Gloria Gaynor
Evelyn “Champagne” King
Force MD’s
Afrikka Bambatta and the Soul Sonic Force
As Musical Director / Synthesist he has toured / played with a variety of artist such as
Skyy
Crown Heights Affair
Chante Moore
Alexander O'Neal
Cherrelle
Prince
Four Tops
New Edition
Melissa Morgan
Cameo
Millie Jackson
Larry Graham
Full Force
Jermaine Jackson
The O-Jays
Morris Day and The Time
Harold Melvin
Chaka Khan
Stylistics
The Spinners
Jermaine Jackson
Barcay’s
Con Funk Shun
Brenda Russell
Lionel Ritchie
Frankie Beverly and Maze
Kool and The Gang
Luther Vandross
Judy Garland
Carol Burnett
Frank Sinatra, and Count Basie , and many more. After performing at most of the major concert venues around the world he came to Houston, Texas and worked on his degree in Audio/Video Engineering
http://imasongwriter.org/members/profiles/Duane.Gourdin.htm
Musical career doing back round vocals/cartoon voice-overs and transcriptions for TV and radio commercials in New York.
As a Musical Director / Synthesist for
The Joneses
Gloria Gaynor
Evelyn “Champagne” King
Force MD’s
Afrikka Bambatta and the Soul Sonic Force
As Musical Director / Synthesist he has toured / played with a variety of artist such as
Skyy
Crown Heights Affair
Chante Moore
Alexander O'Neal
Cherrelle
Prince
Four Tops
New Edition
Melissa Morgan
Cameo
Millie Jackson
Larry Graham
Full Force
Jermaine Jackson
The O-Jays
Morris Day and The Time
Harold Melvin
Chaka Khan
Stylistics
The Spinners
Jermaine Jackson
Barcay’s
Con Funk Shun
Brenda Russell
Lionel Ritchie
Frankie Beverly and Maze
Kool and The Gang
Luther Vandross
Judy Garland
Carol Burnett
Frank Sinatra, and Count Basie , and many more. After performing at most of the major concert venues around the world he came to Houston, Texas and worked on his degree in Audio/Video Engineering
http://imasongwriter.org/members/profiles/Duane.Gourdin.htm
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