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Letter from the Editor…… Well, another month comes and goes and we are going strong here at CV NorthWest. This month, we bring you the unique melodic metal of Oriya, from Seattle; CV NorthWest Magazine was introduced to the band by our friend SM Photography, and got to spend some time with lead singer/guitarist Maena Bharucha. June is the month Metal Exiles goes head to head with Jason Newsted to talk about his past and his future with his new band, NEWSTED. Jason gives us his honest perspective on playing bass, and how he decided to make his own band and sound. Seattle in Concert features One Gun Shy & Pink Bead Foundation; Spokane Night Out gives us Texas Hippie Coalition, Blackberry Smoke, and Marianas Trench; kudos to SM Photography and PureSin Photography for their incredible concert shots. We hope you enjoy reading this issue of CV NorthWest Magazine as much as we enjoyed putting it together for you...until next month!
Cover Rock Calendar
Seattle in Concert
Gear the Pros Use
Spokane Night Out!
News you can Use
Anatomy of a Car Crash
Ask the Master
Chris CV Northwest Magazine
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CV NORTHWEST MAGAZINE © 2012-13 is published monthly and NO reproduction of content is permitted without Publisher’s prior approval. Publisher assumes no financial responsibility for the errors in ads beyond the cost of space occupied by error; a correction will be printed. Publisher is not liable for: any slandering of an individual, or group as we mean no malice or individual criticism at any time; nor are we responsible for the opinions or comments of our columnists; and promises, coupons, or lack of fulfillment from advertisers who are solely responsible for the content of their ads. Publisher is also to be held harmless from: failure to produce any issue as scheduled due to reasons beyond control; all suits, claims or loss of expenses; this includes but is not limited to, suits for libel, plagiarism, copyright infringement and unauthorized use of a persons name or photograph.
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Dan Reed Network Franco Paletta & the Stingers Hairstorm Live Wire Prophets of Addiction She's Not Dead Franco Paletta & the Stingers Franco Paletta & the Stingers Live Wire Stolen Rose Thunderstruck Unchained Crimson Guardian Franco Paletta & the Stingers Klondike Kate Live Wire Agents of Chaos Crazy Train Franco Paletta & the Stingers Mechanism Oriya She's Not Dead Whiskey River Prophets of Addiction Metal Shop Oriya She's Not Dead Deaf Leppard She's Not Dead Whiskey River Guillotine Necktie She's Not Dead Guillotine Necktie IRONY Prophets of Addiction She's Not Dead Franco Paletta & the Stingers Witchburn She's Not Dead
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Oriya, pronounced (ar-ee-uh) is a 4 piece band from Seattle combining the sound of heavy rock with emotion and melody. With influences such as Deftones, Tool, and Hum, Oriya produces a sound which is simply unique. In 2009 Oriya released their debut self titled album, followed by the release of Light To Dark in early 2011. Oriya is currently working on new music for their third release, performing live, and continuing to expand their fan base locally and nationally. CV NorthWest Magazine got time to speak with Maena Bharucha, guitarist and lead singer, about the band, their roots, and an instrumental trio became a rock quartet. <CV NorthWest>: First question is always “Tell us album called “Light To Dark”, that we released in 2011. After the album was recordwho’s in the band and their role.” ed, we decided to bring Ariez into the band to Maena - Vocals and Guitar play the extra guitar parts that I had recordBlair - Bass ed. Ariez - Guitar Ryan - Drums <CV NorthWest>: You say instrumental trio, I’m hear<CV NorthWest>: Tell us about the evolution of Oriya, ing “no vocals” – was it metal then, or more Indian traditional? of putting together THIS lineup. <Maena>:Blair, Ryan, and I (Maena) started <MB>: The instrumental trio was pretty out playing together casually in high school much the same music as it is now, only a bit and once we got good reactions to our music more progressive and experimental because it quickly turned into a serious thing. We got we hadn't quite found our sound yet. some money together and recorded a three song instrumental demo and started search- <CV NorthWest>: What got the brothers interested in ing for a singer. We found a singer, Matt Ow- playing guitar? Did you have any other interests en, who joined in 2005. We released our first growing up? album titled Oriya in 2007. Matt separated <MB>: I started out playing the piano when from the band in 2009 and Maena took over I was about 10 years old. When I got to the singing and continue to play guitar. We be- age of 13 I started getting into rock music gan writing new music and produced another and I ditched the piano temporarily and learned to play the guitar. Ariez and I were very close growing up and into the same things so naturally he caught on and started jamming as well. We would play together from time to time, but just for fun, nothing serious until now. <CV NorthWest>: What do you think it is about this group that works so well? <MB>: We have all been friends for 15 years, since high school, and have been jamming together just as long. We are all comfortable with each other, and we’re all on the
fans most about your music? <MB>: Our sound. One thing people always say at shows is "you guys sound different, and that's a good thing". We tend to blend many different styles and moods into each song. We are a balance between heavy powerful rock and melodic mood. <CV NorthWest>: Where does the inspiration to write music come from? <MB>: Our songs usually start with a guitar riff that inspires us to write more creatively, branch out, and want to take the song in different directions. <CV NorthWest>: Who are your musical influences? <MB>: Our heavy side is influenced by bands like Chevelle, Tool, Deftones and Hum. Our softer melodic side is influenced by bands like Pink Floyd, Sunny Day Real Estate, Porcupine Tree, and Failure. <CV NorthWest>: Tell us about a typical Oriya show, how do the fans react to the music? How do you want them to feel? <MB>: At a typical Oriya show fans are enthusiastic about our unique live sound. We same page when it comes to writing and desimply want people to like our sound and enveloping songs. We have a strong friendship joy the experience. and we stick together and watch out for each other when were on the road and at shows, it <CV NorthWest>: Tell us about a one of your most helps keep the band drama at a minimum. memorable shows. <CV NorthWest>: It certainly is a different name, any <MB>: Our CD release show for Light To special process or cool info about where the name Dark in 2011 was one of our most memorable came from? <MB>: Oriya is a language that is spoken by the Oriya and is the official language of the Indian state of Orissa. Maena and Ariez have family there. We thought that the name sounded cool, so we stuck with it. <CV NorthWest>: Have you visited Orissa since the band has experienced success? What has been the reaction to your music from that region? <MB>: We haven't visited Orissa, but have been inundated with Facebook posts over the years from Indians who speak Oriya and/or live in Orissa, because of our name. <CV NorthWest>: What do you think appeals to your
shows. It was just a great show with great <CV NorthWest>: What are your thoughts about the bands and it was a packed house. Seattle music scene… <MB>: The Seattle music scene has so many talented bands right now. If only there was more attention given to the local music scene by the local media and press, bands and venues would be profiting more. <CV NorthWest>: You guys are pretty active on social media, how do you think it’s changed the face of local music? How has the band leveraged it for publicity? <MB>: Social media has definitely helped with being able to stay connected with fans, share music and videos, and advertise for shows. At the same time, as a result, a lot of bands don't take the time to post up flyers or pass out demos anymore. <CV NorthWest>: Where does Oriya go from here, what are the big plans for 2013? <MB>: Currently we are working hard on new music and are planning on recording a new record this summer and hopefully release it this fall. In the mean time we are continuously playing shows in and around the Seattle area while previewing some of the new songs from the upcoming record. We've made some good connections and great friends lately and we can tell that 2013 is going to be an awesome year for us.
<CV NorthWest>: How hard was it to make the first album, tell us about the challenges and the feeling of satisfaction when you are holding that CD in your hands. <MB>: Recording our first album was just a learning experience for the most part and it only got easier throughout the process. It was also very fun and a very rewarding feeling FIND Oriya...and LISTEN to them... when we listened to the final product. <CV NorthWest>: Any of your songs speak to you on a personal level? <MB>: There is one song that speaks to me on a personal level. "For A Day". A few years ago, a good friend of mine and the band died from a drug overdose, and that's where the inspiration behind the lyrics came from. The song can speak to anyone who has ever lost someone. <CV NorthWest>: Tell us where you’ve played around the US. Where have you found the rowdiest fans? <MB>: We have toured around most of Washington State throughout the years and have found our best shows to be in Seattle.
http://www.oriyaband.com http://www.myspace.com/oriya http://www.facebook.com/oriya http://www.reverbnation.com/oriya
ForeverGirl Designs Not only is she the ass-kickinâ€™ frontwoman for WITCHBURN, sheâ€™s also a talented picture ARTIST! Jamie Nova allowed us to talk to her about her personal art pieces and showcase some of her incredible work! We also got to delve a bit into her artistic mind... CVNW: Why do you paint, what is your inspiration? I have always loved painting. getting lost in the colors and the feel of my brush against a canvas. It is an extension of my soul, like my music. My inspiration is life, the vitality of existence. CVNW: Do you sell them personally, or as an official company? I sell them personally, through my Etsy site (http://www.etsy.com/shop/ ForevergirlDesigns) and also on my website (www.jamienovarocks.com) CVNW: How do you decide what to paint? Most of the time it is whatever inspires me that day or whatever my mood is. There are a lot of times that I have pieces commissioned and then I work with the buyer as to what inspires them and then I incorporate their ideas into my style. CVNW: Are they usuable drums or display pieces? The drumheads are for display only but I have been commissioned to paint some Kick Drum front pieces that will display my art without taking a beating from the drumsticks CVNW: Do you do special commissions? Absolutely! Canvas, drumheads, wall murals, t-shirt designs, tattoo designs.... you name it I will do it!
Turning old instruments
into art! Instrument Art is something Terry at Guinner Graphix has been doing for years for many people that have a love for instruments. Terry has found, since being back in California, that local music stores have a endless source of instruments to bring back to life. He will personalize your drums, guitars, and any instrument you
have. He is currently working on a Mandolin Jewelry Box, a custom base for a member of the all-female band Zepparella, a commemorative CV WorldWide guitar, and somebody even asked him to do something with their piano! He can make a piece of furniture out of an unusable or unwanted instruments, he does it all.
To contact Terry, visit:
Terry has now expanded his repertoire to include different instruments, everything from mandolins to guitars of all kinds, making custom pic guards and head stock art. He is constantly on the go, working with different vendors and personalities to generate great art pieces, many for charities. Terry is also the nicest guy in the room, always willing to help people out
Terry‟s hope has always been to work with many wonderful people in many creative and unique ways, and in accomplishing that he is living his dream. He loves to save vintage or valuable drums in any way, using them to make individual, personal, one-of-akind pieces, his skill and perfection borne of his love of drums and art. Saving drums, meeting great people, helping those in need, and creating some very unique drum furniture is, to Terry, his life‟s calling, and one can see the passion and skill in his work.
In Terry‟s words; “to be able to save these drums and unwanted instruments or cherished mementos and see the appreciative faces of the people for whom I have made them is what truly makes me happy. I‟m excited to say that Drumiture has many new clients contacting me daily, and the donations of numerous unwanted instruments, which I see as „unfinished art‟, is helping me make my dream come true.”
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http://www.kouvradio.com/ Vancouver, WA
At KOUV we believe in keeping it local 24/7 by supporting Northwest music and businesses
The NW is RICH in talent and that talent NEEDS to be heard!
At KOUV we believe that the Pacific NW scene is HOT AS EVER!
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Gear the Pros Use!
Lisa traveled to Las Vegas in 2004 after a successful career as a drummer in Louisville, KY. She’s backed the EROCKTICA show at the RIO Hotel, has performed at the Riviera, Stardust, Suncoast, Cannery, & Boulder Station. She’s even showcased her skills at the Orleans Casino with R&B artist Julius Williams. “I have been using Tama Drums since 1982....Bought the original Superstar Kit (super mahogany finish) after seeing videos of Neil Peart. I still have this kit today and it still sounds great. I purchased a Tama Starclassic Bubinga/ Birch Kit 2 years ago and fell in love with it!! I also want to add that as I always continue to learn new styles of music, I have taken a Brazilian Drum Class that offered at UNLV called “Mocidade Rebelde”, taught by Kurt Rasmussen (Percussionist from Cirque Du Soleil show "O") .It is a wonderful class that is offered for advanced or beginners; I have taken 3 semesters and have enjoyed each one, it broadens my skills and ear for percussion.” Always continue to learn and have an open ear for different styles of music...that's how we grow as musicians! Lisa Carver Drummer - Doc's Angels (SEE Doc’s Angels every Monday from 9-1 on the Fremont St Experience MAIN Stage)
Tama Starclassic B/B Kit Indigo Sparkle Burst : Drums 22' Bass Drum 10' Rack Tom 12' Rack Tom 16' Floor Tom 14' Maple Snare (Sunburst finish) Cymbals Paiste Alpha 20' Metal Ride Paiste Alpha 18' Rock Crash Pasite Alpha 18' Metal Crash Paiste 2002 20' China Paiste 2002 14' Sound Edge H/H Paiste 2002 8' Bell Hardware Tama Stands Jr Iron Cobra Double Pedal Roc-N-Soc Throne Vic Firth 5A Wood Tip Hickory Sticks Remo Pinstripe Heads on Toms and Kick Remo Coated Ambassador on Snare To have this thunderous sound supporting your band, contact Lisa; she is freelance and available for shows!
Gear the Pros Use!
Since taking up the guitar at age five, I've always been fascinated with the stellar guitar tones from all of the great players such as Jimmy Page, Eddie Van Halen, and David Gilmour, among others. Through this 18 year journey, I've strived to establish my own tone, taking the best aspects of the tones I've admired over the years. Ultimately, it doesn't matter what equipment you have. Good tone starts with you!
Guitars: 2004 Fender 50th Anniversary Stratocaster - An all-black American made Stratocaster with Custom Shop '54 pickups and a C-shaped neck. I've fitted it with a thick black pick guard and a switch to turn on the neck pickup in any position. In the spirit of David Gilmour, I've also shortened the tremolo arm for more subtle and precise control. It's been my "main" guitar for a while as I like how clear the guitar sounds with just the right amount of punch.
1974 Gibson Marauder - This is my "Open G Tuning" guitar. This is a very atypical guitar for Gibson. It features a bolt-on neck and customdesigned Bill Lawrence pickups that are sealed in epoxy. The two pickups can be blended with one of the knobs to achieve anything from a twangy Strat tone to a muffled out-of-phase tone. I always joke that a Gibson worker brought in his kitchen table one day and decided to make a guitar out of it. Less than 1,400 of these guitars were made.
Effects: I was never really an avid effects user until recently. Looking up to people like David Gilmour and Jimi Hendrix, it's easy to start letting the pedal board get out of hand! I tend to use modulation effects more than anything else. I love subtle stuff like the Uni-Vibe and MXR Phase 90. All of my pedals are mounted on a Pedaltrain Pro, powered by a Voodoo Labs Pedal Power 2+. My effects chain is as follows: Ernie Ball Volume Pedal -> Dunlop EVH Wah -> Dan Armstrong Green Ringer clone -> Custom-designed Uni-Vibe clone -> TOP SECRET "noise" pedal > MXR Phase 90 -> Custom-designed Stutter Tremolo -> Guyatone FL-3 Flanger -> MXR Phase 90 modded to vintage specs -> vintage Ibanez CS9 Stereo Chorus -> Eventide TimeFactor
Amp: 1992 Peavey 5150 - This is one of the earliest models of the 5150, with the original "block" EVH logo on the front. It's been re-tubed with JJ Electronics tubes - four 6L6's and five 12AX7's. I usually run this through a matching 5150 cabinet with four 12" Sheffield 1200 speakers. I like to set the amp to moderately high gain with the EQ biased to a brighter tone.
Strings: Ernie Ball Super Slinky (9-42) - Used on all of my guitars. Picks: I have custom-made picks with my face on the front and my signature on the back. Heavy thickness.
Cables: I use Monster instrument cables from my guitars to my effects board, and from my effects board to my amp. All of the patch cables on my effects board are custom-sized George L cables.
Jason Romero Guitarist - Shine*Ola
TAKES ON Jason Newsted has returned to the music world, and he has come back with a vengeance. He has released a nasty EP simply entitled “Metal” and it will rip your head off. Jason was gracious with his time and checked in with Metal Exiles to give you the fans the lowdown on the return of this mighty bass slinger. by Jeffrey Easton ing. About five weeks after I jammed with Metallica I reformed the original Flotsam And Jetsam and we played over two weekends, played Doomsday in its entirety, It was very special. I was searching all of my options, just trying to find a big way to bring the music back, the right way, not just some project, not tongue in cheek, the real thing. So I tried it with Flotsam and it was powerful but it was not going to work as far as logistics went. So I thought about my other options and I thought about these two guys I have been jamming with, drummer Jesus Mendez Jr. and guitarist Jessie Farnsworth, both from Fresno. So I wrote a bunch of songs, every part in them and gave them to those guys and they brought them back and made them what they are. We just kept it going, writing more songs and now we have about 21 songs that we wrote together and now we have added Mike Mushok on guitars as well. He has been in the band for about seven weeks now and we have now completed 13 tracks to be delivered to the record company in May and a world tour at our feet. We only started recording the EP six months ago and here we <ME> What did it take to finally make this dream of are with all of this stuff going on, things are moving yours come to pass? pretty fast. <Jason> I have been involved with a lot of projects and shows as mentioned and I was taking Papa Wheelie out for a few shows around the Bay Area just to have a good time and right around that time Metallica was gearing up for their 30th Anniversary and Lars asked me to come play which I said “of course, lets rock some shit” so I went down for all four nights and it was such a great feeling. I have not tasted the energy exchange from the fans for such a long time, especially at the level of Metallica. There are few bands that fire up the crowd like Metallica does, creating unbelievable unity and Metallica has that and always has. All of that got to me and I knew that this was what my life was for, what I was meant to be doMetal Exiles: After you left Metallica you have been involved with many tours and albums but it was always under somebody else’s logo. What finally led you to put something out under the Newsted name? Jason Newsted: This kind of thing happens to bass players across the board. We go in, especially in my case and I did get to live a few dreams, and become a resuscitator, a transfusion and a new engine for an established act. With Flotsam And Jetsam I formed that band with Kelly David-Smith but since then I have not formed a band, meaning I made decisions or chose who was going to be in it. I have been proud of what I have done with helping Metallica with what they were going through at the time, helping Voivod coming back to life and playing in Ozzy’s band. Those are three dreams that came true and I am very proud of those things. But my fourth dream was putting my name on a project, to write my own songs with my own voice from top to bottom; it’s a prideful thing.
<ME> You were quoted as saying you are old school and this EP has an old school metal feel in several places. Is that what you wanted to do when you started this project? <Jason> There was no thought process that it would be this or be that, this is just what came out. It is a culmination of all of the experiences in my musical career and there have been some unbelievable opportunities that I have been privileged to be a part of. When you get to play with the caliber of musicians I have played with I would get wide eyed, my head gets spongy and I take in everything I can from the gifted musicians I have played with. I have played all of these different styles of music over my 30 years so I put it through my filter, regurgitate it and it comes out the way I know best. My forte is old school metal, it is what I am made of so that is what comes out but it took all of the experiences that I had to make it what it is. I cannot be anything other than what I am. <ME> I know that there is a full length album coming out so why did you go with the EP first? <Jason> I haven’t been deep into this business since I was with Ozzy’s band in 2003 and the last ten years with Voivod, Echobrain and various other projects with many styles of music; coming back into it like this I had to test the waters. I have been repelling computers and social media for a while but I finally got a website in November so I could reconnect with the fans and see what’s out there. So the EP was to test the waters. I needed to know who was still out there who would give a shit about my music and what I was doing. Back in the day I spent a lot of time with fans before and after shows because that was my thing, I always wanted to make that direct connection with them. That has come back to me a thousand fold in respect by those fans, there are many thousands of fans around the globe that are showing me respect that I did not know would be there. Now, because of social media, I know that they are there for me and excited to take part in this. <ME> With the material, it seems very personal and the delivery is so aggressive. What were you trying to get out of your system when you were writing this? <Jason> The aggression, that is still me, I haven’t lost it and now that it has my name on it all the chips are in so I have to come out with all guns blazing. It is important for me to show the people how happy I am to be back and to see them. <ME>: Soldierhead does sound intensely personal,
am I picking up on the right vibe? <Jason> There are some things in there that get a little more personal but like any creative person that writes you reflect what’s around you, for good or for bad. Soldierhead was initiated by reading the Pat Tillman story. The music came right away, it was put together in about 20 minutes and when the lyrics came around I knew what I wanted to say. It was a tip of the hat to our service personal and those who protect what we believe in. Godsnake is more of a personal thing from my childhood I think more than anything. I was raised fairly strictly in the church and it comes from a bible story about not judging others. If God was a snake how would he be judged, as God or a snake? You have to be careful about how you judge people on the first glance. I have been around the world several times now, seen a lot of people and I have learned how not to judge people. <ME> Is King Of The Underdogs how you view yourself? <Jason> That song is probably the most personal of them all because the underdog is the one you root for and I am the king, the king of the underdogs. I want people to root for me coming out again with this project and making it happen. That is my per-
<ME>: To go back to the EP, I know you wrote the EP yourself but how much input did Jesus and Jesse have in finishing the release up? <Jason> It is my seeds but those guys brought it to fruition. I cannot play guitar or drums as good as those guys so they came in, put in their artistry and out came the songs. The early songs are mine but the newer ones that were developed for the full length are all equal parts, there is no weak link in this band, it is everybody writing and playing. Mike Mushok, the last guy to join, brought a dimension and element to this band that I could not have predicted. I did not realize that he was the shredder that he was. I was somewhat familiar with his work in Staind but I had no idea that he was this heavy. I think with this record he will spin some heads. <ME>: Now with the release of this EP you have the tour dates with the club shows, festivals, etc, so what else can we expect from the Newsted camp as you promote this release? <Jason> We just signed on to another big tour that you will be hearing about very soon and there are offers all the way to next year. It is coming out of the woodwork, people are really responding to the EP, they are coming from everywhere trying to get us to be a part of things.
sonal take on that song but I want people to translate it into whatever they are challenged with. <ME> It seems like Skyscraper is well timed. What is your opinion on the current lunacy we are facing? <Jason> In this world it is tough taking the metal message and spreading our joy to the masses. It is scary now, a lot scarier than before, to go out and give some fans something to hang on to. It is more threatening now, more foreboding than before and I had that in the back of my head when I wrote this song. It is about a plane making a big hole in the side of a skyscraper, which is what the song comes down to. We have all had to deal with the world being turned upside down for the last 12 years. On Metallica’s biggest tour for the Black album, we had 16 semi’s full of gear and nine busses. One of those trucks was full of magnesium, black powder and blasting caps. We would carry that stuff border to border playing 42 countries on that tour. Do you think that kind of stuff is happening now? Probably not.
<ME>: How does it feel to come out of the shadows of other acts and have everybody want you to play with them? <Jason> It feels great, it is empowering. I know I did a lot of hard work in Metallica, I spent a third of my life in that band working very hard and taking it to the people. I earned that part of things that way but for the people to still be there is my fortunate situation. The fact that when radio plays a Metallica song or a video is played from Metallica, it is usually with me playing bass and that has kept me alive with people waiting for me to come back. <ME>: To close this out, when you look back on the “And Justice For All” record, has your opinion changed over the years because of what happened to your parts on the record? <Jason> There are so many years of water under the bridge with that and I can now see it for what it is. There is no real confusion or mystery to me now that I can look back after time and look on the situation. When I went in to record Justice I had only recorded one time and that was with Flotsam for Doomsday. I was used to recording with the band,
same frequency, my bass and Jamesâ€™ guitar battling for the same frequency. If I had of known then what I know now it would have been different but it became a classic album for what it was, we captured a moment in time and that is all there is about it. I used to be pissed about it back then but that was a long time ago but the records I have made since then have had some ugly bass parts all over the place on them. So there you have it, Newsted is back, he has a nasty EP of heaviness out and you need to buy it. you go in together, do it and your done. With Justice I went into the studio with an assistant engineer and nobody else, no other band members, just go in, plug in and do your best. I plugged into the same shit I did the Flotsam record, recorded my parts and loaded my gear and went home. There was nobody there to work parts out with or discuss how this or that was going to sound, it was just record your bass and thatâ€™s that. Being a bass player in Flotsam, I did not know about playing the to the bass part yet, I just knew about playing bass really fast like guitar, basically everybody playing the same thing like a sonic wall. So it ended up with everything being in the
MAKE SURE you visit http://newstedheavymetal.com/ for everything Jason Newsted!
The ABCâ€™s of Vehicle Safety: tech that keeps your car shiny side up Passive safety: Your best defense in a worst-case scenario Passive safety features are systems that activate at the moment of impact. Probably the best known examples of these are crumple zones, seat belts, and airbags, both of which have been around for decades but have evolved significantly since their introduction. The job of the seat belt is to prevent you from flying through the windshield or smashing your face and body into something hard when your vehicle comes to a sudden stop. Similarly, airbags inflate upon impact to provide a softer landing for your face and other sensitive body parts. Driver and passenger airbags have been standard since the '90s, but today's cars have anywhere from four to more than 10 airbags onboard, each offering protection from a specific injury or crash-related hazard. Side-curtain airbags deploy across the windows to help prevent head injuries in side impacts and rollover incidents, while side torso airbags defend against injury to the abdominal and pelvic areas. Knee airbags, now standard in many cars, deploy below the dash to guard against leg injuries. One new innovation we've seen on some Fords and Lincolns is the inflatable seat belt, which is intended to take off some of the stress applied to your body in a hard stop. GM now offers a front center airbag that deploys from the right side of the driver's seat to provide additional cushioning in a side impact and prevents front occupants from bumping heads. Modern seat belts use a three-point design with one strap placed across your lap and one crossing your chest to help distribute the force of a sudden stop more evenly. To spread out that force and further reduce injury, an inflatable seat belt increases its surface greatly area when it deploys. Another passive safety feature you might not think about often is a car's body structure. Cars have crumple zones built into their bodies, which are meant to dissipate energy in a crash â€” energy that would otherwise be transmitted to the occupants. Your car's front and rear ends are meant to deform in a certain way to help absorb the force of an impact. A sturdy safety cell structure encircles the cabin, and is quite often comprised of high-strength steel alloys reinforcing the roof and pillars to protect you in a crash. After an accident, some cars offer a subscription-based service that can automatically notify first responders of your position, and the severity of the crash based on data from the car and info you give to an operator, who calls after you get into an accident.
Electronic driving aids: Because we're only human While passive safety features generally aren't used until the moment of a crash, active safety features do their best to prevent a crash. This area has seen great advancement over the years, but there are a few old standbys that continue to keep us out of trouble. Antilock brake systems (ABS), as the name implies, help prevent your tires from locking up and skidding under hard braking. ABS does this by monitoring the speed of all four wheels with sensors, and momentarily releasing brake pressure to an individual wheel to keep it from locking.
Traction control is often a secondary function of ABS, reducing engine power and/or applying individual brakes to prevent a wheel from spinning. Stability control uses a different set of sensors, which monitor your vehicle's lateral movement, rate of rotation, steering angle, throttle position and more. If the vehicle isn't responding appropriately to the control inputs, the system can apply brakes to specific wheels and vary engine power as needed to make the car follow the intended path.
Collision avoidance: Watching your back Many of today's cars are smart enough to sense more than just your wheels slipping, and are in fact aware of other vehicles and objects around you. Collision avoidance or mitigation systems rely on a number of sensors, usually including radar, cameras, lasers, and/or ultrasonic sensors, to determine what's going on outside your car. If the system thinks you're approaching an object too fast, your vehicle will warn you with an audible chime from the speakers, a flashing light at eye level, vibration of the seat or steering wheel, or a combination of the three. If a simple warning doesn't provide enough of a safety net, some vehicles can intervene to help you avoid an accident. For example, some Fords will prime the brake system's hydraulic lines in preparation for a hard stop when you hit the brakes. Toyotas with the PreCollision system will prime the brakes and also tighten the seat belt pretensioners. Vehicles from Infiniti, Volvo, and Mercedes-Benz will even apply brakes for you when so equipped. Another active safety feature that watches out for vehicles around you is the blind spot monitoring system. As with forward collision warning, blind spot monitoring systems vary from brand to brand. Virtually all systems will show a warning light on the exterior mirror or pillar when an object is detected in your blind spot, and also beep at you if you try to signal into that lane. Likewise, lane departure warning systems can sense when you're drifting out of your lane, and depending on the vehicle, will either alert you or bring you back automatically. Most systems will beep and flash lights in your face, but vehicles such as the Cadillac ATS and XTS will also vibrate your seat to further grab your attention. Certain Infiniti and Mercedes-Benz models can gently apply the brakes to bring you back into your lane, and modern electric-power-steering systems will be capable of such corrective steering action in the near future. The warnings are only triggered if you start to cross over the lines without signaling, so drivers who don't like to use their turn signals might want to turn this feature off.
Ask not what your car can do for you (because it's quite a long list) In recent years, active safety features have grown to include systems that keep you safe in a number of specific situations. Adaptive headlights turn with the car to illuminate the patch of road you're aiming for, increasing visibility on dark roads. Similarly, active high beams will turn on automatically if it's dark enough, and can detect the lights of vehicles in front and turn off automatically to avoid dazzling other drivers. To help make sure you stay awake behind the wheel, certain Mercedes-Benz models with Attention Assist monitor driving inputs and other factors, and will beep at you to recom-
mend a break if they think you're getting drowsy. Driver distraction is a hot topic in vehicle safety these days, with the NHTSA recently releasing guidelines on how manufacturers can limit distractions in the car. Some infotainment systems, like Ford's Sync, can read aloud text messages off a Bluetooth-connected phone and translate voice to text to help curb texting and driving. Rear cameras are commonplace these days, appearing as standard equipment on many new cars and helping drivers to see what's behind them when backing up. One new feature available on cars such as the 2013 Ford Fusion is cross-traffic detection, which combines the rear-view camera and blind spot monitoring systems to alert drivers when a vehicle is about to cross their path as they're backing up. Some rearview monitors from Nissan and BMW offer a different perspective, with multiple cameras placed around the vehicle to create a bird's eye view, helping you to better position your car in a tight spot. Proximity detection is another feature to help you avoid hitting things, alerting you with audible beeps that increase in frequency as your vehicle gets closer to an object.
Ford Cross-Traffic Alert Today's cars aren't only concerned for the safety of their vehicle's occupants, they also consider those outside the car. Pedestrian crash research has helped shape vehicle exterior designs over the past few years, resulting in lower front bumpers, more upright grilles and mandating clearance between the hood and hard engine and body parts beneath it. Active hood struts can raise the rear of the hood to provide such clearance. More recently, airbags have found their way to the outside of the car. In Europe, Volvo launched the first car equipped with a pedestrian airbag, which deploys in the area where the hood and windshield meet to help prevent head injury. Automakers such as BMW offer infrared lighting systems to help drivers see better at night. Those systems with pedestrian detection can identify and distinguish between humans and animals, and will notify the driver if something is crossing the road.
Volvo Queue Assist Adaptive cruise control helps you maintain a safe distance between your car and the vehicle in front by using radar or laser sensors to adjust speed. Some systems, like Volvo's Queue Assist, can even bring the car to a complete stop, then back up to speed again in stopand-go traffic â€” a feature that could change how we get around in the future.
Driving connected: The future of transportation Looking ahead, the NHTSA has put emphasis on vehicle-to-vehicle (V2V) communications. Such technology would allow your car to "talk" to others on the road, gathering information from the vehicles ahead or, in some cases, the road itself. Warnings about accidents further up, pedestrians crossing the street, or another vehicle running a red light can be sent to other cars on the road, allowing the onboard electronics to determine what speed they should be traveling or whether emergency maneuvers are needed. The NHTSA says driver error contributes to 80% of crashes,
which is why the agency is looking into V2V technology as a possible long-term solution. Volvo also sees V2V as the future of traffic safety, having set a goal of zero crash deaths in new Volvo models by the year 2020. A concept that takes V2V to another level is fully autonomous vehicles. Audi has been experimenting with autonomous cars for a few years now, with its self-driving TTS traveling up the Pikes Peak hill climb course and around a race track at speeds up to 120 mph. That experiment, developed in collaboration with Stanford University's Center for Automotive Research, recently became one of the first autonomous vehicles to be granted a permit to test on public roads. Volvo recently performed a test in Europe with a caravan of driverless, V2V-connected cars, which traveled more than 6200 miles behind a human-piloted lead vehicle. Such technology could lead to road trains, an idea that sees multiple V2V-linked cars traveling at the same speed and spaced a safe distance apart over long stretches of highway. Computercontrolled freeways would likely bring traffic in congested areas down several notches, as computers generally aren't susceptible to distraction, impatience, road rage, or rubbernecking. If automakers continue to explore autonomous vehicle technology, the cars of the future could completely take over driving duties for mundane tasks like your daily commute. But hopefully for driving enthusiasts, our robotic co-pilots will surrender the helm when the road gets more exciting. Vehicle safety has come a long way since the first passenger car seat belts were installed more than 50 years ago. Still, there's always room for improvement, and decreasing traffic fatalities and injuries is definitely a step in the right direction. For now, you can take comfort in knowing the cars of today have your back, but realize that safety always starts and ends with the driver.
ÂŠ Car & Driver; Reprinted with Permission
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Anatomy of a Car Crash Here's what happens, moment by moment, during most metal-to-metal mishaps. Every car crash is uniquely destructive â€” from low-speed rear-end collisions, the most common type of mishap, to catastrophic high-speed head-ons. And despite the auto industry's attempts to prevent them, particularly through the widespread rollout of active safety systems, they still happen: 5.4 million auto collisions were reported in the United States in 2010. Consequently, automakers must prepare for the worst, studding vehicles with sensors inside and out to detect impending danger, and applying techniques both old and new to isolate vehicle occupants from the effects of an unexpected impact. Here is how some of those safety features react during a collision and at what moment.
5 seconds to impact: Forecasting disaster Modern automobiles equipped with active safety systems are nervous Nellies, constantly scanning for threats with an array of long- and close-range sensors. At the furthest extreme is radar, which can detect a potential problem from nearly 500 feet away. Assuming that the questionable obstacle is stationary and you're traveling at 65 mph, this gives your car's onboard processors roughly five seconds to churn through likely scenarios and responses.
1 second to impact: Risk assessment Within the final second before impact, short-range sensors â€” typically cameras, laser range finders or both â€” reclassify a vague, radar-detected risk as a specific threat. Depending on a vehicle's make and speed, the car might do anything from simply pre-charging its brakes to actively applying them. For instance, Mazda's Smart City Brake Support System, which debuted in this year's CX-5, tries to halt the SUV to avoid a crash, but only if its speed is between 3 and 19 mph.
BAM! IMPACT! 1 to 8 milliseconds after impact: Damage report It takes roughly one millisecond for a vehicle's pressure sensors to register impact. With each additional millisecond, the severity of the crash becomes more apparent, as the kinetic energy flows through the car, tripping other internal sensors: acceleration, pressure, vibration. It's during this fraction of a second that commands are issued. Airbags are ordered to deploy, and seatbelt pretensioners are fired. Some cars even have features to minimize the effects of, say, whiplash; properly equipped Toyotas will have reconfigured their
seats to reduce neck and back injury, shifting the headrests upward and forward.
8 to 15 milliseconds after impact: Airbags fire Depending on where and how fast the vehicle has struck, or been struck, the internal airbags start inflating at the 8.5-millisecond mark. A front impact can mean a slight delay in deployment, to optimize the airbag's energy-absorbing properties. The exact timing depends on everything from the violence of the collision to the relative size of the occupants, as detected by seat-based weight sensors.
15 to 30 milliseconds after impact: Airbags inflate By now, a high-speed crash has crushed a portion of the vehicle, dumping some of its force into corresponding crumple zones. Even if the cabin isn't forced inward, the passenger is at risk of bouncing against doors, steering wheel and dashboard. This is when most airbags fully deploy, exploding through their compartments to unfurl in a handful of milliseconds. Automakers have installed more airbags over the years, from front to side to knee-level, and General Motors recently introduced a front-center airbag on the 2013 Acadia, which will prevent occupants from clashing heads or otherwise moving around laterally during side collisions.
30 to 50 milliseconds after Impact: Airbags deflate The goal of any passenger-based safety system is to cushion, to bleed off extreme and errant levels of kinetic energy. That's why seatbelts typically release some of their tension in a front-end crash, allowing the occupant to plow into the airbag at the precise moment that it starts deflating. Without that perfect transfer, the organs could slam forward inside the tightly held body, or the head could snap back against a rigid bag. Neither scenario is good for the body. To further muffle the blow in these scenarios, Ford has started offering inflatable seat belts, which deploy 40 milliseconds after impact.
50 to 70 milliseconds after impact: Controlled deformation In most collisions this is the home stretch, when the forces involved have done their damage and internal movement tapers off. Modern vehicles are designed to yield in various ways, allowing the crash energy to essentially splash around the vehicle and dissipate through the structure. "Specific deformation sends force around the safety cage," says says the manager of safety compliance for Volvo in the U.S., referring to a typical front-end crash. "It travels up the A pillars, through the roof structure, then back down the vehicle around the occupant." Although the passenger might still be in motion, it's around this time that the doors automatically unlock.
70 to 300 milliseconds after impact: The crash's last gasp If the collision hasn't caused a rollover, or secondary impacts — with other vehicles, for example — the crash is over. Occupants come to a full halt inside the cabin, and so do the structures designed to move with them. For many collisions, particularly side and rear impacts, this is often when the occupants first realize that a collision has occurred — when the bags have already deflated and the structure has finished warping itself around them.
Aftermath While the wider auto industry continues to experiment with vehicle telemetry, remotely tracking the state and status of models on the road, GM's OnStar system provides the only factory-built post-crash safety feature. OnStar's Automatic Crash Response sends an alert to the service upon impact, allowing OnStar operators to pass along the location and, in general terms, nature of the crash to emergency responders. Since 2009, the service has added an Injury Severity Prediction feature, which uses sensor data to assess potential injuries, giving operators an estimated level of injury: high or normal. © Edmunds.com Printed with Permission
It’s an EXCITING time for Acoustic Minds! After 7 months of touring up and down the entire West coast and performing in Austin for SXSW, AM is back in their hometown to release their brand new single "Love Somebody"! As if that wasn't special enough, their keyboard player, singer, producer and all around womp-maker Aaron Altemose will be releasing his new solo album "Start Right Here"! Plus the über talented Marv Ellis will be bringing the new new with the Borganix band! AND, to top it all off, look for an in-depth interview with AM in CV NorthWest in July 2013!
ASE Certified Master Rick McDonald offers his advice on YOUR questions... My mechanic says my engine has too much compression due to excessive carbon buildup. What does that mean?
When fuel burns, it leaves behind deposits that stick to the combustion chamber, valves and top of the piston. How quickly the deposits accumulate depends on the type of driving done and the quality of the fuel burned. Carbon deposits gradually accumulate in a new engine for the first 5,000 to 15,000 miles, then level off. A state of equilibrium is reached where old deposits flake off at about the same rate as new deposits are formed. However, infrequent driving, infrequent oil changes or internal engine problems such as worn valve guides, or worn, broken or improperly seated rings that allow oil burning can greatly accelerate the accumulation of deposits. This may cause the carbon deposits to reach a much greater than normal thickness, which in turn raises compression and causes spark knock or detonation problems. The deposits may even build up to the point where they cause physical contact between the piston and head. This, too, can make noise as well as be very damaging to your engine. I have a 2006 Audi A6 4.2 with the adjustable air shock option. When driving in the city and hitting numerous bumps, I feel a slight vibration through the steering wheel along with a chirp or squeak coming from front end. Could this be an alignment problem? Tie rods maybe? Shocks?
I must be honest with you on this one, I do not have much experience with this car. I tried doing a little research and there is not a lot of information pertaining to this problem. Audis do have some problems with component wear tie rods and control arms, but I don't think this is related to alignment or suspension. I would like to be able to drive and inspect this car to be more accurate about this issue; I have a feeling it is going to be in the power steering but that is a guess. I would recommend seeing a pro on this. Sorry I cannot be more helpful on this one. If I'm going to change the brakes on my 2007 Nissan Altima, do I need to bleed the brakes? If so, do I do it after I replace the brakes and in what order should I bleed it? Do you have instructions on how to bleed the brakes for this car?
Well as a tech I have seen it done without bleeding, and there are many techs that do it that way, but letâ€™s be honest, for a car that is over 3 years old I would recommend flushing the entire system. When you first start check the master cylinder, remove some fluid so when you push the caliper piston back the master cylinder does not overfill. It is a good idea to have the rotors machined for a good smooth braking when you are finished. Replace the pads & lube the metal to metal brake contact points with a good brake lube; personally I use anti-seize compound. After you finish installing the brakes flush the brake system. Remove as much of the brake fluid from master cylinder as possible. Fill the master cylinder with fresh clean fluid. Next I would look around at parts houses, I think they make a brake bleeding kit. If not, a simple way to make your own is to get a clear jar or plastic bottle, get some clear plastic line ( 1/4â€? roughly) that should fit tightly on the bleeder nipple. Starting at the furthest wheel from the master cylinder first, put a little clean fluid in the bottom of bottle, open the bleeder, put the line on the nipple then place the other end in the jar in the fluid, now being sure not to let the master cylinder go empty, then slowly pump the brakes. I pump the brakes about 20 times then pull the line off, close the bleeder and go to the next wheel â€˜til you finish with the wheel closest to the master cylinder last. Be sure to check for a good pedal and have someone hold the brakes on and check for leaks.