Cons:
- 1.1kg can be a little heavy
- Takes up space (158mm x 98mm) in the pedal board/case
- Hard to come by in Australia, expensive too (around AUD450)

Having grown a little tired of my usual set up (a rack amp simulator/multi FX with controller floor pedal running into an amp) I was ready for a rig that is more portable for touring so I revamped everything and started using stomp boxes again.

Using stomp boxes (I’m using quite a few of them) means I will have to deal with the inevitable: battery usage.  Now for both economic and environmental reasons, I wanted to completely eliminate the usage of 9V batteries so after a lot of research, I got myself the CIOKS D10 because it is clearly the frontrunner to my power supply needs.

Now my rig comprises of both 9V and 12V boxes (and soon 15V and 18V) and these have very specific current requirements.  So imagine my excitement when I stumble upon this unit, which gives me the options to run 9V, 12V, 15V and with optional cables to create 18 or 24V pedals.

The design is sleek and the unit feels solid and well-made.  Despite the fact that is feels durable I would recommend housing it properly in an effects case.  It is a little heavy (1.1kg) but it is to be expected of a unit this size.  And it takes up decent space in your pedal case.  But if you install your stomp boxes and this power supply unit neatly in your case, you have virtually eliminated the need to ever carry adapters for all your pedals!  Welcome to the world of stress-free sound check!

Theoretically, powering your pedals with 9V batteries guarantees a noise-free environment, as opposed to normal adapters where you may experience noise and hums from the AC ground loops.  With this CIOKS DC10, it also boasts a noise-free connection since it is a power supply with isolated outlets.  Techies may argue that 9V is superior because it allows a “cleaner” connection (unless you’re using “hospital grade wall outlets”), but I’ve been using CIOKS fine with no audible noise.

Wholeheartedly recommend this product to anyone looking for an alternative to batteries as your main power supply for stomp boxes.

(A.O.)

More information: http://cioks.com/index.php?option=com_content&task=view&id=39&Itemid=56

Apparently in Melbourne we are spoiled since our opening acts get 15 minute linechecks – in Sydney it’s more like 2 minutes.  So unless you are Matt Sorum who has the luxury of soundchecking (just drums!) for 2 hours, you’d better be ready to go with the flow and play when the soundie tells you to.  And don’t chuck a hissyfit either – it’s both unprofessional and immature, even for a rockstar.  Wait til you start selling out shows before you make demands for “proper soundchecks”.

2. Be observant of opportunities to network at every show you play.

The word networking sounds overly formal cos in the music industry, that really just means a few slaps on the back over pints of beer.  Do not be afraid to approach someone and introduce yourself (and your band). Not just the fans, but managers of other bands, the promoter’s friends. Just like speed-dating, there is a genuine chance that whoever you’re talking to could change your life.

3. Don’t over-exaggerate your estimated audience attendance.

Exaggerate a little to get your foot in, sure.  But be sure that when you say “yeah 100 people will come see us, easy!”, you at least pull 70-80 of these friends in.  It doesn’t matter how talented your band is, if you break that trust, you go straight onto the Do-Not-Book list.  We once booked a band who said they could do 60, they pulled 7 people – 4 of them were guestlisted. Needless to say, we never booked them again and advise other promoters to do the same.

4. Stick to the schedule, arrive on time and start on time.

So when the bill says your band starts at 9pm, you play at 9pm. Just because there are only 3 people milling around doesn’t mean you can “wait a little” until more people show up. There are strict time curfews for most venues and each minute over that curfew is a fine that you’re not ready to cover. And add overtime for bar staff and security personnel, not to mention delaying the rest of the lineup, you do not want to cross that line.

5. Never play an encore… unless the organiser specifically okays it.

One of the biggest faux pas any support bands can make apparently. As the opening act, your duty is to warm the crowd up, get them stoked for the headliner and at the same time bow them over with your awesome set.  It is not the time nor place to stroke your own ego.  There are exceptions but proceed cautiously so you don’t unintentionally step on any important toes.  The rule is the moment you’re done, clear out the stage quickly and efficiently.

6. Make sure there is at least one of you greeting fans and selling merch at the table after your set.

All your fans and friends would have most likely bought your merch from past shows.  So they’d want to say hi and chitchat after your set so make it easy for them by sending an ambassador to the merch table.  The new fans you just wowed with your impressive performance on the other hand, need a rockstar to gush over.  Where better than by the rows of CDs and Tshirts so you can sign them while they tell you that it was the best show they’d ever seen?

7. Even when faced with a tough, booing crowd, never let that bring down your show.

One of the elements to playing a great live show is the vibe you feed off the audience.  So what to do when the crowd is shitty and unresponsive?  For one, don’t let them affect your performance.  Excite them, interact with them, make them feel special for being there that night, get them to like you as people even if they hate your music, but never chastise them or use them as an excuse for a bad show.  Tough crowds happen to the best of us, even famous bands, so start practising.

8. Always endeavour to stick around for the headlining act.

It doesn’t matter if you all have an early morning the next day, you should always see it as a privilege to support the headliner and stay back to show support, regardless of whether you like their music or not.  I’m sure you’d want the other bands to stick around for your set too when you’re the headliner so show some professional courtesy and start building camaraderie.

Have you got more rules to add?  Comment below and let us know!

Here are 5 superb online tools that help you get your music out there. All of them free.

1. Big Cartel

Big Cartel provides simple and customisable shopping carts for bands to sell their CDs, Tshirts directly to their fans.  Their free accounts allow up to 5 products which is more than enough for most independent bands.

The best thing about this is that you will be able to accept credit cards without having to build you own webstore with those pesky Paypal buttons.  Your webstore will look professional and it is reliably functional.  Musicians should spend more time writing music and less time html-encoding.

As your band grows, your webstore can grow with you.  There are costs involved but you will also enjoy juiced up services such as a larger inventory, tracking and full customisations.

2. Mail Chimp

I read the other day that someone said emails will be obsolete in 10 years when social networking sites like Facebook or Twitter take over as the primary form of digital communication.  That could probably be true.  But in the meantime, e-newsletters still deliver the kind of information that you can’t quite squeeze into 140 characters.

A well-crafted newsletter is a form of art, and Mail Chimp makes it easy for you.  You can use one of their existing templates, or you can design one of your own. The best thing about Mail Chimp is that you can completely customise your campaign.  Schedule your emails, integrate your social networking sites into your newsletters, geotargeting specific regions, and the icing on the cake: track who has read and who has clicked any links on your emails.  It’s an awesomely stalkerish device that you will use for good, and all for the price of free (up to 2000 subscribers).

3. TweetDeck

Tweetdeck is a free program that allows you to oversee all your social networking sites.  I’ve used the similar ArtistData in the past but I found Tweetdeck a more sophisticated and streamlined platform.

Tweetdeck links your multiple Twitter accounts, Facebook account, Facebook Page, MySpace and the less band-orientated LinkedIn, Buzz and FourSquare so you can follow all these in one place.  Instead of the linear linkage, with Tweetdeck you can choose the specific channels you want each of your message to be published at.  That’s flexibility right there.  And to makes sure you never miss anything, as long as you leave the program running, the pop-up notifications chime in each time you receive a message, a reply or a retweet, all of this customisable.  Bonus: the Deck.ly function lets you bypass the 140 character limit on Twitter, which can be useful but never to be abused.

4. Tweet For A Track

Tweet For A Track is a great online tool that allows users to download your track in exchange for a tweet to all their followers or a Facebook message.  You can choose to seed your free track offer to Twitter or Facebook or both, and when you log in to your account, you can see how many “fans” have tweeted or Facebook messaged your track offer.  For a fee, you can also enable a feature where TFAT can collect Twitter and Facebook usernames of those who tweeted for your track.

5. Better Than The Van

Better Than The Van is a site that hooks bands up with music lovers who have couches or floor space to spare.  For musicians, anything is better and safer than sleeping in the van.  And for the home owners, instead of hosting Swedish students who swear and drink too much, they’ll be looking after musicians who swear and drink too much.

It’s basically like Couch Surfing but more tailored for musicians so these hosts will be accustomed to band-sized groups.   While the service doesn’t quite extend to Australia yet, I’m pretty sure it’s on the horizon.  Aussie bands who tour the US, Canada or Europe, use this to book some cost-free accommodation and see it as an awesome cultural exchange.