TIPS YOU NEED TO KNOW ABOUT MUSIC

Microphones for Musicians – Laser and Other

2008-11-10T10:49:00.000-08:00

If you have been following my Microphones 101 series of articles, you would have read about 4 of the most important microphone types. These were: Dynamic Microphones, Condenser Microphones, Ribbon Microphones, and Carbon Microphones. This last update will cover a couple less used mic types. Laser Microphones, lavalier mics, contact microphones, and parabolic microphones. If you jumped in on this article without reading the first two, here a little re-cap of how microphones work.
How microphones work - in a nut shell.
A microphone captures sound waves with a thin and flexible piece of metal known as a diaphragm. Sound waves are introduced into the microphone, vibrating the diaphragm. The vibrations are then converted by various methods into an electrical signal that is an analog of the original sound.
There are various types of microphones, today we’ll be discussing laser, lavalier, contact, and parabolic microphones.
1. Laser Microphones
A laser microphone utilizes, well, laser technology to capture vibration and convert it into sound. The laser will be reflected off of glass or another flat and rigid surface that vibrates with the sound nearby. The laser measures the distance (very accurately) between itself and the surface it is reflecting off of, and measures the fluctuations of that surface when the sound waves from nearby vibrate said surface. This form of mic is portrayed in movies as spy equipment. But contrary to it’s portrayal, the device is very new, expensive, and not very portable.
2. Lavalier Microphones
This type of microphone is commonly used for hands-free operation, usually clipped to a person’s lapel. They usually have their own power source and can run directly into the mixer, or may be wireless, making it ideal for television.
3. Contact Microphones
In the world of microphones, contact mics are a little different than the rest. They are designed to pick up sound vibrations from solid objects, instead of vibrations carried through the air. This is mainly used to record low level sounds that you would not be able to pick up with a regular mic. These mics consist of a moving coil transducer, a contact plate and pin. The contact plate is placed on the object which you would like to record, the vibration is passed through the plate to the pin which passes it to the transducer. The experimental electronic music group Matmos used this on their album “A Chance to Cut is a Chance to Cure”, to record the neural activity of a crayfish.
4. Parabolic Microphones
Parabolic microphones use a parabolic reflector to pick up and focus sound waves for a microphone receiver. It is similar in function to a satellite dish in the way that it pick up radio waves. These mics are commonly used for law enforcement surveillance. But they are not very well suited for regular recording, as their low frequency response is very poor.
So this wraps up our Microphones 101 series of articles. I hope you all learned as much from these articles as I have from researching and writing them!

Jason Cole and DiskFaktory Mastering offer great professional mastering services and information regarding audio engineering and CD mastering. Get the professional mastering information you are seeking now by visiting http://diskfaktory-mastering.com/evaluation.htm

Things to Look for When Buying a Cordless Microphone

2008-11-10T10:47:00.000-08:00

Wireless microphones have numerous uses, from amateur to professional, from bars and clubs to educational institutions and churches. A good, reliable wireless microphone system can be an excellent addition to any of the mentioned locations, but it can also be used on stage, during a concert, a prize contest, announcing a play or for karaoke. Radio and TV stations often use such cordless microphones with great success. There are several frequency ranges in which you can get a microphone: VHF, UHF and Giga Hertz. Cordless microphones may also take shapes like hand held wireless microphones or clip-on microphones.
Advantages and potential problems of cordless microphones
When looking for a cordless microphone, one of your main concerns has to address the mobility range that the device will offer. Although the absence of a cord gives the person holding the microphone more freedom, this must also translate in the distance you can use the microphone, in relation with the wireless receiver. A good wireless microphone will allow a club DJ, for example, to leave his mixing desk and walk on the dance floor with the mic in hand, without experiencing any signal loss or quality problems. Also look for battery life specifications – it’s better to get a cordless microphone that has a battery level indicator on it, so as to get early warning and not be surprised by a sudden battery failure in the middle of a speech. In fact, batteries used to be one of the biggest disadvantages of older cordless microphones: they were heavy and had a short life. Today, however, you can expect to get dozens of hours of battery life and most wireless hand held microphones are actually lightweight.
A few popular wireless microphone models
VHF performance gear microphones are the least expensive in the line of semi professional and professional microphones. They work well in a wide area, but you cannot expect extreme recording environments to produce high quality results. Such microphones are, however, suitable for 80% of all sound recording situations. Fixed frequency UHF units are another popular choice for many musicians and even for educational institutions. They come with a series of microphone types, such as cardioid, super cardioid or omni directional. Broadcast quality UHF models are usually used in award shows, TV shows and other high-end locations. They offer agile frequency responses and excellent ambient noise cancellation filters.

Mantius Cazaubon is a successful author and publisher of http://the-microphone-guide.com, a resource for information and tips on buying wireless microphones online.

Things to Look for When Buying a Studio Microphone

2008-11-10T10:46:00.000-08:00

Studio microphones need to accomplish one thing and one thing only: to record the best possible voice or musical instrument sounds. In order to do that, they use advanced technological methods to filter out unwanted ambient sound, which are present even in a controlled studio environment. Studio microphones have to capture the smallest voice subtleties and even the lowest musical notes. Most studio microphones use the electret model, in which a thin metal diaphragm receives sound waves and converts them into electrical current, which can then be interpreted by various recording devices. The filters used in the manufacturing of professional studio microphones are well calibrated, so that any disturbances are stopped before they reach the recording surface.
No room for compromise
Music recording studios, radio studios and TV station studios – they all use professional microphones. A UHF broadcast level microphone is expensive, often with price tags of several hundred dollars, so it is unlikely you will purchase such devices unless you intend to use them in one of the above-mentioned locations. Professional studio microphones need to have two major characteristics at a level far superior to regular microphones: flatness and linearity. Both these attributes mean that the recorded sound is clearer, more accurate, without noticeable distortion. Music studio microphones are often multidirectional, capturing sound from a well controlled ambient. The reason behind this is that the enclosed recording room allows no outside sounds to enter, so the only available ones are the ones produced by the singer or vocalist. A TV studio microphone, on the other hand, has to be focused on a single major source of sound: the speaker holding the microphone.
How to select your studio microphone
The variety of offers on the market is huge. And the truth is that it’s hard to pick a winner in any category. So how can you select your studio microphone? The first step is to determine exactly what the microphone is supposed to do: are you going to record voices, instruments, mixed music? Then you should look for a similar studio and check out their equipment. It’s almost like spying on the competition to see what they are using and if they believe it’s working for them. After you narrowed down the microphone list to a couple of different models, you can go by other decisive items, such as price, warranty or accessories. In the end, the aim is to get the most appropriate microphone for your studio without paying a fortune for it.

Mantius Cazaubon is a successful author and publisher of http://the-microphone-guide.com, a resource for information and tips on buying studio and throat microphones online.

Microphones Used in Recording Studios

2008-11-10T10:44:00.000-08:00

A microphone is an example of a transducer, a device that changes sound from one form to another. Sound exists as patterns of air pressure; the microphone changes this into patterns of electric current.
Microphones vary greatly in quality. A top end recording studio microphone may cost thousands and in many cases they are needed for the very best recordings. A variety of mechanical techniques can be used in building microphones. The two most commonly found in recording studios are the magneto-dynamic and the variable condenser designs.
All microphones convert sound energy into electrical energy, but there are many different ways of doing the job, using electrostatics, electromagnetism, piezo-electric effects, or even through a change in resistance of carbon granules. When it comes to microphones used in recording studios, the vast majority of microphones used are either capacitors, electrostatic, or dynamic.
Both types employ a moving diaphragm to capture the sound, but make use of a different electrical principle for converting mechanical energy into an electrical signal. The efficiency of this conversion is very important, because the amounts of acoustic energy produced by voices and musical instruments are so small.
Different types of microphones used in recording studios
In live sound, nearly all the microphones used are dynamics. In the studio, instruments such as drums, electric guitars, and basses are recorded using dynamic microphones. Dynamic microphones have the advantages of being relatively inexpensive and durable, and they don't need a power supply or battery to make them operate.
Dynamic microphones are most effective when working with relatively loud sound sources that do not contain a lot of very high-frequency detail. They are also tough instruments which make them good for recording studios. Another type of dynamic microphone is the ribbon microphone, but this is only used in fairly esoteric recording applications by engineers who appreciate the subtleties of the ribbon sound.
These microphones are comprised of a thin metal ribbon suspended in a magnetic field, and when sound energy is encountered, the electrical signal generated is induced in the ribbon itself rather than in a voice coil. The main advantage of ribbon microphones is their smooth, detailed sound which makes them perfect for studio environment.
Capacitor microphones are more expensive than their dynamic counterparts, and they are also much more sensitive, and can capture high-frequency detail much more accurately. Even though they are relatively efficient like dynamic microphones, capacitor microphones produce such a small electrical signal that they require a special type of built-in preamplifier to bring the signal up to usable levels. Thus they are not fit to be used in live concerts or open air concerts. Capacitors are used mostly in recording studios where there is less noise.
Conclusion
The microphone is a ubiquitous piece of equipment. Found in everything from telephones and computers to recording studios, microphones are part of our daily life. A professional studio will accumulate a varied collection of microphones. The top studios use microphones such as Shure SM58s and 57s, AKG D112s, or Sennheiser 421s.

All the Details About Microphones For You

2008-11-10T10:40:00.000-08:00

Though the modern microphones follow the same principle, they do it electronically. And thus, it captures pressure waves in the air and converts them into electric signals. Microphones are of different types, and they differ in their functioning too. Generally, there are five types of microphones commonly used for various purposes.
Condenser microphones: They are also called capacitors as the diaphragm acts as one plate of a capacitor that responds to the sound waves. The movement that happens changes the capacitance of the capacitor and it is amplified to create a signal. However, these microphones run on a small battery to provide voltage across the capacitor. These microphones produce high quality audio signal and are commonly used in studio recordings.
Dynamic microphones: These microphones work through electromagnetic induction. In this system, the sound wave creates a vibration in the diaphragm which makes the magnet or the coil to move and this movement creates a small current. However, these microphones are very hardy and resistant to moisture and are quite economical. And thus, they are widely used for stage performances.
Ribbon microphones: In these microphones, a thin metal ribbon is suspended in a magnetic field. And it is moved by the sound wave that changes the current flowing through it. Ribbon microphones usually do not require phantom power but there are some ribbon microphones that have pre-amplifiers and so need phantom power.
Carbon microphones: These are perhaps the oldest and the simplest microphones that were once used in telephones. Carbon microphones use carbon dust and they have a thin metal diaphragm on one side. As the diaphragm is hit by the sound waves, it compresses the carbon dust that changes its resistance. By running a current through the carbon, the changing resistance changes the amount of current flow and thus produces an electrical signal. Although they are quite robust they cannot reproduce high quality sound and have limited frequency. But these can be used as a type of amplifiers.
Crystal microphones: These microphones have a diaphragm attached to a crystal that crates a signal when the sound wavers hit the diaphragm. Basically, the crystal microphone uses the theory of piezoelectricity. However, they are commonly used with vacuum tube equipment like domestic tape recorders.
Other than these types of microphones, there is another type of microphone that is widely used these days. It is called wireless microphones. They are portable and have a versatile way of recording and broadcasting sound, without a cable connection.

Victor Epand is an expert consultant for music gear, speakers, and microphones. You can find the best marketplace for music gear, speakers, and microphones at these 3 sites: music gear, DJ equipment, recording equipment, speakers, subwoofers.

How to Create a Home Recording Studio

2008-10-30T10:36:00.000-07:00

Thanks to technological innovations, including professional recording software more artists are creating home recording studios, and even laptop studios. This article will provide tips and ideas to help you create the perfect home based studio for you and your music, based on your budget and needs.
Before you begin, consider whether you plan to record all of the songs and or musicians and instruments associated with a project all at once, or individually. You should also factor your familiarity with computers and recording software in general into the equation.
If you arent as familiar with recording software tools as you would like to be, the good news is that most music recording software offers simplified versions of their full software programs, that can be upgraded to full versions later, once youve mastered the basics. These programs provide a good introduction to the fundamentals of recording software.
If you are going to build a studio, keep in mind that software studios are much more space saving than hardware studios, but if space is not an issue, then a traditional hardware studio may be your best option.
A mobile laptop studio is always a good option for the truly pressed for space, since this offers you the greatest flexibility, and most laptops are more than capable of running recording and mixing software and programs. This means that your recording studio can go with you, and you will never leave home without it.
You can also create a combination hardware and software studio, but in any case, the most basic studio should include a computer with a sound card, a microphone and a mixer, a stereo or powered speakers, and an optional midi keyboard.
Buy the best equipment that you can afford now, and keep in mind that you can always upgrade later, but that in the long run, purchasing the cheapest equipment may actually end up costing you more, since more upgrades will be required.
Creating your own recording studio will save you time and money, since it will eliminate the need to rent studio time, and, especially in the case of a mobile laptop studio, will give you greater freedom and flexibility when it comes to your recording projects.
Whether you have unlimited space and a large budget, or very limited space and an equally limited budget, thanks to recording software programs and advances in recording and mixing technology it is possible to have your own home, or mobile recording studio.

OBEDIA offers 24/7 support and training for musicians and recording artists, visit their site for Pro Tools and other recording software training tips and support.

Wireless Outdoor Speakers - A Sound Investment

2008-10-30T10:33:00.000-07:00

Are you looking for some accessories for your iPod or music player? If so, wireless outdoor speakers are good suggestions. Through it, you can share your favorite music with your friends. With these speakers, there's no need to listen to your songs alone. Technology is advancing every second and wired systems are becoming obsolete. If you need to get rid of your old wired speakers, look at the many wireless speakers available at an electronics store and take your pick.
These speaker systems are very nice. Merely owning one can make you the coolest person in the neighborhood. You can pump out just about any song with these speakers. It is perfect for use at a campsite or at any secluded place where you can't run an electrical cord. If you're not content with your iPod blaring in your ears, you are going to need these wireless speakers so you can enjoy the sounds even more.
These wireless speakers vary in size, although they are not bigger than the size of a small trash can. It is a highly portable device. And it can amplify sounds up to 70 decibels. Being designed for outdoor use, it is expected to endure the everyday weather conditions. But it is not waterproof. So don't leave it out in the snow or in the rain or it will get broken?
Wireless outdoor speakers make good music accessible to everybody. If you love your iPod or Zune so much, now you can share it with your friends. The speakers will amplify your favorite songs for everybody else to hear. Just plug the wireless transmitter to the audio player to make them work together. The working range is usually more than a hundred feet.
If you currently enjoy the title of being the gadget king, you must keep at least one of these speakers in your car. You might have a need for loud music sometime. You can liven up a private party using it. These wireless outdoor speakers would allow you to keep your title of being the gadget king in your cool circle of friends.
With the popularity of iPods and other portable media players, music became a part of one's life even more. It is a good thing that more and more manufacturers are creating useful attachments for them. The wireless outdoor speakers are a living proof showing that the future is always bright. This device shows that technology has a lot of things yet to offer.

Sal provides expert information on wireless outdoor speakers by writing articles about investing in wireless speakers and other topics.

Tips For Installing Surround Sound

2008-10-30T10:31:00.000-07:00

If you're installing up a home theater you should seriously consider installing surround sound - otherwise you'll be missing out on a vital part of the home theater experience! Although ordinary speakers will mimic the sounds of the movie, the surround sound speakers will provide greater quality and make you feel as if you're sitting right in the center of the action on the screen.
Good surround sound speakers will come with a digital media port which will provide even more flexibility. This enables you to play music from your iPod, computer, or any Bluetooth equipment. By utilizing this port you can take the audio on these other devices and channel them through the surround sound so you can enjoy the amazing tone and range that the speakers can generate.
When you are looking for the best in quality sound, keep in mind that you must consider having between 3 to 5 wall mountable speakers and a sub-woofer. Ideally, the best way to place these speakers is to have two front speakers, a sub-woofer, one center speaker and two rear speakers. This way you will have the sound surround system you want.
Installing surround sound speakers can be trying at best, given the excessive wiring on the floor, under the floor (along with the drilled holes that requires) or worming against baseboards, it can be a daunting task. However, you can eliminate all this trouble by buying wireless speakers!
There are additional specifics you may want to look for. For example, if you want to put your center speaker close to the television, buy one that is magnetically shielded; otherwise you run the risk of distorting your image. (Make sure you know before you buy if this is the way you want to arrange your solution.) The sub-woofer you buy also needs to have its own power supply.
Finding the right receiver is crucial for your Surround Sound experience. The ideal receiver will allow you to control movie and music output separately, to plug in headphones and other accessories easily, and has at the minimum a 4-channel Dolby Pro Logic decoder. Additionally, Auto Calibration and Digital Cinema Sound will provide the crispest listening experience. Finally, buy the highest-wattage receiver you can afford.
Installing surround sound is very time-consuming and complicated, so you may wish to get a professional to do the job. Picking the right receiver and speakers is truly the most critical part, so after you have done that, you've won most of the battle.

To learn more about installing surround sound, please visit http://www.hometheaterroomsdesign.com

How a Soundproof Wall Can Benefit You

2008-10-30T10:30:00.000-07:00

At those times you'd like nothing more than to turn down the volume on the horseplay and screaming from the younger kids, or the boom boxes or TVs blaring from the rooms of the teenagers. You'd love to be able to hold an adult conversation with your spouse or guests without having to raise your voices to uncomfortable levels, but the reality is that your home was not constructed with noise control as a priority. Keeping you interior doors closed doesn't help much when you are surrounded by paper-thin walls. What can you do?
Where To Use A Soundproof Wall
You can explore the possibilities of adding a soundproof wall to the rooms of your choice. Your bedroom, home office, or family room are all great candidates for a soundproof wall or walls, but every home has its hubs of activity, and you can choose the rooms which will benefit most from noise control. Having soundproof wall systems installed in those rooms can make the difference between having a family chronically short on sleep and one which is rested enough to arrive at the breakfast table in good spirits and ready to take on the day.
Why To Use A Soundproof Wall
You'll also feel much more secure when sharing close moments with your spouse if you are protected with a soundproof wall, and if you aren't constantly pleading with your kids to turn down the music or tone down their games, they'll be much more likely to stay home where they are safe.
If you do any kind of work from home, having a soundproof wall in your home office will make it much easier for you to stay focused in spite of the distractions of active kids, a barking dog, or a noisy vacuum cleaner. If your business is one which requires you to see clients in your office, a soundproof wall will keep your interactions with those clients private. It may also leave your clients thinking that your home life is much more organized that it really is.
A soundproof wall will let you work uninterrupted, and if you spend much time struggling with numbers or writing correspondence, it may be a necessity. But if having a soundproof wall makes you a more productive earner, the extra income you earn will eventually cover the cost of installing the wall!
Soundproof Wall Installation
The cost of installing a Soundproofing wall, by the way, need not be exorbitant if you have s some basic DIY skills. You can simply glue some cork cushioning to the back of a sheet 1/2" drywall, and then glue the drywall to your existing wall. The glue should be used instead of either nails or screws simply because nails or screws will transmit sound vibrations. You can learn more methods of installing a soundproof wall by talking to a building contractor or you local homebuilder's association.

You can also find more info on Soundproofing Tip. Soundproofingbliss.com is a comprehensive resource which provide information about sound proofing item.

5 Unequaled Ways to Make Money With Audio Products

2008-10-30T10:27:00.000-07:00

Do you know the subjects that are of interest to your targeted prospective readers? If not, you are missing a huge opportunity. In fact a really good method to make money with audio products is to focus them on the issues that are important to your prospective readers. If your readers find that you provide the content they seek, you greatly improve the odds of sales being made. Remember; it is important to know what your prospective readers seek for you to be successful. Conduct keyword research before you move forward with product creation. Know exactly the subjects of interest to your prospective readers. Read on to discover 5 unequaled ways to make money with audio products.
1.It is important that every product you create is filled with high-quality information that customers will value. Audio products are no different. It is important that comprehensive research be done prior to ever even preparing to create an audio product. Research can be done online, by partnering with other experts, or by reading books and papers on your topic. Just make sure you use only those sources that can be trusted to be true and accurate. Unless you are truly an expert bringing in outside knowledge will add more high-quality information to the CDs or MP3s you create. That in-turn marks you as someone who provides the content readers are seeking.
2.Invest the time to create a complete outline of your audio product before recording a single word. Your goal is to get your thought together and organized into a cohesive master plan for your audios. Include all the major topics you plan to cover along with the subtopics that support them. Finally include the data and statistics you plan to include but may find it difficult to remember. Put everything together into a logical sequence. Remember that it's fine to put in your own adlibs when appropriate. This helps to keep your recording from sounding like a canned speech.
3.One of the strengths that audio products offer is the building of a stronger relationship with your customers. Accomplish this by using your own voice. If you are new to recording, just remember to relax and use an informal, everyday speaking style. Be friendly and relaxed, but pay special attention to how you pronounce words. Pay attention to the volume of your voice. You want listeners to be able to hear it, yet you don't want to be overpowering. Speak at a slow and measured pace, but don't put your listeners to sleep.
4.Using a headset microphone makes it easy to get the right distance from the microphone, and then to maintain that distance. In fact this is one investment that you should consider before making your first recording. The other great advantage headset microphones offer is the freedom to move around without worrying about the microphone.
5.Once your audio product is developed, its time to make money. Increase your sales by undertaking an advertising program. Kick things off by using the tried and proven tools of online marketing. Consider pay per click, banner ads, search engine marketing, article marketing, paid listing, search engine optimization and link building campaigns at a minimum. This will cost a little money, but the impact that a well run advertising campaign can have on final sales makes it well worth considering.
To your audio product creation success!

Royalty Free WAV Sound Effects That You Can Download

2008-10-25T10:23:00.000-07:00

Like the Batman theme and want to use it for your client's project? You might have frowned in dismay as the Batman theme is of course, as everyone knows, a copyrighted track and hence there is no way you are able to use this in your project. Do so, and you will probably end up in trouble with the law. There IS a way out though, and that is by using royalty free wav sound effects that you can download. And not to worry - these tracks are meant to be downloaded and be used by you.
First things first, let's get the idea of 'royalty free wav music' straight. Royalty free tracks are tracks that can be downloaded infinitely many times by everyone, and anyone can use it freely. So if you are looking for an awesome sound effect to use, try them out! Normal tracks that you might have downloaded from P2P networks are copyrighted tracks; most of them at least. Hence, this simply means that you are doing downloading these tracks illegally. This is the reason why using royalty free sound effects is highly encouraged.
Unlike these normal tracks that you have downloaded from Kazaa, royalty free sound effects are safe to download and as the purchaser and downloader, you are entitled to do anything you want with the track. Cut is short, edit it, loop it around or simply use it as it is. The sound effect is rightfully yours.
This is the reason why many people love to use royalty free music. There is no need for them to worry about the materials that they are using in their projects. There is also no need for them to think too hard on choosing the exact tracks that they wish to use. This is simply because there is an abundant supply of them out there! Yes, you read it clear. If you are running out of ideas on which are the kind sound effects to use on your website, then hit "Royalty Free Wav Sound Effects" on Google and you will be rewarded with a full list of links to these royalty free tracks.
However, don't expect to see Justin Timberlake's or Eminem's tracks. Royalty free sound effects and songs are 110 percent original. These tracks can sound pretty close to JT's though. So if you are looking for a JT song for use, then grab one that is royalty free and sound as close to JT's.
The problem with some people is that they keep on thinking that these royalty free wav sound effects sound crappy and the sound quality might not be as good. This is when they are wrong! You will be surprised to know that some of them are actually composed by experienced and well-known music composers and directors. So, there is a high chance of these tracks sounding as good as (or even better than) the tracks that you have heard over the radio.
A definite plus point: these royalty free sound effects have sneak previews before you download and use them. This is definitely not the case for P2P networks.

Ray Barthell is an internet audio specialist providing royalty free music at http://downloadroyaltyfreemusic.net - Be sure to download free sound effects.

Article Source: http://EzineArticles.com/?expert=Ray_Barthell

Using Free Sound Effects Download to Enhance Your Projects

2008-10-25T10:21:00.000-07:00

To use or not to use? That can be a daunting question that most project managers might ask themselves. If you are a webmaster and are creating a new website for your client, it can be pretty challenging to decide whether or not you should embed free sound effects into the website. There are of course several points to note if you wish to do so. For example, whether it will affect the time it takes for the page to load, and whether the sound effects will be appropriate for the website. While you might still be pondering with this, read up on how using free sound effects download can help to enhance your mundane looking project into a spectacular one.
There are plenty of reasons for using free sound effects in your projects. It is just part of our human nature to be attracted to things like music and actions and that is also the reason why advertisements that appear on pop ups tend to work better than the ones that are just plastered over a website. So, in a way, using them will help to get people's attention the very moment they enter your site.
The only critical part to using these sound effects is choosing the right ones that suit your website's identity. They form your websites' and projects' identity. For example, if you are setting up a new website that is meant for kids, then most probably some adorable cartoon effects would fit in well. You can also choose to experiment with various other effects and see how you can you them interchangeably between pages.
The only thing that you have yet to figure out is choosing the most reliable website where you can get all your sound effects from. This can be quite a challenge as not all those that are available off the Net would sound as good as you thought they would be. Some of them might have been recorded and re-recorded many times over, hence affecting the sound quality. If this is the case, then you are definitely going to have a pretty tough time choosing the right kind of sound effects for you.
Otherwise, you may choose to use Limewire or any other Peer-to-Peer (P2P) network site. But the only problem is that most of them do not allow any form of previewing and some of these sound effects are just trash and they do not sound good at all.
What thousands of people have been doing to solve this problem is to use royalty free sound effects. Are you new to this? Well, basically anything that is royalty free can be downloaded and used over and over again many times without the need to worry about any copyright laws. This is definitely the best thing about royalty free sound effects. Use it, cut it, loop it and make it sound totally different. It is rightfully yours. This is definitely not the case for the copyrighted tracks that you might have wanted, for example the Superman music theme.
And not to mention there is abundance of royalty free sound tracks out there for you to use, so there is no way someone is going to have the same track as yours!

Ray Barthell is an internet audio specialist providing royalty free music at http://downloadroyaltyfreemusic.net. Be sure to download free sound effects.

Article Source: http://EzineArticles.com/?expert=Ray_Barthell

4 Tactics For Audio Product Development Success

2008-10-25T10:18:00.000-07:00

The market is red hot for quality audio products. If you haven't already, then now is the time to get onboard and start down the path toward your own audio product development success. Stand above the crowd by always producing products that are full of valuable information. Make sure your CDs and MP3 are filled with the details and data that your targeted prospective buyers seek to solve their most compelling challenges and issues. In this article we will reveal four tactics to ensure your audio products outshine all others.
1.Eliminate all background noise from your recordings to achieve a professional sounding product. Many budding entrepreneurs complete their recordings in their home. This arrangement can work well if you take precautions to do away with the extra surrounding noises. Start by turning off TV's, radios, and all other noisy appliances and equipment in your home. Don't forget to let everyone who is at home know that you are recording and that you'd appreciate their help in keeping all background noise to a minimum. If there is still a great deal of noise, you really have only three choices. First, you can soundproof a room to use as a recording studio. While this takes a little time, it can be done fairly inexpensively. Next you can rent a professional recording studio for use in your recording efforts. Finally, you can record a less-than professional audio product.
2.Stand above the crowd by making your audio products attention-grabbing and appealing to listeners. Your goal is to grab the attention of listeners and then to keep their interest throughout the recording. Steps to achieve this include using a gracious, welcoming and positive approach. Record as if you are in a conversation with a friend. Don't forget to add an attention-getting quote or an interesting fact periodically. Ask your listeners a question periodically as well. Finally, including stories about your own achievements will keep listeners engaged and motivated.
3.Invest in your audio product development by using high-quality recording equipment and gear. Make sure that equipment includes a hands-free microphone headset. The high-quality sound produced by better-quality equipment is unmistakable. The trade for achieving the crisp, clear sound you desire on your recordings will be investing a little money. However that money is an investment in the success of your audio product development efforts now and in the future.
4.Use audio editing software to make the edits and revisions needed to make your audio products shine. Never release anything from audio product development until you have reviewed it, edited it, and until you are sure that all aspects of your final CD or MP3 are professional.
To your audio product development success!

Interesting in learning more about this topic? Download my free ebook on internet marketing.
Bob Hamilton is an entrepreneur, author, writer, business consultant and trainer.
http://www.OpeningADollarStore.com

Article Source: http://EzineArticles.com/?expert=Bob_Hamilton

Why Music Downloading Sites Must Allow Users To Listen To Music Free

2008-10-25T10:16:00.000-07:00

As every good marketer knows, the real value is in the upsell: it's much easier to sell something to someone you've sold to already. So if you get people 'sold' on the basic music service - which must be free - then you can try to leverage that audience. But if you try and offer a lower-quality basic (free) service, the audience will either leave or not come in the first place - because there are sites already out there that offer a great user experience without the user having to pay a dime.
Music Downloading Sites - What Will People Pay For?
It has been previously noted that despite the huge volume of traffic to sites such as Yahoo! Music and Rhapsody, subscription revenues in this arena remain remarkably low. But why is this? The casual listener might point out that the main advantage sites like Pandora and Last.fm have over Yahoo's Radio Stations is the absence of ad breaks. There is a huge difference between having even one short ad every half hour and no ads at all. So you have to ask - which one would the consumer choose? Which one will help to grow audience share?
An added-value premium subscription could succeed if a number of important criteria are fulfilled. What would it need to provide?

- value and perceived value ($6 a month isn't much, but why not $4.99?)
- access to additional artwork
- access to higher-quality downloads
- plus some unique promotional angles - for example...

Other ways to develop value for music fans: Discounts on CD purchases, discounts on concert and festival tickets, priority booking for high-demand concerts. This last feature could sell a site on its own - if you sign up knowing that you'll never miss another sold-out concert again (because you were too slow with your credit card) that will make you eager to join, and happy to stay joined. Members could select the artists they are interested in reserving this option for, and in which location(s). There is obvious long-term value in being a member of such a site, especially if the primary service of digital music provision is up to scratch.
The person who buys the most albums per year is the one who is seriously into their music, the one who seeks out new and interesting work by obscure (or less-than-mainstream) artists - not the one who gets their tunes from the top 40. The fact that the dedicated music-listener often buys a single album (and almost never buys singles) from a huge number of different artists means that none of these artists tend to sell enough to attract industry attention. However, the combined spend of these dedicated music fans is probably much higher than many people think. It won't touch the short-term cash influx of a major chart hit, but this is a valuable audience nonetheless, and will not be inclined to use a music site that has Britney Spears videos and Shakira gossip plastered over its home page.

Dan Foley is an author, musician and editor who regularly posts on the Podcomplex Music Technology Blog. Here you can also read more about Music Downloading Sites and the development of the music industry, as well as links to pages where you can currently listen to music free.

Article Source: http://EzineArticles.com/?expert=Dan_J_Foley

Trusting a Music Site to Download and Burn Free Music

2008-10-25T10:14:00.000-07:00

File-sharing programs are the most controversial way to download and burn free music on the Internet, but file sharing has never been more popular. Programs like KaZaA, Limewire, Ares, Shareaza, WinMX, iMesh seem to be the most popular for gathering totally free music to download. Lawsuits by the music industry have slowed some of the illegal sharing of pirated music, but there are new file-sharing programs that use methods to allow users to be anonymous.These file-sharing programs are also called P2P, or peer-to-peer programs. Unlike the old Napster network that ran all exchanges through a central server, this totally free music download software, using P2P networks connects users directly to each other allowing them to download and burn free music.It should be mentioned that file-sharing programs are not illegal in themselves, and their creators like to point out their many legitimate uses. Some unsigned bands use the file-sharing networks to distribute their music through free music downloads and many organizations use them to exchange documents.Many people are confused about what is legal.* Are there places to download and burn free music on the net?

* Can downloading music put you at risk for legal action?

* Is file-sharing legal?It's no wonder people are confused, because the Net is full of legal music download sites advertised as "napster replacements" which are 100% legal. Sites like Mp3 Advance, DownloadShield and MP3 Music Subscription are just a few that offer much more than just music downloads. The vast majority of totally free music download programs shared on P2P (peer-to-peer) networks like KaZaA, Limewire, Ares, Shareaza, WinMX and iMesh violate copyright laws because the music was posted without permission of the artist or label. Since it's impossible to determine which free music downloads may be legitimate, the only sure way to stay legal is to avoid these type file-sharing programs altogether.What is clearly illegal is unauthorized copying of commercial music. These totally free music downloads usually means songs that are made from CD's and then put on the Net by individuals who haven't sought permission from the artist or music company.
What do copyright laws allow? To put it simply, you may make a copy of your own CD for your personal use. That means you may record it to a cassette tape or rip it to MP3 files. You may not, however, give this copy to another person. Many people believe that if no money is involved, then no law has been broken. This is false. Whether you give the copy away or sell it, this is still a violation of copyright law.

John Rivers has been involved with music for over 30 years as a student, performer and teacher. His site The-NetGuide-for-MusicDownloads.com helps individuals to find safe and legal Music and Movie download sites. Subscribe to "NetMusic News" and receive Free music downloads each month.

Article Source: http://EzineArticles.com/?expert=John_Rivers

Music Downloads For iPhone - Where to Get Cheap Quality Music

2008-10-25T10:10:00.000-07:00

All iPhone owners are probably looking for places where they can get music downloads for iPhone at cheap prices without compromising on the sound quality. While you can easily find songs at the major music stores, paying per download can really add up to an astronomical sum. Free centers are not the best option if you are looking for music downloads for iPhone because of problems like legality, unsafe environment and so on that are often found at their sites.
Right before you, there are 2 options. Music downloads for iPhone are offered by services on either a subscription basis (monthly or yearly) or through a one-time membership fee. So for cheap yet quality record label music in a safe and legal environment, these are where you should start looking.
Generally, most people love the one-time membership fee option. It is quite obvious since it only costs a few bucks more than the yearly fee option to get the music downloads for iPhone. And for that amount, you can get unlimited lifetime access to millions of media files under the songs and music.
It remains quite interesting that people are still considering the yearly option thinking that if they can download as many as they want within the year and then discontinue the membership. The fact is, the services continually update their libraries with the latest hits and once your membership expires, you can no longer access the music downloads for iPhone anymore.
One more reason why folks prefer a shorter term subscription over the lifetime option is they have some concerns about the service. These who tend to be skeptical would often opt for the shortest term subscription offer, say 1-month, to check if the service is professional and live up to its promise of great service. It is very much like shopping for a new shirt or dress and ditching it when you do not feel it looks nice on you.
Needless to say, this can be a wasteful exercise since the services that provide music downloads for iPhone already come with a money-back guarantee, and sometimes free trial period. Also, all services vary in many aspects and you may not have seen their strengths within such a short span.
Lifetime membership prices can range from $30 to $50. One advice for you is this – never assume the cheapest is the best. They are not. In fact, think about it. For professional services to run a 24/7 technical and customer support team as well as to provide a huge, constantly updated database of songs, it cannot possibly be too cheap right?
What should matter to you is an array of factors like how many media files they have, the number of music downloads for iPhone, secured download environment that is free from viruses, adware and spyware and a safe payment processing system such as ClickBank and Paypal.
Take a look at the most popular services providing music downloads for iPhone at my entertainment blog now.

Davion is an ardent lover of techno gizmos. He runs a hugely popular iPhone review blog where he reveals where you can find unlimited iPhone downloads for pennies. Also, read more tips about unlimited iPhone downloads download services.

Article Source: http://EzineArticles.com/?expert=Davion_Wong

How To Get A MySpace Music Account And Upload Your Music

2008-10-20T10:08:00.000-07:00

Setting up a MySpace music account is a great tool for your music career. Through MySpace, your music can be heard by anyone around the world.
However, getting your music onto MySpace is sometimes easier said than done. Here's what you need to do to get your music onto MySpace.

1. Go to Myspace.com: If you already have a MySpace account, you still need a music account. These two are NOT the same thing. (This is a common misunderstanding that causes a lot of musicians to miss out on getting a MySpace Music account.)

2. Go to 'Music': To start the music account proces, you have to first go to the MySpace music page. Do this by clicking on 'music' on the menu bar located at the top of the MySpace homepage. (It is located just under the 'Powered by Google' sign.)

3. Artists Signup: Now that you are in the MySpace music page, go to the Music Menu bar (it should be colored red and be located just under the regular menu bar) and click on 'Artist Signup'. This is located on the far right side of the menu bar.

4. Set up Your Account: Once you have entered the artist signup screen, you'll need to fill out all the required information so you can start a music page. Make sure you read through everything and fill everything out correctly. Once you finish the process, you will be able to create your own MySpace Music page.

5. Upload Your Music: WIth a Music page, you can uplaod up to 4 of your songs onto the MySpace MP3 player. These songs have to be in MP3 format. To upload them, finish your sign-up and confirm your account through the e-mail MySpace sends you. Then take the following steps:

Log into your Music account and go to 'Manage Profile'. You will see a screen with several tabs on top.
Choose the 'Manage Songs'. The first screen you will see after this will give you several options you can choose. Select whatever options you wish.
Click on 'Update Settings'.
The settings screen will reappear. Above the same settings options you just selected, you will see a sentence that says 'ADD your first song'. Cick on the word 'ADD. (You can skip straight to this point if you like, as you don't really need to adjust your settings first.)
A new screen will appear with several areas you can fill out, like Song Name, Album, etc. Fill out everything to the best of your ability. You can also select either a rank or download option.
Cllick 'Update'.
You will now be in a new window that will ask you to upload your MP3. A new MP3 uplaod box will appear (it can take some time to do this, so if you don't see it at first, just wait.)
Click on 'Browse'. This will take you to your computer's desktop. Select the folder where you keep the MP3 file, then select it.
Click on 'Upload'.
Once you upload the file, a progress bar will appear that shows you the progress of the upload process. Once it is done loading, you will be taken to a new menu screen where you can upload an image.
Select an image to upload the same way you did the music.
Once this is uploaded, you will get a message that says your music will be listed within 24 hours.
Check your MySpace music profile periodically to see when your music is loaded. Once it is, you will get a music player box that will allow people to listen to your music. At any one time, you can have up to 4 songs on your music player.

And that's it! Now everyone can listen to your original creations. Upgrade your site by adding a layout and maybe uploading your video so more people will come listen to your music.

(If you would like to take your MySpace music to the next level, you will probably need to get a MySpace Music increaser like Viewblaster. You can find the newest version of ViewBlaster by clicking on your website link below.)
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To make your MySpace Music profile into something special, you'll need to increase the views you receive. ViewBlater can do this for you. Go to http://norwoodtradingguides.com/myspace.html and get your copy today. You won't be sorry you did.
GO FORTH AND CONQUER!

Article Source: http://EzineArticles.com/?expert=Alistair_McMaster

Zune Movies - Learn to Convert Your Own

2008-10-20T10:00:00.000-07:00

Your Zune player is not limited to playing music alone. It's also equipped to play your favorite videos and movies. They are much better to have in the sense that they offer more entertainment than music does. Plus, you can also share these videos with other people so that they can enjoy them just as much as you do.
Zune Sites - These videos can be downloaded from different sites, including the Zune Marketplace and other sites where you pay a one-time fee for unlimited downloads. But what if you want to turn your current DVD collection into a format that can be played on your Zune? Well, this is possible too and there are things to learn about your Zune so that you can convert your own movies for it.
Knowing The Format

The format that Zune uses or reads isn't the one used in a DVD format. You will have to learn just what formats are suitable for the device. There are actually three formats that the Zune can read so that you can watch your own converted movies. These formats are known as WMV, MPEG-4, and H.264.
MPEG and WMV Format - The first two formats are probably the most easy to remember and there are more available converter software for those formats because they are common. The WMV format is the most common for Microsoft, as it is better known as Windows Media Video. This is a compressed format that can be played on the Zune and also can be played on Windows Media Player on your computer. This is probably the best one for your Zune player. MPEG-4 is also an advantage because it can be played on Quicktime player and also on iTunes. It really is up to you which format you want to use.
What You Need

Three Things First - Now, when it comes to making your own Zune movies, you will need three things. First, you will need a PC that has a DVD reader/writer. Secondly, you will need software that will allow you to convert your DVDs into any of the previously discussed formats. Lastly, you will also need a lot of space on your hard drive so that you can store the converted file.

Software Downloads - Now, there is a lot of free software that you can use and these software packages can be downloaded from the internet. A quick Google search will point you to sites where you can download the needed software. You can also buy professional software which will probably be the best thing to do if you want to edit movies the way you want them to appear on your Zune.

Sync It In - Once you have converted the DVDs into a format that you are comfortable with, you can simply sync those files into your Zune the way that you would sync files that you have downloaded from unlimited Zune download sites. Remember that the software you use will determine just how easy the conversion will be.

Freebies - Some of the best software that you can use is available for purchase but there are some reliable converters that can be downloaded for free. Just make sure that these files do not also come infected with viruses or spyware that might damage your computer. Follow the simple instructions that come with the software that you purchase or download and you should be set with all your favorite Zune movies ready for the mobile world.

Know where you can get the top zune downloads. Find unlimited zune movies download now!

Article Source: http://EzineArticles.com/?expert=Rashel_Dan

Unlimited Zune Downloads - How to Get Unlimited Music

2008-10-20T09:59:00.000-07:00

The first thing you will think about once you get your hands on a Zune player is how to start enjoying all the unlimited Zune downloads you can handle. To all dedicated fans of this player, the Zune is the best player out in the market and meets all of their entertainment needs. What makes this even more enticing to users of this player is how easy it is to get all the content they want into the player.
The Content

The Zune is one of the hottest players in the market since Apple's iPod. It is capable of playing audio clips and video clips, displaying images, and can even be used to play games specifically designed for the platform.
Getting the Best Content - Being a new and high piece of technology, it is common for many people to get used to Zune content and the initial process can be quite difficult but not impossible. When it comes to downloading content, the most practical thing to do is to sign up with subscription-based sites. These sites charge a minimum fee for their users to be able to download and enjoy the content that is offered.
Zune Sites - There are also some sites that offer free content but chances are that the content offered on free sites are not of a wide variety and the quality can be questionable as well. Those who use paid subscription sites for unlimited Zune downloads are most probably the happiest when it comes to widely varied content.

Unlimited For A Lifetime
Getting Music - Since the Zune has come out, there have been many sites built and dedicated to offering specific content for this device. Of course, the first thing that people download most is music. The new and most popular method for content like this is to pay a one-time, lifetime subscription for free Zune downloads.
Consumer Reviews - The response for this kind of service has been tremendous and more sites are starting to offer this kind of service to Zune users. All one has to do is sign in to an account, download the content to their computers and transfer the content (images, videos and music) to their Zune players.

Wireless Technology
Wireless Capability - About one of the most popular technologies that is packed into the Zune player is its capability of being wireless. This wireless technology allows the Zune to transfer files from one Zune player to another and it is this feature that makes this player stand out from other mp3 players. This is one way that people can start to share their content with each other, simultaneously developing a social community of Zune users. It is this feature that pushes the idea of free and limitless content even further.

The Zune might be a late player in the whole mp3 and video-player revolution but it is certainly a technology that should be dismissed. It is the first player of its kind that allows sharing between players over wireless methods, subscription to limitless content over the web, and allows Microsoft to let its customers to create their own music and video sharing communities. With subscription-based sites that offer unlimited Zune downloads, it looks like this player is set to grow a market that can compete with today's industry players.

Get unlimited Zune downloads for your latest toy. Discover the best source for Zune downloads online.

Article Source: http://EzineArticles.com/?expert=Rashel_Dan

Where Can I Find Free Music Downloads - Music For The Sake Of Music

2008-10-20T09:55:00.000-07:00

While some listeners enjoy popular music, jazz, new age music, or show tunes, others love hard rock or heavy metal. There is an astonishing array of music out there for every taste. The one thing we all share, on the other hand, is the desire to hear new songs and rehear old favorites without having to pay for the pleasure. It can be totally daunting though to figure out how to locate the kind of music you want or a specific track or performer. The question one hears everywhere is: "Where can you get free music downloads?"

In order to answer "where can i find free music downloads", drill down to some basic aspects. First, is the legality of music downloads. More often than not music downloads of tracks releases by famous artists is not free. However, sometime you can be lucky to download music from famous labels who release certain tracks for free downloads on a pilot basis to gauge public response. If the track becomes popular, they take up promotional campaigns and re-release that single with an accompanied video, this time with a price tag.

If you do not have a problem with the legal ramifications of downloading music, then you have many areas to pursue. Where can I find free music downloads? The best way to get free downloads is person-to-person. Free music downloads programs are available at various protocols such as: torrent, free net and dark net.
You simply need to find out which networks have the music that you want to download, and then download the free music downloads software attached to those protocols. After that, you will have to use special search engines known as trackers to search the protocols.

Does one really need to download music? It's a very important question in today's world. There are many other ways to listen to music. One particular way is to listen to an online radio station, though which one can even create playlists of desired songs. Or, one can simply select the artists and songs that one likes most and listen to them indefinitely. These types of services are a legal alternative to downloading and are often free, supported only by advertisements. If one doesn't want potentially annoying ads, you can spend a dollar or two to hide them.

It's a common question: Where can I find free music downloads? If you love music, all styles, all types, then you should know that there are a lot of websites which allow you to download music both for free and legally. You might look for ratings sites, where the maintainers will ask you to evaluate music in return for your free download.

The most important is the legality of music downloads. Most music downloads by famous artists are not free. Your question is - "Where can I find free music downloads?" There are a lot of option as far as free music downloads programs are concerned, most available on torrent protocol, free net protocols, or even the dark net protocol. Download any free music downloads software which has been attached the particular protocol. There are many alternatives to downloading music available. There are many websites that allow you to download music legally for free.

Article Source: http://EzineArticles.com/?expert=Sveinung_Skoglund

Electric Guitar Recording Techniques

2008-10-20T09:52:00.000-07:00

A guitar is a type of musical instrument with ancient roots that is used in a wide variety of musical styles. It usually has six strings, but four, seven, eight, ten and twelve string guitars also exist. An electric guitar is the kind of guitar that uses pickups to convert the vibration of its steel cored string into electrical current, which is then amplified.
There are various ways to record an electric guitar. The traditional method is to connect to a really good amplifier. The latest option is to plug the guitar directly into the computer and use a software plug-in to handle the amp and the speaker modeling.
When recording an electric guitar, the amp is the important factor as far as the mic is concerned, and thus its position is important. The dynamic mic produces a solid sound with a smooth high end. However its position has just as much bearing on the tone as the mic itself.
One way to capture the sound of a large stack is to set up the stack in a large room, play it loud and put the microphone several feet away so that the combination of all the speakers can be recorded. Using this method, the mic captures the guitar sound as much as the audience would.
One of the microphones can be inverted though that does not produce the best result. Here using a capacitor microphone as the distant one often produces a sense of space, but the ultimate bottom line is that anything that sounds good goes with the guitar.
The biggest problem that many amateur guitarists face is poor tone. In order to solve this problem the recorder should check the amp and guitar combination on microphone level and then should decide where they would be placed. Tone should be adjusted but one thing should be kept in mind. The low end will increase if the microphone is placed close to the source. This is known as proximity effect.
The mic that is used for electric guitar recording is preferably a dynamic microphone because of its capability to endure high volumes. These are the technical things that one should keep in mind. But there are some simple points that will help while recording.
As a first and very basic rule, one should make sure that the guitar is in very good condition, that is, its strings are properly fitted. Tuning must be checked before every take as it is inclined to flow in warm studio.
Equipments containing transformers will tend to cause hum interference on electric guitar especially those of single coil pickups. Computer monitors in particular also cause serious interference problems with guitar pickups, so it is advisable to keep them as far away as possible.
While using different electric guitar types or sounds for recording, two or more overdrive guitar parts should be kept to keep the sounds separate in the mix. For example, using a single coil setting for one part and a humbucker for another.

Article Source: http://EzineArticles.com/?expert=Victor_Epand

Everything You Must Know About Quality Music Gear

2008-10-20T09:50:00.000-07:00

There are various kinds of quality music gear in the market. However, the efficiency of the music gear can be judged only by the musician who uses it.
Let's start with a Midi sequencer. Be sure to invest in a MIDI sequencer that is loaded with multiple features. There is no substitute for the user friendliness of a top of the line sequencer. This is one area where a compromise may prevent you from reaching the heights.
Music power is the ability to translate the music you feel into sequences. If your sequencer makes it hard to do something, chances are there that you won't try in the heat of creation. The easier functions are, the more likely you are to use them.
After you have invested in a good sequencer, learn the basic functions of it. This is the basic fact you must master. If you have not done your homework so far, you should not be wasting anymore time. Please keep in mind that hi-end sequencers take time to master and have a steep learning curve. The joy of making your own music is the payoff, and it is worth every minute you spend figuring things out. All sequencers have their own internal logic. It's important to find out which sequencer will be easily manageable by you.
Familiarize yourself with the major key commands like REC, STOP, PAUSE, and START. If you are using the MIDI on computer, avoid using mouse as it slows down the entire MIDI. Figure out the fastest way to make a new track and define an instrument. Speed and intuitiveness is everything. As a composer or programer you should not be wasting time looking for functions in the menu while you are on the job.
It is again important to know what you are looking for. The difference between a great sequence and a ho-hum one is quality. You have to work towards this realm. Quality occurs when you work your sequences with mixers, controllers, effects, program changes and every element suddenly locks together to make a unified image and statement. The latest music gear are designed for this purpose, to help you attain quality. If you are still not too sure the best way is to ask yourself what can be a better output.
While arranging or composing music it is important that you enjoy what you do. The tediousness can drive you as a musician to boredom and then probably deprive yourself of creativity. You should know that if it is fun to record it is also fun to listen to. Music is a form of art that helps in relaxing. Thus, those working on it should enjoy it to the maximum.

Victor Epand is an expert consultant for music gear, speakers, and microphones. You can find the best marketplace for music gear, speakers, and microphones at these 3 sites: MIDI, mixers, controllers, effects, speakers, subwoofers.

Article Source: http://EzineArticles.com/?expert=Victor_Epand

Methods of Analysis of Schoenberg's Die Gluckliche Hand

2008-10-16T07:47:00.000-07:00

Schoenberg's Die glückliche Hand is a work which combines music with other elements, such as drama, visual effects, libretto, and art. It is perhaps different than other musical works falling into the category of opera in that these non-musical elements are so closely connected to the music that they are strictly notated in the music score. These non-musical factors could be problematic to an analyst seeking to discover structural elements of the work in a solely musical environment. This paper will examine the various approaches toward this work, determine to what extent non-musical factors play a role in the decision of musical structure, and discuss the effectiveness of such analyses. Based on the writings below, the areas of examination will be the influence of color (in this work, colored lighting) on the music, the approach to formal examinations of the work (including the influence of the text on the music), and the aspect of motivic processes (primarily the "leitmotif"). The non-analytic aspects of the following articles will not be discussed in this article.
Although much of the discussion about Die glückliche Hand has been historical in nature, the most significant historical topic relevant to this examination is the influence of painter Wassily Kandinsky's theoretical work Über das Geistige in der Kunst, in which he proposes the existence of a union of all artistic categories into a higher form of "monumental art." As a part of this union, color and sound are closely linked, and Kandinsky offers tables that show his idea of various colors, their effect or mood, and their timbral correspondences. Most colors are likened to a particular instrument or group of instruments that produce the timbre of that color. An example is the color light blue having a sound "equivalent" of a flute, or vermilion being likened to a tuba or loud drum beats. At the time Schoenberg began writing the libretto for Die glückliche Hand in 1908/9, Kandinsky began his own stage work, Der gelbe Klang, in which he sought to incorporate the sound-color principles of his Über das Geistige in der Kunst, which he was writing at the time.
Many writers have concentrated on Schoenberg's connection with Kandinsky's color scheme in understanding the relation of musical to non-musical aspects of Die glückliche Hand. A particular occurrence in the work, the so-called "color crescendo" (scene 3, mm125-153), has been the most widely discussed as an example of Kandinsky's color scheme influencing the music in Die glückliche Hand. It is a point at which wind, light, and music crescendo simultaneously.
One such discussion is by John Crawford, who, in his "Die Glückliche Hand: Schoenberg's Gesamtkunstwerk,"[1] presents a table by Kandinsky that lists colors with their psychological effects and their instrumental equivalents. Next to this, a table of the "color crescendo" is given to show the colored lights specified in the score and the instruments used with them (Table 2 in his article, pp. 586-588). This table of the color crescendo does little to show the musical correlation with Kandinsky's table, aside from the similarity of the colors violet, "more glaring" red, and light yellow, which do correspond to Kandinksy's table. It does show the common succession of light between the two tables, however. He gives examples of three motives "which recur in many rhythmic and melodic variants,"[2] (Examples 1a, b, c in his article, p. 592) throughout the crescendo, but does not elaborate on their significance or their relationship to the rest of the work.
A more convincing correlation between the "color crescendo" and Kandinsky's color-sound table is shown in Philip Truman's article "Synaesthesia and Die glückliche Hand."[3] In this article, which was written to prove that the opera is an example of a successful "translation" of color into sound, a more detailed table is included (pp. 498-499 in his article). Not only does the author reveal more musical events in this example (listed measure by measure, which Crawford's does not specify for each color), but Truman has also pointed out the three primary motives that appear in the crescendo, which concur with Crawford's (Ex. 4a, 4b, and 4c in Truman's text, p. 498). Truman likens these themes to the opening measures of the opera. This table is preferable to Crawford's because it clearly demonstrates to the reader the relationship of the musical events with the drama and the required colors. Whereas Crawford's chart lines up the Kandinsky chart next to the color crescendo to display a correlation, Truman's chart is only of the color crescendo and gives a more adequate description of musical events, including each appearance of the three motives.
Although Crawford and Truman differ slightly in their presentation of the color crescendo, their claims (that the crescendo is held together by three reoccurring themes) are essentially the same. What the reader is to infer (especially from Truman's chart) is that dynamics, orchestration (timbral decisions), and texture (doublings and "thickness") are the musical aspects influenced by the colors specified in these measures.
The discussion of the color-sound correlation is expanded in Truman's article to other places in the opera. He demonstrates that the opening measures of the work are synchronized with music, color, and drama. This is shown by comparing the visual aspects to the musical aspects:
. . . one sees the gazes of the twelve men and women of a motionless chorus illuminated by twelve green spots; the rest is swathed in soft red veiling. The "sound" compromises an unchanging pedal chord (tremolos in 3 solo violas and 3 solo cellos) and two ostinatos C one for bass clarinet and bassoons, the other for harp and timpani; the chorus sings of the stillness and silence.[4]
Truman italicized the words in the above quote to clarify his comparison of the music and the visual events at the opening of the work. The words gazes, spots, and motionless used to define the Anon-action@ in the drama is represented by such "stationary" musical events as ostinato and pedal.
A brief study of the color crescendo is by Harald Krebs entitled "The 'Color Crescendo' from Die Glückliche Hand: A Comparison of Sketch and Final Version,"[5] which provides a different analytic approach than Crawford and Truman. Although not entirely analytical, this article provides another, more detailed look at this section of the work. Beginning with an examination of what he terms "surface relationships," Krebs claims that four themes are prevalent in the crescendo, as opposed to only three as Crawford and Truman indicate. He adds to the previously mentioned themes, one consisting of "an oscillation between two notes a third apart," beginning at measure 125 in the flute and bassoon. Further appearances of this theme (motive 'a' in the article) are at measures 135 (harp), m. 138 (clarinet and bassoon), m. 140 (cellos 3 and 4), and measures 144-147 in the strings and woodwinds. Next, Krebs indicates several of the occurrences of "motive 'b'" (the same as Crawford's first theme in Crawford's analysis). Krebs indicates a "variant" of the motive in which the final interval of a whole step is replaced by a third, and refers to measures 131 (cellos), 133 (trumpet), and 137 (clarinet). In a footnote to this paragraph, Krebs states regarding motive 'b':
This motive, like motive 'a,' originates near the beginning of the opera. The motive is first stated in the bass clarinet part in m. 4 (with register transfer). The man's first vocal utterance (mm. 29-31) is set to the inversion of the form found in the color crescendo.[6]
Krebs concludes the examination of the motivic structure by identifying (as he did with 'a' and 'b') the appearances of motives 'c' and 'd.' This aspect of Krebs' analysis demonstrates in much more detail than Crawford or Truman the motivic figures that musically hold this section together.
Krebs next examines the "large-scale relationships" within the color crescendo. Here, Krebs makes the claim that the opera as a whole hints at the key of D. He first examines the color crescendo in terms of tonality, stating, "Allusions to the key of D permeate the first few measures of the completed scene (the color crescendo)."[7] Krebs is attempting to tie the "key" of the color crescendo to the "key" of the entire work. After this statement, the color crescendo is then examined measure by measure, first using melodic and harmonic elements, then by observing notes emphasized in the bass parts. His claims of a D harmony are supported by such examples as repetition of the pitches E=/F-D/F< (mm. 126-132), the D/F< in the flutes (m. 133), an F<-A-B melody in the piccolo (mm. 134-136), the "verticalities" D-A-C and F-A in the celesta and arpeggiations of a D minor triad by the bass clarinet (mm. 134-136), and a D/F< in the violas (m. 137). Although the reader can see the purpose of this analysis, Krebs does not provide the reader with reassurance that the above "allusions to the key of D" appear with any prominence in the context of the music, nor does he explain the function of the E= that he cites in measures 126-132.

Following the melodic and harmonic "allusion to the key of D" of opening of the crescendo, Krebs provides a more defensible analysis of entire crescendo based on emphasized bass notes. Claiming G= to be the first emphasized bass note, Krebs indicates the occurrences of it in measures 125-132. The next bass note Krebs designates as significant is E, first occurring in measure 134 and continuing until measure 148. The low F's, D's, and F<'s that occur during these measures are analyzed simply as neighboring notes or embellishments. Finally, Krebs indicates that the low E= that occurs in the last measure of the scene (m. 153) is significant because of its "position at the end of the scene, and because of its registral connection with the earlier E (m. 146-7)." This completes what Krebs terms a "skeletal bass-line" of the crescendo consisting of G=-E-E=.

Krebs concludes his article by briefly completing his argument that the entire opera is based on a D harmony. As an example, he refers to the measure just before the color crescendo which "sensitizes" the listener to D. The skeleton bass line that ends the crescendo on E= is "resolved" to D fifty measures later, in measure 200. This analysis, reminiscent of Schenkerian analysis, provides an alternative view of the color crescendo. Unlike Crawford and Truman, Krebs does not examine the influence of the prescribed colors on the music. His only mention of the colors are as a reference point, for example, "The 'braun' section..."[8]
Aside from the influence of colors on the music, the use of leitmotif in Die glückliche Hand has received examination. Schoenberg's use of the Wagnerian leitmotif is examined by both Truman and Crawford. Truman's discussion begins with the muted cello melody at measure 5 (marked H ), which, as he states, is associated with the Man (the principle character) by measure 28. He calls attention to a special symbol in the score that requires this sound to be synchronized with the Man's actions. The contention, thus, is that a particular tone color (cello) as well as a melody are assigned to a specific character in the work. This sound-color leitmotif is indicated by Truman and Crawford at measures 37-40, 73-81, and 84-88 (this time doubled by all the other low instruments in the score) to show its connection with the Man's appearances. Crawford's discussion of the Man's color-sound leitmotif is essentially the same as Truman's, although he provides musical examples of the cello motifs mentioned by both he and Truman (Examples 2-5 in Crawford's article, pp. 594-595).
The Woman's leitmotif is handled similarly in Truman's and Crawford's articles. Truman describes the color-sound leitmotif of the Woman character as "usually played on the solo violin within an environment of light, scintillating and shimmering colours from other instruments."[9] This color-sound leitmotif first appears at measure 35. As a further example of the Kandinsky influence, Truman refers to the calls for scenery at this point. Each of the specified colors in the scenery is represented musically by their corresponding instruments (consistent with Kandinsky's table), each marked with a Hauptstimme symbol. Crawford notes that the Man's color-sound leitmotif at measure 37 is in response to the first appearance of the Woman. At the next entrance of the Woman (scene 3, measure 153), Truman tells us that her color-sound leitmotif is again present and played by a solo violin. Crawford suggests that the melodic material associated with the Woman is transformed into a Viennese waltz at her reappearance in scene 3 because she has been cheapened by contact with the Gentleman character.
Large-scale formal symmetry of Die glückliche Hand is another area which has received conflicting investigations. In this work, large-scale formal sections are typically determined by the return (or sometimes even called "recapitulation") of similar material. Crawford makes the following comment on the form of the piece:
The opera as a whole constitutes a closed form, since the mirror construction of the libretto is carried out in the music as well, though without the use of retrograde motion. Episodes 1, 2, and 3 are freely recapitulated in episodes 6, 7, and 8. One can speculate as to whether the dramatic or the musical conception came first, but in any case the net result is a musical and dramatic closed form.[10]
Comparing the large-scale symmetry of the libretto with the large-scale symmetry of the music is the obvious (and perhaps strongest) argument for a formal description of this work. Crawford's reference to retrograde motion in the above quote suggests that the music itself literally mirrored, but the large-scale form constitutes a mirror order of musical events, closely tied with the mirror order of the dramatic events. Crawford does present the episodes of the drama in a manner that displays a return to the point of origin (Table 1, p. 586). Aside from the above sentence of the "recapitulated" episodes, there are no musical examples to prove this.
Truman presents a chart similar to Crawford's in his examination of form, though only mentioning the parallels of the first and last three episodes. He states later in the article that the "color element is a useful, additional aid in following the symbolism and the musical organization of a score that lacks a conventional grammar in its atonality and comparative formlessness."[11] Mirror treatment is not a "grammar" as stated by Truman. In addition, the use of the word "formlessness" does not agree with his chart. The chart of the dramatic symmetry is preceded by the statement, "the scenes and their subdivisions are presented in a mirror construction (there is also a rather free recapitulation of the music is the respective scenes)."[12] This statement (especially the use of the word "recapitulation") and the chart of the dramatic symmetry indicate that the work does possess a symmetrical form.
A third discussion of the large-scale form may be observed in Joseph Auner's "Schoenberg's Aesthetic Transformations and the Evolution of Form in Die glückliche Hand."[13] Unlike the approaches of Crawford and Truman (that the symmetry of the music is dictated by the symmetry of the libretto), Auner bases the formal symmetry of the work primarily on the return of the fanfare and ostinato in the fourth scene. Auner later in his article seeks to refute the notion that the symmetry of the libretto was the sole reason for the music's symmetry. He attempts to show that Schoenberg had problems when first composing Die glückliche Hand because he was still interested in Afree-form@ composition. Auner continues by claiming that Schoenberg completed the opera only after he became interested in writing symmetrical music.
Auner compares major elements of each recapitulated episode with the original occurrence to show the relationships. He places a great emphasis on the "Ostinato Chord"[14] which "continues throughout the first scene and is a major structural element in the fourth scene."[15] This is because when the backstage music and laughter reappear with the ostinato chord, though originally "softly scored", it is now played by the full orchestra. His chart of scenes one and four is a slightly better representation of the musical events than Crawford's or Truman's because it provides a more detailed breakdown than the previous two, including the Fanfare/Ostinato and Chorus sections in the first and fourth scenes, and the Transition in the fourth scene. The chart, however, lacks the visual presentation of symmetry found in the previous two. Auner's general approach to large-scale form is to simply compare like sections with one another and point out similarities and differences. Crawford and Truman view form in large sections of music based on the libretto and dramatic action. Auner's approach to form, however, is not as simple as that in his article. He provides the reader with a detailed account of how he came to make decisions regarding form.
One way in which Auner defines form is through his examination of the libretto and a chronology of when the music for each section was composed. Auner attempts to prove that, although the libretto was completed in 1910, "the musical connections between the two choruses that create the work's symmetrical form were not the product of 1910, but of 1912 and 1913..."[16] This is an important point in Auner's argument because (as he demonstrates through historical documents) 1912-1913 are the years when Schoenberg started to distance himself from such "free-form" works as Erwartung (1909) and began writing music with a sense of return. He shows, for example, that the backstage laughter that precedes the fourth scene was not conceived until approximately 1912. This, in Auner's argument, helps prove that Schoenberg probably originally had the "free-form" of earlier works in mind, but developed a new sense of form by the completion of this work.
Auner's examination of form relies primarily on "a recapitulatory passage from the final scene, which contributes most significantly to the work's traditional formal shape."[17] This quote is an example that Auner's examination of formal relationships, although trying to downplay the influence of the libretto's structure, is largely dictated by the return of similar material in sections that are governed by the libretto. Auner attempts to prove a close tie of the first and last scenes by presenting evidence that they were written at the same time. He uses early sketches of the work to prove that the ostinato chord had not appeared in manuscript until 1912-1913, thus the first scene (which is largely based on the ostinato chord) had not been composed until then. Another example includes early sketches of the recapitulation of the chorus. Because he has proven that the ostinato chord (and, thus, the first scene) had not been composed yet, these early sketches were in fact of the first scene. There are sketches which he claims to be the foundation of the choruses from both the first and fourth scenes, therefore being closely linked musically.[18] In his conclusion, Auner states, "Furthermore, it is possible that the inherent circularity of the dramatic structure of the libretto . . . may have been a factor in Schoenberg's difficulty completing the work," and, finally, "The completion of Die glückliche Hand may have had to wait until Schoenberg's attitude toward repetition had changed to the extent that he could write music that was formally consistent with the text."[19] This is Auner's assertion that Schoenberg could only complete Die glückliche Hand once he gained an interest in writing symmetrical music (large-scale symmetry in this case).
Aside from the question of validity of Auner's assertions that the sketches actually reveal that the music from the first and fourth scenes were written at the same time, his approach to the large formal structure of this piece is imaginative. Whereas a typical analysis is based on the final draft of a score, Auner questions the musical symmetry as a pre-conceived idea, and seeks to prove his speculation based on the earliest available materials. He is, however, aided by the ambiguity of sketches. His chronological reasoning seems sound, but his musical reasoning is never explained in sufficient detail. When he claims a theme is "similar" or "related," there is not always an explanation of the similarity. He often lists a sketch that is "similar" to the final draft, and only point out how it is different than the final draft without discussing the actual similarities. This forces the reader to be skeptical of such claims without a more detailed explanation. Though his article provides photographic evidence of the sketches, they are too small and illegible to be of much use, and they are never placed in context with the music of the final draft.
The various approaches toward explaining Die glückliche Hand are numerous. The articles examined above show how differently this work has been approached. Crawford and Truman base their musical analyses on the influence of the libretto, drama, and especially on use of colored lighting. This allows them to divide the music into sections based on the drama. Their discussions of the leitmotif also stem from the view that Schoenberg was attempting to recreate musically the action and the libretto.
Large-scale form, in Joseph Auner's article, is not influenced by the libretto as much as it is by Schoenberg's interest in symmetry. Thus, although Auner's analysis of large-scale form resembles Crawford's and Truman's, it is based on strictly musical decisions rather than on a dramatic plan. Harald Krebs, like Auner, analyzes the music without regarding the influence of the colors prescribed in the score. He shows the musical relationships within the color crescendo, based on four reoccurring themes. Crawford and Truman mention three of these themes in their articles, but place a greater emphasis on the influence of color on texture, orchestration, and dynamics. Krebs attempts to analyze the opera in terms of a "key" or "harmony." He applies Schenkerian processes to the work, using "emphasized bass notes" as criteria for establishing a "skeletal bass line" that is used to aid his claim of a "D harmony."
The above articles do not represent the entire analytical picture of Die glückliche Hand. H.H. Stuckenschmidt has been quoted as seeing "preliminary stages of the consequent twelve-tone technique everywhere" in this work.[20] Krebs, in a footnote in his article, states, "The last four notes of the contrabass statement of motive 'd' in m. 5 of the sketch form the tetrachord 4-19 (0148). That tetrachord is also found in several prominent statements of motive 'd' in the completed work."[21] This statement forces the reader to suspect that Krebs has possibly done a pitch class set analysis of at least the color crescendo. The results of such an analysis would see an appearance of yet another perspective of a work that continues to pose numerable challenges to analysts.
[1]Musical Quarterly, vol. 60, no. 4, October 1974, pp. 583-601.
[2]p. 591
[3]Interface, vol. 12, no. 3, 1983, pp. 481-503.
[4]p. 494
[5]Journal of the Arnold Schoenberg Institute, vol. 12, no. 1, June 1989, pp. 61-67.
[6]Footnote 4, p. 67.
[7]p. 64
[8]p. 63
[9]The wording of this quote (p.496) is remarkably like Crawford's, who states: "The Woman is consistently associated with an actual leitmotif, usually played by the solo violin. She is further characterized by a complex of light and shimmering tone colors including flutes, piccolo, celesta, and harp." (p. 594)
[10]This appears to have been answered by Jelena Hahl-Koch in "Kandinsky and Schoenberg" from Arnold Schoenberg-Wassily Kandinsky: Letters, Pictures and Documents, p. 152, proving from letters from Schoenberg to Kandinsky that the libretto had been completed two years before the music.
[11]p.497
[12]p. 488
[13]Journal of the Arnold Schoenberg Institute, vol 12, no. 2, November 1989, pp. 103-128.
[14]Though Auner claims that this is Schoenberg's name for the chord, the source he cites translates it as the "ostinato-like chord." Because Auner bases so many of his conclusions on the appearance and role of this chord in various sketches, one may speculate that Auner used the term "Ostinato" rather than "ostinato-like" because the latter implies that it is a substitute for a pre-conceived ostinato, or is functioning (without possessing all of the characteristics) as one.
[15]p.110
[16]p. 112
[17]p. 105
[18]p.120
[19]p.123
[20]H.H. Stuckenschmidt, "Schoenberg's Glückliche Hand in Breslau," Der Auftakt, vol. 8, no. 4, 1928, p. 98. Cited in Jelena Hahl-Koch, ed., Arnold Schoenberg/Wassily Kandinsky: Letters, Pictures and Documents, translated by John C. Crawford, p. 157.
[21]Footnote 5, p. 67.

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What You Need to Know About History of Piano

2008-10-16T07:45:00.000-07:00

The idea of designing a piano is from an older instrument called the harp which was designed before the birth of Christ. This instrument "Harp" exist in ancient Greece. At some point, an enterprising young go-getter named Fred conceived of a peculiar notion. Fred decided to change the concept of piano by plucking the strings with mechanical device and not by plucking the strings with fingers. This idea of a harp operated by keys is the first primitive keyboard.
In the fourteenth century, the idea of designing a keyboard was envisioned and sketched. Coincidentally, it is the last time the Cubs won the World Series. An interesting story of instrument design, innovation and invention proceeded over the next five centuries. The modern piano was invented in the early 1700s before the precursor and there were three instruments which were used to play the keyboard music.

Harpsichord: If you are the fan of Baroque music of the seventeenth and early eighteenth century Bach, you have heard about the contemporaries which are nothing but the sound of a harpsichord.

Clavichords: These instruments were very soft and no matter how hard you slammed down the keys. It could not make them any louder than this.

Organs: No matter whether it is large or small organs. In churches they accompany liturgical music and it have been around for centuries.

Cristofori: It is credited with inventing and building the first piano. Pianoforte is Cristofori's new instrument. Italian's combines the words for soft (piano) and loud or strong (forte).
In the European tradition, piano-building has been continued by makers such as Steinway, Bosendorfer and Baldwin. Some companies have been affected by industrial-age factory methods and automated procedures but still maintain an ethic that hand-crafting of important parts is essential. The strong points tend to be consistency and play ability, these pianos are developed by Japan which has got into the act with high quality pianos built largely by machines. Yamaha and Kawai are some of the companies which have established reputations for their excellent instruments.

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Guitar Practice Time

2008-10-16T07:44:00.000-07:00

To learn Guitar it is really important to have a good practice time. Nobody gets unlimited amount of time to practice so it becomes important to divide up the most productive segments which is available. You can start with a smaller amount of practice. Daily practice for an hour or two will develop the muscles evenly and you can maintain them in peak form.
You need to divide your practice time so that you can cover the main topics. There are four phases listed bellow which will guide you.

Purely technical practice for muscular development and maintenance.
Work on the current new piece.
Some sight-reading of new material.
Performance of existing repertoire.

The improvement and maintenance of mechanical skills is important in the first phase. This phase is rewarding and is seen fairly quickly. The technique should not become the only goal because it is the means, not the end. It serves to warm up the finger that is why this phase is best done first.
The second phase involves the process of learning and working on a new piece that is from its initial reading to the final memorization and polishing. When you start practicing early your mind becomes fresh and you will be able to cope up with the necessary detailed concentration.
Next is the third phase which is probably the most neglected by amateurs. Reading one line of unknown music a day are phenomenal and can be achieved in a year.
The last and the final phase are most enjoyable and it should not be neglected. The advantage of polishing of the final version is mainly for pleasure which involves the playing of repertoire that has been already learned and memorized. A good player will perform for friends and family or at some more formal venue.

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Guitar Music - How to Buy a Great Guitar

2008-10-16T07:42:00.000-07:00

For most guitar beginners it is a difficult and frustrating task to buy a guitar. Having too many guitar products in the market, they do not know how to make the right decision. I would say there are three stages to buy a guitar. A great guitar is helpful for you to produce great guitar music.
Before Going Out...
You need to prepare a few things first. You should decide which style of music you want to play. If you want to play rock or heavy metal music, you may buy an electric guitar. If you are interested in classical or country music, an acoustic guitar is better for you.
After deciding the type of guitar, read newspapers and surf the Internet to search for guitar brands, reviews by other users and guitar stores. You would compare the prices and check which store is offering you more benefits.
If you are not confident of buying the guitar alone, just ask someone who is good at playing guitar or your guitar teacher to go with you. They can give you valuable advice and help you make the right choice.
Before walking out of your home, you should be clear that it is not a must to buy a guitar within one day. You would pay the money only if you find the guitar that suits you most.
Choosing the Guitar...
When you have found a guitar that attracts you the most at the guitar store, it is time to test it. The body of the guitar needs not to be too big or too small. If you feel comfortable with holding it, then it is okay.
Do not be shy even if you are a beginner. The best way to try the tonal qualities of a guitar is to play it as loud as possible. Use your pick to play on every string and fret to check if there is any buzz.
If you are choosing an electric guitar, you must try the guitar with an amp plugged in and try different combinations of the pick-ups.
You need not play a great song at the store. Just play whatever you are comfortable with and listen to the sound carefully. Feel free to strum even though it is a beginner guitar chord.
You may try out every guitar in different guitar stores. You need to be patient. Your goal is to buy the best guitar. Remember you are the one who pays the money, you have all control.
Paying for the Guitar...
There is another challenge once you choose the right guitar. You need to negotiate with the salesperson for a lower price. You normally do not have to pay the price written on the product tag.
Although you have chosen a particular guitar, you may also try out the others, especially the cheaper ones. As salespeople want to earn more commission, they would probably give you a discount for the more expensive one that you have targeted before. If you know there is another store selling the same model of guitar at a lower price, tell them as well.
A guitar case is useful to protect your guitar so you may also consider buying one.
Finally at the cashier, you may ask the salesperson if it is possible to get some guitar accessories with discount or even for free. All accessories like guitar strings, a guitar capo, a guitar tuner and guitar picks are your target. I can not guarantee that you can get them but you may want to have a try.
I think this advice is helpful to you. Hope you can buy your new guitar within a week.

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Guitar Music - Is it Better to Learn Acoustic Guitar First?

2008-10-16T07:41:00.000-07:00

Many guitar beginners wonder which kind of guitar they should start with - acoustic or electric. There is no absolute answer. It mostly depends on the type of music you want to learn and play.
If your goal is to be a rock star, you can forget acoustic guitar. Electric guitar is your choice. But in general, for people who do not have any preferences, I would suggest starting with an acoustic guitar. There are several reasons.
One of the differences between acoustic guitars and electric guitars is the string gauge. Strings of acoustic guitars are thicker. The strings are not quite close to the frets, comparing with electric guitars.
You may find it is difficult to push down the strings or form chords cleanly at the beginning. But it is worth. Through practicing more with an acoustic, your finger strength will be enhanced. It is also helpful for you to change to learn electric guitar later on. If you can play chords, strum strings perfectly by playing an acoustic, you will feel it is easier to play the same thing with an electric.
But if you start with an electric, it takes more time to shift to the acoustic. The reason is you may have adapted to the thinner strings and closer frets. You may need to practice more with your acoustic.
Another advantage of learning acoustic first is the diversity of music style. Electric guitars are mainly played with rock or blues music. But acoustic guitar provide you more, including country, classical, jazz and so on. You will have the chance to explore more by learning acoustic guitar. It helps you not only improve musical knowledge but also choose your favorite style to focus on.
For price, buying an acoustic is more cost-effective. It does not require any extra equipment. You only need an acoustic guitar, some picks or just your fingers. However, learning electric guitar is more expensive. Equipment, such as an amp, cables, cords and an effect pedal, are needed. It means more money and space are required.
Acoustic guitars are more convenient. They require less space. They are also portable. You can bring your acoustic to school, party, church, park or anywhere to play songs with your family and friends.
Moreover playing an electric can be very noisy since you need to turn on the amp. It may be annoying to your roommates or neighbors. But it is not a problem for acoustic guitars. You can control the volume and the quality of the sound easily.
As a beginner, you cannot ensure the level of interest in learning guitar will not decrease. If you find guitar is not the most suitable instrument for you after one or two months, handling your electric guitar and equipment will become a troublesome task. And you may feel regretful.
So I would suggest you start with an acoustic for a try. You can shift to play electric later on. There are many people doing the same thing and it is a normal practice. The most critical factor is your desire. You need to figure out what you want. Remember, both acoustic and electric guitar can help you produce great guitar music.

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Guitar Lessons - How to Hold a Guitar Pick

2008-10-13T09:38:00.000-07:00

No matter you have been learning guitar for a few months or you are just a guitar beginner, the below tips will be helpful to you. You will know the correct method to hold a pick. You may think that is something fundamental but doing this thing correctly will enhance your guitar music quickly.
Picks were originally made of animal bone or tortoise shell. They are now mainly made of plastic. There are different sizes and shapes. I recommend guitar beginners to choose to use medium size picks. They are easier to play with. Of course, it is not the rule of thumb. You should experiment different sizes and shapes of picks to find out the most suitable picks for yourself.
You may have more than 10 picks at home for playing guitar. It is common for many guitarists because picks are easy to lose and fray. And they are cheap as well.
Let me tell you the right way to hold a pick now. In the following tips, I assume that you are a right handed guitar player. You use your right hand to hold the pick.
First take out your right hand and extend the palm facing your left hand side. Slightly grip the fist and place the thumb alongside the right side of the first knuckle of your index finger. Then put the pick into the gap between your thumb and index finger. Do not insert too much or less. Just leave the tip which is enough for you to strum the strings. Also you need not hold the pick too firmly or too loosely.
Then try to slowly strum the string up and down. Your aim is to produce clear and sharp sound. The pick may easily slip off your fingers at the beginning. Do not be frustrated. You can acquire it with more practice.
For the rest of your fingers, there are two ways you can position them. You can either keep griping them or let them open. I am used to extend the fingers. There are several reasons. When you have advanced skills for playing guitar, you may need to strum the pick and use the other fingers to pluck the strings at the same time. Also, you can use the fingers to do tapping, play with the tremolo arm and change the volume of your electric guitar.
I would like to highlight other three ways to hold the picks. You may find those methods more comfortable but I personally do not recommend them.
Some people use the thumb and the middle finger to hold the pick. This method lets to hold the pick steadily but it is hard for you to strum strings fast in future. Some people may place the thumb on the second knuckle of the index finger. But the flexibility of picking will be decreased. The last is that some guitar learners may even use thumb, index finger and middle finger together to hold the pick. As you use one more finger for the pick, you will only have two remaining fingers to pluck the strings. It may hinder you from playing difficult guitar music.
I hope my tips for holding a pick will be helpful to you. Try to study this little thing. If you can do it in a correct way, you will find playing guitar easier.

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Lynn Carey Saylor Has Brian May of Queen As a Very Good Friend

2008-10-13T09:37:00.000-07:00

American singer-songwriter and musician Lynn Carey Saylor can count Brian May, the legendary lead guitarist from QUEEN, among her celebrity friends, and Brian thinks so much of Lynn and her songwriting ability that he offered to play on two recording sessions when she was laying down tracks that would appear on her debut album You Like It Clean.
The first of these songs was Lynn's self-penned If We Believe, which was originally released as a limited edition charity single back in 2002. Brian not only played electric guitar in his amazing distinctive style on this number but he also sang some backing vocals on it as well.
Lynn donated money that came in for If We Believe to the Mercury Phoenix Trust, an AIDS charity set up after the death of Freddie Mercury, who was killed by the terrible disease.
Lynn's song won the IOMA 2005 award for Best Collaboration, Best Song and Best Cover Art, and, in addition, she was voted the Best Female Vocalist. If there had been an award for Most Beautiful Female Artist she would probably have got that too because Lynn is absolutely stunning.
The 1984 Pat Benatar hit We Belong was the second song on which Brian May played lead guitar. It was originally written by Eric Lowen and Dan Navarro, and the two songwriters actually appear in the video of Lynn's recording session, which was produced by Lynn's husband, Skip Saylor, at the Skip Saylor Recording Studios in Los Angeles.
This year has been a very busy one for Lynn, who was recently on a short visit to the UK. While she was there she was a special guest on Sue Marchant's BBC radio show.
The interview can be heard on Lynn Carey Saylor's street team site at Myspace. And it is on Myspace that Lynn has been building her huge fanbase and also attracted the attention of Dean Markley Strings and SPG Guitars with both companies deciding to endorse her music.
With all this going for her it surely can't be long before Lynn becomes recognised on the world stage for the incredibly talented star that she is.

Steve L Andrews, who wrote this article, is also known as Steve Andrews and by his stage name Bard of Ely. Besides being an author, freelance writer, photographer and journalist he is a singer-songwriter and poet. Articles and stories by him on a wide range of subjects including music, travel, nature, gardening, UFOs, ghosts and the paranormal, can be read at his popular Hub Page site here:
http://hubpages.com/_uq6h62db2t97/profile/Bard+of+Ely
Much more information about Lynn Carey Saylor can be found at Steve's hub about her here:
http://hubpages.com/_uq6h62db2t97/hub/Lynn-Carey-Saylor-is-a-friend-of-Brian-May-and-a-friend-of-mine

Article Source: http://EzineArticles.com/?expert=Steve_L_Andrews

How to Tune Your Electric Or Acoustic Guitar

2008-10-13T09:35:00.000-07:00

Unless you are playing a song with alternate tuning there is nothing pleasant about playing a guitar that is out of tune.
The guitar is like several mini-pianos, that is, each string starts with a different note and runs up the musical scale like the white and black notes of a piano.
Standard guitar tuning from the sixth (top) string down to the first (bottom) string goes: E A D G B E. The beauty of the guitar and standard tuning is that you can tune the guitar to itself by tuning each string on the guitar to another string. Ideally, you could reference a pitch tool or online tuner to begin with the sixth string and be in exact concert pitch. Even without that reference you can use your ear to get the sixth string close to what you think it should sound like. From there you can tune each successive string to perfect pitch with that one string.
So how does it work?
Step 1: Getting your fifth string in tune with your sixth string. Hold down the fifth fret of the sixth string. This note is the pitch that string five should be tuned to. Pick the sixth string then the fifth string. If the fifth string sounds exactly like the note on the sixth string, it is in tune. If it's higher, you need to tune the fifth string. If it's lower, you need to tighten the string and bring its pitch up to the fifth fret note on the sixth string.
Step 2: Get your fourth string in tune with your fifth string. Hold down the fifth fret of the fifth string. This note is the pitch that string four should be tuned to. Just like in step one, play the two strings and either tune the fourth string up or down to match the note being played on the fifth string.
Step 3: Get your third string in tune with your fourth string. Hold down the fifth fret of the fourth string. This note is the pitch that string three should be tuned to. Again, play the two notes and tune the third string either up or down to match the note being played on the fourth string.
Step 4: Tune your second string in tune with your third string. This time the pattern breaks by one fret. Hold the note on the fourth fret of the third string. This note is the pitch that string two should be tuned to. Tune the second string up or down to be in tune with the third string.
Step 5: The last step is to get your first string in tune with your second string. We are now back to the familiar pattern as on the previous strings. Hold the note on the fifth fret of the second string. This note is the pitch that string one should be tuned to. Just like before tune either up or down to get this final string in tune.
That's it! But wait...your probably not quite done.
Sometimes as you tune the strings down the neck the ones above them get a little out of tune. So go back to the top and go through the sequence again. Plus, since the top and bottom strings are both E notes you can reference them against each other too.

Darren Fauth loves playing guitar and sharing guitar information with others. Visit my website for more resources on Expert Guitar Lessons and Advice. I hope to one day study a guitar music education.

Article Source: http://EzineArticles.com/?expert=Darren_Fauth

Tips on Placement of Speakers

2008-10-13T09:34:00.000-07:00

Speakers are one of the important parts of a sound system. Without the speaker there could not have been any good sound output. Speaker is an electromagnetic transducer whose objective is to convert an electrical signal into sound. Loudspeakers are those which incorporate all the devices that are needed to enhance the quality of the sound.
A speaker can make or break music. Quality of the speakers and the placement of speakers, are very important in producing good quality music.
The question often asked is whether we need better speakers or better placement of the speakers. Another question is why do you need another set of amplifiers, cables and speakers? The usual answer is that there has been a review which describes the superb quality of a newly launched speaker.
Tips on Placement of Speakers
Components of a speaker and loudspeaker can act differently when placed in odd positions. Amplifiers can act a bit up or down when placed on audio racks, shelves or nearer to the edges. The material of the shelves also matters. It is always a good idea to use four legged racks rather than three legged ones.
Proper placement on the ground gives most noticeable response. Plain wooden racks are always better than designer glass.
To get proper the sound you should take a look at the power amplifiers. The three things to look for are the watts, stability, and the current used. Phase patters should also be considered if bi amping configuration is likely to be used. There should be identical phase patters for the power amplifiers.
Is the quality of cables in your least priority list? If yes, and if you think that placement of speakers is all you need to consider, then you are wrong. Better quality cables can make the sound so captivating that you will be ready to pay that extra bit for a good cable set.
The shape and size of the room is also one of the chief concerns in getting good music. The room should be big enough for the low frequency sound to unfold. What should be the shape of the room where the speakers are placed: square, rectangular, long passage type, hall or oval shaped? Also, where should be the furniture placed?
There are quite a few objects that can absorb sound or refute them. The placement of speakers and their design needs to be such that the sound quality is accentuated and not dampened. A well positioned loudspeaker or speaker set can get you a better frequency range, least distortion level and optimized transient level.
The center channel speaker should be the first speaker to be placed in a home theater environment. It is the one that gives you the dialogues or the main sounds. The front, left and right speakers are the ones that translate the signals into stereo music. And the surround speakers are the ones to give you the environmental feeling.
So the effective tips about the placement of the speakers of the home theater system are these: make them inline along, or just behind, the position which you usually occupy, that is, your listening position. The surround speaker should not hit your ear when you are sitting down or else the front speaker will get negated.

Victor Epand is an expert consultant for music gear, speakers, and microphones. You can find the best marketplace for music gear, speakers, and microphones at these 3 sites: recording equipment, speakers, subwoofers.

Article Source: http://EzineArticles.com/?expert=Victor_Epand

Learn Singing Online

2008-10-13T09:32:00.000-07:00

Singing is an inbuilt art of human mind and soul. In earlier time, only those people sing who have good voice (god gifted). Now the time is changed and people take interest in singing.
Singing is a passion for youths now days. Every one wants to become singer. If someone has good voice he/she start singing.
Now it also include as a hobby for peoples. Earlier if somebody playing an instrument, not interested in singing with playing. But now if somebody playing an instrument, he /she want to sing as well.
Some are in born singers; they have good voice and know the technique how to sing.
They need to just brush up their singing style according to the demand of public.
Some have good voice but they don't know the technique. For those institutes are available where they can improve their voice and also lots of websites in internet for their help.
These days no matter you have good voice or not, we all do singing whether in bathroom taking a shower, listening songs or playing an instrument.
If you are serious to learn singing, you can go to a class but if you don't have time, you can go to online learning. This is very helpful. Online learning singing is one of the easiest and best methods to learn singing.
Difference between online learning and school is that, after completing your program you get certificate, diploma or degree, but when you do it from your home you only get knowledge. Going to school is some time expensive and time consuming.
There are singing software online through which you can learn singing without going anywhere. This requires a computer and an internet connection.
So why are you waiting, start learn singing, if you have a desire to learn singing.
Good luck!

For learning these formats you can view this link: http://www.learnsingingreviews.com You might be also interested in Emily Mander Singorama

Article Source: http://EzineArticles.com/?expert=Nick_Kater

Funny Freestyle Rap Lyrics - Best to Improve Your Freestyle Raps

2008-10-13T09:29:00.000-07:00

Funny freestyle rap lyrics are the bread and butter of pretty much every successful rap MC. Take a second to think about your favorite freestyles you have heard over the last few years. Almost certainly most of them will be freestyles that have made you laugh. Every successful MC places a large amount of effort on integrating humorous lyrics into their raps. Perhaps one of the best examples of rapper that has succeeded with the help of humor is Eminem.
The reason that funny lyrics dominate in rapping is a simple one - everyone likes to laugh. Take a look at the cinema and you will see that all the top films are either action or comedy. Successful rap songs are no different. The bravado and story telling contained in most tracks provides the action and the lyrical deftness of the likes of Jay Z, Eminem or Biggie Smalls provides the humor.
How can you improve your free-styling?
One of the easiest ways to improve your free-styling is to increase the size of your dictionary. The more words you have tucked away in your long term memory the easier it is to find a rhyme when you might otherwise choke on the mic. Several famous rappers (including the king of freestyle, Supernatural) freely admit to reading a dictionary in their spare time to increase their lyrical scope. In addition there are also specific programs available that can help you develop the areas of you vocabulary that are most used while rapping.

Read some more freestyle rap tips

Article Source: http://EzineArticles.com/?expert=James_McKerr

Today's Music Industry - How Technology & the Internet Has Changed It

2008-10-13T09:27:00.000-07:00

The music industry has been changing greatly. Today, there are more & more opportunities for anyone who is an aspiring musician to get noticed, whether they be a singer-songwriter, rock band, rapper, or producer. The creation of Myspace (& other musical online communities) allows for exposure of people's music. With a self-produced demo, you can post your songs up on Myspace, and after establishing a great following of fans, Major Record Labels might notice you & even choose to sign you. This is very different from the olden days, when trying to get your music exposed wasn't as easy.
Also, the creation of mp3's, online music stores & distributors (such as iTunes, Soundclick, & Pure Volume), has made it very easy for artists to distribute their music. No longer will you have to go to a studio to record your songs onto cd's in order to give out to your friends and other people to listen. All you have to do is buy a computer, and with the necessary digital recording programs out there available, you can record your songs as mp3's & distribute them all throughout the internet. Obviously if your songs are good enough, people will like them and pass them along to others, and you will get noticed.
Besides audio recording, digital technology has made the creation of music easier in other aspects. Due to more & more developments in digital audio workstations, anyone can produce their own music at home. No longer will you need to buy drum kits, keyboard synthesizers, & other music production hardware. You can go through the whole process of creating your own music through the use of your home computer. Anyone including YOU, can make your own hip hop & rap beats using simply your computer!!!

Johnny Ye is a self-producing musician, who specializes in songwriting, music production, and audio recording. His reviews on the latest music production products are available at:
http://www.make-my-own-beats.com/

Article Source: http://EzineArticles.com/?expert=Johnny_L_Ye

Making Beats at Home - It's So Easy Anyone Can Do It

2008-10-12T07:26:00.000-07:00

From just your home computer, you can make beats & instrumentals yourself, record your vocals, and end up with a pretty good quality finished recording of your song. No longer do you need to resort to finding studios & producers to produce beats for you, and help you in recording your own music onto a demo cd. You can do everything yourself, you just have to learn how.

Making beats is easy, and a lot of people are starting to learn how to do it. Soulja Boy learned how to produce his own beats using Fruity Loops in just one summer, and was able to make himself into a rap superstar. Anyone who has a computer can learn to make beats at home, but not everyone is doing it. Why? Most people think the process is hard, but it actually isn't as hard as most people think. Anyone who is passionate enough about their music can look up video tutorials on the internet that teach you how to make your own beats at home.

The idea of creating your own digital albums to put up on iTunes & making
rap beats to sell online is gaining popularity really fast. More & more people seem to be buying equipment to create their very own home recording & production studios. Since a large number of people are working on their very own digital music right this very minute, the next hit song you hear on the radio could very well have been created by someone you know!

Article Source: http://EzineArticles.com/?expert=Johnny_L_Ye

Music Producer Pro - The Online Beat-Making Workshop

2008-10-12T07:25:00.000-07:00

Music Producer Pro is just one of the numerous music production programs out there. It's a highly reputable online workshop that contains a vast amount of downloadable audio & video tutorials, which are updated regularly. For a flat-fee, you get unlimited access, with no recurring fees. Additionally, the workshop also includes an online beat maker, as well as industry listings that you can use to contact record labels to have them check out the music you've created.

The program teaches you professional music production & recording techniques, as well as how to play a good number of instruments that are commonly used (such as guitar, piano, bass, & drums). The easy-to-follow tutorials are great for both newbies as well as advanced level producers. You can learn to produce all types of music, which include rap, hip hop, rock, & techno. Furthermore, besides production & recording, the workshop goes into mixing & mastering, as well as songwriting, & sampling techniques. The workshop's instructor, Jay Dynasty, has a very deep understanding of music, technology and the music production industry.

What's great about Music Producer Pro, is that you'd probably end up learning the same things about music production that a student at a music production college would. Music production is becoming more & more popular, and lots of different colleges are providing programs for it. But with this online workshop, you can get that same knowledge you'd get from those colleges without having to go through the inconveniences of time scheduled classes & expensive tuitions. The workshop gives you all the knowledge. You just decide how & when you want to take in that knowledge. This program is gaining popularity, because lots of people are wanting to learn how to make beats on their own at home & hope to become famous through the music they've created, in the same way that Soulja Boy did. Music Producer Pro is great for anyone who is thinking about getting serious with their music.

Article Source: http://EzineArticles.com/?expert=Johnny_L_Ye

Learn Guitar Solos Easily & Improvisation Effortlessly

2008-10-12T07:24:00.000-07:00

If you are thinking of playing solo then you need to focus on the various guitar improvisation techniques. Guitar improvisation may tough but actually what you really need is a good grasp of guitar basics, speed, and lots of practice.

There are legends and then there are guitar solos. It is tough to define whether guitar solos define legends or whether legends define guitar solos. But the truth is that many a legend has been born but only a few were recognized due to their great guitar solos. But what is a guitar solo without the proper guitar improvisation techniques?

The one thing that you need to remember is that to achieve perfection in guitar improvisation, you need to be familiar and well versed with the music that you are going to play solo for. Another important aspect is that you should have the song stored in your memory, each line and word. This will help you to identify the structure that will enable the progression and you will know exactly what chords need to be played. Then it will be easier for you to select the scales that will compliment each of those chords. The last step would be to determine the specific notes within the chosen scales on which you will need to focus.

This is where the major scale comes into the picture, which is Do Re Mi Fa So La Ti Do. Any guitar improvisation technique follows the major scale to some extent. In fact, whether you play the guitar or the synth, any type of music always comes from the major scale. Hence to make your guitar improvisation technique more sound and effective follow the major scales.
Guitar Solo Improvisations

These are some of the guitar improvisation techniques that you can practice to get the solo right on target
1. Bend: You can start by playing the first note and then bend your guitar strings with your playing finger until you are able to hear the next note. There are different types of bends like 1/2, 1 1/2, 2 steps bends.
2. Bend & Release: You can start with a bend and then release back to the first note.
3. Pull-off: start by plucking the first note and then pull the second note at a lower fret.
4. Slide: You can fret a note or even multiple notes and then slowly slide to another fret without taking the pressure off your fingers while moving.
5. Hammer-on: start by plucking the first note and then hammer the second note at a higher fret.
6. Vibrato: a useful guitar improvisation technique, you can start by repeatedly bending the pitch slightly up and then bring the note back to its original pitch.
7. Tapping: You can tap with your index finger on a written fret.
8. Pinch Harmonic: Another useful guitar improvisation technique where you need to pick the string and then touch it using the edge of your right hand thumb.
9. Natural Harmonic: You can't really do without this. Start by touching the guitar string lightly just over the fret bar and then pluck it. Make sure not to press it down.
10. Palm Mute: This is one of the easiest guitar improvisation techniques. You need to touch the guitar strings slightly using the palm of your playing hand.

For over 1000 Professional Guitar Backing Tracks, check out Planet of Rock, The #1 Secret Weapon For Guitarists.
Eugene is the founder of Planet of Rock Music Studios.
He is a professional guitar teacher and an ex band member of Black November which has toured and performed in Australia and Asia since 1997. He has contributed to publications as Guitar Player, Guitar World Acoustic, Maximum Guitar and dozens of magazines and websites worldwide.
In 2005, he has founded Planet of Rock Music Studios to provide affordable Guitar Backing Tracks for guitarists. As featured in Guitar Player, these professional backing tracks for guitar are great for lead guitar practice or live performances.
Jam with your favourite bands at the comfort of your own home or studio with backing tracks for guitar. It has also been used heavily in live performances by customers across United States since its inception.
Play like you have the entire band backing you up!
P.S: Remember to sign up for your free Ultimate Guitar Tone eBook (worth $29) at Planet of Rock!
Planet of Rock - You Rock. We'll Back You Up - For The Rock Star In You ....

Article Source: http://EzineArticles.com/?expert=Eugene_Walker

For Guitarists - The Top 5 Most Popular Guitar Backing Tracks

2008-10-12T07:22:00.000-07:00

Before we talk about the top 5 most popular guitar backing tracks. Let go into the primer of what are the real uses and advantages of using guitar jam tracks
Guitar jam tracks are used mostly by lead and rhythm guitarists in rock, metal and blues. These tracks are used for the sole purpose of practicing or live performances. There are different types of tracks available on the Internet. Some are recorded in low quality or midi formats while others are professionally recorded. To get the best tracks for your practice, ensure that you purchase them from reputable companies such as Planet of Rock or Lick Library. The best jam tracks are the ones that are not in the midi format and have no fade outs. There are three different versions that are available including:
• Record mixes: these guitar jam tracks will include a mix of bass guitar, drums, rhythm guitar and backing vocals.

• Instrumental: This is the preferred type of tracks that is most commonly used for playing lead or solo. These backing tracks will have only instrumental music and no guitars and no vocals.

• Backing vocals: These will have backing vocals and other instruments except the guitar.
There are several websites that will provide you tracks in midi format but that is definitely not the right format for learning guitar solo or improvising your lead. Whenever you download these tracks they should be in high quality bitrate mp3 format or ideally, it should be provided to you in a remastered audio CD. You can purchase guitar backing tracks for some of the top performers like John Petrucci, Dream Theater, Metallica, Joe Satriani, Guns and Roses, Steve Vai, Yngwie Malmsteen, Green Day, Iron Maiden, Eagles, Eric Johnson, Ritchie Blackmore, David Gilmour, Dimebag Darell, Santana, Jimi Hendrix, Whitesnake, Bryan Adams, Brian May, Deep Purple, and many more.
Some of the most popular jam tracks includes:
• Guns N Roses - Sweet Child O Mine

• Chuck Berry - Johnny B Goode

• Pink Floyd - Comfortably Numb

• Eric Clapton - Wonderful Tonight

• Dire Straits - Telegraph Road

• The Eagles - Hotel California (Acoustic)

• Gary Moore - Still Got The Blues

• Ozzy Osbourne - Crazy Train

• Nirvana - Smells Like Teen Spirit

• AC DC - Highway To Hell
Most of the solos that are played by various lead guitarists use two specific scales: the minor pentatonic and the major pentatonic. The best way to learn is by playing the minor and major pentatonic in every key across the fretboard with backing tracks playing in the background. It is not easy to play lead but then with practice, time, effort and the use of the right guitar backing tracks, you will be ready to do your own live gig!

For over 1000 Professional Guitar Backing Tracks, check out Planet of Rock, The #1 Secret Weapon For Guitarists.
Eugene is the founder of Planet of Rock Music Studios.
He is a professional guitar teacher and an ex band member of Black November which has toured and performed in Australia and Asia since 1997. He has contributed to publications as Guitar Player, Guitar World Acoustic, Maximum Guitar and dozens of magazines and websites worldwide.
In 2005, he has founded Planet of Rock Music Studios to provide affordable Guitar Backing Tracks for guitarists. As featured in Guitar Player, these professional backing tracks for guitar are great for lead guitar practice or live performances.
Jam with your favourite bands at the comfort of your own home or studio with backing tracks for guitar. It has also been used heavily in live performances by customers across United States since its inception.
Play like you have the entire band backing you up!
P.S: Remember to sign up for your free Ultimate Guitar Tone eBook (worth $29) at Planet of Rock!
Planet of Rock - You Rock. We'll Back You Up - For The Rock Star In You ....

Article Source: http://EzineArticles.com/?expert=Eugene_Walker

The Guitar is Your Friend Or How I Learned to Play the Guitar

2008-10-12T07:21:00.000-07:00

The guitar has a long and rich history. Guitar like musical instruments date back 5,000 years. There are six string guitars, four string bass guitars, twelve string guitars. Musical styles include blues guitar,rock guitar, folk guitar. There's acoustic steel string guitars, nylon string classical guitars, electric guitars with amplifiers. You can play with a plastic pick or fingerpick style. Melody lines or chords. The variety is endless.
By now I guess you can tell that I love the guitar. I love listening to guitar music but most of all I love playing. Years ago I decided to teach myself. I had a certain aptitude for music as I played the trumpet in my grammar school orchestra for a great music teacher who taught us how to read music. My big solo was the Mexican Hat Dance. I didn't continue with the trumpet but I yearned to be able to make music. So I bought a cheap six string and set out to become the next big thing. I bought a chord book, you know the kind which shows you where to put your fingers for each chord. I discovered that many songs use the simplest grouping of guitar chords. I was on my way.

I learned very rapidly that like anything else in life, if you want to get better at something, practice, practice, practice. My skills slowly progressed and now I'm pretty decent, if I do say so myself. I don't play in a band or on stage but I can grab my guitar and enjoy myself any time I want. It's fun, relaxing and rewarding.
Now, with the internet, there is a wealth of guitar instructional material available to all. I wish that when I was starting out (before the internet was even invented) I had access to the myriad of guitar courses now available. It sure would have saved me a lot of time.

Downloadable ebooks, video based training...there's even downloadable software to slow down a recorded guitar solo so you can play along and figure out the notes for yourself. We've sure come a long way haven't we ? These tools are fantastic and best of all no driving to music lessons, no boring scales and you can learn at your own pace. Couple of things to keep in mind:

Patience - Rome wasn't built in a day and no one becomes a guitar expert overnight. But with perseverance I believe anyone can learn to play the guitar.

Fingers - Steel strings are made of steel. At first your fingers will probably hurt like hell but give it time and practice and your fingertips will harden up.

I hope that I've imparted to you my love and enthusiasm for playing the guitar. If you want to make music with your hands learning to play the guitar is the way to go! As always, thanks for reading and for your valuable time.

I've done the research and found what I consider to be the top five online guitar courses. I sure wish these has been available when I was starting my guitar journey. They're available at http://www.reviewsbytheigmonster.com/

Article Source: http://EzineArticles.com/?expert=Ignatius_Gluck

Microphone Techniques For Acoustic Guitars

2008-10-05T09:17:00.000-07:00

Guitar is a very old musical instrument. It is normally played in an unplugged way. But when played in a show, a microphone is also used. Otherwise the sound will not reach every listener. Acoustic guitars have a unique sound.

Microphones sometimes cause different kinds of problems. And for that reason, the use of a proper microphone is ensured for acoustic guitars. Here we will talk about different microphone techniques for acoustic guitars.

The acoustic guitar delivers a varied range of frequencies. The range is from under 100hz to the extent which is not audible to human beings. The resonance of the largest string delivers low frequencies and the plucking system delivers the high frequencies. In most types of acoustic guitars, the sound hole generates the bass sound.

This instrument has always been so popular that people have thought of making some microphone which will not harm the sound of this instrument. And for this reason, a lot of experiments were made on microphones.

After a lot of experiments, dynamic and condenser microphones were made. These two microphones are suitable for acoustic guitars. But among these two, the condenser microphone delivers the most detailed and the brightest sound.

There are small and large diaphragm microphones available. Both of them are perfect for acoustic guitars. But while playing the lead portion of the acoustic guitar, if you stroke the string hard, then a sharp transient will be produced. It is louder than the sustain portion of the waveform. This will not sound well at the time of recording. So it will be better if you use the dynamic microphones for playing the lead portion.

To get a good sound out of the microphone, it is necessary to know where you should keep the microphone. If you keep the mike just in front of the sound hole, then the guitar will create a very dark, boomy sound. Just like that if you put it in front of the neck then it will produce a thin sound. Even the surrounded portion of the bridge will not be able to produce a proper sound, if you put the mike there.

Actually the proper microphone technique for acoustic guitars depends on the instrument itself and the playing pattern. That means it depends also on whether the instrument will be strummed or plucked, and on the music style and the recording place. The perfect place for a microphone is one to two feet away from the acoustic guitar. The mike must be pointing at a place somewhere between the sound hole and the very place where the neck of the guitar meets its body.

If you use a directional mike, then you have to adjust the distance, to make a balance between the proximity effect and the room ambiance. If you use an omni microphone for acoustic guitars, then you will be able to put it closer to the instrument and also will get a sound which is pretty much well balanced.

The most common microphone technique for acoustic guitars is the use of two microphones. One will be closer to the guitar and the other will be a bit far away.

But the interesting thing about microphone techniques is that you do not always have to use all these existing styles. You can try some technique of your own. And perhaps one day you will be able to make a microphone technique that will help many acoustic guitar players.

Article Source: http://EzineArticles.com/?expert=Victor_Epand

Practice Playing the Drums Quietly

2008-10-05T09:14:00.000-07:00

Drumming is a great art to master. Not only does it require a great deal of dexterity and coordination, but it also requires the drummer to really feel and get into the music that he is playing. The drum set is a great musical instrument that takes a lot of practice in order to become great at.

Sometimes, however, practicing may become a little bit of a problem if you do not have a music studio at your convenience. If you live in an apartment or close to neighbors, your practice sessions will make a great deal of noise and you may potentially become a nuisance and an annoyance to you neighbors and the people that you live with as well. In addition, you may have a busy schedule which only affords you to practice your drumming at night. Being noisy at night will upset the sleeping patterns of your neighbors and you may even be justly fined with a ticket from your local police department for disturbing the peace.

Do not fret too much. There are a couple of solutions that can afford you the ability to practice your drumming just about any time you want without disturbing anyone.
Drum Pad Silencers

Drum pad silencers are simple pads made out of a rubber-like material that you apply onto the top of your drums. These drum pad silencers absorb the sound that hitting the drums with your drumsticks make while at the same time still preserving a good amount of the same natural stick bounce and feel of your drum set. They even make these great silencer pads for the bass drum and cymbals.

Do not get me wrong, you will still create some noise while you are practicing with the drum pad silencers on. However, if you close your room door, your family will hardly hear a thing, and your neighbors will not hear a thing at all. So, with drum pad silencers, you can rock out on your drum set at any time of the day that you wish without disturbing the peace of anyone.
Rock Band

Have you heard of the video game Rock Band? Well, if you are a musician, than you should familiarize yourself with Rock Band. Granted, playing this video game is not really like playing in an actual rock band, the drum set in Rock Band comes pretty close to the real thing. The drum sequences in the video game are pretty awesome, and will test your drumming skills. These things are fairly quiet, but if you want it even quieter, they make drum pad silencers for the drum set made for Rock Band.

If you have got a set of headphones for your television and you have drum silencer pads, you are good to practice drumming with Rock Band almost at any time that you would like. It is a fun way to practice and test your coordination and dexterity.

So, these are just a couple of examples that should get you started with practicing your drumming quietly or as quietly as possible at the least. Rock on!

For more information on Rock Band for Wii visit Jays website entitled Gaming Gear Direct. Jay website features the Nintendo Wii console for Sale and is dedicated to all things Rock Band and Wii.

Article Source: http://EzineArticles.com/?expert=Jay_Brandley

How to Make Hip Hop Beats - 10 Easy Steps

2008-10-05T08:59:00.000-07:00

When you're just starting out how to make beats it can be fun and frustrating at the same time. Trust me I was there. But it really is easier then you think. If you're making a beat here are 10 tips that will get yo stated.
1. Pick a style- Know the style of beat you want to make before you start making it. Like rnb,rap,pop, ect. There have been plenty of beats that I made and could not figure out what style it was.
2. Pick A Major Artist- Think of a known artist that you would want to make the beat for. Like if you chose a style a rap, think now what rap artist do you want to make the beat for. Try to imagine that artist on your beat. This will make your hip hop beat-making experience a whole lot easier.
3. Listen To Their Song- Take a listen to the rap artist you are making the beat for songs. See the style. Get a feel for the kind of hip hop beats the artist raps over.
4. Formatting The Song- Very important. formatting is, the intro, verse, chorus, verse, bridge, etc. That's all it is but basically you just change the order around however you feel like it. Turn on the radio and see how your favorite artist formats there song. When instruments come in, when they drop out. The most basic form to start with is, 2 or 4 bar intro, 16 bar verse, 8 bar chorus, 16 bar verse, 8bar chorus, 16 bar verse, 8 bars chorus. This is the most basic beat-making song format. This is very common in rap. If you want an even simpler way, you can create an 8 bar loop and keep it the same throughout the whole song. I have seen this done a lot.
5. Laying down the beat- I have learned that for starters, it's easier to start with the drums. Kick, Snare, Hi hat, are always a good start. Record a pattern for four bars with those first. Then layer that with maybe some toms, cow-bell, symbols, etc. Whatever you want to use. THE DRUMS ARE THE MOST IMPORTANT IN MAKING HIP HOP BEATS! Your drums must hit and hit HARD. The best way to get your drums hitting hard is by not using "pitty pat" free kits you downloaded from the internet for free. If your drums are weak, then your beat is going to be weak.
6. Laying Down A Melody- This is where most hip hop beat-makers have the most trouble. Because most eat makers can't play the keys. For starters, you might want to learn basic keyboard skills. The major thing you need to learn are, major and minor scales. After you learn that, try and do different combinations and patterns with the drum beat you have made. Use an instrument like, a lead guitar, horns, clav, something that will stand out. Your melody can be however you want it, but for starters, you could do a 4 bar melody, or an 8 bar melody.
7. Layering The Beat- What is done a lot in beat making is layering. If you have your whole beat finished. You can go and make it sound bigger by layering. All you do is fill in some gaps, do the same pattern you did with one instrument with another instrument. Do this throughout your beat. This will make you beat sound a lot fatter.
8. Pan- Panning is basically having an instrument all the way to the right, all the way to the left, and anywhere in between. You pan for all kinds of different reasons. It gives each track its own little space in the stereo field. There are no rules for panning, put you have to do it. So just try it out and see what you like best.
9. The Mixdown- Very important! Very Important! Very Important! If you have a poor mix on your beat, then you have pretty much waisted your time. When mixing a beat, start with each track individually. Solo each track and make sure it sounds good by itself. EQ it if you have to, but if each track sounds good by itself, the whole beat will sound that much better. DO NOT DISTORT! If your master levels are in the red before you bounce to disc or .mp3, your distorting. Don't worry about if its not loud enough. You never ever ever want to distort. If you are distorting, check any instrument that has boom or low end, Like a kick, bass, sub, etc. these tend to distort more often.
10. The Bounce- Now that you made you're beat, Its the hottest hip hop beat ever, you want to put it on cd or upload it to the internet. When you're exporting a beat for cd, Use .wav file. 44.1 16bit. If you want to upload to the internet use, 320kbps (the highest .mp3 quality) or 128kbps. Most websites wont accept 320kbps because the file size is too big. So go with 128kbps.
These are all just guidelines to help you get started. There are millions of ways to make a beat, But this is just to help you get your feet wet if you don't know where to start.

To Hear Some Of My Beat Visit
http://www.soundclick.com/paulcabbin
To Visit My Myspace Page
http://www.myspace.com/pcbeatz

Article Source: http://EzineArticles.com/?expert=Lerron_Carson

Introducing Flamenco Guitar

2008-10-05T08:57:00.000-07:00

When I think of a guitar, it reminds me of the dramatic folk music of southern Spain which is known as the flamenco. Flamenco is nothing but the music of the gypsies of Andalusia. The music is very closest to the heart and soul of the Spanish guitar and every guitarist is tempted to learn at least one flamenco music piece. In the nineteenth century with a wider audience through its presentation in the cafe cantante their music has found to be very popular.

It is the favored instrument of accompaniment. Like the blues in America, the flamenco has acquired the following among the most privileged groups of people far removed from the suffering and deprivation that gave birth to many of the songs. The essence of flamenco and the guitar cries from the heart.
The forms of flamenco have got nearly 30 different kinds of group with different songs relating to different regions and occupations from the martinete of Triana performed to the sound of a blacksmith's hammer striking an anvil to the tarantas and minerals of the mining communities of the southeast. The song is divided into two groups such as the cante jondo and the serious forms, cante chico and the more lighthearted type.
If you are a student then the most popular forms to study are the alegrias that is played in A to accompany the dance and in E as a solo. The alternative measures for seguiryas with its fascinating rhythm which the sole areas are 3/4 and 6/8. The seguiryas with its fascinating rhythm has the sole areas, inspiration for many great False sete.

The various local forms of the fandango are known as Malaguenas in Malaga or Granainas in Granada. From the Atlantic coast the ever popular and lively fandangos de Huelva. The dramatic dance is known as the farruca, a feature of Jose Grecos worldwide tours.

If you are interested in learning guitar then you will find Jamorama lessons quite useful. I have found some useful reviews out here: Review Of Jamorama Guitar Lessons. You might also be interested in getting reviews of other guitar lessons mentioned here - GuitarLessonsReviews.net

Article Source: http://EzineArticles.com/?expert=Priyankayog_Bhatt

Theme Music

2008-10-05T08:55:00.000-07:00

Have you ever had a song going around and around in your head that you just can't place? You can remember some of the words and the period of your life that it came from, but no matter where you look, you just can't seem to find a recording of it. There is nothing more frustrating than searching for a piece of music you cannot find! This is where you come in! You will create a website where you will make very specific types of music available to people who would otherwise be unable to find it to buy.

There are many businesses catering to customers who are looking for a specific product found only in a small niche market. Unfortunately, there are not nearly enough to supply consumers with all the products they are looking for. This is especially true for the music loving consumer market. Do you have a certain style of genre of music that really speaks to you? Most people do! Although the larger retailers keep the 'general public' supplied with music from the latest popular singers, there is a large market of music that is unavailable to the 'average-Joe' consumer.

The best way to get started is to begin with your favorite style of music. Do you love jazz and the sultry torch singers of bygone eras? Do you have a hankering to hear the synthesized techno beat of music from the late eighties? Are you a sucker for French accordion polka music? Maybe you really love Celtic rhythms with a heavy emphasis on mythological storytelling! Whatever your real love is, start with that. If it has been difficult for you to find a piece of music, then it has certainly been difficult for your potential customer to find as well!
Find and gather up recordings in various formats of all of the singers and musicians of your favorite genre and make them available to the public. Use a searchable database and list the name, format (vinyl record, CD, audio tape, DVD), and price of the recordings along with historical information such as the rarity of the recording and maybe information on the background of the singer and his influences. You should also be able to provide a sample of the musical piece or performance for your customer to listen to. This will help them to remember how fond they are of the musician or that particular recording and will help them jog their memory of other recordings that they were searching for. This will also come in handy when introducing them to recordings that they were previously unfamiliar with!

To encourage further sales, you can also make suggestions to your customers on music that they might enjoy. For instance, "If you like singers A and B, you will likely really appreciate the music of singer C." Then provide them with an easy link to click on to take them to a sample of that recording.

To attract people to your website, you may want to begin by first selling your musical treasures on a website such as Yahoo or by using an eBay storefront. Once people realize that you have what they are looking for, they will also want to visit your main website store to find an even larger selection of the same type of music.
Music is powerful! For most people, music stirs up strong emotions and deep seated, long forgotten memories. If you can provide your customers with music that they cannot find elsewhere, you will accumulate a large customer base with a strong loyalty with your business.

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If Seals Can Sing, Why Cant You?

2008-10-02T07:08:00.000-07:00

It sounds like a side show, doesn't it? It does to me. But it's true; researchers have discovered that some varieties of seals really do sing. Indeed, male leopard seals have been heard singing complex melodies in their lonely search for a mate. Likewise, male Weddell seals, which are a very social creature, lure their mate by improvising original melodies the way a master musician would in front of an audience.

Hearing that seals sing really shouldn't surprise any of us. Music is a central element of life. Walk through the forest at night in the eastern part of the United States and you can't help but be moved by the symphony of sound that is created when each woodland creature sings its part.

Music moves us, often in ways that we don't understand. For example who hasn't been calmed by the sound of quiet singing such as a lullaby? But more than that, who can explain why cows produce more milk and chickens lay more eggs when listening to certain songs like The Blue Danube? I've seen many studies that verify that these observations are true, but none that I've seen fully explain why.

Fortunately, we don't really have to understand why singing and music in general is so central to the world we live in to benefit from it. I doubt that Mozart or Beethoven understood it, but we have all benefited from the works of these two masters, both of whom seem to have benefited from listening to the birds sing. As a matter of fact, many people believe that Beethoven actually stole the opening to his Violin Concerto in D, Opus 61 from the song of the European Blackbird! Maybe, maybe not. But we know from Mozart's own notebooks that he played the last movement of his Piano Concerto in G Major to his pet starling who then sang the passage back to Mozart with revisions that impressed the master. Now that's singing worth noting!

So sing already! Join all of God's creatures in singing and making melody. In the animal kingdom that singing comes in all forms so there's no reason that any of us can't join in. We might as well, the more we learn of the world around us, the more we learn that singing and making music is central to life.

If seals can sing, so can you!

Duane Shinn is the author of over 500 music books and music educational materials such as DVD's, CD's, musical games for kids, chord charts, musical software, and piano lesson instructional courses for adults. His book-CD-DVD course titled "How To Dress Up Naked Music On The Piano!" has sold over 100,000 copies around the world. He holds advanced degrees from Southern Oregon University and was the founder of Piano University in Southern Oregon. He is the author of the popular free 101-week online e-mail newsletter titled "Amazing Secrets Of Exciting Piano Chords & Sizzling Chord Progressions" with over 58,300 current subscribers.

How to Make State-of-the-Art Video Singles Cheaply

2008-10-02T07:05:00.000-07:00

When it comes to promoting their new music releases, I have found that most musicians only consider radio as the vehicle for exposing their music to the public.

Rarely do they consider publicity, in the form of print media, i.e., music magazines, weekly arts and entertainment publications and newspapers as support tools to help support their radio airplay (another subject I shall address shortly).

But, even rarer, is their consideration of the importance of having videos for their singles. A video of your single, which was once considered an optional luxury, is now a standard, vital and necessary tool if you are going to compete with fellow independent recording artists for media and consumer attention.

And, a video is even more important if you are going to compete with major label artists. In fact, since having a video for your single, particularly, your very first single from a new release, is so vitally important, why would you even release a recording without one in today's music climate?

To me, that is like a soldier going to war with only a handgun while leaving his automatic weapon behind in his barracks.

But, perhaps, in your mind, you believe that it is still very expensive to produce videos for your singles. Even more, while you are likely an expert on producing music, you probably feel like an amateur when it comes to video production. However, that need not be the case any longer.

So, I am going to show you a no-brainer approach to easily getting a video produced for, at least, your first single from your new release, if not all of your singles.

* Steps to Getting Your Video Singles Produced Cheaply *

1. After you have your mastered soundtrack, and have selected your first single, you should then contact an area college, university or art institute.

2. Tell the school's administration department that you need to get in touch with its "broadcast journalism" department.

3. When you reach the broadcast journalism department, ask to speak to an "advisor" or "department head."

4. Tell the advisor or department head that you are an artist interested in getting a music video produced, and that you would like to be put in touch with either a senior student or graduate student who is majoring in broadcast journalism with, perhaps, a concentration on "production" or "direction."

You may also want to stress your preference for a student who has experience with having produced music videos already. Depending on the size of the school, there will likely be several highly qualified student candidates.

In most cases, you will find video producers or directors who will want to work from a script, which includes a story line, for your video single. If that is the case, and you are in need of a script, I would like to direct you to MuBiz.com, which can produce a video script from your single. See the below link:

http://www.mubiz.com/services.html#Video_Scripting

You can also see a sample video script that I created for a client at the below link.

http://www.mubiz.com/vdoscript.html

5. As for the low cost of getting broadcast journalism students to produce your video, in quite a few cases, these particular students are already in need of videos for their class projects, and yours just may be the one that will pique their interest. This is a no-cost method, and you will often need to arrange this setup one semester in advance.

In other cases, students may either own their film equipment, or be able to borrow school equipment for production. And, in this case, there may be nominal charges, however, these charges will be very affordable.

The best thing about this particular scenario is that, while you will get the best production knowledge from the student, as well as your video produced with the latest technology, you cannot be charged commercial rates, such as if you used a videographer or related service that officially operated in a commercial status.

But, perhaps, the best thing about this avenue to take for producing your video singles is that, not only will you be able to bring your marketing and artist status up a notch by having a video, you will now also have another product that can be used two-fold:

1. For further promotion of your single

2. Able to sell another product on online music sales sites as well as in retail outlets.

In some cases, you may also wish to offer it as a package deal with your CD. Additionally, why not go a step farther by incorporating it within your CD, placing it on DVD, as well as making it available on video cassette for retailers and consumer?

Note: Depending on the extensiveness of your production, most videos can be produced and edited within two weeks, if not sooner.

Kenny Love is president of http://www.MuBiz.com, a radio promotion and media publicity firm that also provides business and career services to musicians.

What Age Should Your Child Start Piano Lessons?

2008-10-02T07:03:00.001-07:00

There isn`t a parent who doesn`t want their child to be good at something and one of the more common aspirations is playing piano. There`s something about being able to dance your fingers across the ivory keys that appeals to both parents and children. The big question on every parent`s lips is "When should my child start piano?"
The younger, the better. We`ve all heard about the likes of Mozart and other child prodigies who began playing at very tender ages, 3 or 4. Getting a child into piano that early means they will have the most time possible playing, even if they don`t end up being extremely gifted in the area of music.
Introducing Young Children to Piano
You can start peaking your little one`s interest in music right from the start. Listening to classical piano while in the womb and after birth will give your child an early appreciation for the piano. They will be far more interested in playing than if you simply ignore music all together and then abruptly introduce it as you want them to play.
If you`ve decided to start your very young child in piano, it is very important to find the right teacher. Toddlers can`t and shouldn`t be expected to, focus on one thing for a long period of time. That means lessons will certainly need to be cut into smaller, more manageable bites. Most 3-4 year olds do very well with 15 minute lessons.
You really can`t expect a 3 year old to learn the same way a teen or adult would, so having a piano teacher that understands the age group and knows how to communicate effectively with a small child is vital. Without this, you`ll find that children don`t learn well and will rapidly become frustrated with the instrument. The idea is to keep it fun and enjoyable, particularly at this young age.
With a good base to build on, small children will often go on to play piano for the rest of their lives and this gift of music is definitely something that they will treasure in years to come.
Older Children and the Piano
Of course, not everyone can start their toddler in piano lessons so early. In some cases, parents may not have even considered the possibility until their older child came out and asked for lessons. This is a common scenario, where the child is the one interested in playing.
First, you`ll want to ensure that this isn`t just a passing phase. Most parents do this by requiring their children to take a minimum of one year of piano lessons. This is more than enough time to get a good taste for the music and after a year, a decision can be made, to continue on or to leave it.
Children who instigate the learning process tend to stick with it better than those who are forced into it at an early age, but they may be slower to pick up the concepts behind the music and it can be a bit of a struggle for older children to learn to read music in some cases. However, if the effort is made, it can be an excellent way to learn more about music and no one has ever done poorly because they learned to play the piano.
To make the piano lessons a success, be sure to have a way for your child to practice daily. It`s important they have this opportunity, no matter what their age. While younger is still better, that certainly doesn`t rule out older kids who are interested in learning.

Get the music lessons that you've always wanted at one of North America's most renowned and respected music schools. Offers music lessons Vaughn and piano lessons Vaughn.

Article Source: http://EzineArticles.com/?expert=Amy_Nutt

Your Website Title Could Be Costing You Money

2008-10-02T07:03:00.000-07:00

Nothing could be simpler than the title you give to your web pages right? Unfortunately, the vast majority of the websites I visit these days have absolutely terrible titles that hurt their online business. The title of your website is a very important part of getting good rankings on most of the major search engines. A good title also goes a long way towards getting your prospects to click on your listings.

If you go to Google right now, and type any search phrase you want, you get back a listing of web sites that match the keywords you entered in. If you look closely, you'll notice that each search listing' hyperlink is also the title of that website. The title you choose needs to describe to your prospects what your website is all about. It needs to be able to entice your prospects to click on your listing over any other listing. If your title is simply your company name, you are most likely loosing lots of traffic. You will also find it difficult to rank highly on relevant keywords to your site.

Here are some things to consider:

1. Make sure you use relevant keywords

Keywords are simply search terms that your web site prospects will type into a search engine in order to find you. The keywords you are targeting need to be included in your title. Your keywords also need to be as close to the beginning of the title as it makes sense to do. For example, if you were selling shoes online and you were targeting the keyword "children shoes", you could have a title like "Children's shoes for hard to fit children." Notice how the targeted keywords were at the beginning of the title. Putting your keywords at the front of your title speaks to keyword prominence. Prominence refers to the importance of your keyword in the title. If your main keywords are at the very beginning of the title, it is said to have a prominence of 100%. If they are at the very end of the title, they have a prominence of 0%. As much as possible, you want to have your main keywords appear towards the beginning of your title.

2. Consider using your main keyword twice in your title

If you are optimizing your site to rank well on Google, you should also consider finding a way to include your main keyword twice in the title. The trick is to do this without making the title sound stupid. One way I do this is to use the pipe character | between your main keywords. For example, if I was writing a title for a fishing website and the main keyword I was targeting was 'fishing charter' I could repeat the keywords this way, "Fishing Charter | Are you ready for a fishing charter you won't soon forget?" This example gets my target keyword at the beginning and manages to repeat it again without making it look stupid.

3. Persuade your prospect to click on your link

The link that your prospects will see when they do a search of your website on a search engine will almost always be the title of your website. Even if you get to the first page on a search engine for the keywords you are targeting, you still need to persuade your prospect to click on your link over all the others around you. If you title is not persuasive, or even non-existent, you won't get the traffic you expect even if you are number one in the listings. Your title must be persuasive.

4. Say what you want in 65 characters or less.

Almost all search engines limit the length of the title that will appear to the search engine surfer. Google for instance, only displays the first 60 to 66 characters. Sometimes, a webmaster will try to include every one of their keywords in the title in the hope that all of their keywords will be picked up by the search engines. Keep your main keyword prominent in the first 65 characters of your title. Do this while making sure that your title is properly targeted to your target market. You can include your secondary keywords in the body of your web page, but keep them out of the title unless it makes sense to keep them in. The rule of thumb for including secondary keywords in your title is to include them only if you can still keep the title persuasive to your website prospects.

Your website title is crucial to your success online.

Your title is vital to your efforts of getting traffic online. Make sure it is descriptive, and persuasive. It needs to include your main keywords as close to the start of your title as it makes sense to do. You need to avoid repeating the same keywords over and over again. This may work for keywords that have little or no competition on them, but it won't work for any keyword that gets even a decent amount of traffic on them.

This article was written by Joe Duchesne, president of http://www.yowling.com/, a budget web hosting company that specializes in helping online business owners increase their website traffic. Copyright 2004 Yowling. Reprint Freely.

RAP Music and Brain Washing Issues

2008-10-02T07:00:00.000-07:00

I am not sure if anyone has been watching out there, about the types of music that we are listening to. Let us look at them for a minute. Our grandparents listen to music like; "Happy Days are Here Again, the Skies Above Are Clear Again." Kids today listen to RAP, which actually starts with a 'C' except the 'C' is silent in this new spelling and pronunciation. Its really, CRAP. A radio station in TX is actually called K-RAP. Perfect.

It is not that the music is so bad; actually it is good, because its rhythm and cadence puts people in a convergence state of mind. In other words it puts them into theta state of mind and that is where it is easier to suggest a new thought or to brainwash in sleep state. The initiation of such brainwaves is powerful indeed. These tactics are also used in certain churches and Sales and motivational seminars. Also during commercials and government uses them to some degree for important endeavors, for instance cadence in military marching. The gangster rap is not good in that it suggests killing, drugs, other gang activities while putting its listener into the convergence state of mind. This is a negative thing, and may cause these individuals to dwell on certain thoughts and give them ideas that they may with proper gang mentality attempt one or more of the activities talked about in the songs. It would be much better to have songs with that type of cadence, which promoted good deeds and love. Perhaps there are many of these types of songs yet they do not sell very well and I do not here positive rap songs as much as I should. Mostly the Gangster Rap.

Many Techno type songs are also negative in nature. But these songs do not have the proper beats per minute to put a person into a trance like state, where suggestive behavior is introduced that is a throw back to before the human change in society. Is it possible to disallow this type of music? Music is an escape for many people to the fast paced life, and being in a trace state is probably a good state to be in, if one wanted to escape from the world for a while. A strong Bass in a song and certain beats per minute introduce this convergence state, then the subject is 100 percent ready for fresh new input. Theta States of mind are induced and a waken dream state provides for easy subconscious input.

But what are we allowing to be put into these minds of altered state? Songs of this nature are better than drugs, yet the drugs would effect the singular and not the victims of the deed that are done once the behavior of an individual are altered through this convergence. There is freedom of expression in this country yet the listeners are not realizing the effect of the changes as they occur. They are being brain washed while listening to their favorite music. Which become more favored because it puts them in a trace state allowing them to escape from problems of life. Hey no one said life was easy, right? I believe Rappers should be thrown in the trash cans, not littering the minds of our youth. It costs businesses money for graffiti cleaning and tax payers money in police. The cost to society is too great to calculate as a whole, but it is real. Rather than eliminate a cultural phenomena.

Let us instead make each record label and artist (I use this loosely as I do not approve of the RAP, but without passing judgment) produce 10 songs with positive lyrics for every one song of negative lyrics. That solves that problem. People can still escape in their trance state, record companies still make money, the constitution is still upheld, but there will be less negative and more positive thought going on when trance like state is producing more of one chemical in the brain than another. A person in this state is easy to recognize, their eyes are glossy and remain so for while afterwards.

RAP Music and Brain Washing Issues

I am not sure if anyone has been watching out there, about the types of music that we are listening to. Let us look at them for a minute. Our grandparents listen to music like; "Happy Days are Here Again, the Skies Above Are Clear Again." Kids today listen to RAP, which actually starts with a 'C' except the 'C' is silent in this new spelling and pronunciation. Its really, CRAP. A radio station in TX is actually called K-RAP. Perfect.
It is not that the music is so bad; actually it is good, because its rhythm and cadence puts people in a convergence state of mind. In other words it puts them into theta state of mind and that is where it is easier to suggest a new thought or to brainwash in sleep state. The initiation of such brainwaves is powerful indeed. These tactics are also used in certain churches and Sales and motivational seminars. Also during commercials and government uses them to some degree for important endeavors, for instance cadence in military marching. The gangster rap is not good in that it suggests killing, drugs, other gang activities while putting its listener into the convergence state of mind. This is a negative thing, and may cause these individuals to dwell on certain thoughts and give them ideas that they may with proper gang mentality attempt one or more of the activities talked about in the songs. It would be much better to have songs with that type of cadence, which promoted good deeds and love. Perhaps there are many of these types of songs yet they do not sell very well and I do not here positive rap songs as much as I should. Mostly the Gangster Rap.
Many Techno type songs are also negative in nature. But these songs do not have the proper beats per minute to put a person into a trance like state, where suggestive behavior is introduced that is a throw back to before the human change in society. Is it possible to disallow this type of music? Music is an escape for many people to the fast paced life, and being in a trace state is probably a good state to be in, if one wanted to escape from the world for a while. A strong Bass in a song and certain beats per minute introduce this convergence state, then the subject is 100 percent ready for fresh new input. Theta States of mind are induced and a waken dream state provides for easy subconscious input.
But what are we allowing to be put into these minds of altered state? Songs of this nature are better than drugs, yet the drugs would effect the singular and not the victims of the deed that are done once the behavior of an individual are altered through this convergence. There is freedom of expression in this country yet the listeners are not realizing the effect of the changes as they occur. They are being brain washed while listening to their favorite music. Which become more favored because it puts them in a trace state allowing them to escape from problems of life. Hey no one said life was easy, right? I believe Rappers should be thrown in the trash cans, not littering the minds of our youth. It costs businesses money for graffiti cleaning and tax payers money in police. The cost to society is too great to calculate as a whole, but it is real. Rather than eliminate a cultural phenomena.
Let us instead make each record label and artist (I use this loosely as I do not approve of the RAP, but without passing judgment) produce 10 songs with positive lyrics for every one song of negative lyrics. That solves that problem. People can still escape in their trance state, record companies still make money, the constitution is still upheld, but there will be less negative and more positive thought going on when trance like state is producing more of one chemical in the brain than another. A person in this state is easy to recognize, their eyes are glossy and remain so for while afterwards.
"Lance Winslow" - If you have innovative thoughts and unique perspectives, come think with Lance; www.WorldThinkTank.net/wttbbs

Tips on Performing Your Music for Others

2008-10-01T13:40:00.000-07:00

Have you ever dreamed of performing a piece you created for others. Imagining that they are captivated and held spellbound by the music? If you have, you know that it can be a long road from actually coming up with something, practicing it, and then giving it to an audience. In my own case, I had a good opportunity to perform. It was in a coffeehouse that already had a decent piano.

The problem was that I was playing for people who had come to listen mostly to guitarists on open mike night. Young guitarists that sang and played mostly Rock music or a derivative of it. I didn't care so much about that because I had the chance to go in front of people and share the gift of music.

In public speaking it's said that the fear of standing in front of a group of people and talking is caused by the anticipation of losing face - of looking or appearing like a fool. Now, some may be able to get up in front of a group and actually feel better than they felt before getting in front of people, but the reality is that 99% of us are going to feel some kind of anxiety.

There are two schools about stage fright. One school believes that you can completely rid yourself of it (extremely hard to do and a somewhat unrealistic). The other says that you can never fully conquer the fear but you can manage it and reduce it to a level where you can function and perform.

So far, I'm in the second group and I've learned a few techniques that allow me to perform well. One is that I practice enough to where I feel confident that I can perform above the normal level. The second technique is to accept the feelings of fear and reframe it into the emotion of excitement. In other words, I may be scared, but I'm also feeling excited. I focus on that part.

Most of the performance anxiety will dissipate soon after your performance begins anyway. It's usually the first 10 minutes or so when you're the most anxious. My goal when I get on stage is to focus on and enjoy the process of sharing the music with others. My focus is not on the audience.

The best performances occur when you can completely forget about the fact there are people listening. Then they can share in the magic that comes through you.

Edward Weiss is a pianist/composer and webmaster of Quiescence Music's online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at http://www.quiescencemusic.com/piano_lessons.html for a FREE piano lesson!

The Secrets of Correctly Stringing Your Guitar

2008-09-26T10:51:00.000-07:00

Why do you care about stringing your guitar you may ask. Well the reason is simple. It will make you sound better because if your guitar is properly strung, you will get longer natural sustain.

This is something that no fx pedal can reproduce, clean natural sustain. Of course after you have this sustain you can play with it all you want with your fx pedals.

Many guitarist make the same mistake when stringing a guitar, they don't wind enough of the string onto the tuning peg or they wind too much.

Why is this seemingly simple thing so important? Because the greater the angle between the nut (the top part of the guitar) and the tuning peg, the better the sustaining qualities of the string. Simply put, it makes you sound better. And your strings will not go out of tune as fast. Of course you can always wind too much as well, and then the strings will tend to slip out of tune easier. You want to have just the right amount.

Here is how to string your guitar.

Step 1 - Take all the strings out of the package and lay them out from the thickest to the thinnest. When you go to buy strings, always try and get the same gauge, as changing the gauge could mean problems with intonation, and may require truss rod adjustments.

Step 2 - Turn the tuning peg until the hole is in line with the neck.

Step 3 - Starting with the thickest string - The low "e", thread the string through the bridge (bottom part of the guitar). Each guitar has different ways to do this, but it is usually very easy to see where the strings go.

Step 4 - Next thread the string through the hole in the tuning peg until it is tight. Now back the string up about 3 inches so that it loosens.

Step 5 - Grab the loose part of the string with one hand and with the other start turning the tuning peg. As you turn the peg, hold the string tightly away from the guitar to insure that it wraps tightly, with no slack. This will stop the string from going out of tune as you're playing. When the string is getting tight against the fretboard, You can let go and continue to slowly turn the peg a little bit more and then top.

Step 6 - Make sure as you turn the peg that the string is winding downward, and don't let it flip over itself. Your goal is tog et about 2 1/2 to 3 full winds on each string.

Step 7 - Repeat the process with all other strings, but decrease the amount of slack a little bit each time.

All the best,

Tom Freeland
PlayGuitar.com

This is just one of the hundreds of guitar tips that you will get for free simply by becoming a member of PlayGuitar.com's Guitar Tips. Go to http://www.playguitar.com/guitartips/ and fill out your info. You will be on your way to becoming a better player.

Top Rap Song

2008-09-26T10:50:00.001-07:00

After months of email and posts, we've finally compiled and rated what you submitted as the top rap songs of all time. At first we tried to rank these, but we realized that due to the diverse nature of these songs it seemed unfair to do so. Depends on personal opinion, right? Wrong!

Thankfully we came to our senses and threw that notion out the window. Fair? Objective? What fun is that?

The artist that popped up the most on this list is Biggie Smalls (aka Notorious B.I.G.), followed by Tribe Called Quest, 2Pac, The Roots and KRS One/Boogie Down Productions.

Remember this is by no means scientific.

So here they are, your top fifty rap songs of all time. View album information, lyrics and compare prices by clicking the title. As always all gripes and complaints, cheers and pats on the back can be shuffled along to the folks who submitted these...you!

Enjoy y'all.

1. Notorious B.I.G. - Hypnotize
2. Geto Boys - My Mind Playin' Tricks On Me
3. Bone Thugs-N-Harmony - Tha Crossroads
4. Ice Cube - It Was A Good Day
5. Easy E - Boyz-N-The-Hood
6. 2Pac - California Love
7. Junior M.A.F.I.A. - Get Money
8. Warren G - Regulate
9. A Tribe Called Quest - Bonita Applebaum
10. 2Pac - So Many Tears
11. Cypress Hill - How I Could Just Kill A Man
12. Jay-Z & Notorious B.I.G. - Brooklyn's Finest
13. Dr. Dre/Snoop Dogg - Nothin' But a G Thang
14. Onyx - Slam
15. Public Enemy - Don't Believe The Hype
16. Mc Shan - The Bridge
17. The Roots - You Got Me
18. Notorious B.I.G. - Juicy
19. Wu Tang - C.R.E.A.M.
20. Mobb Deep - Shook Ones Pt. II
21. A Tribe Called Quest - Electric Relaxation
22. Black Rob - Whoa!
23. Bone Thugs-N-Harmony w/ 2Pac - Thug Luv
24. Notorious B.I.G. - Mo' Money Mo' Problems
25. Freestyle Fellowship - Hot Potato
26. Boogie Down Productions - My Philosophy
27. Boogie Down Productions - South Bronx
28. Digable Planets - Nickle Bag of Funk
29. Peanut Butter Wolf - Interruptions
30. Boogie Down Productions - Stop The Violence
31. Channel Live - Mad Izm
32. Grandmaster Flash and the Furious Five w. Melle Mel - White Lines (Don't Do It)
33. DMX - Let Me Fly
34. A Tribe Called Quest - Find A Way
35. 2Pac - No More Pain
36. The Roots - Silent Treatment
37. Wyclef Jean - Gone Till November
38. Grandmaster Flash and the Furious Five w. Melle Mel - The Adventures of Flash
39. A Tribe Called Quest - Jazz (We've Got)
40. Aceyalone - B-Boy Kingdom
41. The Roots - Proceed
42. Pharcyde - Passing Me By
43. Public Enemy - Black Steel in the Hour of Chaos
44. Push Button Objects - 360 Degrees
45. Redman - Can't Wait
46. Paperboy - Ditty
47. Dr Dre - The Watcher
48. Ugly Duckling - Journey to Anywhere
49. Word Of Mouth - King Kut
50. Puff Daddy - I'll Be Missing You

HipHopCapital.com is the #1 Hip Hop Jewelry retailer on the net. We have all the Bling Bling that you are looking for.

How to Create Backing Tracks If You Dont Play All the Instruments... or Any

2008-09-26T10:48:00.000-07:00

Congratulations! Your singing has become amazing, and it's time the world knew. You've also written some songs that are just kick you-know-what. They need to be recorded, MP3ed and put on the net ASAP. But you've got two problems. First, you can't afford a studio, let alone a band for all this stuff. Second, you don't play all, or any, of the instruments.

Well there is good news. With a deft combination of the internet and today's software, you can do wonders. While it's never going to be the same as a true band in a real studio, which you had better hire for that big record company showcase, you can still create great backing tracks.

First, repeat after me. "I love MIDI." Thank you.

MIDI, to refresh your memory, is like sheet music for a pianist. The paper itself makes no noises, but the pianist gets all the information he needs from it to let us hear Beethoven (especially if the music is also Beethoven!). In your computer set up, the MIDI file is the sheet music, the MIDI sequencer or playback program is the pianist, and your computer's sound card and synthesizer are the piano. That's all you need!

Before we get started, I'll mention the ultimate cover song shortcut - the Internet! There are tons of great MIDI files of almost every piece of popular music out there. All you have to do is find them. If you can't, or you've got your own material, read on. Be legal, though!

If You Play Keyboard or Guitar Well

First, thank your parents for the lessons. Then, get your hands on a sequencer program and record your tracks. Using MIDI, you can choose the instrument sound for everything - all you need to do is input the notes. For drums, you can either record them from your keyboard or use a plug-in drum machine. If you choose to record them, a quick way to do it is to record a couple of measures and then copy/paste to fill out the song. But don't forget to put in some drum fills!

If Your Playing Is Limited to Little or Not at All

For you there are wonderful programs, like Band in a Box and Jammer, to create backing tracks. They are very stylish, meaning, they function in styles. You must, at the very least, know the chords for your song. You simply enter the chords, choose the appropriate musical style, and click a button called "compose" (or some reasonable facsimile). Before you can say "Holy guacamole, Batman," your music is playing. The drawback here is that your band will sound canned. And well it should, for it is! But, have no fear, there are ways to mitigate that quite well.

Making it Human

Best thing? Play what you can, at least the melody. That, in and of itself, will help tremendously, as it's no longer just a band style playing chord progressions.

Next up, record a counterpoint. Counterpoints make ordinary songs exciting. They are secondary melodies that complement the main melody. They usually have a slightly different rhythm, and fill in where the melody has breaks. A great example is in the song "The Winner Takes It All," by Abba. Listen to the theme that is always playing underneath the melody - it really drives the song.

Another thing you can do to put life into your tracks is to customize the style. Depending on how good you are with your software and its capabilities, you can create your own riffs and mix them into the song. Also, vary similar styles throughout the song to break the monotony. And, again, don't underestimate drum fills!

Creative use of layering is a very effective technique. When all the tracks play all the time, it can be very boring. Wait to bring in some instruments till later in the song. That creates a "building" feel. Then, at some point towards the end, take them out again briefly to create a "break" or "bridge". When you bring them back, it is very powerful.

Finally, don't allow any perfection. Yes, you read that correctly. If your music is perfectly aligned rhythmically, it will sound artificial. Live musicians are never precisely on the beat. Almost all programs have a "humanize" function which corrects this automatically. Otherwise, take the time and slide some notes in the piano roll editor window. If you need quantize (rhythm correction) on the recorded tracks, set it to less than 100%.

When you've got your MIDI file, there are two ways to convert it to audio (wav, mp3) for CD burning. The quicker way is with a dedicated program that renders wave files from MIDI files directly. Most software synthesizer programs that have a stand-alone playback feature can do this. Otherwise, open an audio recording program, play the MIDI file, and simultaneously record the output. Make sure your audio recorder is set to receive from the correct input.

If You Play Nothing, and Don't Know Chords or Theory or Anything

Guess what? You are the one who should hire a musician. Yes, I know that some programs will offer both a chord progression composer and even a melody composer. All you would need to do is choose the style. If you are considering going this route, I have one request for you.

PLEASE DON'T!

Sorry to yell, but think about this. The melody is composed by a computer, the chords are composed by a computer, the band is composed by a computer. It is music that is completely composed by a computer. Oh my gosh! How revolting is that?

No, my friend, hire a qualified musician. You sing the song to them, they create the magic. Do not sell yourself short. Your song is important -- it's part of you! Show it the greatest respect and make it as beautiful as you can.

Seth Lutnick is a singer, songwriter and arranger. Visit his website, http://www.getitdone.biz for more on creating and using a home recording studio, and personal action planning.

Pakistani Pop Music

2008-09-26T10:47:00.001-07:00

Pakistan is blessed with talent and when we talk about Pakistani Music, you can never stop picking up one of the best Pakistani pop song uptill now because there are number of such hit songs nobody can judge the best one in past decades such as "Dil Dil Pakistan" , "Huwa Huwa", "Mehndi ki Raat", "Na Kaho", "Dil Haray", "Ankhain Milanay Walay", "Wakt", "Neeli Neeli Ankhain", "Jaisay Chao Jeo", "Garuj Burus", "No More", "Ankhoun ki Sagar", "Na Tu Aigi", "Addat" left the audience agape and many more. Our artists' are popular all over the world. Many new talented artists in Pakistan are still working hard to bring quality Pakistani music.

We can easily judge Alamgir as the pioneer of music industry who's first big hit was "DEKHA NA THA KABHI HUM NAY YEH SUMMA", and remains the song he is still most identified with, though later songs such as "Yeh Shaam Aur Tera Naam" and "Mein Ne Tumhare Gagar Se Kabhi Pani" continued to add to his composition. Alamgir, it must be said, laid the groundwork that countless others used to break into the music industry. He not only sang well, he was a performer in the true sense of the word. There is no denying Alamgir's contribution to the evolution of the pop music genre in Pakistan.

NAZIA HASSAN was the first one to cross the forbidden Pakistan-India border to sing in an Indian film called "Qurbani" which was "APP JAISA KOI". And later this song became a youth anthem in both India and Pakistan. And next NAZIA, ZOHAIB and BIDDU (an Indian composer) teamed up to release "DISCO DEEWANE" which became the biggest pop selling album till then in Pakistan. The Hasan siblings released one more album, "Boom Boom", in 1984. This second collaboration with Biddu, the undisputed king of Indian filmi disco music, was also a huge success. Their success marked a turning point in the pop history.

And later Vital Sign ventured on to Pakistani television screens with their guitars and a catchy, patriotic song named "Dil Dil Pakistan" in 1986. Their album released in 1987 with gems like "Yeh Shaam" and funky "Goray Rung Ka Zamana".

Then came Jupitars with their evergreen hit songs "Yaroun Yehi Dosti Hai", continued with Hassan Jehangir's "Hawa Hawa" in 1990, "Sanwali Saloni" by Vital Signs in 1991, "Sar Kiye Yeh Pahar" in 1992 by the Strings, Sajjad Ali's "Didi" ripoff "Babia" in 1993, Najam Shiraz's "In Se Nain" in 1995, Junoon's "Saeein" in 1996 or Awaz's "Mr. Fraudiye" in 1997. Junoon came into the race with their World Cup Hit song "Jazaba-e-Junoon Tou Himat na Har". This is only to be expected in a growing industry.

Perhaps the biggest unexpected success of an experimental song, however, was Sajjad Ali's street-wise 1995 hit "Chief Saab". Full of Karachi slang and tough imagery, "Chief Saab", perhaps more than anything else signified the coming age of pop music. It showed that one did not necessarily have to remain within pre-determined saccharine-sweet boundaries to be popular, and that people liked hearing of issues other than puppy love. Partly, as a result of this expansion of the pop market, established musicians from non-pop genres such as qawwali maestro Nusrat Fateh Ali Khan were also drawn towards experimenting within it. Nusrat Fateh Ali Khan gave numerous hit one after another and he gave the music for Hollywood movies and as well as for many Bollywood movies too.

The pop band that most successfully seized upon this idea was, of course, Junoon, which used its success with the haunting "Saeein" to recast itself as a completely different sort of band. Here we saw pop again intersecting with folk and vice versa.

In 1994, FM radio brought about another mini-revolution in Pakistani music. From Landhi in Karachi to Krishan Nagar in Lahore, names like female vocalist Hadiqa Kiyani and young Shehzad Roy suddenly became household names. Even iconoclastic recluse virtuosos like guitarist Amir Zaki (whose almost purely instrumental album "Signature" did well in the market) were receiving the kind of airplay the big bands of the '80s could only have dreamed of.

Pop industry had big turnaround when private channels came into the scene, Like IM which became the medium to introduce young talents in the pop industry names like Fuzon, Aaroh, noori, Aks, Ahmad Jehanzaib, Mizraab, Karavan, Ali Zafar, Jal which not only rock the Pakistani pop music but also made their names worldwide. The new arrivals made their presence felt through remarkable individual songs, even though full albums for now seemed beyond most new acts. Ahmad Jehanzaib's Ek Bar Kaho, Fuzon's Ankhon Ke Saagar and Schehzad Mughal's Bas Yunheen were each excellent. The first two were carried by soulful, ardent vocals and the last shone through affecting lyrics. Hot on their heels, honourable mentions must also go to Aks stunningly understated Neela Aasman, noori's jangle-pop perfection Tum Hans Diyae, Junoon's excellent Garaj Baras, Sajjad Ali with Teri Yaad, Aamir Zaki's insightful and incisive People Are People, EP's piledriving Hum Ko Aazma, Najam's infinitely catchy !

Jaisay Chaho Jiyo and Aao Wahan Chalain, Ali Zafar's startling Chanoo ki Ankh, Jal's splendid addat and yes even Ali Haider's insipid but still memorably melodic Chandi Ratain. Abrar's Preeto was the novelty hit of the year. The Pepsi Battle of the Bands did a great job in throwing up a wealth of talent. EP, Aaroh, Brain Massala, Messiah, Schahzad Hameed and others all have Pepsi to thank. The Pepsi Battle of the Bands got all these fledgling bands great exposure.

Recently, a team of talented Pakistani musicians and artists took the long road to Mumbai, via Dubai, possibly to make history, for this was the first time in recent memory that Pakistanis had gone to India to create the background score for a Bollywood film. The film in question is Pooja Bhatt's Paap, and former Vital Sign Shehzad 'Shahi' Hasan, cinematographer Faisal Rafi, singer Rahat Fateh Ali Khan and studio session player and keyboardist Faiz Ali Naqvi, were the foursome representing the world of Pakistani music in India.

Strings enjoyed considerable success with Dhaani. Probably the most hyped album of the year, with lead single Chaaye Chaaye being the standout favourite. String gave the soundtrack for Spiderman 2 which was a remarkable effort.

Junaid Jamshed's Dil Ki Baat was understated but assured and notwithstanding JJ's quite public and tortured ruminations over religion and music, the album showed that JJ is still competent at middle of the road pop and that Shoaib Mansoor still has the magic touch. Shahzad Roy's Rab Jane was hobbled by his illness and yet catches the fire while Karavan's Gardish seems to have suddenly picked up and was sold like hot-cakes. Schahzad Mughal's Jhoom Lay was one of the most pleasant of surprises of the year.

So this proves that our music industry has dared to move forward with hope rather than skepticism.

About The Author

Faiza Kamal
Hi, i am a student of BS Software Engineering in first year from Karachi University and i am 19 years old.
siddiqi_fai@hotmail.com

Managing Your Time, when Music isnt Your Day Job

2008-09-23T04:50:00.001-07:00

You CAN do everything. What you cannot do, however, is do everything at the same time, or create a day that's longer than 24 hours.

The two most important aspects of time management are acceptance and choice. When you think of time in terms of acceptance and choice, you're never "wrong", "bad", or "lazy", you've just made certain choices. When you think in terms of discipline and willpower, however, your inner critic can really do a number on you. We already have low self-esteem as artists; let's not add to the problem!!

An example of this from my own life is that I choose to live alone instead of with a roommate; that means I also choose higher rent and the need to bring in enough income to cover that rent. When sneaky thoughts of resentment or self-pity creep in to my head, I need to remember the choice that I made, and I need to accept this is how things are for now.

Here are some tips for using choice and acceptance to manage your time.

Decide what you want to have time for. What keeps getting pushed to the back burner or rushed through? How will you spend your time once you've made your songwriting dreams come true and you've become the artist you're meant to be? Nourish this vision until it's clear in your mind. It's essential to know what you're working towards. Remember, you won't always be this busy unless you choose to be.

Choose not to be this busy - for one week, track your time using a time log. You can make one yourself; simply chart out (on paper or on the computer) your day in fifteen-minute intervals and then record what you do in each of those blocks of time. Completing a time log will illuminate how much time you're spending on different things. Look carefully at the choices you're making. What do you most want to do with the time you have available?

Accept your day job for what it is - a source of the financial support you need to eat and live - and write songs! Practice feeling grateful for the job you have, instead of feeling resentful about the time it's taking away from your songwriting. For instance, what recording equipment, CD's, manuscript paper, software programs or musical instruments have you bought from the money you earned in this job? Also, the job is giving you life experiences, and most likely lots of opportunities to interact with other people. Your passion is to communicate with people through your music - how can you take some of that passion and apply it to your day-to-day interactions? What kind of stories do your co-workers have to tell? What ideas do those stir up for you that you can use in your writing?

Look for a "day job" that's meaningful and that's taking you in the direction of your dreams. Do you need some ideas? Try meditating to access inner wisdom and spiritual guidance. If songwriting is your primary passion, what's your second passion? What ELSE gets your juices flowing? There's no need to be in a job that doesn't make you feel alive, in order to support what does. Some artists that I know get lots of fulfillment from teaching children or adults about their craft. Others take jobs that involve public speaking, to give them more experience and confidence talking to groups. Some take jobs in music stores, where they can have lots of time to learn about the newest equipment, meet lots of fellow artists, and get a discount, to boot!

Schedule time with yourself for your songwriting, collaborating and rehearsing. Keep these dates with yourself and others as sacred appointments!

Be good to your body and don't sacrifice sleep for productivity (if you keep doing that, you won't be in much shape to produce anything!).

There are only a couple of things that we really NEED to do every day. Everything else is a choice.

This article was originally published on the Muses Muse Songwriter's Resource website (November 2004) http://www.musesmuse.com.

(c) Copyright 2005, Genuine Coaching Services.
Linda Dessau, the Self-Care Coach, helps artists enhance their creativity by addressing their unique self-care issues. To receive her free monthly newsletter, "Everyday Artist", subscribe at http://www.genuinecoaching.com/artist-newsletter.html

If Setting The Gain Correctly is So Important, Why Dont Mic Preamplifiers Have Meters?

2008-09-23T04:48:00.001-07:00

When you first learn how to use a mixing console, you will be shown how to set the gain. Your instructor - either in audio school or in the workplace - will emphasize the importance of this and kick your ass every time you get it wrong, until you can't do anything other than get it right.

Setting the gain correctly optimizes the signal level for further processing in the mixing console. EQ, inserts, auxiliary sends, routing, fading, solo and mixing all depend on having the right signal level for optimum performance, and the gain control is precisely where you set that.

But outboard microphone preamplifiers commonly only have rudimentary metering facilities - perhaps only a single 'clip' LED - or no metering at all! So how can you possibly set the gain correctly?

The answer is that firstly the preamplifier needs to be correctly designed with plenty of output level available. For example, the Manley Labs Mono and Dual Mono microphone preamplifiers can supply up to 30 dBV of output before clipping. That is one hell of a voltage in audio terms - around 30 volts, compared to normal operating level of around one volt.

It's probably fair to say that there is no way you are ever going to clip this brute of a preamp, whatever you are driving. So if there is no possibility of clipping, there is no need for metering.

Where you do need metering is in the equipment you are driving with the preamp, probably your recording system. So the procedure for setting the gain with the Manley preamp is to choose the lowest setting of gain, and also set the 'input attenuate' control to its lowest setting (the attenuator controls the level of signal going into the preamp circuit). Then reduce the amount of attenuation while watching the meter on your recorder. When you are getting a good, healthy signal level with a reasonable margin before clipping on your recording, you have the right settings.

If if the level from the mic is too low to reach a good indication on your recorder's meter, increase the gain as far as necessary but no further.

Setting the attenuator and gain controls in this way will optimize the noise and distortion performance of the preamp.

Now since this is a tube preamp with variable 'character' according to the gain setting chosen, then once you have mastered setting the gain in the technically correct way, you are free to break the rules...

When you see smoke coming from your recorder, that's when to stop!
David Mellor, Record-Producer.com

Health and Beauty Tips for Your Brass: Keep It Shiny!

2008-09-23T03:52:00.001-07:00

Did you know that the health and beauty of your brass instruments require extra special attention? It's true-their wellbeing and happiness depend upon it. While we're not talking about putting your tuba on a weight-loss program or taking your trumpet to the spa for a makeover, you do need to treat your brass instruments with care or they'll refuse to come out and play. So, grab that brass and get ready for a workout-it's time to clean!

When was the last time you saw a dirty French Horn in the orchestra? Probably never, right? That's because professional musicians know how to take daily, monthly, and yearly care of their instruments. Now's your chance to do the same! Starting with daily care, follow these tips to maintain the health and beauty of your brass.

Note: Because brass instruments vary, be sure to learn the specific cleaning methods for your particular instrument. For example, rotor instruments like the French horns, rotor tubas, and rotor trombones should always be cleaned by an experienced repairperson.

Once a week, lubricate the valves on your brass instrument. Simply unscrew the valve cap and draw out the valve half way. Using the appropriate lubricant, apply a drop of valve oil to the widest part of the valve. Then, press the valve back to its original position. The valves on most brass instruments have a "guide" that helps you to line up the valve. Most often, you'll hear a *click* when you've got the valve perfectly aligned.

If you play a brass instrument, you know what happens after a good session of blowing. You know, "moisture" can build up inside of your instrument. If it's not removed, this moisture can do a real number on the health of your instrument. To be sure you've removed all moisture from your instrument after you're done playing, you'll want do a final blow with the water keys opened. This should help to keep the insides of your instruments happy and dry.

No Fingerprints Please

To keep your brass shining, be sure to wipe down the outside of the instrument after each use. This will help remove oils and perspiration left by your hands.

To spare your brass from unsightly "bruises," be sure to always store your instrument in its case when its not being used. Doing so will not only spare your brass from damage, but it'll also keep your instrument clean. Remember, your instrument case is for your instrument; storing music books, cleaning supplies, or even your lunch inside the case can lead to all kinds of problems with the slides or valves of your instrument.

Once A Month It's Thorough Internal Cleaning Time

To do this, you'll need to take your brass apart completely. You'll also need some supplies, including cleaning brushes, liquid soap, slide grease (if your instrument has slides), and valve oil. If you're not comfortable with any of these steps, take your instrument to a music shop for a professional cleaning to keep it in tip top shape.

Head to your bathroom or kitchen sink and get ready to get dirty!

# Remove all slides, valves and valve bottom caps and place them, except for the valves, in warm, soapy water. Soak the parts in the water for 10 minutes

# As your parts are soaking, run warm water over your valves and use the valve brush to brush out all openings. Give your valves a good shake to remove excess water and let dry

# Depending on your type of instrument, you'll want to brush all its tubes and compartments as well as the valve casings

# Rinse the entire instrument with warm water and be sure to wipe off any excess moisture with a soft cloth. Before moving on to the next step, you'll want to make sure your instrument is completely dry

# If your instrument has slides, apply a little slide grease to each and put back together reassemble

# Replace the valves and apply a drop of oil on each to lubricate. Most valves are numbered, so be sure to put yours back in the correct location

Voila! You're done. You can now go slide that trombone or toot that trumpet to your heart's content. Because you treated your brass with cleanly attention, it'll serve up beautiful music for years to come! Play that horn, Daddy-O!

Jon Butt is the publisher of Musical Instruments Guide , a free resource dedicated to all things musical. From electric guitars to drum sets, tubas to bagpipes, and every musical accessory in-between, the Musical Instruments Guide is packed full of informative articles, find top-rated musical instruments and online merchants

Are iPods Changing the Way We Listen to Music

2008-09-23T03:50:00.001-07:00

They're everywhere, and not only are they everywhere, they look cool too. Since its launch in 2001, 10 million have sold and 8 million of those were in 2004. So welcome to the next generation. 8 tracks, records, cassettes, CDs, and now the iPod.

I don't have one, yet. My first taste of it came when my girlfriend got one, and asked if I would set it up for her using my computer. Wearing those now immediately recognizable hip cream coloured headphones, I could feel the eyes of every have-not-an-iPod on me with curiosity and maybe a little jealousy. I even started walking differently. Listening to Led Zeppelin, then Radiohead, and then some Bob Marley on my way to school, there was definitely more spring in my step, and I sat through class in a much better mood than usual. For a mere two days it was in my possession and immediately I could feel myself being sucked into its cult.

And why wouldn't you? An iPod lets you put 10,000 songs inside something the size of a pack of cigarettes. Gone are the heavy, fragile CD cases and the Discman that skips after each step.

Is the iPod changing the way we listen to music? Undeniably. With an iPod, we can take our music anywhere, and not just one album like we could with the walkman. Now we can carry our entire collections everywhere we go. It can play mixes at parties. You can bring it on the commute to work or for a jog. You can save Microsoft Word documents on it and photos for that matter. Don't like a particular song on an album? Delete it. Thanks to the iPod, music has become an even bigger part of our lives because now it's just a click away, and it's exactly how we want it.

Apart from the possibility of our entire collections being with us at all times, the iPod's capabilities have done something even better. By being able to store over 700 albums, the iPod is encouraging us to try types of music we might not have listened to before. When burning a CD to an iPod takes a short few minutes, what's there to lose?

But is it all just a trend? Doubtful, especially with people spending on average 100 pounds on iPod accessories. It's difficult to picture something people now say they can't live without vanishing, unless Apple CEO Steve Jobs finds another way to outdo himself yet again. And on that note now Apple has come out with the smaller, cheaper version of the iPod called the iPod shuffle. Will it have the same impact as its predecessor? Only time will tell.

Spencer Anderson

This article, written by Spencer Anderson, was first published at MusicShopper.info - a great resource for music lovers. Providing information and resources about music shopping, it also has an extensive range of music reviews, music competitions and giveaways, and a popular discussion forum. It is also an important music reference source with a music website directory of more then 1,000 hand-picked sites listed. MusicShopper forum and newsletters subscribers are entered into monthly draws for Amazon voucher.

Buying The Best Used Silver Flutes

2008-09-23T03:33:00.001-07:00

The flute is probably the oldest type of instrument that has ever been played by humanity. Archeologists have found bone flutes dating back 50,000 years in some cases, so it is easy to say that the flute is an instrument that was influential in the development of mankind's musical ability.In our present century, it is one of the most popular types of instruments, and for many budding musical geniuses, it is the first instrument they learn to play. Of course, the flute is not all that expensive, and for that reason, many parents are able to afford to buy one for their child. However, that being said, wouldn't it make more sense to buy a flute for your child after they have proven themselves to be interested enough in the flute to warrant buying a newer one?This is often the case, so many parents will 'test the waters' to see if their kids will continue to be interested in the flute in a few months time by simply buying a used flute. A used flute is a bit less expensive than a new flute, but it accomplishes the same task; making music.If you think that some of the priceless types of flutes in existence right now are 50,000 years old and made of bone, buying a used flute for $15 doesn't seem like that big of a deal. So, when you go out to buy a used flute, where do you go? Before you go online, always check your local area to find out if there are cheap flutes that can be easily bought. At pawn shops, you will probably find used flutes in the price range of ten dollars to thirty dollars, meaning you are going to save a lot of money, and if your child stops playing the flute, you will not be out that much money at all.This is a big difference when you are talking about how much you can save over the course of your child's musical life when you buy used musical instruments instead of new musical instruments. There is no reason why you should think that used instruments are not as good as new instruments, because they are just as good. In fact, they are better because they are much cheaper than the other types of instruments.Buying a used flute will allow your child to use their musical talents on a very easy type of instrument to learn. As well, buying a used flute means you will not be paying to much for something that your child may not keep using in the future.Used flutes are a dime a dozen and there is no better way to test if your child is interested in learning how to play instruments than with a flute. If they are willing to make the commitment to practicing the flute on a regular basis, then they are capable of making the commitment to other types of instruments, like guitars and pianos. Find the used flute that is right for you and nurture your child's gift.

Ibanez SR400 Bass Guitar

2008-09-23T02:27:00.001-07:00

The Ibanez SR400 bass guitar is very comfortable to play. The neck is thin up at the headstock, you can move your hand along it well because of the necks finish. The SR400's neck at the back has a matte finish making it very easy to slide your hands up and down the neck. Its easier to play the higher frets because the neck is a bolt-on with a curve where the neck bolts.

The body of the Ibanez SR400 is contoured very well. There are no sharp edges anywhere. You can play the SR400 standing up or sitting comfortably. If you are sitting down and put the bass on your right thigh, it will stay balanced and not lean one way or another.

The SR400 bass guitar is very playable because the strings are loose. You won't have to play with much force to get a sound, and it won't wear your fingers out so much.

The pickups of the SR400 Ibanez are in "P/J" configuration. There is a split "P" pickup at the neck position and a single humbrucker at the bridge. For each pickups volumn there are three knobs and one for tone.

The Ibanez SR400 bass guitar stays in tune very well. The tuners at the head are 2 on each side, and they are Gotoh tuners. The tuners are not to tight or loose, but they are light enough to keep the strings in tune.

The SR400 bass is good for an intermediate guitarist, and the best thing about it is its neck is so smooth, playable, and thin.

Jeremy Hier is the Business Manager and Webmaster of Best Guitar Deals Jeremy Hier is a freelance writer and regular contributer He likes to offer his advice and tips to consumers looking to purchase acoustic guitars and electric guitars

How To Change Your Guitar Strings

2008-09-20T10:56:00.000-07:00

Changing your guitar strings might make you feel a litte uncomfortable if you have never done it before, but it's really quite simple and should become a regular part of your guitar care routine. Before you do anything, first take time to make some personal observations such as:

1. Which way do you have to turn the tuning keys to tighten or loosen the strings?

2. How are the strings aligned from the nut to the bridge?

3. Which is the heaviest string?

Taking mental notes will probably save you some frustration and make the job much easier.

Below you will find some helpful steps to follow for changing your strings. Once you've changed your guitar strings a couple of times your confidence should begin to grow and you won't need to refer to these steps any longer. I like to remove all of the guitar strings in order to give my guitar a thorough cleaning, but you can remove and replace them one at a time if you prefer.

Guitar Care and Maintenance Tools:

- Needle-nose Plyers (to cut string ends)
- String Winder
- Soft Cotton Cloth
- Guitar Cleaning Polish (do not use furniture polish, oils, or wax)

REMOVING THE STRINGS

Acoustic Steel String Guitar-

1. Using the string winder , begin slowly loosening the string(s) until completely slack.

2. With the needle-nose plyers, carefully grab the string from the capstan (the part it winds around) and pull through the hole until it is free.

3. Taking the string winder again, use the cut-out at the end of it to grab the pin at the bridge. Gently pull the pin until it comes out of the hole.

4. Continue this process until all the strings are removed.

5. Clean guitar surface thoroughly.

Classic Nylon String Guitar-

Follow steps one and two above. When you come to step three, take your needle-nose plyers and carefully loosen the figure eight knot at the bridge. Pull the string free.

Electric Guitar-

Follow the same procedure as described for an acoustic steel string guitar. However, if you have an electric guitar with a movable bridge you may want to take it to your local music store and have them show you how to do it safely. If the bridge is moved from it's correct position you will not be able to tune your guitar after restringing it.

RE-STRINGING YOUR GUITAR

Acoustic Steel String Guitar-

1. Bend the ball end of the string slightly and place it inside the hole below the bridge. Some steel string guitars do not have pins. When this is the case, just pull the string throught the hole.

2. Line up the string with any grooves in the pin. Insert the pin into the hole, making sure it is secure.

3. Take the other end and insert into the hole on the capstan.

4. Pull the string through leaving a fair amount of slack between the capstan and the bridge.

5. Bend the string at the point it comes through the capstan to keep it secure.

6. Watching out for your eyes, begin turning the key with your left hand. Once you get it started it may be easier to use the string winder. (For safety reasons, you might want to cut off any excess string. I usually wait until after they're all on to do this).

7. As you are winding, apply some tension to the string with your right hand to help keep it taught. Make sure you are winding in the right direction! On the bass strings you will be winding counter-clockwise (away from you). On the treble strings you will go the opposite direction.

8. Continue to wind each string until all the slack is taken up. Do not worry about tuning yet.

9. Cut off all excess string length.

Classic Nylon String Guitar-

1. Put the string through the top of the hole found just below the bridge.

2. Pull about 3 inches through.

3. Bringing the string up over the tie block, pass it underneath itself at the original point of entry.

4. Come down over the tie block again and wrap the end of the string around itself in a figure eight type pattern.

5. Insert the other end of the string down through the hole on the capstan.

6. Wrap the string around the back and then underneath itself in order to secure it in place.

7. As described above, begin turning the key with your left hand while maintaining some tension with the other until all the slack is taken up. With a classical guitar you will wind clockwise on the bass strings and the treble strings.

8. Keep the string as straight as possible as it continues from the capstan through the nut and down onto the neck.

9. You should not have any excess string length, but if you do, cut it off.

Electric Guitar-

Follow the same procedure as described for the acoustic steel string guitar.

I hope you found this information to be helpful. Remember, establishing a good guitar care routine will insure many long years of musical fun and enjoyment!

FREE Reprint Rights - You may publish this article in your e-zine or on your web site as long as you include the following information:

Kathy Unruh is a singer/songwriter and webmaster of ABC Learn Guitar. She has been writing songs and providing guitar lessons to students of all ages for over 20 years. For free guitar lessons, plus tips and resources on songwriting, recording and creating a music career, please visit: http://www.abclearnguitar.com

Making Music As A Lefty

2008-09-20T10:54:00.000-07:00

Author Interview with Ryan Thomson, seacoast New Hampshire resident, and author of a new book advocating left handed violin playing by lefties. - Playing Violin and Fiddle Left Handed.

This piece started out as an actual interview for an internet website article, but the author has expanded it into its present form, while maintaining the "interview" format.

What an interesting book! What prompted you to put this book together?

Almost every single time I've played in public for the last 10 years a listener has asked me why I hold my violin differently from other players, or has commented on the fact that they've never before seen someone play a violin left handed. For example, If you look at any orchestra, you'll notice that every violinist is playing right handed! Its been this way for hundreds of years. Right and left handed people alike play the violin right handed. Violin teachers instruct all of their students to play right handed whether or not they are naturally right handed.

I knew from early on in my own left handed playing experience that I wanted to explore this interesting subject. I found it fascinating that people who didn't know whether I was naturally right or left handed would say things like, "It must be really difficult to play a violin backwards," as if there was some inherent reason why it should be easier to play it right handed.

I listened to such statements from a very unusual perspective. Unlike almost every other violinist in the world, I actually knew from first hand experience what was involved in the process of first learning to play a violin right handed, and then learning how to play it left handed. My experiences demonstrated the fact that its easier and more efficient to use the dominant hand for tasks requiring skill and coordination. For example, I clearly remember practicing to write with my left hand for amusement when I was a child. I learned to do it fairly well, but the results were always less satisfying than writing with my far more coordinated right hand.

I recognized the similarity between hand writing and playing a violin. I began to put my thoughts to paper when I encountered many right handed "experts" who opined with an air of authority on the topic of playing a violin left handed. They pointed out "pitfalls" based entirely on speculation, and strongly discouraged violators of right handed violin playing traditions. Their statements were clearly erroneous when compared to my own experiences and those of many people whom I had interviewed.

In contrast to that, most of the naturally left handed people I'd met were far more knowledgeable about handedness issues and open minded about the possibilities of doing skilled tasks with either hand. Most tools and implements in this world are designed for right handers, and by learning to use them during their lives, the lefties had a great deal of experience in developing ambidexterity, and so could talk about handedness with some authority. I became driven to write a book about the topic.

You say that a disability made the decision for you to play the violin left-handed. Do you mind talking about that?

I used to feel uncomfortable about discussing my disability. As a former professional violinist I experienced a period of lowered self esteem when I could no longer play the violin right handed. Making music on my violin had not only brought great enjoyment to me, but had also enabled me to make a decent living. During the process of mastering left handed violin playing I've regained both the pleasure of playing and the income derived from performing and teaching.

The illness has helped me grow in other ways as well. In between right and left handed playing I took up the accordion, started a cajun band, and won a Boston Music Award Nomination for my accordion playing with my band! I also have more patience, more focus, and I'm a bit more "bulletproof" to the cards that are dealt to me in the game of life. I'm certainly a better music teacher as a result of it as well. The rare condition that I have is named "focal dystonia," which is a genetically determined neurological disorder of the muscular system. I have what the doctors call an "adult onset" version. 14 years ago my brain started sending spurious signals to some muscles in my back behind my right shoulder.

The continuing randomness of these muscle contractions prevents me from properly controlling the motion of a violin bow with my right hand. The bad news is that the condition is permanent, with no cure. The good news is that it can't get worse, can't spread, and really only affects a small range of activities in my life. I'm actually quite healthy in just about every way. I'm a distance runner, physically fit, and a do-it-yourselfer around the house. In fact, if I wasn't a violinist, I would hardly notice my symptoms.

Coming from a family of musicians, do you think this greatly influenced your musical abilities? Would you still be musically inclined even if you weren't encouraged?

I used to watch my mother play the piano from before I could even play music myself. She was obviously involved in an emotional way with melodies that moved her. She always had good things to say about the various musical ensembles that our relatives had formed. At times she also pointed out music performances that she didn't like. I noticed that my father often made music just for fun, in ways that brought pleasure to him, like singing in the shower, or even just playing a tune on a harmonica. As a young child I picked up on all of that.

I always scored higher on school aptitude tests in art and music than anything else. But I also scored very high in science, which I think indicated a talent for analyzing and explaining things. For many years I thought that I was to become a scientist, and have music for a hobby, and so studied science all the way through to the graduate level in college. Doing science seemed like a good way for me to make a living. Meanwhile, I began performing in bands while in college and was taken with the fact that people would pay me for something that was so fun to do. I also noted the great pleasure that music brought to the listeners. This made me want to work harder at improving my musical abilities, and as music became my full time occupation, science became my hobby! I became hooked on the physical "rush" that I would experience when making good music in an ensemble in public performance. It was an feeling similar to that which I'd experience while downhill skiing, a sport which!

I loved to do. I may not have discovered that higher level of pleasure on my own without the efforts of my parents to surround me with music and opportunities for lessons. That's certainly a good case for the importance of music education for young people.

When you first started playing left-handed, is this when you noticed more people complaining about only being able to play right-handed?

No. I heard first from the contrary right handed establishment. When I began playing lefty in public I was still a bit rough at it and some people, particularly other violinists, would often tell me that I was playing the violin "wrong," and that it would be easier for me if I would just play in the "right way." Few of them were interested to hear my explanation as to why I was playing left handed. Not only that, but they didn't even know whether I was right or left handed by nature. and thus their statements seemed counter intuitive to me. I knew that left handed school children got lefty scissors, and righties got righty scissors, and that most children in recent times were allowed to write with their dominant hand, whether it be right or left.

I eventually had a significant experience. I walked off stage after a performance and a man approached me, patted me on the back, and said, "Good job, we lefties have to stick together." I was so surprised at that comment that I didn't know what to say and just nodded at him. After that I started paying more attention to whether people around me were left or right handed in their activities. I eventually met several other left handed musicians, who, noting how I played, and thinking that I was left handed by nature, confided in me that they'd always suspected that they would have been better players if they had played left handed instead of right handed.

They were lefties who had attended grade schools in the 1950's and 60's in which teachers would force them to write with their right hands against their natural inclinations. When they got into music, their music teachers also steered them in a right handed direction, again against their natural inclinations. Finally, when I was well into writing this book, I discovered some lefty musicians who had become so fed up with the right handed bias that they had actually taken the time and effort needed to relearn to play their instruments left handed.

And sure enough, they found that they actually could play better left handed! I've become a lefty advocate, and an activist even, but I also tried to take care in my book to point out some reasons why lefties might consider playing in the traditional right handed way, despite their natural inclinations. I think that my book gives them the information they need to make an intelligent and informed decision.

How long did it take to complete this book? You've included a lot of letters and comments from other violinists.

The book evolved gradually. I guess I started unconsciously gathering information on the very day I began playing the violin left handed. Since I travel widely and perform often in public, a number of other musicians with an interest in left handed playing either heard about me, or saw me perform, and then started writing and calling. I saved their letters and kept up communication with many of them for several years. When the internet became popular the flow of information increased, and aided my progress.

What do family and friends think about your book? I know you've written several in the past, but is this one more special?

I'm fortunate that my family is generally supportive of any creative project that I take on. They seem to appreciate the fact that I work hard at things that I'm interested in. And yes, this book is special to me because I'm personally involved with the subject. I believe in the importance of getting it out into the public eye but at the same time I have little sense about the possible level of public interest in such a topic. The reactions of my friends and peers is wildly varying.

Many of my friends, although serious musicians, have no interest in handedness issues, and perhaps think that my book is a bit irrelevant. One friend, a classical violin teacher trained at Juilliard, is strongly opposed to the idea of anyone playing violin left handed. Another right handed friend who runs a private violin school for children is very excited about the concept. After reading my book she immediately changed two of her naturally left handed students over to playing lefty violin.

She had been teaching them in the standard right handed way for two months. She was delighted to report to me that after a couple of weeks playing left handed both were progressing far more rapidly than when they struggled along with right handed bowing! My friend now has 8 of her students under the age of 10 playing left handed!

Are you going to be working on any more books in the future?

I'm continually working on book ideas in my head. The information gets churned around until the day comes when I feel the urge to put my fingers to the word processor. In fact, I became inspired to start writing another book on music even before this one was finished! I've started slowly and won't really dig into it until winter comes.

About The Author

Ryan Thomson was born in Salt Lake City, Utah, into a family with a music heritage stretching back to the pioneer days. He grew up in San Diego, California, studied piano as a child, and played in a group recital on live television in 1959. He attended San Diego State University and then moved to New Hampshire in 1976 to study violin repair at the Summer Violin Institute in Durham. The following year he enrolled in a graduate school program of experimental psychology. He designed and taught a college course in the "Psychology of Music," while completing his Master of Arts degree.

While attending college he produced a local bluegrass radio show and also hosted a music show on National Public Radio in New Hampshire. In the summers he traveled to music events across the country, and in 1977 became the northeastern regional champion of the National Fiddle Contest in Weiser, Idaho. After college he decided on a music making career and joined a full time Nashville based country band, touring the eastern USA, playing fiddle 6 days a week in dance halls and honky tonks.

In 1988 he acquired focal dystonia, a neurological disease with a genetic origin which causes improper muscular function. He lost control of some muscles in his right back and shoulder area and had to temporarily give up his career of violin playing. He continued in music however, teaching and performing on other instruments, while he patiently retaught himself to play violin left handed. Ryan now plays violin professionally as a lefty fiddler/violinist. He continues to play banjo, guitar, mandolin, piano, and flute right handed. His primary interest is playing fiddle for folk dances, and he also plays chamber music as a serious hobby in his spare time. Along the way he has won numerous awards for fiddle, banjo, and accordion playing.

Ryan presently lives in Newmarket, New Hampshire, headquarters for Captain Fiddle Publications. He is the author of several books on music, and presently teaches music both at the Phillips Exeter Academy during the school year, and at folk music and dance camps nationally in the summer time. You can contact him and find out about his current activities at:

captainfiddle.com
Ryan Thomson
4 Elm Court,
Newmarket, NH 03857
603-659-2658
cfiddle@tiac.net

Establishing Your Mix

2008-09-20T10:52:00.001-07:00

Now that you've spent hours and days and weeks and months recording your musical masterpieces (and you've also read my article "Tips for a Great Recording Session"), you have arrived at my favorite time in the studio; The Mixdown.

But don't think your job is done yet! The mixdown is just as important as recording. As an artist, you have to approach the mixdown from an artist's point of view and stay on the 'creative' side of the fence where it's still possible to shape and mold your songs throughout the mixdown process.

Remember the old "Yin-Yang" principle which states, "whenever you turn something up, something else disappears. Furthermore; whenever you turn something down, something else gets louder". This applies to EQ, levels and almost anywhere you have two or more tracks.

The Beginning Of The End

STOP!! Don't even think about starting your mixdown on the same day you finish tracking. Take a day off, have a break and then come back refreshed with a new perspective.

Now back to business...

First of all, let's "zero the board". This is simply the action of bringing all the faders to the bottom (-∞) and centering all the pan knobs and effects sends.

I know what you're thinking, you're thinking "but our mix sounded good when we were tracking!".

OK, but did the mix actually sound good or were you just accustomed to hearing it that way? That's why zero-ing the board is important. It flushes your memory and allows you to start from scratch. It might even be better to mix a song that you finished recording a while back.

1. Get Kicked.

This is where I prefer to start. Other people like to start with the vocals and build around them. But I'm more rhythm based and prefer to start with the kick drum.

One tricky part of any mix is getting a good gain-stage structure where you don't clip the master faders at the end of your mixing session when all your instrument faders are raised. We must be careful to keep watching the master bus clipping lights to make sure they never get into the red. Here is why the kick is a good place to start.

Play your songs and watch the master bus VU meters. This is probably the only time you will "mix with your eyes". As you're watching the master VU meter, slowly raise the kick fader until the master meter reads about -7dB. If you are a four piece band, then you can leave the kick there and move on. But if you have a really dense tune, then you may have to lower the kick to -8dB or so (to leave room for all the other instruments as they come up).

Now you are set to mix. The kick should be the only channel that you set levels by watching. Every other channel mixed into the song will be with your ears relative to the kick.

2. Moving On

From now on, it's pretty much a free-for-all. Some people like to move on to the bass next, in order to find the balance for the low-end of the song. Other people like to keep working on the drum kit "as a whole" before moving to other instruments. I prefer to move onto the drum kit over-head mics.

They say that a great drum kit sound can be captured using only two over-head mics, and a kick mic. And it's true. Some of my tunes only use three mics on the final mixed versions, even though we had used up to ten mics for the recording of the kit.

If you placed your over-head mics properly (i.e.: so the snare sounds centered in the stereo image, and not skewed to the left or right speaker) then you will have a better stereo image of the drum kit when the mix is finished. Otherwise you might have to do some fancy panning or EQ to get a balanced image with the drum kit.

You can now bring in the rest of the kit underneath the over heads to fill out the sound. I prefer to leave EQ and effects to the very end of the mix, after all of the instruments are playing. Try to place your toms in the same panning position as the overhead mics recorded them. If your floor tom in the overheads is to the right at 3 o'clock then pan your individual floor tom fader to the same position.

And don't forget to check your phase between your mics pointing down and your mics pointing up.

3. Big Bottom

Now I like to add in the bass. Nothing too important here if you have good source audio. I'm also a huge side-chaining fan. I LOVE to side-chain the bass with the kick so the low end frequencies wouldn't fight for space in the mix. It just makes things sound "tighter". Sometimes you may have to eq the lowest of the lows out of the kick in order to make a little more room for the bass to sit in the mix.

4. Pads and More

Here is where I add the "pad" type of sounds. These are sounds that usually have longer sustains and hold the chords of the song. Sounds like strings, sustained electric guitar chords, synth pads, and maybe even some rhythm acoustic guitars are great foundation instruments.

I like to lay these instruments on top of the drums and bass tracks we have already mixed. You can get very creative with the panning of these sounds and create a wide stereo field. This will help make your mix interesting by allowing your lead instruments and vocals sit in the center of your stereo image, attracting attention to themselves.

5. The Vox

Let's finally add the vocals. I usually start off with the lead vocal, and then place all the harmony and background vocals underneath the lead. Sometimes, you can end up putting the vocal a little too high in the mix, and a great way to check this is to turn your monitors way down and listen to the mix at an almost inaudible level. This way of listening to your mix will surprise you, but you have to be confident and trust your ears. If something sounds disproportionately loud at this quiet level, then it is too loud. If you must, then you can compress the vocals too, but that really depends on the song's style. Maybe a few fader rides are a better choice then some static compression.

6. The Rest

You can start adding effects and other fancy shmancy things to your tune. Get funky with automating some pan knobs, fade-in some pads etc.. Here is a good time to get creative.

It's also a very good time to actively listen and re-adjust your mix. Is the kick too loud? Should I put some higher frequencies on the bass? Should I compress the backing vocals more? Is the coffee finally ready?

When you feel you have a good mix, burn it to CD and listen to it EVERYWHERE! In the car, in the bath, at home, on the TV set, at your friend's place etc., and make a lot of notes. And at the end, if all your notes cancel out, then you are finished!

©2005 Richard Dolmat (Digital Sound Magic)
About The Author
Richard Dolmat is owner, engineer and producer for the Vancouver based recording studio Digital Sound Magic. Visit his site at: http://www.digitalsoundmagic.com

How To Find The Right Guitar Teacher

2008-09-18T12:43:00.000-07:00

Finding a good teacher is not always easy, at any level. At the beginner level it is important to get on the right foot and as an intermediate player you need to know that your teacher really knows his or her stuff if you want to move forward. What it really comes down to is "Are you getting the right information?".

The big problem when it comes to music instruction is that it is not necessary to have any diplomas or awards in order to set up a teaching practice. Conversely, the best teacher may not have a degree in music, just a phenomenal talent for teaching.

The first thing to understand when finding a good teacher is that the best teachers are not necessarily the best players. And it certainly goes that great players are invariably not the best teachers, possibly because they are far too wrapped up in their own playing to be concerned about anyone else. OK, a generalization but a theory with legs.

So let's assume you are just starting out, an absolute beginner, so what do you do? Well, the first resource I would use is your own personal contacts. You may have a friend or cousin that also took lessons and he or she may be able to recommend someone. Music stores often provide instruction and you can also look in your local paper for private instructors. Even do a Google search. It's actually very easy to find a teacher, but can you count on them to feed you all the right information?

Let's assume you have a short list of teachers in you area. I think it is definitely in your interest to make sure that they are teaching simply because they love to teach. Not because they are waiting for their "big break". This is why I think it is important to find a professional teacher, not an aspiring pop star. So you might ask a series of questions:

*How long have you been teaching?
*What teaching qualifications do you have?
*How many other students do you have?
*Can you give me the phone numbers of two of your students?

This may seem harsh, but I just think it is so important to get the right person from the start. Why? because as a student you have no idea whether your potential teacher actually knows what they are talking about. So don't be shy to ask.

As an intermediate student you probably need to rely more on word of mouth to get the right teacher to take you forward. In your local neighborhood, especially if you have been playing a while, you are probably already hooked into who the teachers are so it may not be such a problem.

The other issue, aside from musical expertise, is that your teacher and you need to like each other. If you are to be successful studying together this is so important. I remember growing up that I would excel in the subjects where I actually liked my teacher. And of course I dreaded going to class with those teachers I did not like.

I am happy to say that I really liked all my guitar teachers except for one, and that person lasted just a few lessons. I got lucky with the others there is no question. But other students may not be so lucky. I have heard a number of times that students realized much later that they did not have a good teacher. So at what point do you decide to move on and find a new teacher?

If you have done the prerequisite research I mentioned then this should not be an issue. However, guitar playing is such a personal undertaking that finding the right teacher is relative to each student. What works for one, clearly does not always work for another.

Your teacher should care about you and take an interest in seeing you advance as a player. I think this would be the biggest red flag to me if I was taking lessons all over again. I would want to know that there was some nurturing involved. If you feel that there really is no connection between the two of you then I think this might be a factor you can use to determine whether you move on or not.

It's tricky. As a student you want the best teacher for you but you may not know if there is no barometer to show you.

I also think that many times the student is to blame for being a lousy student. I remember when I used to give private lessons that a few students would come back week after week and had not done any practice at all. I found myself explaining the same things over and over because we couldn't move on until the essential groundwork was covered. These students eventually gave up because they had no drive or ambition to improve. This can be very frustrating for a teacher. Other times extremely talented players would come for just a few lessons because all they needed was a little fuel to go off on their own and practice. They were literally sponges. These students are heaven for teachers!

So do the research, then take a lesson or two and see if that teacher is right for you. If you are serious about working at your instrument then you shouldn't be to blame for being a bad student. At that time it's simply a matter of finding the right person. Don't short change yourself.

Chris Standring is an international jazz recording artist and educator. For more information about his highly acclaimed home study guitar courses please visit http://www.PlayJazzGuitar.com

So You Wanna Learn How To Start a Record Label?

2008-09-18T12:40:00.001-07:00

Well, you love music so much that you have decided you want to start a record label of your own. This can be a very exciting step and a fun one. The good news is, anyone can start their own record label if they know the right steps. It won't be an easy road by any means, but it is possible if you really desire to do it.

Adventuring out and creating your record label is a gutsy thing to do. You can succeed if you follow a few KEY steps and stick with them. Your record label will fail if you don't.

So as the Ramones would say, "Hey Ho, Let's Go!"

Key #1: BE PASSIONATE
You need to love music and be so passionate about it that you are willing to put in the hours of hard work and effort it takes START A RECORD LABEL. If your passionate, you will have that important drive that would make any new start up record label succeed.

Key #2: FIND GOOD TALENT
It is essential when you start a record label to have quality artists on your label roster. This is just common sense. Without good talent, no one will be interested in THEIR music on YOUR record label.

Be sure to check into: THE ULTIMATE RECORD LABEL HANDBOOK on details on HOW to find good talent and all the details on how to

Key #3: LEARN HOW TO MARKET YOUR RECORD LABEL
You can have some of the best artists on your label but the truth is, if you don't market them and your record label, no one will even know. And even worse, no marketing (or poor marketing) will lead to slow sales, which will lead to your own empty pockets. There are very effective ways to market your record label and bands. This is also covered in The Ultimate Record Label Handbook mentioned above.

Now, these are only 3 key steps you need to cover when you start a record label. There are more, but these are essential.

So get out there and start your record label. Don't be afraid, you can do it! Just imagine how much fun it will be owning your own record label and doing what you love! Now, how many people can actually say they LOVE their job? And hey, just remember, it only takes ONE hit song, ONE hit band, or ONE hit album and your label's success can explode!

Stick with these 3 key steps and you will be on your way to a life in the music biz!
Want to start your VERY own record label? Now YOU can! The Ultimate Record Label Handbook will show you how!
D. Herren is an author, webdesigner, and...music lover!

How Piano Lessons Benefit Young Children

2008-09-18T12:38:00.000-07:00

Piano lessons provide a wide range of benefits to young children. Here are my "Top Five."

1. Piano lessons help preserve and develop children's natural creative abilities. The best analogy of how children learn through music that I've found is from Donald Kroodsma's book "The Singing Life of Birds." Every songbird can be identified by the unique song it sings, but a baby bird has to be taught by its parents to sing the family song. Baby birds, like humans, just 'babble' at first. Mother birds sing the family song over and over to the baby birds as they try to repeat it back. At first, the baby birds are only able to sing back one or two notes, but they gradually learn to sing the whole song. And birds with two voice boxes even learn to sing their own harmony parts! Once baby birds learn the family song, they can start developing their very own songs. Similarly, I encourage students to compose their own music after developing needed skills. In my experience, young children in piano are a lot like baby songbirds!

2. Piano lessons help children perfect their natural learning processes. Music is a language, and children are programmed to absorb languages. Studies have shown that kids can most easily learn new languages when they start at a young age. Piano lessons help children develop the very same skills needed to accomplish language arts, like reading. In piano, students learn how to follow directions, scan written materials, think critically, create solutions and translate writing into action. For example, students must look at each note, measure and phrase and decide how to play each note to make the music come to life. Many children (including my own sons) have become much better readers after starting piano lessons. Further, piano lessons involves an interplay of both right and left brain activity that stimulates neural development.

3. Piano lessons help children learn how to stay focused and achieve goals. Piano lessons help children set specific goals and then work towards reaching these goals. Each new piece of music a student learns requires a specific set of skills and playing habits. To achieve these goals students must learn to stay focused and study each note, measure and phrase to understand how to play the song. In doing this students learn to think critically and creatively as they decide how to make the music come to life. Staying focused over time develops good study habits that become natural. This is important because learning to practice good habits that match their goals shows children how to make their dreams come to life!

4. Piano lessons help children develop courage. It takes courage to face challenges without letting our anxiety and worries get the best of us. Piano lessons help students learn to accept challenges such as learning a difficult song, as well as to perform pieces in front of teachers, friends, and families at recitals. Lessons also help kids learn the importance of keeping a positive perspective despite difficulties. Learning to handle uncertainty and stress in a way that minimizes anxiety and maximizes creativity is a valuable life tool. We all need practice at this!

5. Piano lessons teach children to persevere. A key part of accomplishing anything difficult is not to give up easily. As children grow, piano lessons teach kids to try and then try again if they don't initially succeed. However, as Yoda explained to Luke Skywalker, the objective isn't just trying itself, but accomplishing the desired goal -- "Do or do not, there is no try!" Piano lessons teach students how to adjust their expectations if they can't initially master a tough song or skills, and to tackle these big goals by taking small incremental steps. In the end, just like the baby songbirds that eventually learn to sing, students learn that they can accomplish great things and reach their dreams through careful and consistent effort.

Copyright 2005, Cynthia Marie VanLandingham

Cynthia VanLandingham is the owner of TallyPiano & Keyboard Studio in Tallahassee, Florida where she has been teaching piano for 20 years. She is a member of the American College of Musicians, the National Guild of Piano Teachers, a graduate of the Florida State University College of Education, and President of TallyPiano Enterprises, LLC. You can visit her website and download her original compositions free at http://www.tallypiano.com

Cynthia is also an author of a series of exciting books for children, with the mission of Using Music, Art, Science and Literature to Help Children Achieve their Dreams. Her illustrated series for piano students is called, Little Bear's Piano Adventures!TM These stories take young piano students on a Musical Adventure to find out what piano lessons are all about in a fun way that children can easily understand.

For more information about these wonderful books E-mail Cynthia at cindy@tallypiano.com, where you can also subscribe to her free internet newsletter, Piano Matters!
TallyPiano Studio: (850) 386-2425
Hotline: (850) 264-7232

Does Your CD Cover $ell (Or Suck)?

2008-09-18T12:36:00.000-07:00

Oh, I know the last part of the title (Suck) isn't a very pleasant description to apply to anyone's CD cover. But, in the interest of plain old honesty, and to face our demons head on, I wanted to (again) utilize a worst case scenario that we can only improve from.

And, having said that, think of the average (and not so average) recording artist's CD cover, and I'll bet you will agree that 9 out of 10 CD covers present the artist simply posing while staring straight into the camera.

And, the few artists who want to appear different, unique and diverse, simply either turn sideways, stare into deep space, or gaze downward or backward for their photo sessions.

If you happen to be among the aforementioned guilty, you should realize that by *not* becoming more proactive and aggressive with the visual aspect and design of your CD cover, you are shortchanging the potential of your release from the onset, and not giving it its best possible chance for maximum success.

I first began noticing this overall trend when CDs began replacing albums. And, I believe that the difference was due, in part, to the dramatic reduction in the cover size.

Consequently, I felt that both labels and artists, perhaps, decided (consciously or unconsciously) that the reduction in size did not allow enough room for visual creativity, which is not the case.

But, those are only two reasons. For, I also believe that, while they may be decent to great professional music producers, I have found that most recording artists whom I encounter are amateurs, at best, in respect to marketing their releases from a visual perspective.

And, it's not their fault, because 'visual' just doesn't happen to be the medium in which they work. However, this isn't to say that they can't learn to become much better at pre-selling their releases visually.

But, as an artist, perhaps, your argument is that your music is, primarily, based on the "sonic" aspect...that it will mainly be "heard" and not "seen."

This is, in part, true but also consider that, generally, before your music is HEARD, it is first SEEN (unless you are sending 'plain vanilla' promotion singles to radio or handing them out at will to friends, associates, etc.). And, here is how:

Radio:

Due to added expense, most independent labels forego manufacturing 'singles' and, thus, usually send their complete retail releases out as promotion copies to the media. Hence, the radio music directors and program directors will SEE your release before they open your case to HEAR your music.

And, as the MD/PD takes your CD out of its package, does it, *POW!*, hit him with a bang visually, and immediately instill deeper interest *BEFORE* he hears your music?

Or does your, possibly, average to boring cover instill a blasé feeling that causes the MD/PD to presume that your music is, yet, another below average release, and is a further waste of his valuable time without giving it, at least, a listen?

* Press

The same thing applies to press music editors, reviewers and calendar editors as with radio personnel. Will the press personnel see a boring, posing cover and get that "Geez, here we go again" feeling, or will they assume that your lackadaisical cover will be accompanied by even more boring content, such as your bio, press release, fact sheet, etc.?

* Retail Consumers

While many potential retail consumers will, indeed, "hear" your music first (on radio or in nightclubs), there are also many more potential retail consumers who will not.

And, these particular consumers are the ones who either go to music retailers weekly for new releases and spend additional time browsing, or they may be consumers who are simply weekly browsers seeking the new, unique and creative 'next big thing'.

In either case, for the consumers who espy your CD in their favorite music retail stores...does your cover jump out at them visually, make an immediate impact, and cause them to do a 'double take'?

Does it then make them pick up a copy of your release, maintain their interest and force them to read your credits and song titles?

Subsequently, does it then drive them to a listening station for further review and, hopefully, purchasing it?

Or, will they simply look at, yet, another boring cover and go, "Eh," and replace it for your competitor's that is far more visually attractive, and your competitor's who may also have read this particular article, with one exception...he acted on this information while you did not? :-)

Self-Realization:

Now, get a copy of your CD and take a look at it...I mean take a *really* good look at it. Then, using the radio, press and consumer theoretical perspectives above, honestly ask yourself if your cover has visually maximized its full potential.

Does it readily subscribe to the old U. S. Army slogan, "Be all you can be?" Is it, truly, all that it can be? Is it the best possible cover that you could ever hope for with this release?

Or, do you realize for the first time that you have both shortchanged yourself and your release, and that your cover is probably causing you to lose some significant sales, as it could, indeed, be presented to both the media and consumers much better?

If you now harbor the slightest inkling of doubt, after having given your cover another look, it is also safe to assume that your cover may be a bit questionable to others and, particularly, media professionals as well.

So, let's say that you now realize that your cover is below par, and could be much better...that you can now admit that you truly did not give it your absolute best shot...that, in fact, your cover was an afterthought, at best. How do you get started on "conceptualizing" it from a visual standpoint?

Well, one way is to first consider your title...

If this is your debut release, can you make something unusually funny or witty out of your first or last name? Can either your first or last name present a double meaning, such as Byrd, Love, Green, Wolf, Young?

While those of us with such names are often ridiculed in our early school days, we have the advantage of our "weird" last names standing out and benefiting us in our professional careers. :-)

If your release has a subtitle, or this is your second or additional release, can you put a twist on its title?

The same goes for your songs. I'm betting that you have, at least, one song, regardless of your genre, that can be selected as the title and used as the basis for a very attractive cover and graphic depiction of your music.

For even more information and assistance on making your CD cover a $ales $uccess story, please visit the below link.

http://www.MuBiz.com/services.html#CD_COVER
Kenny Love is president of MuBiz.com,a radio promotion and media publicity service that also provides business and career services to musicians. See the company's corresponding website at http://www.MuBiz.com.

Playing The Violin Is For Everyone Who Loves Music

2008-09-17T04:38:00.000-07:00

Every day musical instruments enrich the lives of people around the world and continue to promote culture and art throughout every society and community, no matter what size or structure. Even those people of the world who live outside the realm of technology enjoy and use musical instruments to tell stories or entertain. Someone who has never played musical instruments but is interested in trying one has quite a selection to choose from

Playing the violin is a wonderful experience and relatively easy to learn if you take it step by step. Firstly however you need to understand the mechanics of the violin so you know where to put your fingers and why.

The main components of the violin are the front, also called the belly, top, or soundboard, usually made of well-seasoned spruce; the back, usually made of well-seasoned maple; and the ribs, neck, fingerboard, pegbox, scroll, bridge, tailpiece, and f-holes, or soundholes. The front, back, and ribs are joined together to form a hollow sound box. The sound box contains the sound post, a thin, dowel-like stick of wood wedged inside underneath the right side of the bridge and connecting the front and back of the violin; and the bass-bar, a long strip of wood glued to the inside of the front under the left side of the bridge. The sound post and bass-bar are important for the transmission of sound, and they also give additional support to the construction. The strings are fastened to the tailpiece, rest on the bridge, are suspended over the fingerboard, and run to the pegbox, where they are attached to tuning pegs that can be turned to change the pitch of the string.

A violinist makes different pitches by placing the left-hand fingers on the string and pressing against the fingerboard. The strings are set in vibration and produce sound when the player draws the bow across them at a right angle near the bridge.

Among the most decorated characteristics of the violin are its singing tone and its potential to play rapid, brilliant figurations as well as lyrical melodies. Violinists can easily create special effects by means of the following techniques: pizzicato, plucking the strings; tremolo, moving the bow rapidly back and forth on a string; sul ponticello, playing with the bow extremely close to the bridge to produce a thin, glassy sound; col legno, playing with the wooden part of the bow instead of with the hair; harmonics, placing the fingers of the left hand lightly on certain points of the string to obtain a light, flutelike sound; and glissando, steadily gliding the left-hand fingers up and down along the string to produce an upward- or downward-sliding pitch.

Among composers of major solo and chamber works for the violin are Bach, Wolfgang Amadeus Mozart, and Ludwig van Beethoven in the baroque and classical eras; the Austrian Franz Schubert, the Germans Johannes Brahms, Felix Mendelssohn, and Robert Schumann, and the Russian Peter Ilyich Tchaikovsky in the Playing The Violin Is For Everyone Who Loves Musicromantic era; and the French Claude Debussy, the Austrian Arnold Schoenberg, the Hungarian Béla Bartók, and the Russian-born Igor Stravinsky in the 20th century.

You are certainly joining an elite group when you pick up a violin.
Looking for information about the violin? Go to: http://www.mrviolin.com
'Mr Violin' is published by Helen Baxter - The Complete A to Z Of Violin Resources! Check out more violin articles at: http://www.mrviolin.com/archive

The History Of Drums - A Journey Of Sound

2008-09-17T04:28:00.000-07:00

Music and musical instruments are an extremely important part of human history. The use of rhythm and song has long been used to express meaning, and feeling and accompany rituals.

Music has been part of human life for as long as anyone can trace. Early civilizations of humans used music as a way to communicate and express feelings. Out of all of the musical instruments that we see in our society today and use on a regular basis, there is one instrument that stands out in musical history, the drum.

The history of drums is interesting and unique. When you examine this instrument historically, you will find that drums have had a place in almost all cultures around the globe. Variations of drums and drum sets occurred in many different cultures, the standard variety of a drum consisted simply of a hollowed out log or gourd with a piece of skin stretched taunt. Different sizes of gourds and logs created different sounds and beats.

The African Influence

In most African cultures, drums were very important in the use of rituals and religious ceremonies. The people of different African tribes relied on the use of drums to express themselves and when the slave trade began, the drums made the journey across the ocean as well.

African drums and drummers provided a unique sound that heavily influenced Western Rock and Roll music. Those same rhythms and beats still provide a strong influence in today's sounds.

The Early Drum Set

When it was discovered that one player could play two or more drums at the same time, people started placing groups of drums together for one musician to play. These groups were comprised of an assimilation of drums of different cultures and from all around the globe. Cymbals and tom tom drums were brought in from China and the size was adjusted to allow for ease of play when played with drumsticks.

In the early 1930's, musicians slowly discovered with the proper drum placement and a lot of practice, one musician could handle a set of drums, and an entire band of drum players was not required anymore. Thus, a basic kit evolved and took place.

In An Early Kit

The early drum kits were simple in their design, they typically consisted only of:

1) A bass and foot pedal
2) A snare drum
3) Tom Toms
4) A hi hat cymbal
5) One or two sets of hanging cymbals

The Evolution Of The Drum Set

In the 1930's the drum set was heavily influenced by the sounds of the time, and the early forms of Rock and Roll music. The sounds had a strong basic beat backing them.

In the 1950's as Rock and Roll music began to develop, the sounds became more complex and likewise, the drum sets became more evolved, with new additions added to them. Rockers began expanding the drum kits adding more cymbals and tom toms drums to them. In addition, as time went on, electronic drums were added to the drum kits as well. All of these additions allowed the musicians to expand their sounds and diversify their music.

Types Of Drum Kits

In the past, as drums evolved and drum kits developed, new companies were formed and products were fine-tuned and made better. The Ludwig Drum Company is known as one of the most influential and historical drum companies of our time.

The Ludwig drum company was started by a young man who enjoyed playing the drums. He could not find a bass pedal that would hold up to his intense drumming style. He shopped around everywhere and could not find an appropriate pedal, so he fashioned one out of wood. The pedal was superior to anything else on the market. His brother, felt that an even stronger pedal could be created out of a metal product, so they teamed up to create an even better bass pedal. Thus, the Ludwig Drum Company was born.

Ringo Starr, the famous drummer for The Beatles used a Ludwig drum set and was known for preferring the Ludwig drums. He is said to still own the original Ludwig drum set that he played with the Beatles.

There have been many other types of drum kits and company names that have played an important and influential role in the history of drums. Yamaha, Pearl, Tama and Gretsch are all famous brand names whose drums and drum kits have helped form the drum set, as we know it today.

The Future For Drums

What does the future hold for drum sets? No one can be sure. However, with the creation of more and more technology, we can be sure that the sounds will evolve even more. A combination of new sounds and traditional will always be found. And the limit for drum set creation will simply be the imagination of the musicians.

© 2005 http://www.drum-sets-now.com
Kevin Brown is successful author and publisher of many informative websites including http://www.drum-sets-now.com . His websites offer tips and advice on a wide array of topics including drum kits, African drums, percussion instruments and more.

Growing and Keeping Loyal Fan Support

2008-09-17T04:26:00.000-07:00

Fan support for musicians is a two way street. You make the music, release the CDs, and play the shows. You need fans to show up at the gigs, buy the CDs, or spread the buzz about you or you don't have an audience. When these two elements are out of balance, your musical endeavors can get sidelined.

That's why it's so important to always embrace the positive, well-meaning encouragement you receive from your fans. If I could sum up what fans want most of all from an artist, it's not only to be reached through your work, but to also be able to reach back in return. It's a great privilege for fans to give back something positive that the artists bring to us.

Here are three ways to keep that fan loyalty working for you:

1. Accept your performance compliments graciously. Maybe you had an off night. Maybe you didn't feel you were in the pocket as often as you expected to be. If people come up to you and tell you they thought you were great, that is exactly what it means to them. They are there to be an encouragement for you. Even though you didn't think you reached anyone, they felt you got through to them. So, don't beat yourself up or diffuse it by saying how lousy you thought you were. Remember, the hearts' desire of the fan is to reach you, too. Say thank you and show your appreciation.

Modesty is always an admirable trait--but don't take it to the extreme. The fans who have spent the better part of a year or so communicating to you why they think you're the best singer are going to feel badly if you say in an interview that you don't have much confidence in your vocal abilities or your performance. That tells the fans they have not been successful in getting the message through to you. That can be very disappointing to fans and make them wonder, well, what's the point of saying anything at all. And there you go, letting encouragement slip through your fingers.

2. Acknowledge your fan base. You can show some love to the fans by doing something to demonstrate that you are connecting with them. Think about a regular communication vehicle above and beyond, such as an email or online newsletter where you make direct communication with fans. If you have a message board on your website, try dropping in now and then just to say hi and let folks know you're hearing them.

Here's one "be aware" in this area, though. If you are one of those with a broad or growing popularity base, you have the challenge of keeping a lot of people who want to be noticed by you happy. It's nice to recognize deserving fans on your websites and other communications. But if you mention the same people too often, it might create the impression of favoritism, which could possibly cause jealousy and hurt feelings among fans. If you do something for one, others might want it as well. So be sure it's as much as you can handle. You would be surprised how many fans do know each other and compare notes!

Besides those fans that are particularly visible or diligently make themselves known, there can be others giving solid support for you behind the scenes. You probably are unaware of them because they may be a little more on the shy side, haven't had the contact opportunities others have or just can't seem to stick out enough for you to take notice. But that's not to say they don't want to hear they are appreciated. So do give credit to those who are due--doing that privately is nice, too. But, be sure you give ALL of your fans those "virtual group hugs" from time to time!

3. Keep communications current. If you have a website, keep it regularly updated. If you don't show enough commitment to keep your information up to speed on gigs, recordings, features and all, people will stop coming by after a while. After all, how can fans encourage you when they don't know where, when and how?

With all of the options that exist for communication between artists and fans, when it's done in a positive, uplifting manner it's a win-win situation for your career and for the people who are out there waiting to enjoy your gifts!

Wendy Vickers is a writer, encourager, life coach, speaker and author of two audiobooks: "Treasures In the Tip Jar: the Art of Awesome Fan Support" (from which this article is taken) and "Out of the Jar...And Into the World." Wendy offers resources, encouragement and support for musicians at her websites http://wendyv.com and http://embraceencouragement.com

Music Downloads: Free & Low Cost Ways For Musicians To Get Their Music

2008-09-17T04:24:00.001-07:00

Music downloads are highly compressed audio files transferred onto a personal computer from an Internet website or P2P (peer to peer) program. From IPOD's to MP3 players galore, music downloading is seen as the fastest way for a musician to get his or her work out to the public. Many musicians have developed world-wide followings by adding downloadable music files to their web sites.

It's a trend reaching nearly epidemic proportions; music downloads are everywhere. Websites all over the Internet offer music downloads of particularly rare or hard-to-find songs, and computer-savvy music fans have been known to spend hours searching through the mountains of downloadable material. They also function as a godsend for new or underground musicians; who needs a record label when strategically placed music downloads alone can garner you a dedicated following? Even cell-phone companies have grabbed themselves a piece of the pie by offering music downloads that serve as ring tones. The sound quality is often superior, the P2P programs easy to use -- music downloads are one of those rare pop-culture phenomena embraced by nearly everyone.

But despite (or perhaps because of) their overwhelming popularity, music downloads have stirred quite the controversy. Many P2P programs allowing users to transfer music directly between computers offer music downloads for free, much to the chagrin of several recording artists and labels. Fearful of losing money to music fans downloading the songs instead of buying the full record, bands and labels have set out to stop the users from obtaining their music from free programs. A virtual witch-hunt for frequent downloaders and the threat of lawsuits led many P2P programs to begin charging for their services, though several sneak under the wire by making that payment optional.

The ethical implications involved in free music downloads are complicated. Some vehemently rail against the practice, claiming that to download free music is to disrespect the artist that created it. Even bands unconcerned with the financial aspect hate free music downloads simply because they allow their records to be leaked, or made available before the official release date. But others see no problem with free music downloads, some even completely embrace them. In fact, many cite the exorbitant costs of records as justification alone for free music downloads. Music downloads and the users that either embrace or condemn them are a hotly contested topic; it's an argument not likely to end anytime soon.

For the musician, however, music downloads are an absolute breakthrough technology, allowing, for the first time in history, for a musician to develop a following without ever leaving his or her house! Marketing possibilities are unlimited for the musicians who avail themselves of this wonderful new technology.

Duane Shinn is the author of over 500 music books and music educational materials such as DVD's, CD's, musical games for kids, chord charts, musical software, and piano lesson instructional courses for adults. His courses have been written up in hundreds of newspapers and magazines. His book-CD-DVD course titled "How To Play Chord Piano" (http://www.chordpiano.com) has sold over 100,000 copies around the world. He holds advanced degrees from Southern Oregon University and was the founder of Piano University in Southern Oregon. He has also logged time as an assistant music therapist, piano tuner, and working piano player. He is the author of the popular free 101-week e-mail newsletter titled "Amazing Secrets Of Exciting Piano Chords & Sizzling Chord Progressions" with over 55,000 current subscribers. Those interested may obtain a free subscription by going to http://www.playpiano.com/ This article was assisted by Mollie Wells.

How to Organise a Gig or a Live Music Event - the Budget

2008-09-17T04:22:00.001-07:00

Three times in the last month I've been asked the question, "what do I need to do to organise a gig?" In reality, when this question is asked it can mean several things: How do I find a venue? How do I sort out the PA? How do I get an audience? And so on.

But there is a stage before all of this: the budget. I would suggest that the moment you start thinking about organising an event you should write a budget. This budget spreadsheet informs you of most things that you will need to consider and will also show you the risk, projected profit and the breakeven point. A sample spreadshhet is available to download from this address http://www.josaka.com/features/2005/Organise-A-Gig/Event-PandL.pdf

If the budget numbers don't look like they are working perhaps the event is not the right thing to be running. If you don't like the level of risk, perhaps you aren't cut out to be a promoter.

So the start point is a spreadsheet. This should include all costs and all incomes. The key headings for costs should include: performer cost, PA, lighting, venue hire, marketing, box office costs etc. The income is likely to be largely ticket sales but don't forget the opportunity to add a sponsor to the event.

The spreadsheet will help you work out the breakeven point for the event i.e. how many tickets you need to sell to cover all costs. Every sale beyond breakeven is of course profit (exluding any box office commision). The added bonus of creating an event spreadsheet is that helps define all the key tasks to be performed.

The realisation of the forecasted numbers becoming actual figures suggests that all parties have got the deal they were looking for or agreed to. The sample speadsheet also illustrates that everyone else involved in the gig is largely earning a fixed fee and therefore the only person taking a financial risk is the promoter.

So if you are thinking of organising a live event I coomed you to work on the numbers first. This will help ensure you deliver a great show and have control over the money.

Kevin Harrington is the founder of josaka http://www.josaka.com the site that supports live music in Berkshire, UK. He is also director of marketing for Arkade http://www.arkade.com the mp3 distribution business.

Effective Band Rehearsal

2008-09-17T04:20:00.001-07:00

If your band is in rehearsals, either preparing for gigging, or practising new songs to add to your repertoire, the chances are you will have to hire a rehearsal room. The costs of hiring a room can soon mount up if you don't organise your time effectively. You could be wasting time and money going around in circles, with a growing frustration that your band doesn't seem to be making any progress.

The answer is to set a Schedule for your rehearsals. Without a schedule it's difficult to monitor progress if in fact any is made. Disorganised rehearsals can soon turn into chaos, with everyone throwing in ideas and playing different things at the same time. The rehearsal is not the time for your guitarist to hone his right hand tapping skills, or your drummer to perfect his lightning fast paradiddles, it is valuable time for working together as a band, and should be used as such. Band members should have their own private schedules for practising instruments and learning new techniques. During a rehearsal you should all be working towards the same goal and making each other sound as good as possible. The rehearsal should never turn into a 'who can play the loudest' competition.

What should your schedule consist of?

Set goals for your rehearsal times and WRITE THEM DOWN! You should know which songs you are going to rehearse in advance. If you have planned your strategy, you will avoid getting stuck in a rut and your time will be used constructively. Songs you already know can be perfected and the little nuances worked on, stamping your own identity on cover songs and putting the finishing touches to originals.

You should make a list of 'finished' songs, 'work in progress' songs, and 'new ideas'. As each one progresses, move it up into the next category, thereby revising the schedule for your next rehearsal.

I would suggest starting with 2 or 3 songs you are happy and comfortable with, simply to give the band a positive vibe to build on, and then start work on new numbers. Set aside a certain amount of time for each song, and then move on! Don't waste time trying to perfect something that just isn't working, you can come back to it later or at the next rehearsal. Perfect the numbers that do work, and you will see positive results as your repertoire builds up considerably.

Always take regular breaks. Coming back to a number that wasn't going too well with fresh ears can often be all it needs to make a distinct improvement. If that doesn't help, there's no point in flogging a dead horse, so move it to the bottom of the list or consider dropping the song altogether and concentrating on another one.

Work on band dynamics and expression, i.e. fast, slow, loud, and quiet. Get your fills as tight and as fluent as possible. What you are working on is that elusive 'feel' that is the hallmark of a good band. Everybody should not only be playing his/her own instrument, but also actively listening to the rest of the band.

Tape your rehearsal. You don't need any fancy recording equipment - a simple tape deck and mic will be sufficient. The idea is simply for the band to be able to listen to their efforts afterwards. Listening to a song while you're not playing means you can listen more subjectively and discuss the merits. Take notes while you listen, that way you are already forming the schedule for the next rehearsal.

And finally, remember; you are in a band! As such, the sum of the parts should be greater than the individual contribution.
Tony Williams is a musician, writer, and self-confessed eBay fanatic. Take time out from the stress of band rehearsals and lighten up with MuZiCk! The irreverent rock music lexicon at: http://www.muzick.co.uk

How To Start Recording Your Voice At Home

2008-09-16T13:14:00.001-07:00

If you have spent the major part of your life entertaining your friends with your lovely voice, maybe it is time for your talent to reach out to more people around the world. All you need is a home recording studio that you can set up with the least bit of effort.
Here are few tips of live recording that you could follow:-

Live recording is done through what is called "audio" which is an actual music recording of a live sound, just like a tape recording. Let us see what all gadgets are required to fulfill your dream.

i) Digital multitrack recorder

ii) Microphone.

iii) Audio interface/sound card.

iv) Studio headphones

Gadget 1 - Get your digital multitrack recorder or software multitrack sequencer.
Decide where you want to record your audio. Here are some of the considerations. If you wish to use your computer's program, that's great and lot of money is saved. With a good quality sound card, you can record at very high fidelity.

But you have to be careful as there are some significant possible downsides. First and foremost, computers are sometimes unreliable, especially if you are using an older version for high end work that needs more memory. You are unlikely to enjoy losing lots of time and hard work when the computer freezes that becomes more likely the more you demand CPU power for multiple tracks and adding things such as reverb and echo. Go for upgrading your computer with a bigger hard disk and RAM as well as an additional Audio/Graphics card to enhance you r work experience. If buying a new computer, go for a high-end processor for the best results.

Using a mouse to run computer programs is just fine, but it may not be so convenient for the job of digital music recording. Simple 4 to 8 track projects may be possible, but you will need proper equipment for higher end work.

On the other hand, using an external digital multitrack recorder has many advantages – as they are more reliable, easier to mix with because they have those old familiar faders, and generally are of higher sound quality. They also come with internal effects such as reverb, delay, chorus, which can crash the computers. The disadvantages are of course the cost, albeit not so bad, and the limited number of tracks (usually 8 to 24).

Another consideration is that with an external device, you must make sure it has a proper connection and synchronization capability with the computer programs. Digital multitracks often utilize V-takes as well, which means you can record a number of versions of track 1 bass, for example, and choose the one to activate for your final mix.

Once you've analyzed your needs, you can go and get the home recording studio recorder or program you wish to work with. An external controller board is required if you are using a software analyzer which will give you real faders for mix down, which can relieve you of the inconvenience of the mouse.

In part two of this article, we shall examine the rest of the essential gadgets required by you for successful music recording. Keep your voice in shape till then, for you will soon be traveling on the highway to a successful career in the world of music.

The author loves mixing music. You can make your own music by setting up a home recording studio and using a good music production software. Learn all the music terms with the help of an online music dictionary.

Audio Engineering Equipment

2008-09-16T13:09:00.000-07:00

You have determined that you are interested in a career in the field of audio engineering. You have decided you want to attend an audio engineering school, you have explored the job possibilities, now what audio engineering equipment would you need to become a success? In this article, we will discuss some of the most important and common audio engineering equipment used by the top engineers today.

There are a host of different audio engineering equipment that you will likely work with as you delve into the world of audio engineering. You will be responsible for recordings, manipulating, editing, mastering, and mixing of the different sounds using a variety of different equipment both digital and analog. This means you will have to make use of sound recording equipment, sound broadcasting equipment, and sound reinforcement equipment.

Mixing consoles

This audio engineering equipment is also referred to as a soundboard. It is used for mixing and routing audio sounds. This means changing any parts of dynamics, tones, and levels of the audio to produce the sound required. The mixer uses either digital or analog signal, or a combination of both. This depends on what type of mixing console is being used.

Microphones

Microphones are a very important part of audio engineering equipment. They are required to record the sounds of music, voices, movies, and a host of other sounds.

Signal Processors

This is a piece of audio equipment that defines analog signals and allows for analysis. These come in two different types of microprocessors, either general purpose or integrated circuits.

Tape Machines

These are used for recording sounds. The sounds from the microphone are recorded and stored onto the tape machine, which is then used to play back the recorded sounds.

Digital Audio Workstations

Also referred to as DAW, this audio engineering equipment is used for digital audio. It is used for recording, editing, and playing back sounds recorded digitally. It works well for the manipulation of sounds. Typically, digital audio workstations are either integrated within the mixing console or computer based and used with software.

To learn more about this challenging career and get into more details about life as an audio engineer, visit audio equipment.

The Problem With Recording Schools

2008-09-16T10:01:00.000-07:00

I remember about 5 years ago. I bitten by the recording studio bug. Before I knew it, I had maxed out a few credit cards and taken out a large loan to pay for enough recording gear to record a full band. I was excited about recording bands. I knew nothing, but I certainly wanted to learn. I saw a few ads in beginner recording magazines for these immaculate looking studios combined with classrooms. I thought these guys would transform me into a recording genius.

I quickly enrolled into one of the best recording schools in the country. I was excited. They even turned me on to Tape Op magazine, which I am very thankful for. I thought I was going to go into the recording school as an idiot and walk out recording Aerosmith. Somewhere in there I got to thinking. How many recording engineers are there? Since the school has hundreds and hundreds of graduates every year and there are other recording schools all over the country, how could all of these engineers be recording Aerosmith. More than likely, there are only one or two engineers working with Aerosmith. There are probably two more working for Metallica and two more working for Van Halen and that pretty much wraps up the mega big boys. That's right. There are six mega big boys. There are more all stars in professional baseball than there are top recording engineers.

So what are these schools really selling you? They may be teaching you how to work a console and they may teach you a few engineering tips too, but where are the jobs? Many of the big studios are hurting. This means there are less and less big time recording jobs available. So where are the thousands of 20 year old kids who owe $15,000 in student loans going to find jobs in the audio industry? Most of them will not be working in recording studios. The sad part is most of them are going to have trouble finding a decent paying job at all. Graduating from “tech school” doesn't usually look the best on a resume. You may be able to run a Neve console, but the only job that needs that is an audio engineer and those jobs are getting harder and harder to find.

I'm not saying that you shouldn't go to recording school. Honestly, I'd love to attend a recording school. That would be great. Unfortunately, there is reality and recording schools don't make much sense in mine. Maybe you will be next guy to go to recording school and then end up with a few grammy awards sitting on the mantle.

If a person is really serious about learning how to record, there is no better time than 2 minutes ago. You are late. Get on it. All it takes is a computer from 3 years ago, a recording soundcard, and a few microphones. (Okay, there are some other things needed, but I'm trying to make this look easy). The hard part comes not from buying the gear or even figuring out how to work it. The hard part comes from figuring out how to make a killer record that actually sounds good. That one is still a mystery to me. The experience you could gain by jumping face first into recording bands could be just as good as learning the old school way. I'm guessing that both have their flaws.

In the end, some of us were just meant to be in audio. We'll find a way. If recording school is the way for you, by all means, go for it. I have to say that I'm glad that I pumped my tuition money into fancy microphones and preamps. My studio stays busy and I'm learning as I go. Life could be worse.

Are you serious about audio recording?

Musicians Injuries

2008-09-16T09:49:00.000-07:00

This article takes a look at musicians' injuries. For an expert perspective, I interviewed Dr. Sarah Mickeler, B.Mus., D.C. Dr. Mickeler is a former professional musician and a chiropractor who concentrates on musicians' injuries in her practice.

1) What led you to specialize in musicians' injuries? I have a very personal connection to musician's injuries. I had trained as a classical clarinet player and it was during my undergrad that I started to have all sorts of problems from playing too much and with poor posture. Unfortunately, I was told, as many others are, that I should just play through the pain and that maybe it would get better! Of course, it didn't, and it eventually led to the demise of my career as a clarinetist, because I was totally unable to hold up my instrument. So, I decided to pick a new career that would help others musicians - and hopefully before they got to the point that I was at! Chiropractic appealed to me because of the whole health care paradigm that it embodies - as chiropractors, we diagnose and fix the cause, rather than masking the symptoms. 2) What is different about treating musicians than treating the general population? Often, what I tell people who don't understand the specifics of musicians' injuries, is that "it takes one to know one". As a musician, it can be very difficult to explain to a physician or physiotherapist or even another chiropractor what the mechanics look like when you are playing your instrument. But when someone comes into my office and says that they play flute, or guitar, or tuba, or whatever, I know exactly what the physical component of playing their instrument involves. That is a very important first step. Secondly, not only do you have to be able to have a good understanding of what playing that instrument involves, but you have to be able to see that person play. Even if someone tells me they play violin (I automatically think: "ok, so they will be leaning their head to the left and have right shoulder problems, etc..."), I am often shocked to see how over the years of playing they have contorted themselves into a little pretzel while they play!

So, on the first or second visit, all of my musicians bring in their instruments and I do a thorough playing analysis to see what it is that they're doing right and wrong. It could be that their posture is contributing to their injury. Or maybe there's something about the instrument that we could change; it might just need a minor adjustment in the thumb rest or a key positioning. For instance, I have very small hands and found it difficult to reach some of the alternate fingering keys on my clarinet - so I had them sawed off and re-soldered on in a different direction so I could reach them. Thirdly, it is important to recognize that there are some really common reasons for performance injuries. The most common ones are a change in repertoire, a change in the instrument (such as a new mouthpiece or something similar), a change in practice time or an upcoming recital. If we can pinpoint what it is that the performer has been doing differently lately to contribute to their injury, that helps immensely. And lastly, it is so important to realize, especially for freelance artists, that you can't just tell them to take a muscle relaxant, and take a few weeks off. If these people took a few weeks off, they wouldn't have a roof over their head or food on the table. While it's occasionally absolutely imperative that a break be taken, most of the time I take a holistic approach to treating performers and change and fix what we can, within the obvious limitations of current gigs and upcoming events. 3) What's the most common injury that you see in your office? In my office, there is a tie for the most common injury. The first is upper back/shoulder/neck pain - I lump these together because those terms can mean the same thing to a lot of people - often someone will come in and say that their shoulder hurts and point to the pain, but to me what they're pointing to is actually their upper back or lower neck. This one is often a function of poor posture or poor practice ergonomics. If we can figure out how to improve the overall posture and ergonomic situation then this tends to resolve quickly.

And the second most common injury is hand and arm pain. You would not believe how many people walk into my office with numb and tingly hands and fingers - which can be very scary if you're the one to experience it - to find out that the problem isn't actually their hands and fingers at all, but it's a little further up the arm and can be quite easily treated once properly diagnosed. Or they come in with tennis elbow - but they have never held a tennis racket in their life! In my office, I call tennis and golfer's elbow "musician's elbow" because it is a repetitive strain injury. It is really, really common and surprisingly easy to treat. 4) What can musicians do to prevent injury? First of all, don't be a hero! There is just no reason to practice for hours on end without a break. Always remember to take a little break for every 30 minutes that you are playing. Secondly, don't play through pain. The pain signal is there to tell you that you are doing something wrong. Playing through it is not going to get you anywhere - other than in more pain and in worse shape down the road. Thirdly, be aware of your ergonomics. If you sit to play, does your chair fit you properly? In rehearsal, do you have to strain at all to see both the stand and the conductor? Are your arms contorted oddly in order to be able to play properly? This is not good. And lastly, seek the help of a professional who can not only help you with the injuries that you are currently dealing with, but can help you avoid future injury and optimize your overall performance. You can find out more about Dr. Sarah Mickeler and her Toronto-based chiropractic practice concentrating on musicians' injuries at http://www.drsarah.ca.

To echo Sarah's advice, please pay attention to any pain signals your body is sending you! Admitting you're having a physical problem doesn't make you any less of a musician – it means you're a very smart musician with years of playing ahead of you!!

How To Mic An Electric Guitar

2008-09-16T09:42:00.000-07:00

With modern music (especially pop/rock music) production demands are greater than ever. The average listener expects the recording quality of your music to be the equivalent of those amazing productions you often hear on the radio. Since this discussion could take weeks and weeks and page after page, I've decided to narrow the focus of this guide to recording the electric guitar.

With any recording, getting the source right is 99% of the ballgame. This means that a great singer with great tone will sound good through pretty much any microphone. This means that a great sounding violinist with a great sounding violin in a great sounding room will sound this way through any functional microphone. Granted, some microphones will impart their character onto the source (for better or worse), but with any operating microphone a great musician will still sound great.

So with the guitar (and anything else you intend to record), it's important to get the instrument doing exactly what you want before you even bother putting a mic in front of it. You should walk around the room the amp is setup in to hear exactly what is going on. You might find sweet spots in the room. You may try actually moving the amp in a few different places in the room.

In my first recording room (which happened to be very small and very unideal for recordings), I noticed that moving an amp just a few inches had a dramatic effect on the low end coming out of the amplifier. I later learned that this was quite normal for small rooms with no acoustic treatment. (Just a side note, if you are planning on doing treatments for your room, skip the foam stuff. It probably won't help. In many instances, it will make the problem worse. Try a search for "bass trap" or visiting www.recordingreview.com). So exeriment greatly with the amp before you get serious about microphones.

In fact, I recommend that you mess with the tone quite a bit just to see. You could always settle for the tone already on the amp, or you could push the highs up too high to see where they end up. You could pull the highs down too far to see where the tone ends up. Eventually, you'll find a middle ground that keeps your perspective out of the way.

The type of guitar you use makes a big difference on how the amp will sound. This is no secret. However, many people get in a rush when recording and think that adding some sort of effect or plugin on the computer will get them what they are looking for. If you find that you are not happy with a given guitar, maybe you should try plugging in a different guitar just to see. Try doing something off the wall or downright wrong. You'd be amazed at what kind of recordings you could get with a Telecaster through a Mesa Boogie Rectifier. I've heard success stories of acoustic guitars running through cranked Rectifiers.

When you have a tone that you are pretty confident about, it's time to pull out the mics. There are a few methods to trying out mics. You could slap every mic you own on the amp to see it it's happening for you. The problem with this approach is mic placement. Did you take the time with each mic to make sure you found the best sounding spot on the amp? You could do this with each mic, but the spot that just sings for each microphone will probably be in a different spot for each mic. I tihnk your time could be spent better.

If you are just starting out and have no idea what mic would be best for a given job, start with an SM 57. They are cheap and everyone has one. If you don't have at least one, get one used off of Ebay or something. In the meantime, grab whatever dynamic you have and give it a try. There are a number of SM 57 clones that are essentially the same microphone. Even if they are not the same mic, try them. You never know.

One trick to help choose the best spot to place the mic I read in a forum years ago. It said to unplug the instrument cable from the guitar amp, crank the amp up to very high levels, and put the SM 57 (or whatever mic you are using) in front of the speaker. Next, run the mic through some loud heaphones with good isolation. Then, with the headphones on, start moving the mic in front of the speaker. You will be amazed at what you are hearing. You will hear all sorts of changes in the tone simply from moving the mic around. The users of the forum recommended putting the mic on the brightest spot. I have not had much luck with putting a mic exactly at the brigthest spot because it can get a little bit too fizzy at times, but feel free to try it and see what works. The brightest spot may be perfect with a darker sounding amp.

My favorite trick when recording guitar amps is to use two different microphones on one speaker. You have to be aware of phase cancellation. (If you are not familiar with phase cancellation, check out my website, www.recordingreview.com.) However, when you get the mics in phase, you will have much more control off your recordings. I find that what I'm looking for when mixing is much different when I'm tracking. Sometimes I wish I could go back and change something on a tone. One rememedy for this is recording the two mics from one speaker to two seperate tracks that will allow you to blend them differently to create different tones on the recording.

I start out by placing one SM 57 on the cone. This means I put the mic in the dead center of the speaker. This sound is almost always fizzy and thin. With very few exceptions, I've found it to be a crappy guitar sound. As crazy as it may sound, that's exactly what we want. We want a track in the mix that is bright, thin crap that we can use as much or as little as we feel the mood for.

The second mic should sound the opposite. We want it to be big, meaty, and full of chunky low end. This mic ends up in different places with every amp that I use, but most of the time it can be found 2"-3" from the first mic in any direction. Sometimes angling the mic towards the edge of the speaker helps, too. This mic should sound a little dull by itself.

Now record both mics and see what you get. Listen to each mic by itself first. Then listen to both of them together. Assuming you like the sound that each mic makes (Remember, you want one to be too bright and the other to be too dull) you will experience one of three things.

1) The sound will be extremely thin sounding as if you rolled off all the low end with a parametric equalizer. This means the mics are almost totally out of phase. The solution is to push the phase button on your preamp or mixing software. This is what you want. You want the combined sound of the mics to be so thin that it isn't usable. Then when you push the phase button on one track, the tone comes to life. This is what I always go for.

2) The sound will be big and full. This sound almost means good things. If you push the phase button, it should sound like what you may have experienced in #1. If the tone totally dissapears and all you can hear is some fizz, you've got the tone down. Push the phase button back to your big guitars again.

3) The sound is weird. You are not sure what it sounds like. It's not bad, but it's not right either. Pushing the phase button only changes the tone in the mids and does not have make a big impact on the low end. In this case, some other frequency is out of phase and the low end is in tact. You need to use your ears on this one. I usually don't like to leave the mics like this. I go for #1 or #2. However, many great engineers use phase cancellation as a way of eq'ing the amps. This is highly advanced engineering, and not for the faint of heart However, if you stumble on a sound that you really like, by all means, go with it.

Well that gives you food for thought. You'll notice that we didn't talk about different microphones. The truth is if you master the techniques above, you won't have too much need for more mics. If you want to expand your mic collection, go ahead. There are a number of mics that work great for electric guitar amps. Check out my website for details.

What Not to do When Playing Guitar

2008-09-15T12:00:00.001-07:00

When guitar players watch each other, usually they try to pick up on all the bad things that they are doing rather than the good things, I'm sure you know what I mean as you have probably found yourself judging another Guitar player just on their mistakes. This is an easy trap to fall into, and most will never realized they even fell into it! What this means is that if you want to impress other Guitar players (Especially good ones) you are going to have to go back and fix all those bad habits you may have created for yourself along the way.

The first and biggest mistake a lot of guitar players make, usually when they first start playing, is to learn a song, and try play it straight away. This usually results in the song sounding sloppy, messy and just plain bad! Whenever you learn a song, do what the pros do! Get a metronome, learn the song at half speed, or even slower! I am sure that you could play anything in the world on guitar at a snails pace! So do it, then everyday slowly increase the BPM (Beats Per Minute) on your metronome, next thing you know, you will be playing songs you thought were impossible note for note and completely clean! Nobody wants to see someone try play something they can't so just don't do it.

Another mistake a lot of beginners make is to only use 2 or 3 fingers, usually leaving out their pinky because 'It's too hard'. The only reason it is too hard is because people do not generally use the little finger separately in day to day life so the muscles are not developed enough for your brain to tell it what to do. Get all your fingers moving, even your pinky. Soon you will find that with a little practice is will soon become just as easy to use as any other finger.

Have you ever seen someone play a song, make a mistake, then stop, start again and make the same mistake? This is because they are training them selfs to make mistakes! Whenever you play a song, if you make a mistake, whatever you do, do not stop! This is the worst thing you can do, especially when first learning a song. Even if you make a complete mess of it, try to get the rhythm going and after you finish the song, go from the start. If you stop as soon as you make a mistake it can be very easy to get stuck at that point, and that is when a lot of people put the guitar down and never look at it again. Just because they didn't know they were training them selfs to make mistakes.

Don't jump ahead of your ability. You should know your own ability's on a guitar, what you can play and what you can't. Don't try play something that is far beyond your current level of playing, because you simply wont be able to do it. Instead, build up your skills slowly. I know nobody wants to hear that, but it is the tried and true way to really get good at the guitar.

The main thing you have to remember is that the rock stars you try to emulate have been playing guitar in some cases their whole life! It takes a long time to get really good at guitar no matter how you learn. But stick at it, and one day all that work will pay off.
Charlie Wallace is a complete guitar nut, check out his website for a free report on how to play guitar like a pro! - http://www.guitarburningspeed.com Guitar Product Scams Revealed! - http://GuitarProductScams.com

Ear Training Improves All Aspects Of Musicianship

2008-09-15T05:01:00.000-07:00

Ear training is definitely the biggest key to becoming a better musician, songwriter, composer, and/or singer. Why is it so important to improving one's musical abilities? Because music is a hearing art. You can only play, write, and sing as well as you can hear.

There are two types of ear training. The first is relative pitch ear training and the second is absolute pitch ear training. What's the difference between these two?

Relative pitch recognition is the ability to recognize the relationship between two or more notes. An example of this type of skill is the ability to know what type of chord is being played. Another example is to know the interval between two notes that are played.

A person with relative pitch skills would not know what the exact chord was (for example a G Major 7th chord) he would only know what type of chord it is (Major 7th) unless of course he had a reference to go off of.

Perfect pitch recognition is the ability to know exactly what a note is simply by hearing it "cold" without any reference at all. A good singer with perfect pitch can sing any note on command. For example you could ask them to sing a C# and they would be able to do it, even without any reference at all (no music to sing along to.)

The ability of perfect pitch recognition was long though to be something that could not be developed. It was thought that it was thought it was something that one had to be "born with" but this is now known not to be true.

While it is true that some people seem to develop this skill very easily while others are lost. Using the proper ear training methods, perfect pitch can be developed by anyone who is not tone deaf.

Don't let that last line scare you away. Almost no one is actually tone deaf. Many people think they are tone deaf simply because they cannot sing well. This does not mean someone is tone deaf. A tone deaf person can literally not tell two different tones apart. It's a very rare condition and if you had it, you would not enjoy music the way you do. If you are reading this, it's extremely unlikely that you are tone deaf.

How does one go about training their ears? Well there are many courses available both off line and online. The online courses usually have all of the same material as the offline courses only they tend to be much less expensive. Another advantage to the online choice is that the materials can be downloaded instantly so if you are an impatient person you can get started immediately.

When a musician improves their ears, they will also improve their playing. If a musician can't hear what they are trying to play then they won't be able to play it. It's very important that you be able to hear music in your head. With the right training you will be able to develop this skill, even if it seems very unlikely right now.
Marvin J. Markus is an appreciator of all types of music and a contributor to the music blog at http://www.MusicByDay.com
Article Source: http://www.ArticleBiz.com

Tips For Preparing For Your Piano Exam

2008-09-15T04:54:00.000-07:00

Whether you are a new piano player or a full-time professional, exams can be a strenuous and often daunting task. Each exam has its separate challenges. However, if you prepare for your exams correctly, it could mean the difference between passing and failing.

For this example, let us pretend that we are sitting for a Grade Six piano exam. Let the record denote that I have sat and passed a Grade Six exam. Although admittedly I did not pass it well - this was caused by a severe lack of preparation leading up to the exam. I did not put the time or effort into my preparation for this music exam. I can assure you from first hand experience that you need more than 15 minutes practice three to four times a week to effectively prepare for a Grade Six piano exam!

THREE MONTHS BEFORE THE EXAM

At this time you should be doing approximately one hour's worth of practice a day, five days a week. In your selected pieces you should be able to at least press all of the right notes. This is the time to start developing your pieces from a series of notes to a piano masterpiece. Concentrate on things like expression, dynamics and tempo. Put some feelings and emotion into your pieces.

You should also profusely study all of your theory and scales. Too often scales and theory are neglected at this time and are only revised about a fortnight before the exam. This is a terrible mistake! Remember the more you study now, the more you will retain this information, thus having a better chance of recalling the required knowledge during your exam.

ONE MONTH BEFORE THE EXAM

It is time to up the anti a bit. You should be spending one and a half to two hours practicing a day, six days a week. This is the time to smooth out all of the minor flaws in your pieces of music. Practice things like getting that tricky triplet sounding fluent and making sure you hit the F sharp with your fourth finger rather than the fifth. These issues might seem minor, but it will help you immensely with your exam.

Practice without the sheet music in front of you and see how well you go. During your exam if you rely too heavily on your score, I can guarantee you will stuff up. Learn your music off by heart.

Also, make sure that your exam becomes your number one priority. Do not be distracted by other issues in your life. Do not become distracted by relationship, financial or other issues that might divert your attention from your exam. You will become stressed and worn out, and you will not perform at your potential.

ONE WEEK BEFORE YOUR EXAM

Now is the time to just practice, practice, practice! I would recommend doing between two to three hours per day by now. You should have all of the knowledge required for the exam. It is simply a matter of revising it for your exam.

Whilst we are working and studying hard, we have to remain relaxed. Put it into perspective; it is only an exam. There is no need to worry about it 24/7.

DAY BEFORE YOUR EXAM

Most people on the night before an exam practice for 5-6 hours, studying until some ungodly hour in the morning. This is a big no-no! At maximum you should only play through your pieces once. What I like to do is pretend I am actually sitting for the exam. So I would do my scales first, then my pieces in order, and then do some sight reading.

Don't try to do any last minute revision for your exam. Chances are that you will only put unneeded pressure on yourself and more importantly you will only have a small chance to remember it for your exam. Do not get distracted by other things in your life. Your piano exam is tomorrow - everything else can wait another day.

Relax! It is essential that you get a good night's sleep. I would recommend that you get 8 to 10 hours solid sleep if you can afford the luxury.

MORNING BEFORE YOUR EXAM

Do not do any work, whether it is piano related or not. Do something fun that doesn't require a lot of brain power. Watch a movie. Kick a soccer ball. Do whatever that suits you.

Try to eat a healthy breakfast. However, if you suffer from butterflies in the stomach, which I suffer from immensely, don't try to force anything down. It will only comes straight back up! (Trust me!)

I will say it again, RELAX! Try not to think about your exam. Don't try to think about your theory, scales, pieces, fingering etc. etc. Don't think about what you have and haven't done for your exam. This is only going to get you all frazzled and this will seriously hinder your exam.

30 MINUTES BEFORE THE EXAM

By now you should be at the venue where your exam is being held. Do some ultra-light revision. Look through your music sheets and visualize yourself playing it as you read the notes. Play some 'air-piano.' Test yourself with a couple of theory questions.

Do not under any circumstances talk to other people about the exam. Do not ask each other theory questions. Do not discuss your pieces. Do not talk about previous exams or examiners. This is nothing more than an unwanted hindrance. Take a few deep breaths, relax and focus on your exam.

5 MINUTES BEFORE THE EXAM

Close the books for a moment. Take three deep breaths and focus. Think to yourself that this is just like any other piano practice session. Go into the exam with positive thoughts. Whether you have prepared yourself for the exam as I have discussed above or not, it does not matter now. All you can do now is concentrate on the upcoming task of your exam.

DURING THE EXAM

Two things will be happening to you about now. Firstly, you think you are doing well. Great! Ride on this wave of euphoria until the end of the exam. But you must not slack off! You still have a couple of pieces or a couple of scales or some theory to do. You must concentrate until the end of the exam. A lot can happen between now and then.

The second thing that could be happening to you during your piano exam is that you think you are performing badly. Forget about it! It doesn't matter what has happened. You still have the rest of the exam to impress the examiner. A lot can change between now and the end of the exam.

Another point worth thinking about is just because you think that you have done a bad job, doesn't mean that the examiner knows you've done a bad job. He/She will not pick up every single mistake you make. Just forget what has happened, clear your mind and start again with your next task. Think about what is going to happen, not what has just happened.

AFTER THE EXAM

Congratulations! You have completed your exam! You can now breathe a huge sigh of relief! It's finally over!

Carefully analyse your exam. What did you do well? What do you do badly? What could you have done to improve? Make notes so you can use them as a reference for future exams.

Be careful not to be too confident with your exam. You might be disappointed when you see your results. Conversely, do not be too negative with your exam and think that you have done badly. More often than not you will get a nice surprise!

RECEIVING YOUR RESULTS

After waiting one to two weeks for your results to come back, you would be naturally excited, or at least inquisitive to see your results. Have you done well and/or better than you expected? Have you done worse than you have thought? Either way, read your examiner's comments at least three times. See what they liked about your piano examination and what they didn't. No matter how well you did, you can always improve! Next year's exams are guaranteed to be harder than this year.

Take the assessor's comments on board, but also take your own thoughts on board. Was your preparation leading up to the exam as good as it could have been? Nine times out of ten, if you have done badly you generally know why. Think about why you did badly and improve! Learn from your mistakes. Do not get depressed! It is not the end of the world. There is always next year.

I hope this article was helpful for your preparations for your exam. This is what I personally do when preparing for a piano exam. Obviously, if you have your own routine that works, by all means stick to it. However, if you do pick up one piece of advice from this article and apply it successfully, I will consider this article a success. Good Luck for your exams and most importantly, remember you can only do your best.

How To Play A One Octave MIDI Pedal Board

2008-09-15T04:53:00.001-07:00

Arranger keyboards such as the Yamaha Tyros 2 and the Korg PA800 are becoming extremely popular since the massive decline in electric organ sales. These arranger keyboards provide automatic bass lines, which is fine if you are playing basic triad and seventh chords. With a MIDI pedal board you can divert the bass note in the auto chord system to the bass pedal note you want and still keep the rhythmic effect or you can play your own bass line with no auto features added at all.

All exercises in this article should be practised on a one octave pedal board and you should be sat down at a keyboard with the MIDI pedal board placed directly underneath the keyboard. The pedal board should be placed so that top C on the pedal board is level with Middle C on the keyboard. Depending on the length of your legs, you can make small adjustment to the placement of the pedal board to suit. You should be able to play bottom C and top C with out any discomfort.

So here are the five top tips to help you to play the bass pedals.

1 Line your left leg up with G on the pedal board. You can then use your leg below the knee to swing to the left of G and play bottom C then swing all the way back up to play Top C. Try to keep the top part of your leg, above the knee, still.

2 When playing the bass pedal with your left foot, keep your leg still and use your ankle to make the pressing motion.

3 Play slowly, on the pedal board, C major scale, C minor scale and a chromatic scale starting with bottom C. Play these scales up and down and repeat ten times.

4 Play this sequence of notes on the pedal board starting with bottom C. C, D, E, F, D, E, F, G, E, F, G, A, F, G, A, B, G, A, B, G, C. Repeat ten times.

5 Play a chromatic scale on the pedal board with left hand chords. Starting with bottom C, play chromatically up to top C and back down again. Repeat ten times.

The important thing to remember when practising the above bass pedal exercises is to play the bass pedals slowly and stay acurate. If you play to fast to start with, you will learn to play the bass pedals wrong. If you start slow and accurate, speed will come later but you must be patient.

If you practice the above exercises every day for six months, you will be playing the bass pedals like a pro.

Sade Best Of Sade Pop Music CD Review

2008-09-15T04:51:00.000-07:00

The exceptionally talented Pop artist Sade has released her CD entitled Best Of Sade. I am very confident and happy to announce that I believe Sade fans, and Pop fans alike will be pleased with this one. With the release of Best Of Sade Sade’s artistic excellence is on full display as Sade has once again delivered a brilliant collection of tracks that could very well be her best work to date.

Unfortunately, it’s not everyday that I get a CD from an artist that I can just pop in and comfortably listen to from beginning to end. There is usually a song or two that I just can’t force myself to get through. Not at all the case with Best Of Sade. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

Sade is one of those musicians that has the ability to just win you over with her talent. The kind of artist it’s really a treat to be able to listen to.

This is a first rate CD, delivering a little something for everyone. I give it my highest recommendation. It’s quite simply great listening. A must buy if you're even mildly into Pop music.

While the entire album is outstanding the truly standout tunes are track 10 - Nothing Can Come Between Us, track 11 - No Ordinary Love, and track 13 - Kiss Of Life.

My SmoothLee Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 7 - Never As Good As The First Time. It’s a great track!

Best Of Sade Release Notes:

Sade originally released Best Of Sade on Apr 3, 2001 on the Epic label.

CD Track List Follows:

1. Your Love Is King
2. Hang On To Your Love
3. Smooth Operator
4. Jezebel
5. Sweetest Taboo, The
6. Is It A Crime
7. Never As Good As The First Time
8. Love Is Stronger Than Pride
9. Paradise
10. Nothing Can Come Between Us
11. No Ordinary Love
12. Like A Tattoo
13. Kiss Of Life
14. Please Send Me Someone To Love
15. Cherish The Day 16. Pearls

Sade: Sade Adu (vocals); Stuart Matthewman (guitar, saxophone); Andrew Hale (keyboards); Paul S. Denman (bass). Additional personnel includes: Leroy Osbourne, Jake Jacas (vocals); Gordon Hunte (guitar); Tony Pleeth (cello); Terry Bailey, Gordon Matthewman (trumpet); Pete Beachill (trombone); Dave Early, Martin Ditcham (drums, percussion); Paul Cooke, Trevor Murrell (drums); Karl Vanden Bossche (percussion). Producers: Robin Millar, Ben Rogan, Mike Pela, Sade, Hein Hoven. Engineers: Mike Pela, Ben Rogan. Digitally remastered by Tom Coyne (Sterling Sound, New York, New York).

The Musician's Guide On How To Copyright Music

2008-09-15T04:29:00.001-07:00

Music is copyrighted as soon as you present it in a fixed form. It doesn't matter whether that fixed form is written sheet music or a recording. Most people who copyright music do so for the extra legal protection. Even though a copyright is good to have, it is essentially worthless unless you've registered your copyright with the Library of Congress. You will need to fill out an application, pay a fee, and provide a copy of your music. As far as government dealings go, this is one of the least painful. Even the application fee is marginal when you consider the fact you are protecting potential future profits and royalties from your music.

Even if you aren't a talented performer, it doesn't mean your music will never be seen or heard, nor does it mean you should not bother copyrighting your music. One day you might find yourself more in demand for your talents than you ever dreamed possible. It is important to protect your music now more than ever before in history due to widespread music piracy and illegal music file-sharing.

Once you understand how to copyright music, you should copyright every sheet of music which you have produced. This involves registering each and every piece of music with the Library of Congress. Even if you must copyright one piece at a time until you manage to copyright all of them, it is much better to be safe than sorry should you ever go to trial in a copyright infringement case.

Copyright Music, Consecutive Notes, and Fair Use

Copyright music, consecutive notes, and lyrics are all covered under the blanket of copyright protection. Once you've registered your copyright you have legal recourse should someone steal or “borrow” any part of your music without permission. Many websites which publish lyrics to your favorite song are actually infringing on the copyright of the author and the recording artist. It is not legal to use any part of the song that isn't covered by Fair Use without the express permission of the holder of the copyright. Sometimes it is difficult to distinguish between Fair Use and copyright infringement. Copyrighted music pays musicians royalties, while Fair Use will not take those future payments from the authors for the sake of personal entertainment.

Fair Use was once thought to mean that if you weren't making money from the copy or use of materials then it was allowable. This is one of the arguments that was used when defending massive file sharing servers; the defense, however, falls flat of the law. It is illegal to share copyright music, consecutive notes, lyrics, tabs, chords, or any other part of the music. The only case in which copying of music is clearly allowable is when used for non-profit education and educational research, for the purpose of criticism, commentary, and news reporting. According to copyright law, ripping your CDs is an infringement of copyright.

The result of massive file sharing has prompted new laws to address the problem and provide a clearer definition of what is not allowable. According to recent amendments, you must have the express permission of the performer to fix the sounds or images into any type of phonorecord, to transmit these sounds to others, or to offer to distribute, sell, or rent any of the copyrighted material. That about sums up file sharing in a nutshell and clearly establishes the practice as illegal.

Many musicians and artists copyright music, lyrics, and performances to protect those things from abuse, misuse, and to protect their interests. While some may be artists who perform for the sake of the art, most of them are not independently wealthy and need the income that results from the sales of their music. Many have families to feed as well as fabulous lifestyles. Regardless of their inherent needs for the funds, they've provided a service (entertainment) that we place a certain value on and they deserve to get paid for the services they provide.

House Music Is Fast Catching Music Lover’s Fancy

2008-09-14T11:13:00.002-07:00

The kind of music that refers to a style of electronics dance music is known as house music. The earliest form of house music was played in the early to mid 1980’s. House music was developed by club DJs in the city of Chicago in United States. The influence of certain elements like the funk infused dance music style and disco style can be seen heavily in house music. The origin of the name house music is uncertain. Some suggest that the name is derived from the name of the club called The Warehouse. In the late 70’s and early 80’s warehouse parties that were held underground were very popular in the city of Chicago. Now one of these underground parties that were frequented mostly by Latino and black gay man was known as the warehouse.

The Dj at The Warehouse Frankie Knuckles mixed European synthpop music with mixed classic disco music, punk recordings, industrial music and the new wave music for people who were regulars there. Frequent clubbers referred this music as House Music and thus the name cam into being. But as mentioned earlier this is disputed. Musician Larry Heard claims that the term House Music comes from the fact that most of the Djs records the music at their house. Generally these Djs use drum machines and synthesizers to record the music at their house and hence the term House Music came in to being. Dj Chip E has another story to tell behind the popularity of the name House Music. Chip claims that the name came from the method of recording at a studio. However none of the claims are conclusive.

House music developed in houses, clubs and garages where mostly teenagers and local club goers used to assemble. The popularity of house music increased when the music was played in commercial radio. House music was much longer and conceptual then any other type of music and also this music was not meant for widespread commercial use. Basically house music combined the traditional elements of the musical instruments to give it a more humane touch. The house music scene is very popular worldwide even today as many musicians have made huge contributions towards this. Many new generation producers and Djs have emerged in the house music scene and their main purpose is to make House Music popular.

House Music is popular these days and this music can be seen to be catching up in Detroit, New York, Atlanta and some other cities in America where people of racially mixed origin reside. It is not only in USA that the music is catching up but also in several countries worldwide like Germany, Australia, Canada and Scandinavia. Recently the Mayor of Chicago proclaimed that 10th of August to be celebrated as house Unity Day in the city. The craze for House Music is one the rise and this is evident worldwide.

Free Music Plays A Major Role In Every Music Lover’s Collection

2008-09-14T11:13:00.001-07:00

How many times have you hunted every music shop in the vicinity for a particular song that you just cannot seem to get out of your head? Every music lover can identify this situation as a part and parcel of his daily life. However, the internet is all set to change the scenario. The advent of a host of music related websites and the emergence of free music has brought about a revolution in the world of music. Now gone are the days when a student would save a considerable chunk of his pocket money to buy an album by his favorite artiste. All he needs to do now is surf the World Wide Web for websites offering his kind of music and just the click of a mouse can download his favorite track onto his computer, absolutely free of cost.

Many music lovers may harbor the notion that any music that is freely available will definitely not have a good sound quality and worse, the track may even be incomplete or just a promotional offer. It’s time to shed these misconceptions and log onto the virtual world where music is big business. Numerous sites offering free music spread across diverse genres will flood your senses. An elusive musical number from yesteryears may be hard to find in a music store. The internet offers the option of not only downloading the free music but also the lyrics and chords, in case you want to strum the guitar while crooning with your favorite artiste. Easily available in MP3 format, free music is all set to rock the music world.

A huge collection consisting of all songs by their favorite artiste is ‘a dream come true’ for any music enthusiast. Free music on the internet has made this a reality. You can easily surf the web for sites offering your kind of music and not only do you get every information on the artiste, the albums, other albums in this genre but you also have the option of exploring other genres. You can also download any number of songs according to the storage facility in your computer and the download speed of your internet connection. A speedy broadband connection helps you take the maximum advantage of the free music that is so easily available.

Free music that is available on the net is mostly uploaded by fellow music lovers from their cd. It promotes the concept of expanding the music lover’s community by sharing your collection with like-minded individuals. This trend is very positive for widening the circle of music lover’s across the world. As this free music is made available on the websites with the objective of sharing it with as many people as possible, a music enthusiast should have no guilt about downloading such music free of cost. However, the internet like any other place is prone to tricksters and frauds and it is always advisable to be sure about the website from where you are downloading your music to ensure good quality of the tracks. Any popular website though, will ensure that you get the best quality sound whenever you opt to download free music from their sites. So go ahead and add your favorite songs to your music collection, all thanks to free music.