Tobymac, Matt Redman Among Winners At Christian Music’s Dove Awards

How YouTube and music companies reach Generation C

“There are surprisingly few venues in the area, especially in Takoma Park, which has always had a big music culture,” said Danny Wells, the restaurant’s chef and partner who grew up in the area and lives nearby. “Takoma Park misses having that in the community.” Republic, which is still under construction at 6937-6939 Laurel Ave.,will have two spaces suitable for hosting local bands: A front window for smaller acts, and a larger back patio with a garage door that opens the space up to the rest of the bar and restaurant. Wells is waiting until the space is a little more finished to test the acoustics, which will determine the types of bands that he’ll be able to accommodate.He’s working with the nearby House of Musical Traditions to identify bands that would be a good fit. Republic is designed with the preferences of Takoma Park in mind, Wells said, down to the name: Given the neighborhood’s independent streak, locals have long called the it ” the Republic of Takoma Park .” That means a wide selection of vegetarian dishes to appeal to the neighborhood’s meatless eaters, as well as a raw bar, which is what people expect of the seafood-focused Black Restaurant Group, which also owns Pearl Dive and BlackSalt , among other restaurants. Wells also plans to have elevated bar food for late-night concertgoers. “It’s going to be a step up from what most people get when they go listen to music,” he said. The restaurant, which will seat 70 plus an additional 20 on the patio, is being decorated in what Wells called “Takoma style,” a manner of decor that is “hard to put into words.””It’s a unique community,” he said. “It’s offbeat and eclectic and our design intent follows that vein.” Maura Judkis is a reporter for the Weekend section and the Going Out Guide. Some of her other publications have included U.S. News & World Report,, ARTnews, the Washington City Paper and the Onion A.V. Club. Follow her on Twitter . The Post Most:Entertainment

The veteran rapper was named artist of the year. (Mark Humphrey / Associated Press / October 15, 2013) By Mikael Wood October 16, 2013, 6:48 a.m. Matt Redman, an English singer-songwriter, and the veteran rapper TobyMac took home multiple trophies Tuesday night at the 44th annual Dove Awards, one of Christian music’s highest accolades. Redman’s “10,000 Reasons (Bless the Lord)” was named song of the year and Redman was named songwriter of the year, while TobyMac won the prestigious artist of the year prize in a ceremony presented by the Gospel Music Assn. at Nashville’s Allen Arena. TobyMac, a former member of the Christian hip-hop act DC Talk, also ruled the pop/contemporary album category with his expansive 2012 release “Eye on It,” which won a Grammy Award in February and debuted at No. 1 last year on the Billboard 200. “I’ve always come from hip-hop roots albeit I’m a pop artist,” he told Associated Press after the show. “I’ve always thought, man, if you’re talking about hope, if you’re talking about faith, you can’t limit it to one style of music. If you’re talking about God, it’s got to be in all styles of music.” Other winners at the ceremony, hosted by Kirk Franklin and Amy Grant, included Lecrae, whose “Gravity” was named rap/hip-hop album of the year, and “American Idol” alum Colton Dixon , who took rock/contemporary album honors with “A Messenger.” Tasha Cobbs won contemporary gospel/urban album of the year for “Grace,” while Tamela Mann won traditional gospel album for “Best Days.” For King & Country, a pair of brothers from Australia, was named best new artist. The Dove Awards — which featured performances by Grant, Mann, Lecrae and Needtobreathe, among others — are to be televised Monday night on the Up television network. ALSO:

The two official YouTube versions of the song drew 217 million views worldwide over the same period. For the record company, the value of the music video is largely promotional, much like traditional radio. Although YouTube doesn’t sell music, it can expose a song to its 1 billion monthly users. If the song is a hit, some portion of the viewers will spring for a download from iTunes , or a similar service. And even if they don’t buy the song, YouTube and the record company share in the revenue from ads that accompany the video. The idea for the collaboration was hatched at a dinner last March attended by executives of Warner Music and YouTube, a unit of Google Inc., who were attending the South by Southwest music and media conference in Austin, Texas. Warner Music executives were looking for ways to reach consumers known as Generation C a term Google uses to describe people ages 18 to 34 who watch online video, visit social networks and blogs and use tablets and smartphones. ON LOCATION: Where the cameras roll “We were trying to figure out this new concept of how to reach Generation C, how we connect with fans on a much deeper level,” said Jeremy M. Holley, Warner Music Nashville’s senior vice president of consumer marketing. Working in partnership with YouTube, Warner Music embarked on a rare musical joint venture between its recording artists and the musicians who have cultivated their fan bases on the site. Warner contacted seven YouTube creators whose musical styles were compatible with those of Warner Music Nashville/Atlantic Records singer-songwriter Hayes and Atlantic Records artist Mraz. It invited Tyler Ward, Kina Grannis, Peter Hollens and other YouTube notables to record cover versions of “Everybody’s Got Somebody but Me,” which were incorporated into the original song to produce a new track. The resulting musical collaboration served as the sound track for a music video, “The Hunter Hayes YouTube Orchestra featuring Jason Mraz,” which debuts exclusively on YouTube, before the anticipated release of the official music video this month.

The Music Of A Hardware Startup

However, the music-making industry is, yet, to catch up with the mobile revolution. Most new instruments in the market are generally toy-like , foreign, and difficult to use, says Butera. INSTRUMENT 1 deliberately focuses on the creation niche for mobile music. Overcoming Limitations The transition from a simple idea to a workable prototype, however, took much longer. Specifically, it took four prototypes, five interfaces, and multiple firmware builds to get the INSTRUMENT 1 to its current state. In his efforts, Butera, who is the youngest member of his team, was helped by Nashville-based veterans from the recording and music industries. We could have released a workable product one-and-a-half-years ago, says Butera, who admits that notoriously perfectionist companies, such as Apple Apple and Bang and Olufsen are his inspirations. The original prototype for the instrument had twelve buttons and featured components, such as Arduino, that are standard to several hardware startup products. However, Butera says the resulting prototype was limited in variety and scale. They were nice for Western music scales but they were simply switches, he says. In other words, their resulting notes were binary, which toggled between on/off switches. It was bit like a piano that can only be played at a single volume, says Butera. To overcome these limitations, Butera introduced pressure sensitivity and a raft of other features, such as velocity and sensitivity in chords. These features enable tuning of the instrument in multiple modes. Thus, you can play in tune, out of tune, turn the frets on or off or play them at different volumes.