New York City DJ Duo the Chainsmokers

At the Billboard Music Awards over the weekend, the band The Chainsmokers gave an award for the Top 100 songs to the Swedish DJ, Avicii. The Billboard music awards took place in Las Vegas, Nevada at the Grand Garden arena. The Chainsmokers made a speech saying this person was a big inspiration to the EDM community. Further saying Avicii was a kind and caring guy to work with. Later on during the show The Chainsmokers mentioned Avicii again, while announcing the award for the Top Dance and Electronic act. In fact that particular award was dedicated to Avicii. Avicii is loved and missed by many.

Avicii passed away back in April at the young age of 28. It was later released that the reason for his death was apparent suicide. Avicii biological name was Tim Bergling and he has music that may still be released at a later time.

During the award show, host Kelly Clarkson mentioned the victims of the Santa Fe High school shooting in Texas. Stating that a change needs to be made to prevent other shootings in the future.

The Chainsmokers

The Chainsmokers is a DJ duo group from New York City, made up of Alex Pall and Andrew Taggart. Their first single “Selfie” made the top 20 in many different countries throughout the world. In the beginning the duo included Alex Pall and DJ Rhett Bixler. Later on in 2012, this group was re-invented by Adam Alpert. This is when Alex Pall was introduced to Andrew Taggart. In 2013 they released their single “Selfie” for free in late 2013. The duo had their first live performance during fall of 2014. The song “Selfie” was picked up by Dim Mak records and later redone by Republic records. Eventually they decided to sign with Disruptor records.

https://www.beatport.com/artist/the-chainsmokers/299448

Lawrence Bender Helped Keep Reservoir Dogs’ Budget Under Control

Reservoir Dogs consistently gains a mention for changing people’s perspectives on how screenwriting can be done. The basic narrative concept established many decades before was turned on its proverbial head when Reservoir Dogs hit art house screens in 1992. Quentin Tarantino deserves tremendous credit for his writing ability. Lawrence Bender should receive cheers, too. Aspects of the screenwriting worked in concert with the ability to produce the film at a reasonable budget. Without the guiding hand of a skilled producer such as Lawrence Bender, Reservoir Dogs’ budget might have skyrocketed upwards. The impact of an out-of-control budget on Tarantino’s career can’t be overstated.

One of the intriguing aspects of Reservoir Dogs involves the brutal diamond heist appearing offscreen. This changes the dramatic and narrative structure of the film immensely. By keeping the shootout off the screen, audiences must listen to what the characters say about the events. This helps the dialogue-heavy film. Reservoir Dogs succeeds thanks to the unique characters and sharp dialogue. Eliminating the shootout gives audiences a reason to hang on what the characters say.

Such a decision wasn’t exclusive to a screenwriter’s desire to dazzle viewers. A major shootout between crooks and the police in a jewelry store couldn’t be done without spending significant money. $1.5 million was all the production house had to invest in the making of Reservoir Dogs.

Lawrence Bender understood the movie was only going to gain a limited release. Therefore, the budget couldn’t rise to the point recouping the investment would be impossible. Although Bender’s background combines the unusual mix of a formal education in civil engineering and a professional career in dance, he understood how to keep an eye on a motion picture’s bottom line. Such wisdom came long before his eventual Oscar nominations.

Reservoir Dogs needed to make its initial investment back. A “money loser” wouldn’t exactly lend help to Quentin Tarantino and Lawrence Bender’s careers. Reservoir Dogs, while an outstanding film in its own right, mainly served as an audition for bigger films for the director and producer. Why would a studio hire people who produced a costly financial failure?

https://www.empireonline.com/people/lawrence-bender/

Huston Likes DiGiCO

Clay Huston, veteran DiGiCo user, has dedicated himself to a variety of tasks in engineering, production, and tour manager. He initially discovered the SD rack-mountable system through his reading, and became immediately excited about getting one as soon as he could.

From an SD7, used last year during Maxwell’s tour, to a handful of SD8’s for quick gigs, Huston has driven pretty much every DiGoCo console available.

Touring with Marilyn Manson, Huston explains, he had one of the original, hand-crafted D5’s, some ten years ago. Keeping in mind the wild and unpredictable behavior of Manson, Huston had some concerns that the console might be damaged in the process. But DiGiCo, he claims, had his back. The support he received has since become mutual, with both parties reaping the benefits.

Due to the expense of consoles, Huston demanded that he be able to carry his own with him. While he wanted to be able to manage the sound quality of effectiveness, his choices were quite limited. What he needed was a more compact set-up that he could easily store on tour buses, or, when flying, check as baggage before boarding the aircraft.

The smallest offering, at 19 inches, was the best choice for him. The small SD11 unit, DiGiCo’s most compact, offered all the same features and usability that he’d become accustomed to in his career. Last, but certainly not least, the 19” SD 11 was both lightweight and inexpensive. Learn more: https://medium.com/@claytonhutson49

 

Because of his success with DiGiCo, he was intrigued by the SD11, and requested funding so that he could get one of his own. This happened, he says, while on tour. He got the necessary money and was pleased to receive the unit in the mail soon thereafter.

He opened the package and found that the new unit worked immediately. In less than twenty minutes, he had it set up, reconfigured, with all of the inputs and outputs set.

Hutson is now eager to face the challenge of doing both FOH and Monitors for a stripped-down performance by Lewis, concentrating the most on Lewis’ guitars and vocals. And even though the tour accounts for only a slight amount of his general workload in music production, keeping the performance simple was still a somewhat daunting, but exciting, task.