Archive for December, 2008
Dec
21
My First 5-String Bass Guitar
Posted by: | Comments
One of my face-to-face students recently asked my about converting his 5-string bass to a 4-string. This "backward" conversion brought back memories of my first 5-string bass.
It was around 1988 that I became interested in playing 5-string. Although the concept had been adopted well over a hundred years ago for double bass, it was quite new for bass guitar. Being a formally trained classical double bass player, I was already familiar with the 5-string concept in its various guises, and had played several 5-string upright basses on occasion.
Because no music stores in my area had 5-string bass guitars at that time, I decided to convert my one-and-only bass guitar myself. I bought a bridge, a tuning peg, a B-string and a blank nut, drilled a hole in the headstock, filed the nut grooves, and did the conversion in one afternoon. Brave? I don't know. I just had to find out.
That very night I had a gig. Yikes! Brave? I didn't even think about the implications at that time ... I was so excited about my "new" bass. The worst thing that happened was that I occasionally played fifths instead of chord roots. Of course I was used to using the E-string as my visual reference. Which 4-string player is not!
The lesson I learnt from that very first night on my 5-string was to learn the notes equally well on ALL strings and to not use any specific string as a reference. The main thing I practiced - and made myself conscious of on all gigs - was to know which string I was on at any given time.
This new consciousness has helped me enormously in my confidence of playing any stringed instrument (except when I am playing completely by ear) and definitely helped my learning of the 6-string bass (which is another story where further learning elements were introduced).
The student I mentioned above has not done his "backward" conversion yet.
Besides being an innovative and highly respected music educator, George Urbaszek plays double bass, guitar, bass guitar and bassitar. He has over 3000 performances and 120 recording sessions to his credit and has toured Australia, Central Europe, Canada, USA and the Pacific Islands.
George has performed with artists ranging from Rolf Harris through to Judith Durham, Beccy Cole, Marina Prior, George Washingmachine, Thelma Housten and the New York production of Porgy and Bess. His former students include Brendan Clarke (winner of the Australian National Jazz Award), Kim Khahn (Robbie Williams, Mel C, Natalie Imbruglia) and Rory Quirk (John Butler Trio).
After lecturing for thirteen years in the Jazz Department of the Australian National University, George is now residing near Byron Bay, Australia, where he works from home teaching students from all over the world using an innovative approach of step-by-step online bass lessons. These lessons cost as little as US $3.79 each and are available at http://www.creativebasslessons.com
FREE, No Obligation Insurance Quotes
Dec
20
What Does it Take to Become a DJ?
Posted by: | Comments
A disk jockey career path can be both fun and challenging. The thrills of the job are apparent to most people. DJs get the chance to talk with celebrities and with the general public. They get the chance to entertain, to inform and to educate large segments of the population. It's the chance to let your unique personality shine for all to hear. A great DJ is a professional conversationalist, a dispenser of information, a communicator, and someone who can speak clearly and succinctly about a range of topics. It's someone who can build a rapport with celebrities and the general public. But most of all, becoming a DJ means being someone who works hard and loves what they do.
Personality is a DJ's calling card. A great DJ is talkative, friendly and trustworthy. Every DJ must be a bit of a performer and a professional. But no one is born a DJ, no matter how natural some may appear to be on the air. The DJ's on-air persona is one that's been developed and refined over years of practice and performance.
Having a successful disc jockey career also means being a professional and not letting the audience down. A DJ can't let a bad day affect their on-air routine. And it's also someone who won't let the solitude affect them. Many would be surprised, but despite their upbeat and chatty nature, most DJs describe isolation as one of the toughest parts of their job. Being alone in a booth, often at odd hours, can be tough. But all professional DJs learn to be comfortable with that occasional solitude.
And while a disc jockey career depends on winning personality that gains favor with an audience, there are plenty of other qualities just as important to success. We all know a great DJ is someone who can communicate, but many forget that communication is a two-way street. A DJ is not just a skilled orator, but also a good listener. A great DJ will listen closely to their audience and their guests and know and react accordingly. That's because a great DJ knows their audience. It's someone who knows what interests the audience and knows what the audience cares or doesn't care about. It's someone who cares about the community he or she serves.
And when becoming a DJ, one must know the personality and goals of his or her station and be able to accurately reflect them. As the public face (or more appropriately, the public voice) of the station, the DJ must know how to act, on air and off, in a way that reflects the values of their broadcaster. So having a good disc jockey career means one should be just as comfortable outside of the studio, meeting the audience face-to-face, as inside the studio behind the mic.
A great DJ is also quick-witted, it's someone who can think on their feet. The world of broadcasting is often fraught with last-minute changes and breaking news which means that the DJ often has to broadcast without a script. Winging it can be intense, but it can also be the most exciting part of the job. And it can make for memorable radio. But most of the time, the DJ must stick to a schedule. The DJ has to keep a close eye on the clock and know when a commercial is coming up or when an important interview will air. And let's kill an old stereotype right here: a DJ is not just some empty, talking head. DJs must know about radio production and editing. They must learn how to handle the high tech studio and computer equipment. They must know how to create recorded segments and promos, as well as outside-of-the-studio field recordings.
Landing a hosting gig on a radio show is usually the crowning achievement to becoming a DJ. And that's because it's something that doesn't happen overnight. It's only the result of years of training and experience-gathering. Starting a disc jockey career and getting those first broadcasting jobs can be tough. Getting experience is vital. Many start out as announcers at their schools, often on college radio stations, sometimes at school sports events. Others go to broadcasting schools, where they gain experience while learning the ropes of the broadcasting world. The best broadcasting schools offer extensive in-studio time. But whatever one decides, one must be in for plenty of challenges, hard work and life-changing experiences.
Tim White is the director of admissions for the Ohio and Illinois Centers for Broadcasting and has been FCC licensed since being a college radio DJ. He taught communications classes at the college level and helps students start a disc jockey career. He also authored several published articles in various trade magazines.
Online Tickets
Related Blogs
- Related Blogs on What Does it Take to Become a DJ?
- XXLmag.com - » Legend, DJ Nice & DJ Green Lantern: Back 2 The ...
Dec
16
Help Your Fiance Plan the Wedding
Posted by: | Comments
Big moment, a big day and even bigger plans to make it happen! Jekyll needed potions but you'll get the chance to watch the person you love transform into a giant bucket of anger, sorrow and stress for free. But don't worry, with work, you can help your beloved plan the day and return from madness!
Organizing and prioritizing is key for a wedding. It's huge with lots of appointments, decisions, contact names and fears. To begin, help your fiancée organize the wedding's items into a planner or notebook and prioritize what needs to be done first, then second and so forth.
Start delegating tasks. Do what you can for your fiancée and get it off their plate and their mind! Get help from those that you trust to get things done.
Make sure they can find you. Few things send a wedding-planning fiancee into the stratosphere like feeling lost and feeling alone! Be there when they need to vent. Be available to the vendors (hall, cake, DJ, etc) for their questions.
Know when enough is enough. Recognize those moments of overload and take your fiancée away. Shut down the planning-machine and get some rest. Be strong enough to tell your fiancée enough is enough, RELAX!
Keep your eye on the prize by focusing on the main event - the marriage, not the wedding. It is too easy to get swept up in the wedding details and be overtaken by the relationship. Always go back to what it's really about reaffirming the relationship!
http://www.hunterchad.com/innerwife
Fishing Gear
Dec
16
Get Media Airplay
Posted by: | Comments
Book review:Get Media Airplay: A Guide to Getting Songs Exposure, Music/Product Tie-Ins, Brand Integration Discoveries, and Radio-Play Spins! By Rick Davis, Hal Leonard Corporation, 7777 Bluemound Road, Milwaukee, WI 53213, ISBN 978-1-4234-1308-0 ,1-4234-1308-3 , $12.95, 160 Pages, 2006
Rick Davis' new book contains a wealth of information for those looking to break into the music business. Mr. Davis is the master of press, public relations and music marketing. Long respected in the industry for finding airplay for independent and label artists, he cuts to the chase in his new A-Z book on going from zero to star. If you're looking to by-pass American Idol, this definitive new book is your road map. Not being in the music business myself, I found the book an easy read, chock full of sure-fire ways to learn the basics and a whole lot more.
Chapter titles include: The Price of Music, Radio Format Fundamentals, Radio Station Job Details, The Main Keys to Handling Radio Promotions, Radio Industry Tracking Services, What Every Musician Must Know!, How to Build Your Media List Doing FCC/Radio.net/Arbitron, Demo Radio/Event Plug Case Studies, Build a Fan Base Showcasing Promoter's List, The Mix Tape Phenomenon, Digital Music Programming, Obtaining Album Exposure from Satellite Radio Programmers, What About Independent and New Bands Getting Adds at Alice@97.3?, Radio Show Producers List, Planning and Being Prepared for Your Professional Development, Musician's On-Air List of Performance Opportunities, Radio Promotions Program Guide, National Reporting DJ Sheet, Directory of Professional Independent Publicists, The Hottest PR Firms and Music Web Sites, Internet Broadcasters and Resources, and Press Media Outlets. Additional features are an introduction, glossary, and an author biography.
A perfect desk reference book for those looking to make the charts or those looking to jump-start their music career. The inside skinny in this book is worth ten times the price.
Mark Nash is a Chicago based residential real estate author, broker and columnist. His advice, analysis and tips have been featured on: Bloomberg TV, CBS News, CNN, Fox News Channel, NBC News, The New York Time, The Washington Post, Business Week, Parade, and Smart Money Magazines, The Library of Congress, Washington, D. C., HGTV.com, and RealtyTimes.com. Nash's annual survey "What's In, What's Out with Homebuyers" is utilized by more than 500 news organizations in the U.S. and Canada.
FREE, No Obligation Insurance Quotes
Related Blogs
- Related Blogs on Get Media Airplay
- Get Media Airplay
Dec
14
Christian Music’s Finest Hour
Posted by: | Comments
In February of 2005 Judson Cornwall one on America’s finest teachers and a prolific author on the subject of praise died peacefully after a four year bout with cancer. For the last quarter of his life he taught thousands how to praise God. He started his emphasis on praise and worship in the church at a time when the praise and worship element of the music industry was still in its infancy.
Sometime before this grand old gentlemen of faith died I heard him tell a story I have never forgotten. He was called to a Christian home to counsel with a family that had been experiencing a great deal of discord among them. He advised them on several levels on how to deal with their problems. Finally he said that he noticed that all the time he was in their house that he could hear the TV playing in one room and from the other rooms came the sound of the radio with rock and roll, loud hype and advertising clamor.
He told them to shut off all the noise and replace it with praise music, gospel songs and hymns. They took everything he said to heart and replaced the sound clutter with good Christian music. On his next visit to their house he found a peaceful setting where each family member conducted themselves quietly, courteously and with respect. Sound too good to be true? Make no mistake, it is true and it will always work. It is the combined power of the gospel and of music.
The Bible says that just a few things from this present time will cross the great divide and traverse to the presence of God. They are the souls of men, the product of loving deeds, and yes, music. We will be making music and singing for all eternity. What does all this say about music? Simply put music, anointed Christ honoring music has connected to it an eternal quality. It is with good cause that those who are gifted with the power to communicate Gods message with musical craft call their work a “music ministry.”
Those who labor in a music ministry today have more tools and opportunities available to them than at any other time in history. Modern technology has spawned electronic production and replicating devices that can host an entire orchestra in a tiny bit of circuitry.
Even with just traditional acoustic instruments the means of publishing and distributing the sounds of the many Jubals God has raised to serve him with music can be spread around at the speed of light. MP3s, hi-tech digital editing gear, and the means of publishing and reproducing the sound by almost anyone even at home has nearly transformed the old lumbering and hapless kind of promotion known in the past.
So what’s going around these days? It is an understatement to say that the best is getting better and the fledgling sounds of the newbies is bringing up the rear with great promise and skill.
Cross genre is becoming mixed genre in gospel music. Seeing Doyle Lawson and Quicksilver appearing with Bill Gaither was only the beginning. Bluegrass gospel is being woven into the fabric of Southern Gospel and old time quartet gospel music harmoniously, to borrow a musical term. Hillsong is now in the good company of dozens of great contemporary praise groups and the sounds of worship are popping up in country gospel and Southern gospel as well.
Perhaps only a musician might notice that there is a kind of admixture of instrumentation going on these days. I have played five string banjo for thirty years and guitar for over forty years and I listen carefully to instruments and their places in the overall presentation of any particular piece of music.
It is not uncommon today to hear instruments once reserved for a specific genre being incorporated into the new sounds of ecleticity’s finest productions. Celtic and British Isles instruments like the penny whistle are carrying melodious strains in the backgrounds of many of today’s praise songs. The mandolin and the hammered dulcimer normally associated with Appalachian mountain music are showing up in every genre both as studio instruments and stage accompaniment.
Christ has promised that he would pour out his Spirit in the last days to aide all those who labor to get his gospel out to the world. (Joel 2:28) There is little doubt that Christian musicians and artists are experiencing some of that outpouring and it is readily apparent that their music is rising to meet the day.
This great company of music makers perhaps will lead thousands in music for ages to come. We have so many of them we expect to hear once again as they bring us a new song in a new and wonderful time. Who are they? The names are far too many but for a cross section just look at the names I found on just a couple of CDs featuring Christian music from various genres in my own recently purchased collection.
You can imagine the songs; I’ll give you the names. The Chuck Wagon Gang, Porter Wagoner, Tennessee Ernie Ford, George Beverly Shea, The Lewis Family, The Oakridge Boys, The Statler Brothers, Bill Gaither, Dottie Rambo, Wendy Bagwell, Melanie Walker, Suwannee River Boys, The Ruppes, The Melody Trio, Keith Green, Hillsong, Amy Grant, John Michael Talbot, Jeremy Camp, The Katinas and many others.
Most of us in the Body of Christ cannot imagine our worship experience in or out of our respective churches and gatherings without the sounds of these wonderful artists and musicians. I hope I may speak in some small way for all of us in offering our thanks to you all and this bit of encouragement. Keep up the good work because as the Lord pours out his Spirit you will see the best is yet to come.
Rev Bresciani is the author of two Christian books one that is entirely on the second coming of Christ. He is a contributing columnist for several online news and commentary sites. His articles are read throughout the world. Please enjoy a visit to http://www.americanprophet.org
Traffic Light Changer for Motorcycles
Dec
14
Guitar Lessons For Children
Posted by: | Comments
Music is a wonderful self-disciplinary exercise for children. If a child shows interest in music and chooses guitar as his course of study, it should first be determined if the child can persist through the sometimes tedious process of learning to play guitar. Bear in mind that there are also various styles of guitar music, i.e., classical, jazz, blues and rock. Within each of these guitar genres, there are also various signature styles influenced by guitarists with a professional following. Many young students choose the genre they are most often exposed to.
Guitar lessons are required. Seek a professional, musically well-rounded, guitar teacher. In the first six to eight weeks of guitar lessons, the student is taught to read music, if he doesn't already have this ability and to coordinate this with learning to play guitar. These initial guitar lessons give an indication of the student's desire to learn. Once the student becomes adept in reading music and playing musical notes on an acoustic guitar. These guitars are generally inexpensive for beginners and are often available on a rental basis from the guitar studio.
In the second phase of guitar lessons, the student learns to "chord", combining several notes picked simultaneously. This is generally the point at which students gravitate to a specific genre of music. Students learn to play guitar with a "pick", a small triangular disk with which the strings are "picked". Or, fingering without a pick. Some guitarists also use a "slide" to enhance the sound of each notes. The slide is a tubular shaped cylinder sometimes made from metal, bone or glass and slipped over the finger and laid across the guitar strings. This method is found most often in blues music or bluegrass. One less common playing technique is to pluck the strings with the thumb. Another is the use the palm of the hand as a "baffle" across the small opening in the center of the front of the guitar. This method has the effect of altering sound volume.
While guitar lessons may be found on the internet, it should be noted that this form of instruction still requires oversight and direction for children, especially in the earliest phases of instruction, depending on the age of the student. Online guitar instruction requires self-motivation. This form of instruction is easier for adults than children. The obvious advantages of receiving guitar instruction from a professional instructor are readily available help whenever difficulties arise in the lessons.
Once a student reaches the advanced phases of guitar lessons, he is encouraged to try performing before an audience or to play guitar with other types of musicians. This affords the student a more well-rounded course of guitar study.
Start your child learning guitar today. Check out our Jamorama review that details how this downloaded guitar lesson product can help your child learn the basics of guitar quick.
Fishing Gear
Dec
13
Why You Need to Play a Hollow Body Semi-Acoustic Guitar
Posted by: | Comments
Ok so you play guitar or are looking to learn….but which guitar do you buy? It’s a question that guitarists the world over ponder time and time again.
Sure there’s the ever greens such as the Fender Stratocaster or the Gibson Les Paul and their inexpensive copies. But that’s a well trodden path – what you want is a little character a little something that makes you stand out – what you want is a hollow body semi acoustic.
Why a semi acoustic?
Ok for starters a Semi Acoustic looks the business. Take a look at a Gibson 335 with it’s smooth double cut away design and it’s elegant curves. When you step on the stage with a semi acoustic people notice. Take a look at a Strat or a Les Paul then take a look at a Semi – there’s a stark difference first off, semi’s are big but more importantly they are much lighter than their solidbody, comfortable to play and pack a punch in the sound department.
Their sound
Coupled with it’s looks hollow-bodies have a great range of tone and musical capability. From the Epiphone Casino’s beautiful Jazzy tone to the Epiphone Wildkat that packs a rockabilly punch theirs a broad range of tones that can be generated. Hollow bodies traditionally come with two Humbucker pickups. Typically the bridge pickup can produce some great rock and roll tones whilst the neck pickups are great for jazzy Charlie Christian licks.
Their price
Although for a fully fledged Gibson 335 you may need several thousand dollars, these days there are a variety of budget alternative hollow body guitars. For example Epiphone make the Epiphone Wildkat which features a Bigsby style tremolo system for around $500. Other manufacturers such as Vintage and Ibanez all produce very good imitations of their more expensive counterparts at a much reduced price. If you shop around you’ll surprised at what you can afford.
Versatility
Hollow bodies are extremely versatile and lend themselves to a wide range of musical styles for example - Chuck Berry style Rock and Roll (Gibson 335), BB King style Blues (Gibson 335), Chet Atkins Country (Gretch Country Gent), Alt-Rock Noel Gallagher (Epiphone Sheraton) and finally 60’s Pop (John Lennon – Epiphone Casino) semi’s lend themselves to a range of musical styles.
Their tradition.
Hollow body guitars were some of the first electric guitars manufactured. Epiphone were making adjustable pole pickup semi acoustic guitars in the 1930’s so they have a long and proud history.
So the next time your thinking of getting a new guitar – sure a Stratocaster is nice and a Les Paul has finesse but if you want a great guitar, with great looks sound and versatility look no further than the hollow-body semi acoustic guitars at your local store.
ShanzuGuitars.com . The site offers the latest guitar news, resources, tools and tips for budding guitarists everywhere.
Online Tickets
Dec
11
Robert Keeley Effects Pedals – An Introduction
Posted by: | Comments
Musicians love to "hot rod" their gear, whether it's installing aftermarket pickups on a guitar or beefing up the distortion channel of an amplifier. Effects pedals are no exception. An engineer with an ear for music can take a stock, even drab effects pedal and make it a pro-quality piece of gear. Robert Keeley is one such engineer.
Robert Keeley's effects modifications are the stuff of legend (as are his own original designs). One of his most popular modifications is to the Boss BD-2 "Blues Driver" effects pedal (the "PHAT Mod"). While the stock Blues Driver has a good sound, it lacks definition and range. The Keeley modification changes all that and makes the BD-2 into a professional quality effect.
Other popular modifications included the DS-1 ULTRA Mod, the SD-1 Stacked Mod, and the TR-2 Tremolo Mod. While most of Keeley's modifications deal with Boss pedals, he also modifies the Ibanez TS-9 and TS9DX in addition to modifications to Line 6, Voodoo Lab, and various other pedals, including wah-wahs.
However, Keeley does more than just hot-rod pedals. He designs his own, the most popular being the renowned Keeley Compressor. Beloved by session players and live performers alike, the Keeley Compressor has become the industry standard compressor pedal.
Other popular Keeley originals include the Fuzz Head (an NPN Germanium transistor based fuzz/overdrive pedal) and the Time Machine Boost (a 2 channel, 3 mode preamp/booster).
Finally, Keeley Electronics uses only the highest quality components in both its modifications and original effects. They take great pride in their work and treat every customer like a rock star.
To discuss and purchase your favorite Keeley Effects, please visit GuitarGearDeals.com
Ray Scott is the webmaster and owner of GuitarGearDeals.com, which has a large selection of new and used Keeley Effects Pedals.
FREE, No Obligation Insurance Quotes
Dec
11
Exclusive Dirty Red Interview
Posted by: | Comments
1. How did you come up with the nickname Dirty Red?
I was in the studio with Eazy-E and we were about to record the promo commercial for the Ruthless Radio Show and I was doing the intro for it. The name "Red" I had since I was a little kid because of the light skin and the hair color...The "Dirty" part came along in my late teen years when I was doing a lot of things in the streets to get ahead...so I decided to put the 2 nic names together and I introduced myself as Dirty Red for the Ruthless Radio Show.
2. What motivated you to become a rapper?
My motivation came along in the mid 1980's when Run DMC and The Fat Boy and L.L. CooL J did the movie "Krush Groove"...after I watched that movie I decided that's what I wanted to do.
3. A few words about Compton legend Eazy E you knew personally...
Eazy -E was a real down to earth person...He always said what he felt and didn't care if you liked him or didn't like him for it...he is and was a true friend and he deserves to be called a legend.
4. Define your music within a few words...
My music is ******** street rap...nothing more nothing less.
5. According to you, did NWA's musical revolution change ethnic minorities ' conditions in the ghetto? At least, did it increase people's awareness of the discrimination black men and other minorities were facing there?
N.W.A definitely paved the way for West Coast rap and street rappers to have an open door to express the experiences we face everyday in the hood...they definitely talked about things that had never been talked about on records before...they are the real pioneers on the West Coast.
6. What is the biggest challenge you had to face since you started rapping?
The biggest challenge I've had to face I would say is the learning of the industry...very few people in this industry will tell you how to be successful and how to conduct your business...alot of the learning comes from paying dues.
7 Which artists have you collaborated with already?
Ive done music with Eazy-E , Above The Law , Kokane , B.G. Knocc Out and Dresta The Gangsta...I've worked with Madness 4 Real...Julio G and Tony G...Rhythm D...D.J Uneek and I'm collaborating with a few artists on my new mixtape "Steet Heat Volume 2".
8. Which artist(s) (underground or mainstream) have earned your full respect-and why?
I have a certain respect for artists that carry themselves for who they are...I can't seem to get into any artist that acts or pretends to be like somebody else...example...when fat gold chains were the thing...all rappers wanted to wear a fat gold chain...now its the "bling" watches...I'm not into following what everybody else does or says...just be you!...so to answer your question...right now on the Westcoast Ice Cube and Snoop Dogg hold it down as far as the mic...Dr. Dre with the production....on the East Coast I'd say JZ holds it down on the mic.
9. Old School or new school- where goes your preference?
I'm down with the old school for sure.
10. Your music is rich of that unique Ruthless flavor...according to you, is it an advantage to be from LA? If so, why?
I wouldn't say its an advantage...but here in L.A we have a real thing in the streets...Im not sure where it was born or when...but its definitely a code in the streets of Southern Cali.
11. What inspires you most to write your music?
I get inspired by a lot of different things...but mostly just life and the different events, past and present.
12. . A few words about your Street Heat CDs...
Street Heat vol. 1 was recorded in San Bernardino in 2004 after I had put the mic down after Eazy died...I hadn't recorded in years...so I just wanted to get back into the studio and record some songs to get that feeling again...I released a few copies just to the homies in the hood...people started hearing that I had recorded some stuff and they wanted to hear it so I re-released it in 2006...Now I am just finishing up Street Heat vol.2 so I can give people the real Dirty Red and Real Ruthless music.
13. From a personal point of view, gangsta rap is truly one of my fave genres inside of rap music.
Do you think that gangsta rap can and will help people understand better the living conditions of the ghetto, and even change some stereotypes?
I don't think gangster rap will change anything in the ghetto's. Things will always be the same in the hoods...that's just the way the world is set up...but I do believe that gangster rap sheds a light on situations in the ghetto so people will look at it a little closer and people do listen to the stories and experiences that we face in the hoods.
14. The Westcoast seems to be boiling at the moment with the return of dope rappers such as BG Knocc Out, his brother Dresta and the participation of Lil Eazy, Hood Surgeon and others to the Westcoast's revival...what or who was the detonator that motivated people to work together for a strong return of Westcoast sounds?
I dont know who set it off for the Westcoast to reunite...in my opinion the West Coast was always united...EAZY-E and DR. DRE had a beef at some point but men they worked things out and dealt with it...The West Coast has never gone away...I don't know why people say "Bring the West back"...The West has been here all the time.
Copyright© 2007 by Isabelle Esling
All Rights Reserved
My name is Isabelle Esling. I am a freelance music journalist and an Eminem biographer. I do teach English and German at public schools.
Motorcycles, Accessories and Riding Gear
Related Blogs
- Related Blogs on Exclusive Dirty Red Interview
Dec
08
Using Permanent Ink Markers on CD’s & DVD’s
Posted by: | Comments
The easiest way to label a CD-R is to whip out that permanent marker and write directly on the disc. It's also a great way to assure that the disc won't be readable later on.
The damage won't happen today, or even next month, but at some point the ink will leach into the reflective layer of the disc and it'll be the end of your data.
Now, we're not saying you can't label your discs. But you do have to be careful of the kind of writing instrument you use to do so. In order to understand why certain markers and pens can harm your CD-Rs and DVDs, we first need a basic lesson on the physical properties that make up the disc:
CD-Rs and DVDs are made mostly of polycarbonate substrate, or plastic. The plastic is there to carry the data layer - the shiny metal you can see when you look at the bottom of a disc. The data appear as marks or pits that either absorb light from the laser beam or transmit the light back to the laser/photosensor by way of the shiny metal reflective layer.
Most people know that it is very important to keep the bottom of your discs clean and scratch free. Scratches, fingerprints, and other debris can stop the laser from reading the data.
However, most people don't realize that the tops of discs are just as prone to damage as the bottom - if not more so! Although you can physically see the shiny data layer from the bottom of a CD-R, it is actually applied to the TOP side of the disc, just under the label. On some CD-Rs, the data layer is under nothing but a thin layer of lacquer. Damage to the top of the disc can destroy the data all together.
There are a few side notes that we cannot ignore here: The first being that CD-Rs and DVDs are constructed differently. The data layer in a DVD is more protected than that of a CD-R. However, this does not make it immune to damage.
Second, it should go without saying (but we'll say it anyway) that you should never write on or label a double sided DVD - since both sides are read by the laser.
Last, some CD-Rs have additional protective layers on the top of the disc, for example those with a "white printable surface." These CD-Rs, while more expensive, are far less susceptible to damage.
So what harm will come from writing on discs?
Obviously, ballpoint or hard tipped pens can scratch the surface of the disc where the data reside, possibly rendering it unplayable. Anything that puts high point-pressure on the surface can damage the delicate layers beneath. Although this might not happen every time, it would be worth not taking the risk.
But what about those soft tipped permanent markers that everyone uses? Can those cause harm, too? Possibly. The tip won't harm your disc, but the ink might.
There is growing concern that components of ink from markers previously thought of as "safe," such as many commonly used permanent markers, will eventually penetrate and be absorbed by the inner layers of your disc, damaging the surface where the data is stored and rendering the disc unplayable.
Use of permanent markers
Various postings are surfacing across the internet from professionals and hobbyists alike, reporting that over time permanent ink has made their properly stored discs unusable. There is no apparent reason for the corruption other than the ink used to label the disc.
So what should you do?
Consider the purpose of the disc. If all you're doing is making a music disc for your car, it really doesn't matter. You'll have a new favorite band before the ink has time to ruin it. However, if you are archiving precious family memories or other highly important data, don't write on top of that disc!
Instead, label the disc where no data is recorded. The inner hub area, though small, is a perfect location for labeling.
Alternatively, if you didn't use the entire capacity of the disc during recording, you can write in the area that wasn't burned. Discs are written from the inside out. The area that was recorded is darker. The lighter area wasn't recorded and has no data, so it's safe for labeling. But, be careful that you don't cross over the line and into the data (see illustration). Note: Don't do this with rewritable discs.
Write in the area that was not burned
If you really want to be safe, use a specially formulated disc marker. It contains ink specifically made for labeling the tops of CD-Rs and DVDs.
What do I do if I have already labeled my discs with a permanent marker?
Transfer the data to a new ink-free disc as soon as possible.
Don't even think about trying to remove the ink. Permanent ink and the soft porous resin of a disc are quite happy together, and don't want to be separated. Attempting to remove the ink will most certainly ruin the disc.
According to the National Institute of Standards and Technology (NIST), a properly cared for disc which is stored under recommended storage conditions can have a very long life expectancy. NSIT's research has concluded that CD-R, DVD-R, and DVD+R discs should have a life expectancy of 100 to 200 years or more. CD-RW, DVD-RW, DVD+RW, and DVD-RAM discs should have a life expectancy of 25 years or more. Less testing has been done for CD-ROM and DVD-ROM discs, however lifetime expectations vary from 20 to 100 years for these discs.
One thing is certain - proper care of any disc will extend its life.
Comments?
We'd love to hear from you. Give us some feedback about this article or tell us about your CD-R experiences. Email us at: comments@tapeonline.com. To read the article and see the illustrations, visit www.tapeonline.com.
http://www.tapeonline.com
Outdoor Living