Most pop singers from the ’60s and ’70s who are fortunate enough to still be touring resort to what I call vocal cheats. That’s when they get to a point in an old hit that has a particularly high note they can’t hit — a note that especially resonates with the baby-boomer audience — so they either drop it an octave or turn it over to the background singers.

There’s nothing really shameful about these vocal cheats — it would be worse, for instance, if Daryl Hall tried to hit that big release note in “She’s Gone” and failed miserably. Or if Roger Daltrey attempted to render the big scream in “Won’t Get Fooled Again” and sounded like a frog.

I tell you all this because I saw Boz Scaggs last night at Ruth Eckerd Hall and he didn’t resort to any vocal cheats. He’s 65 years old. Very impressive. When, on “Lido Shuffle,” it came time for the “Lido, whoa, whoa” part, he was right on it — with the backup singers helping, yes, but not drowning him out and thus protecting him. Scaggs came up a little short or a little thin on some of the high notes, but he went for them all.

It wasn’t just the lack of vocal cheats that made Scaggs’ 75-minute set in front of a near-sold-out crowd a success. His voice still has that full, creamy texture of the old days, and his delivery and phrasing brimmed with nuance. (more photos below; all are by Tracy May)

Scaggs’ most recent albums have been made up of standards from the Great American Songbook. He set that material aside at REH, opting instead for a compendium of hits from the latter half of the 1970s and early ’80s (”Jojo,” “Lowdown,” “Georgia,” “Look What You’ve Done to Me” and others) as well as blues and R&B tunes from his early, early career. His encore was an extended version of the slow blues “Loan me a Dime” from his 1969 self-titled album.

Scaggs, who played guitar as well, was backed by five instrumentalists and a dynamic background singer who, I think, went by Miss Monet. She was as torrid as Scaggs was ultra-cool, and provided the ideal vocal foil. Miss Monet took center stage for a roof-raising version of the Aretha Franklin vehicle “Until You Come Back To Me.” Her performance drew a big smile from the perpetually laid-back Scaggs.

The band’s dynamics were impeccable, dialed back at times in order to make room for Scaggs’ supple pipes to take the spotlight, allowing him to contour the lyrics in fresh ways.

Besides the fact that he omitted “Breakdown Dead Ahead” and declined to sing any standards, I was thoroughly pleased with Scaggs’ set. A longtime fan, it was my first occasion to see him in concert.

Just for the record, Michael McDonald played the second set of the double bill. I’m not a fan, so only caught a few tunes and left. As a result, I’ll pass on offering commentary here — except to say that he sat facing the crowd behind an electronic keyboard as his feet pumped on pedals … and he was wearing flip-flops. Yeesh.

Here’s a photo, however.

Five years ago, any music industry conference would feature hours of discussion about how to get your compact disc into the hands of DJs on FM radio, or tips on how to press and package a CD that wouldn’t get buried on the desk of an A&R executive at some major label. A lot has happened in five years. On Saturday, June 13 and 14, Hillsborough Community College and The Artist and Writers Group hosted the Second Annual Homemade Music Symposium in Ybor City, and in the combined 18-plus hours of discussion, commercial FM radio was not mentioned one time.

Instead, Saturday’s daytime programming included panels and workshops like “Alternative Media Promotion,” “Marketing, Touring and Band Management” and “How to Get the Most Out of a Studio Session.” Panelists included bloggers (Bryan Childs, Ninebullets.net), social networking specialists (Julia Gorzka, Brand Tampa) and local media (Lee Courtney, WMNF; Curtis Ross, Tampa Tribune; Julie Garisto, St. Pete Times as well as Creative Loafing’s Leilani Polk). Mr. Courtney was the only radio personality in attendance. (Tampa’s 88.5 FM is a community station that still allows their DJs to play CDs – they even sometimes play records.).

The Homemade Music Symposium’s goal is to educate nascent and struggling musicians in the ways and means of the music business and industry trends. It also included out-of-town industry folk and special keynote speakers – this year, it was Tunecore’s Peter Wells and Tony Michaelides, a local author from Manchester, UK, who’s colleagues and contemporaries include Factory Records’ Tony Wilson, David Bowie, U2 and The Stone Roses.

Conference attendees were mostly solo singer-songwriter types, with a sprinkling of MCs, publishers and managers as well as other local bloggers and marketers looking to get involved in the music scene or learn about new media. There was a lot of talk (maybe too much) about Twitter and Facebook, and of course the familiar geographical gripe of how Florida is difficult to tour/break out of, because there are no surrounding states (The closest top 10 market is Atlanta). A good portion of the crowd was visibly older, some dressed in flowery shirts and flip flops, and plenty of eyes glazed over when the topics inevitably circled back to “Tweeting” and social networks.

Sorely missing from the panel of experts, especially on the panel labeled “Area Record Labels and Artist Managers,” were representatives from the handful of local Tampa imprints, namely ADD, New Granada and 24 Hour Service Station (Geri X, Win Win Winter and The Beauvilles). 24 Hour owner Marshall Dickson stated that he would definitely be involved next year, but that this time around he just had “too much on his plate.” The only current label owner in attendance was Ivan Pena, who runs Mohawk Bomb Records (Soulfound, Ascending to Avalon and Rise of Saturn). Pena seemed optimistic about the Tampa Bay music scene, and about the fast-changing online industry, but insisted that artists need to tour incessantly and start treating their band like a business or risk failure.

The “Music Critics” panel, unfortunately the last session of the day, seemed to be the most pessimistic. One girl in the crowd asked for suggestions on how to become a music writer. The entire panel discouraged her. It may be in fashion for music writers to be moody and begrudging, but one would think their passion for music could somehow keep their chins up, not to mention grateful that they still have jobs in the age of Rotten Tomatoes and aggregated, user-generated reviews at Amazon.com.

As with any conference, the nighttime showcases are the payoff – a chance for attendees to party and an opportunity for the out of town industry folks to see what musical talent the surrounding area has to offer.

On Saturday night, Tampa’s New World Brewery featured performances from Rebekah Pulley, Lorna Bracewell, The Skull and Bone Band and 10th Concession. Crowbar hosted a Mohawk Bomb showcase and The Roosevelt had planned a “green” concert featuring some area hip-hop favorites like Dynasty and powered by a generator that ran on vegetable oil. Early Saturday, word had gotten out that the generator had broken during a run-through and that the Roosevelt showcase was cancelled.

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Sunday’s activities were mainly centered around The Bunker in Ybor City, which is home to the Tre Amici coffeeshop, REAX Space, a few art galleries and the neighboring Ybor City Museum.

Some of Sunday’s workshops included “DIY Sound Recording Techniques” at REAX Space as well as “Tips on Promotional Photography” (hint: no brick walls or train tracks) and “The State of The Scene” discussion at Tre Amici.

This talk was moderated by event organizer T. Hampton Dohrman and featured Courtney, Joel Cook (REAX) and yours truly. It began as a polite enough re-cap of the weekend and what could be done differently in years to come and escalated into a microphone free-for-all on how Tampa needs to publicize itself to become the next Austin or Seattle.

Singer-songwriter Emily Roff planted herself in front of the microphone and made a case for a large music festival that would draw thousands of people from all over the world. When some crowd members yelled, “What about [Tropical] Heatwave?” (referencing the annual music fest hosted by WMNF that typically features performers from the blues, folk, Americana and world beat genres), Roff shrugged. She’d never heard of it.

Beauvilles frontman Shawn Kyle made a spirited appearance at the discussion, only half-jokingly announcing his 2012 bid for city council and bemoaning the lack of attention the local media and concert promoters give to area college campuses (USF, UT, Eckerd, SPC, etc.).

What did come from the heated discussion was a summation of points that included the following:

1. The internet has replaced FM radio as a highly-coveted media outlet.

2. Musicians must treat their music as a business.

3. Musicians should treat Tampa and St. Petersburg as two separate markets to avoid saturation. (This point was argued)

4. Even though recording and distribution has become decentralized, quality recordings and the packaging and presentation of materials is still very important (maybe even more so).

5. Bands must tour out of market (once they have established themselves regionally).

6. With the decline in the sale of actual recorded music, musicians must learn to diversify their content/revenue streams to include audio, video, performances, merchandise, ringtones et. al. and utilize networks and messaging to stay in touch with fans and followers. (See the content model here).

7. Music criticism is dead. (This point was not argued).

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Here are some photos from the weekend:
Photos by Kelly Hickman | Photos by Denis Baldwin

Random news bites from the last several days (excluding anything about Michael Jackson … well, mostly).

Regina Spektor’s new album, far, debuted at No. 3 on the Billboard 200 this week and the lovely Russian-born songstress is scheduled to perform on Late Night with Conan O’Brien on Thursday, July 30. Slipping to the No. 2 spot this week are the Jonas Brothers with Vines And Trying Times, which held last week’s No. 1 position. Black Eyed Peas have moved to the top of the charts with The E.N.D. And in case you BEP fans were worried, the title doesn’t foreshadow the band’s immenint break-up, but stands for “The Energy Never Dies.” Clever.

Seattle grunge metal makers Alice in Chains have confirmed the dates of their upcoming world tour, sans lead voice Layne Staley, who, if you recall, faded away into reclusivity before he speedballed to his death in 2002. The tour supports the band’s first new studio release in more than 10 years, Black Gives Way to Blue (in stores September 29). The first single, “A Looking View,” is currently streaming on their MySpace page and definitely has the feel of classic Alice in Chains, complete with the hard-meets-soft harmonies by vocalist/guitarist Jerry Cantrel and Staley replacement, vocalist/guitarist William Duvall. Here’s a statement the band released about the new song: “The song basically speaks to any number of things that keep you balled up inside. A cell of our own making with an unlocked door that we choose to remain in. Focusing our attention inward instead of reaching out to a much larger world. I think this is common to us all. It’s funny how hard we fight to hang on to a bone we can’t pull through a hole in the fence, or how difficult it is to put down the bag of bricks and move on.” Current confirmed U.S. stops include Detroit, DC, Chicago, NYC, Milwaukee, Portland and San Francisco. No telling whether the tour will bring them to Florida.

San Francisco indie rock duo The Dodos (pictured) are set to release their third album, Time To Die, via Frenchkiss on September 15. Produced by Phil Ek (Built to Spill, Fleet Foxes, The Shins), the album is marked by the band’s key instrumental elements — the energetic percussion of Logan Kroeber and the finger-picking acoustic guitar work of frontman Meric Long — with extra texture created by Keaton Snyder on vibraphone. The Dodos will embark hit the road this September and October, making stops in Tallahassee on Tuesday, October 6 at the Club Downunder, and in Atlanta Wednesday, October 7 at The Earl.

American-Australian multi-instrumentalist singer-songwriter John Butler has returned with an all-new trio and a forthcoming album featuring the fresh lineup, which includes two Aussie natives: drummer/percusionist Nicky Bomba and bass player Byron Luiters. The John Butler Trio is not coming to a venue anywhere near you, but watch out for the new album. Butler’s a pretty great songsmith.

Jeff Tweedy has always gotten under my skin. As much as I like Wilco’s music, the frontman makes headlines far too often for some asshole maneuver — like when he punched an over-rowdy fans in the face when a simple “Get the fuck off my stage” would’ve sufficed — and he oftentimes comes off as a total dick and says mean things he can’t take back. The latest was the sort of stereotypical ugliness you’d expect towards the hippies of San Francisco. After his son Spencer went shopping in Berkeley and returned dressed head-to-toe in tie-dye, Tweedy reportedly cried, “Look what you’ve done to my son, you dirty hippies!” Then, to his son, he yelled, “Now go take a bath.” What a classy guy!

All right, I know I promised no Michael Jackson news, but I just had to share this little tidbit: Jermaine Jackson, Michael’s far less successful older bro, has followed the path of the rest of the family and made a statement. “”He went too soon. I don’t know how people are going to take this, but I wish it was me.” What I want to know is, when did Jermaine lose his sense of self-worth? Poor guy.

Jeff Tweedy doesn’t sound any happier. I’ve always found the Wilco leader’s apparent discomfort in his own skin to be one of the reasons the band was capable of compelling music (although by no means always).

On “Solitaire,” one of the many somber, introspective tunes on Wilco’s self-titled seventh studio album, Tweedy sings in his trademark laconic style, “Once I thought without a doubt/ I had it all figured out/ The universe with hands unseen/ I was cold as gasoline/ Took too long, to see, I was wrong, to believe, in me/ Only.”

Does that suggest that Tweedy is now playing well with others? Or has he finally found the others that are willing to follow his vision. I’m guessing it’s the latter.

In any case, Wilco’s approach on the new album hews more closely to standard song structures than some of the avant-garde-leaning work of the past. Only a handful of songs really stick to your ribs, though, and only one will have you singing it in your head later. That would be “You Never Know,” the disc’s most energetic, uptempo tune, with swelling background vocals, a choppy piano part and a swooping guitar lick that calls to mind George Harrison’s breezier solo songs.

While the material comes up short on the catchiness scale, the guitar interplay between Tweedy and Nels Cline is full of imagination and beguiling texture: the theremin-like whistle on “Deeper Down,” the push into Neil Young-esque noise on “Bull Black Nova,” the razory slide on “Sonny Feeling” (the albums’ other sort-of-uptempo rocker), the pedal steel-style slurs that pop up throughout.

Tweedy surrounds the guitars with a mostly pastel backdrop that at turns includes tubular bells, organ, and the slightest splashes of strings and horns (to give the closer, “Everlasting Everything,” an epic crescendo).

In the end, Wilco is a worthy entry into their canon, but certainly not a classic. (Nonesuch)

“You and I” featuring Feist

So, I got this email about this “spellbinding” (PR agent’s words, not mine) Daft Punk-produced video for Douglas Armour’s song, “Flushed & Flamelike, Themselves.” While the video looks real good, there’s not much to it. In sum, a crazy-eyed dude runs through the forest, stopping to do some slow-mo thrashing of his long stringy hair against various particularly breathtaking (and likely digitally-produced) backdrops (still shot at right). After watching the video, I thought the postscript to the e-mail was particularly funny: “PS: I’m accepting submissions to my unofficial video caption contest. Current front-runner: ‘This is why no one invites Andrew WK to go camping any more.’” Check it out after the jump and tell me if you are as baffled by it as I.

Douglas Armour “Flushed & Flamelike, Themselves” from daft arts on Vimeo.

Hip-hop seems adrift, with no particular faction dominating the pop psyche (or the charts). Bling-rap isn’t resonating as much lately, these being trying times and all. The current landscape is perfect for a multi-facted, thinking artist such as Mos Def, whose fourth studio album, The Ecstatic, continues his impressive body of musical work.

The 35-year-old Brooklyn native — who has, perhaps more than any other rapper, made a mark in film, TV and theater — has never had much use for rules. And even though Mos Def is a middling music star, he still approaches his recordings with a decided indie hip-hop aesthetic.

That shows in his choice of producers —Madlib, Preservation, Mr. Flash, J Dilla — who collectively let the rhythm tracks breath, allowing room for Mos Def’s relaxed, conversational flow. Complementing the urban scrapyard of sounds, snippets of found dialogue and arcane samples are various jazz elements like vibes and horns and a handful of Middle Eastern-type chants.

Mos Def, a Muslim, avoids clichéd ’hood themes in favor of utopian ideas (“Revelation”) and commentary about everyday life (“Workers Comp”).

The album has moments of clever irony — like, on the intro the “The Embassy,” where a captain addresses his passengers and describes in detail the guns they have in the cabin.

While most of the songs find funky mid-paced groove, the occasional uptempo beat brings a welcome burst of energy. “Quiet Dog” pummels along on a fast quasi-swing beat (decorated with handclaps) and throbbing bass, evoking a hip-hop version of Ellington-esque jungle jazz. The percolating “Casa Bey” matches spitfire rhymes with a lush, symphonic soul backdrop.

Not all of the disc’s 16 tracks are gems, but by and large The Ecstatic represents some of the best hip-hop has to offer at the moment. (Downtown)

Check out “Quiet Dog” (with a still photo)

Attention Unsigned Bands: July 5 is Deadline for Mohawk Bomb Records‘ No Lip Vol. 3 Compilation. Please submit your best song through Sonicbids. Time Left to Submit: 4d , 3h, 25m

Based in Clearwater, Mohawk Bomb Records is a new kind of records music label, focused on sharing all music with the World using online marketing, social media networks and mobile technologies. To see the entire Mohawk Bomb Records’ discography…

RT on Twitter: @mohawkbomb Deadline 2 Submit 4 No Lip 3 Comp Jul 5. Time Left: 4d , 3h, 25m http://tinyurl.com/maj92g #tampamusic #727music

It’s a holiday weekend, which means one extra day of partying down and supporting the local music scene without fear of a hangover-filled workday to follow. Here’s a quick breakdown of your best live music bets. For a more comprehensive schedule of concerts, check out our Upcoming Events page.

Thursday, July 2
Mike Dunn & the Kings of New England (pictured at right)/Will Quinlan/King of Spain Winter Park singer/songwriter Mike Dunn makes music that evokes freedom and wind in your face. His grabby, anthemic tunes send out a whiff of Americana, but at core they are pure, pop-infused rock ’n’ roll. Dunn pulls from a list of 11 confederates to make up his backing band, the Kings of New England, on any given night. No word on how many will show up at New World for this gig, but the safe bet is it won’t be all 11. Atlanta’s Rick Brantley was formerly on the bill but has been replaced by local one-man experimental rocker, King of Spain (Matt Slate). And Quinlan, well, we all know Quinlan, the dour dean of Tampa Bay’s Americana scene. Thurs., July 2, 9 p.m., New World Brewery, Ybor City, $7. —ES

Michael McDonald + Boz Scaggs Two of the most popular vocalists of the 1970s join together in a co-bill at Ruth Eckerd. My strong preference is Scaggs, with his round, throaty soul croon. His Silk Degrees (’76) is an unmitigated classic. Lately, Scaggs’ has added standards from the American Songbook to his repertoire, so his show will be a compendium of material over several decades. (Concertgoer alert: He’s going on first; to read more about him, check out the CL feature here.) When McDonald joined the Doobie Brothers in 1975, they went from a guitar-oriented bar band (albeit a slick one) to a Grammy-winning pop outfit dominated by McDonald’s keyboards and syrupy voice. He had a solid solo career in the 1980s, despite the blemish known as “Yah Mo B There.” Thurs., July 02, 7:30 p.m., Ruth Eckerd Hall, Clearwater, $62.50-$103. —Eric Snider

Friday, July 03
Starlight Mints/Evangelicals (pictured at left, photo by Sarah Cass) You might want to take a break from the Hot Dog show and stroll up the street for Starlight Mints, a band out of Norman, Okla. (home of Flaming Lips) that would make a proper co-bill with Sunbears!. The quartet of “pop mutants” brings plenty of whimsy and weirdness to their sound, but never strays from tried-and-true rock verities: hooks, tuneful vocals, muscular rhythms. The band is backboned by synthesizers, but adds playful twists — like the cartoon horns on “Zoomba” from their new album Change Remains. Evangelicals are also from Norman, and sound as if they might’ve been to a few barbecues at Coyne’s house. Fri., July 3, 9 p.m., New World Brewery, Ybor City, $8. —ES

Annual Hot Dog Show feat. Sunbears!/Juicy Pony/The Grecian Urns/eFFeX/Shunda K A summertime tradition. Folks gather in Ybor City for free barbecue, major slabs of live and DJ’d music, and the main event: a hot dog eating contest. This year’s headliner is an up-and-coming band from Jacksonville, Sunbears! — singer/instrumentalist/chief songwriter Jonathan Berlin and drummer Jared Bowser — who make, well, sunny, synthy pop with gauzy atmospherics and nods to the likes of the Beach Boys, Flaming Lips and others. (Check out my feature interview with Berlin here.) Juicy Pony, also from Jacksonville, leads more synth-dance. Fri., July 3, 9 p.m., Crowbar, Ybor City, $5. —ES

Sean Chambers w/Soul2Earth Chambers, one of the Bay area’s venerable blues artists, celebrates the release of his new CD, Ten ’Til Midnight, with this gig. In ’01, England’s Guitarist magazine named Chambers one of its 50 Greatest Blues Guitarists of all Time. Fri., July 3, Skipper’s Smokehouse, Tampa, $8. —ES

Saturday, July 04
Rockin’ Wings Concert feat. Amanda Overmyer (pictured at right) w/Greg Billings Band/Drew Street Mary Overmyer, who placed 11th in the seventh season of American Idol, has a decided Janis Joplin fixation. Her dirt-rock-meets-Southern-boogie sound is a perfect fit for her gargling-razorblades voice. This outdoor bash will be held on the grounds of the small airport in downtown St. Pete. Sat., July 4, 4 p.m., Albert Whitted Airport, St. Petersburg, $10 general/$5 children 6-12/$25 VIP. —ES

Let Freedom Jam! w/Middle Rhythm Session/3rd Stone/Diocious Another 4th of July bash, this one featuring MRS, a Tampa-based quartet that works the funk-jam tip. All you would-be Hendrix tribute bands out there, the best name’s been taken — but, ah, Gainesville’s 3rd Stone is not a Hendrix tribute band. Judging by the one song available on MySpace, the six-piece is an interesting amalgam of backpack hip-hop, contemporary R&B and jam-band rock. Sat., July 4, 8 p.m., Skipper’s Smokehouse, Tampa, $10. —ES

Beres Hammond The 53-year-old Jamaican singer delivers the kind of old-school melodic reggae that never goes out of style. Hammond’s soulful voice is about equal parts sand and lotion, and it’s obvious that as a kid he soaked up his share of Stax and Motown soul. Sat., July 4, 8 p.m. doors, 10 p.m. show, The Ritz Ybor, Ybor City, $35 general. —ES

Sunday, July 05
The 10,000lb Hamburger Tour w/A-Trak (pictured at right)/Rye Rye/Treasure Fingers/Hyphy Crunk/Pauly Crush/DJ Mega/Crate Brothers/Stavros/DJ Y-Not/DJ Queso Montreal DJ/turntablist A-Trak (real name: Alain Macklovitch) scratched his first record at 13, bought a used turntable and mixer with his Bar Mitzvah money, and in 1997 at 15, became the youngest (and first Canadian) to win the DMCs World DJ Championship. A dozen years later, A-Trak has proved himself to be an electronic music heavyweight — he runs hip-hop and electro record label Fool’s Gold with DJ Nick Catchdubs and is the official DJ of rapper/producer Kanye West, both while maintaining a busy solo career. This year he released two mix albums of energetic dance music, Infinity +1 and Fabriclive 45, the latter fusing classic house, newer funk-loop house, hip hop, electro house and disco with his signature scratch master style. The LA Times has called A-Trak a Rembrandt-caliber artist when it comes to live mixing and mashing for the dance floor, and you can see him in action on his “10,000lb Hamburger Tour” when he headlines an all-day Fourth of July “Red, White, & Bootay III” party at Crowbar; Baltimore emcee Rye Rye, disco house purveyor Treasure Fingers, LA’s fast dance spinning Hyphy Crunk, and a lineup of area DJs are also scheduled to play. Sun., July 5, 4 p.m.-2 a.m., Crowbar, Ybor City, $10 (includes barbeque). —LP

Benefit for Jessica Roberts feat. John Hancock/Morgan & Wildflower/Captain Obvious and the Duh Patrol/Jake Mackey/Mike Tozier/Kettle Of Fish/Orient Road A coterie of acoustic-based acts based in Tampa Bay join forces for a benefit. I’m most familiar with Tozier, who actually calls Nashville home these days — he’s a first-rate Dobro player and solid Delta blues singer, and also stretches into jam/reggae territory and more folk-based fare. Sun., July 5, 5 p.m., Skipper’s Smokehouse, Tampa, $10 donation. —ES

The hip-hop bible Vibe magazine, founded by uber-producer Quincy Jones in 1993, has folded. Jones, who sold the publication in 2006 and was unaware of its dire situation, has vowed to bring it back.

Jones said: “[Owner Wicks Media Group] just messed my magazine all up, but I’m gonna get it back. You better believe it, I’m'a take it online because print and all that stuff is over.”

Read more.

Audio Visions South, the Tampa Bay area’s premiere, locally owned, high-end stereo and video store, will throw the second edition of its two-part event called “The Future of Music All Age Access Audio” on Sat., July 25, 10 a.m. to 6 p.m. The store’s acoustically exquisite listening rooms will buzz with activities.

The gathering will give music lovers a bunch of useful tips on gear, vinyl, accessories and more, and focus on how to maximize your music experience: AVS invites you to bring your digital media, CDs, LPs, iPod and laptop with you. Here are some of the event’s features:

• A Nitty Gritty LP cleaning station will be set up so your albums will be at peak performance levels when you learn to rip them to your computer.

• You will also learn the best way to rip CDs. Once ripped, you can load all your favorite tunes to your iPod and then we’ll help you figure out how to integrate your iTunes library with your in-home Hi-Fi system.

• We’ll go over streaming video and the best download method for your set up.

• You will learn about headphones and headphone amplifiers, tube docks and bookshelf speakers.

• A list of recommended components will be available to help narrow down your options from the vast sea of new technology that’s become available over the last couple of years.

For more information and to RSVP reply to this email or call 813.876.5236.

Or just show up: AVS is at 3655 Henderson Blvd. Tampa,