Unlike popular boy-bands like N*SYNC or the Backstreet Boys, real rockers don't use headset mics. Can you imagine a hard rocker on the stage with a headset on? No way! Seriously, no one but the weak pop bands uses those headsets to prance around the stage. Say hello to the hardcore mics and stands of the rock world, people!
Jonathan Davis of Korn has a wicked mic stand, featuring a naked female torso done in chrome. How much cooler are can you get? I know if I had that mic, I'd really be rockin'. Davis has his whole unique personality that includes a kilt, wicked dreadlocks and a shiny silver grill. Now imagine him with a lame, school talent show type microphone in front of him. Can you see it? Neither can I. The microphone itself has become a part of him, like another body part, and completes his image to the hilt. He's the perfect combination of sexy and dangerous with that bad-ass mic in front of him!
Of course, the voice effects the mic enables the vocalist to create are intrinsic parts of the song as well as the way the artist handles the mic. Adam Gontier from Three Days Grace uses an old school hand-held mic that he can get intimately close to that creates the sound we know and love.
Some, like Dani Filth, prefer to spin their mics to create interesting ripple effects. He keeps singing as the mic sways, twirls and turns, creating an amazing effect on his voice. Others incorporate the usage of switches on the mic itself that can make the singer's voice sound hollow and far away or make an eerie echo.
This all adds to the mood and tone of the song itself. While some bands like dangling mics, ones that are attached to a crane neck extension and suspended above the artist, like in the recording studio. Then there are those who have the long mic stands, usually decorated, with a hand-held mic that can be removed while in motion. Others still, like Three Days Grace, use a completely hand-held mic that can be held very close to the mouth for the desired effect. What do you think this says about them?
Bands like KoRn and Cradle of Filth have vocalists who really get active with the mic. It makes fans go wild when they dance with it, caress it, and, in Dani Filth's case, even lick it. Hell, Steven Tyler from Aerosmith decorates his with flamboyant scarves and practically seduces it on stage! These artist truly treat their mics like a part of their wardrobe, just as much as the shirt on their back is. They become the kind of accessory that's custom made for the person using it.
If you're a musician, you need to remember that whatever your personality is, the microphone you choose can either enhance it or blow it all-together. The audience sees your equipment as part of who you are. Use the mic that represents your cause the best and you're definitely heading for a win. The mic is a part of your band take as much time to pick yours out as you would any other band member.
For More On Microphones And More About Your Favorite Rock Bands And Music, Visit http://AudioFlip.Com
AudioFlip.Com is dedicated to rock and roll music and rock culture. The site offers the latest music news, rock band reviews, music videos, free music downloads, indie music, concert ticket information, rock radio, pics of rock stars, rock fashion, tattoos and piercings and everything else rock music fans need. Musicians can also learn about the music industry, get guitar lessons, learn how to play the drums, get independent record label information, learn about concert promotions and much more.
Article Source: http://EzineArticles.com/?expert=Vin_Hayes
Monday 23 November 2009
Tuesday 10 November 2009
Playing Live - How to Set Up Your Band With Monitors For a Killer Sound
You've got your amps, you've been practising in a garage or small rehearsal room and things sound pretty tight. Now you've got a chance to play down at the local pub/bar. How difficult could that be? Well, if you feel that all you have to do is set up and play just as you've been practising then there is a 99% chance of disaster. Many bands sound awful at their first gigs because their PA isn't sorted; they find themselves playing out of time and out of tune.
Why? It's monitoring - or to be precise a lack of it! Your singer will only be able to sing in tune if he can hear what he is singing. Your guitarists will only bend notes accurately if they can hear their own guitars. Bass and drums will only lock in if they can hear each other, and each of you will only know where you are in a song if you can hear the rest of the band. It's wholly different to the confines of the garage or practice space and this can really throw you all. You will be struggling to hear the overall sound and may even have trouble in properly hearing your part of it. No matter how good you all are as musicians, no matter how much you've practised, without good monitoring you will end up out of time, out of tune and wishing you'd stayed at home. When the on-stage sound is wrong, amplifying it will just tell the audience how wrong it is.
For bands of three to six people with electric guitars and bass, a drummer, a singer and possibly a keyboard, playing in small venues to audiences of less than 200 (a typical start up scenario) your amplification needs are threefold:
1) Back line - this includes your guitar and bass amps, your drummer
2) Monitors - these are on-stage speakers relaying "fold-back" - your own sound
3) PA - the front of house sound which the audience hears
Notice that 1) and 2) create your on-stage sound whilst 3) delivers the on-stage sound to the front of house. Lets take them one at a time:
Backline
You will need 30 to 50watts RMS for your guitar to match the drums. The bass will need 50 to100 watts. If you are using keyboards they will need 100 watts as a back-line instrument but if you choose to put the keyboards directly through the PA to the front of house, bear in mind that without a mixer they will be a distraction for the vocalist. Those pieces of kit which do not have a volume control - the drummer and the singer - now need to be considered. The vocals will definitely need a system that delivers over guitars, bass and drums to a room full of noise absorbing people (and audiences absorb the higher frequencies more efficiently than the lower ones), so PA's are first and foremost the province of the vocalist, but also for keyboards and, if you chose to microphone them, the drums.
Monitors
You need stage monitors so the singer can hear themselves and the rest of the band can hear the singer. A monitor is a speaker, often quite small and wedge shaped, which can be pointed at the singer without hiding him and generally raised at the front edge by a stand (or propped up by an old brick) to project better. Add more monitors so the rest of the band can hear the singer and position one of these next to the drummer. You'll need a separate power amplifier to drive the monitors although it needn't be as powerful as a PA power amp, and if you have extra acoustic instruments you will need to put these through the monitors too. Look for monitors of 100W, you can get active ones with built in amps or go for a monitor amp with separate speakers. Understand, too, that your guitar and bass amps are, on-stage, monitors. You need to set these so that you can hear yourself and the other band members, and that they can hear you as well as themselves. This is the trickiest part and when sound wars break out on stage, often a competition over being loudest, it's the audience that suffers. Don't make the mistake of turning up your amps to impress the audience as you will just be unbalancing the band's sound. In very small venues and for mainly acoustic bands, the monitors can be angled to spill sound to the audience.
You now have control and balance issues to consider. Decision one: either you balance the back line to the drummer or you microphone the drums and balance through the PA . There are compromises possible when playing small venues where it may be effective to simply microphone the kick drum.
PA
To the singer, the PA is what an amplifier is to a guitarist, but it's much more besides. What goes to the PA goes through a mixer. These days a mixing desk capable of handling the whole band can be picked up for the price of a low mid-range guitar. Given that many venues, even smaller ones, now have their own PA systems, including a mixing desk, you will need to come to terms with these either way. At the basic level if you only have vocals going through the PA you will only need 100W per channel and a couple of full range speakers with stands. The speakers will have a ten, twelve or fifteen inch bass speaker and a horn to handle the high notes. You'll need to raise the horns above the audience or the people at the front will absorb all of the treble and the rest of the room will get mush. This is why most PA systems feature stands, so use them! Make sure the cabinets are well to the front of the vocalist or your back-line sound could overpower the vocal mike and set up a howling feedback loop. If you've got your on-stage sound right then you won't get this problem from the back-line but if you do then you now know the answer. Turn down the back-line!
Jez Rogers is a guitarist/singer performing both solo and with several groups. His Sea Company project promotes local music with training and advice on setting up bands sound systems for live performance. Jez writes from hard earned experience, his newsletter for news, reviews, guitar tuition and advice on equipment for live performance and home recording is available free at http://sea-company.heart-shapedworld.com/index.html
(c) Jez Rogers 2009
Article Source: http://EzineArticles.com/?expert=Jez_Rogers
Why? It's monitoring - or to be precise a lack of it! Your singer will only be able to sing in tune if he can hear what he is singing. Your guitarists will only bend notes accurately if they can hear their own guitars. Bass and drums will only lock in if they can hear each other, and each of you will only know where you are in a song if you can hear the rest of the band. It's wholly different to the confines of the garage or practice space and this can really throw you all. You will be struggling to hear the overall sound and may even have trouble in properly hearing your part of it. No matter how good you all are as musicians, no matter how much you've practised, without good monitoring you will end up out of time, out of tune and wishing you'd stayed at home. When the on-stage sound is wrong, amplifying it will just tell the audience how wrong it is.
For bands of three to six people with electric guitars and bass, a drummer, a singer and possibly a keyboard, playing in small venues to audiences of less than 200 (a typical start up scenario) your amplification needs are threefold:
1) Back line - this includes your guitar and bass amps, your drummer
2) Monitors - these are on-stage speakers relaying "fold-back" - your own sound
3) PA - the front of house sound which the audience hears
Notice that 1) and 2) create your on-stage sound whilst 3) delivers the on-stage sound to the front of house. Lets take them one at a time:
Backline
You will need 30 to 50watts RMS for your guitar to match the drums. The bass will need 50 to100 watts. If you are using keyboards they will need 100 watts as a back-line instrument but if you choose to put the keyboards directly through the PA to the front of house, bear in mind that without a mixer they will be a distraction for the vocalist. Those pieces of kit which do not have a volume control - the drummer and the singer - now need to be considered. The vocals will definitely need a system that delivers over guitars, bass and drums to a room full of noise absorbing people (and audiences absorb the higher frequencies more efficiently than the lower ones), so PA's are first and foremost the province of the vocalist, but also for keyboards and, if you chose to microphone them, the drums.
Monitors
You need stage monitors so the singer can hear themselves and the rest of the band can hear the singer. A monitor is a speaker, often quite small and wedge shaped, which can be pointed at the singer without hiding him and generally raised at the front edge by a stand (or propped up by an old brick) to project better. Add more monitors so the rest of the band can hear the singer and position one of these next to the drummer. You'll need a separate power amplifier to drive the monitors although it needn't be as powerful as a PA power amp, and if you have extra acoustic instruments you will need to put these through the monitors too. Look for monitors of 100W, you can get active ones with built in amps or go for a monitor amp with separate speakers. Understand, too, that your guitar and bass amps are, on-stage, monitors. You need to set these so that you can hear yourself and the other band members, and that they can hear you as well as themselves. This is the trickiest part and when sound wars break out on stage, often a competition over being loudest, it's the audience that suffers. Don't make the mistake of turning up your amps to impress the audience as you will just be unbalancing the band's sound. In very small venues and for mainly acoustic bands, the monitors can be angled to spill sound to the audience.
You now have control and balance issues to consider. Decision one: either you balance the back line to the drummer or you microphone the drums and balance through the PA . There are compromises possible when playing small venues where it may be effective to simply microphone the kick drum.
PA
To the singer, the PA is what an amplifier is to a guitarist, but it's much more besides. What goes to the PA goes through a mixer. These days a mixing desk capable of handling the whole band can be picked up for the price of a low mid-range guitar. Given that many venues, even smaller ones, now have their own PA systems, including a mixing desk, you will need to come to terms with these either way. At the basic level if you only have vocals going through the PA you will only need 100W per channel and a couple of full range speakers with stands. The speakers will have a ten, twelve or fifteen inch bass speaker and a horn to handle the high notes. You'll need to raise the horns above the audience or the people at the front will absorb all of the treble and the rest of the room will get mush. This is why most PA systems feature stands, so use them! Make sure the cabinets are well to the front of the vocalist or your back-line sound could overpower the vocal mike and set up a howling feedback loop. If you've got your on-stage sound right then you won't get this problem from the back-line but if you do then you now know the answer. Turn down the back-line!
Jez Rogers is a guitarist/singer performing both solo and with several groups. His Sea Company project promotes local music with training and advice on setting up bands sound systems for live performance. Jez writes from hard earned experience, his newsletter for news, reviews, guitar tuition and advice on equipment for live performance and home recording is available free at http://sea-company.heart-shapedworld.com/index.html
(c) Jez Rogers 2009
Article Source: http://EzineArticles.com/?expert=Jez_Rogers
Friday 6 November 2009
Singers And Bands - The Artist Showcase
After attending countless artist showcases through the years as a former talent booking agent with the William Morris Agency, I've decided to touch on some practical ideas that will help promote your artist career and give you an increased chance at a possible record deal. After exploring much of the information available online, I determined to stay with easily grasped concepts and ideas that would help artists avoid some of the common mistakes.
First let's make it clear that not every act deserves an artist showcase, at least not in the light of pandering to record labels in an ongoing campaign to secure a record deal. If you've read any of my articles, you know I try to tell it like it is and so once again, I will not shy away from the truth that not every artist deserves an outlet to showcase their "talent." The reason is not simply because the band is no good, but because maybe there is not a maturity or serious quality from the members or a definitive goal in place that everyone is rallying around. Other reasons may include lack of a unique playing quality or an act that is simply playing cover tunes. Let's talk about cover tunes for a minute.
Don't play cover tunes unless they are specifically asked for, or unless you are a cover band playing wedding gigs, etc. If you are truly looking to get a record deal, then showcase your own music. This notion that your audience can relate to you and your band simply because you are playing music that everyone knows is false and misguided logic. Would you have cared, the first time you heard one of your favorite groups, that you knew any of the material - I bet not. You were so into the music and groove you wanted to hear more and buy the record. You think of big groups today that at one point were nobody, and just imagine hearing them for the first time, would it have mattered? - I bet I'm right again. Moral of the story, play your own music.
Before you begin to look at the possibility of a showcase, look at your objectives. Each showcase doesn't necessarily have to be about the record deal, but that should certainly be your ultimate objective and therefore, everything that you bring to the table ought to encompass and revolve around that goal. For example, you might showcase a particular groove and set of songs, which you would like to take out on the track and test. Is the audience really digging it or is it not you. Likewise, you can showcase for a lesser goal, but yet an important stepping stone to a record deal signing like pushing upcoming events or visibility to obtain additional bookings, etc.
As you start planning a showcase, who will attend? - Friends or will music industry personnel be present? Each artist showcase ought to be driven by a marketing approach. Do you have an artist logo, professional bios, pictures and press kits made? These can not be a "friend of the group did it for us," looking press kits. They have to shine and look pro like music industry individuals are already in play and are looking at your act. Don't overlook these elements. You might check out artist press kits, bios and press blurb writing at ReelMusician.com.
How will you go about promoting your showcase? You have to look beyond stapling flyers to telephone polls, etc. Have you thought about creating a jingle or station ID or local radio personality piece for free in hopes that you will get some radio and TV exposure? You ought to look at local radio stations and write a mix according to the style of the station and your band - see if you can't get some promotion that way. Cable TV advertising is fairly inexpensive. You might consider going in with everyone in the band and buying some advertising from cable or local TV stations.
If you don't already have it, and I'm sure most do, get your web site up and going and make sure that you have a page for upcoming events along with pictures, bio, contact page. Websites do not have to be expensive. You can get your website hosted for $5 - $10 a month. You most likely won't get a lot of traffic, but you will get credibility with the public and within the music industry crowd - This will prove to be invaluable later on down the road.
What will your showcase consist of and what can you do to stand out from the crowd? Your act needs to look like they've been at this for years with a comfort level exuding from who the band is. How long is the showcase? You've heard the old expression, always leave the crowd wanting to hear more. Far better to do a rather short showcase with knock out tunes then a lengthy, drawn out, can't wait to get out of there, gig. Work with your song lineup and tweak the number and length of your set at rehearsal until it feels right. Have everything figured right up front. Who's going to speak when and try to hit all of the "what ifs," as much as you can. You want this showcase to "wow" the listeners and create some momentum and energy.
Re-think your image and make sure that it matches who you are. People are not that stupid and can almost immediately recognize when an image is forced and manipulated and not natural to the group. Better to have a natural image, true to who you are, than an image that you think just has to go with your style of music.
In closing, make each and every showcase count, with calculated marketing and a thought through line-up so when the music industry execs start showing up, they have something to go back to the office with!
Mr Gauger is a former talent booking agent with the William Morris Agency and is the founder of www.ReelMusician.com. You may contact the author at tgauger@reelmusician.com or 615-300-5030. In addition, Free e-books "The Jingle Singer's Guide," and "Secrets To Great Song Demos," may be downloaded at http://www.ReelMusician.com
First let's make it clear that not every act deserves an artist showcase, at least not in the light of pandering to record labels in an ongoing campaign to secure a record deal. If you've read any of my articles, you know I try to tell it like it is and so once again, I will not shy away from the truth that not every artist deserves an outlet to showcase their "talent." The reason is not simply because the band is no good, but because maybe there is not a maturity or serious quality from the members or a definitive goal in place that everyone is rallying around. Other reasons may include lack of a unique playing quality or an act that is simply playing cover tunes. Let's talk about cover tunes for a minute.
Don't play cover tunes unless they are specifically asked for, or unless you are a cover band playing wedding gigs, etc. If you are truly looking to get a record deal, then showcase your own music. This notion that your audience can relate to you and your band simply because you are playing music that everyone knows is false and misguided logic. Would you have cared, the first time you heard one of your favorite groups, that you knew any of the material - I bet not. You were so into the music and groove you wanted to hear more and buy the record. You think of big groups today that at one point were nobody, and just imagine hearing them for the first time, would it have mattered? - I bet I'm right again. Moral of the story, play your own music.
Before you begin to look at the possibility of a showcase, look at your objectives. Each showcase doesn't necessarily have to be about the record deal, but that should certainly be your ultimate objective and therefore, everything that you bring to the table ought to encompass and revolve around that goal. For example, you might showcase a particular groove and set of songs, which you would like to take out on the track and test. Is the audience really digging it or is it not you. Likewise, you can showcase for a lesser goal, but yet an important stepping stone to a record deal signing like pushing upcoming events or visibility to obtain additional bookings, etc.
As you start planning a showcase, who will attend? - Friends or will music industry personnel be present? Each artist showcase ought to be driven by a marketing approach. Do you have an artist logo, professional bios, pictures and press kits made? These can not be a "friend of the group did it for us," looking press kits. They have to shine and look pro like music industry individuals are already in play and are looking at your act. Don't overlook these elements. You might check out artist press kits, bios and press blurb writing at ReelMusician.com.
How will you go about promoting your showcase? You have to look beyond stapling flyers to telephone polls, etc. Have you thought about creating a jingle or station ID or local radio personality piece for free in hopes that you will get some radio and TV exposure? You ought to look at local radio stations and write a mix according to the style of the station and your band - see if you can't get some promotion that way. Cable TV advertising is fairly inexpensive. You might consider going in with everyone in the band and buying some advertising from cable or local TV stations.
If you don't already have it, and I'm sure most do, get your web site up and going and make sure that you have a page for upcoming events along with pictures, bio, contact page. Websites do not have to be expensive. You can get your website hosted for $5 - $10 a month. You most likely won't get a lot of traffic, but you will get credibility with the public and within the music industry crowd - This will prove to be invaluable later on down the road.
What will your showcase consist of and what can you do to stand out from the crowd? Your act needs to look like they've been at this for years with a comfort level exuding from who the band is. How long is the showcase? You've heard the old expression, always leave the crowd wanting to hear more. Far better to do a rather short showcase with knock out tunes then a lengthy, drawn out, can't wait to get out of there, gig. Work with your song lineup and tweak the number and length of your set at rehearsal until it feels right. Have everything figured right up front. Who's going to speak when and try to hit all of the "what ifs," as much as you can. You want this showcase to "wow" the listeners and create some momentum and energy.
Re-think your image and make sure that it matches who you are. People are not that stupid and can almost immediately recognize when an image is forced and manipulated and not natural to the group. Better to have a natural image, true to who you are, than an image that you think just has to go with your style of music.
In closing, make each and every showcase count, with calculated marketing and a thought through line-up so when the music industry execs start showing up, they have something to go back to the office with!
Mr Gauger is a former talent booking agent with the William Morris Agency and is the founder of www.ReelMusician.com. You may contact the author at tgauger@reelmusician.com or 615-300-5030. In addition, Free e-books "The Jingle Singer's Guide," and "Secrets To Great Song Demos," may be downloaded at http://www.ReelMusician.com
Thursday 5 November 2009
UK's Music Scene - Going Under?
The UK music scene has lost its allure and excitement, electronica artist and vegan Moby declared. Moby continued his critique of the said industry - most of the emerging acts were 'laddish' examples of 'pub rock', Moby said a few months ago.
Moby's noteworthy rant was commendable for a few reasons. One of them is that he finally made a stand, after hiphop star Eminem lambasted him as being effete and spineless in one of his songs (and its subsequent music video) some years back. The other reason is that Moby may have actually hit the nail right on the head. What happened to the once-innovative UK scene?
Being a music fan myself, I'd have to say that all the bands that come from today's UK scene are mostly mainstream acts that sound generic. That scathing comment from Moby may possess more than a kernel of truth. The laddish, pub-rock bands he referred to could apply to the more popular artists and bands from UK, such as Coldplay, Kaiser Chiefs, Razorlight, and even seminal alternative act Oasis. Kasabian has even joined the mix.
However, this name-dropping is quite indicative of the industry, whose mainstream acts have crossed over and developed followings in America and other parts of the world. Having a larger audience can tend to change a band or singer's sound, from inspired and groundbreaking to lackadaisical and generic - see Snow Patrol as an example.
Independent, DIY labels such as Winning Sperm Party are helping break the molds from where many of today's artists are cast. Some of these companies even release music from their artists for free. Bands such as Dananananakroyd, Dinosaur Pile Up, The Joy Formidable, and We Were Promised Jetpacks are beginning to make a stir. Even promising upstarts Los Campesinos! are proving Moby wrong, being as far from pub rock as can be.
The UK music scene isn't anywhere near its death throes, when you think about it. Maybe Moby just needs to dig a little deeper.
Read free music reviews and other insightful and entertaing articles. Visit the site for all music junkies.
Article Source: http://EzineArticles.com/?expert=Ryan_Jay_Crisostomo
Moby's noteworthy rant was commendable for a few reasons. One of them is that he finally made a stand, after hiphop star Eminem lambasted him as being effete and spineless in one of his songs (and its subsequent music video) some years back. The other reason is that Moby may have actually hit the nail right on the head. What happened to the once-innovative UK scene?
Being a music fan myself, I'd have to say that all the bands that come from today's UK scene are mostly mainstream acts that sound generic. That scathing comment from Moby may possess more than a kernel of truth. The laddish, pub-rock bands he referred to could apply to the more popular artists and bands from UK, such as Coldplay, Kaiser Chiefs, Razorlight, and even seminal alternative act Oasis. Kasabian has even joined the mix.
However, this name-dropping is quite indicative of the industry, whose mainstream acts have crossed over and developed followings in America and other parts of the world. Having a larger audience can tend to change a band or singer's sound, from inspired and groundbreaking to lackadaisical and generic - see Snow Patrol as an example.
Independent, DIY labels such as Winning Sperm Party are helping break the molds from where many of today's artists are cast. Some of these companies even release music from their artists for free. Bands such as Dananananakroyd, Dinosaur Pile Up, The Joy Formidable, and We Were Promised Jetpacks are beginning to make a stir. Even promising upstarts Los Campesinos! are proving Moby wrong, being as far from pub rock as can be.
The UK music scene isn't anywhere near its death throes, when you think about it. Maybe Moby just needs to dig a little deeper.
Read free music reviews and other insightful and entertaing articles. Visit the site for all music junkies.
Article Source: http://EzineArticles.com/?expert=Ryan_Jay_Crisostomo
UK's Music Scene - Going Under?
The UK music scene has lost its allure and excitement, electronica artist and vegan Moby declared. Moby continued his critique of the said industry - most of the emerging acts were 'laddish' examples of 'pub rock', Moby said a few months ago.
Moby's noteworthy rant was commendable for a few reasons. One of them is that he finally made a stand, after hiphop star Eminem lambasted him as being effete and spineless in one of his songs (and its subsequent music video) some years back. The other reason is that Moby may have actually hit the nail right on the head. What happened to the once-innovative UK scene?
Being a music fan myself, I'd have to say that all the bands that come from today's UK scene are mostly mainstream acts that sound generic. That scathing comment from Moby may possess more than a kernel of truth. The laddish, pub-rock bands he referred to could apply to the more popular artists and bands from UK, such as Coldplay, Kaiser Chiefs, Razorlight, and even seminal alternative act Oasis. Kasabian has even joined the mix.
However, this name-dropping is quite indicative of the industry, whose mainstream acts have crossed over and developed followings in America and other parts of the world. Having a larger audience can tend to change a band or singer's sound, from inspired and groundbreaking to lackadaisical and generic - see Snow Patrol as an example.
Independent, DIY labels such as Winning Sperm Party are helping break the molds from where many of today's artists are cast. Some of these companies even release music from their artists for free. Bands such as Dananananakroyd, Dinosaur Pile Up, The Joy Formidable, and We Were Promised Jetpacks are beginning to make a stir. Even promising upstarts Los Campesinos! are proving Moby wrong, being as far from pub rock as can be.
The UK music scene isn't anywhere near its death throes, when you think about it. Maybe Moby just needs to dig a little deeper.
Read free music reviews and other insightful and entertaing articles. Visit the site for all music junkies.
Article Source: http://EzineArticles.com/?expert=Ryan_Jay_Crisostomo
Moby's noteworthy rant was commendable for a few reasons. One of them is that he finally made a stand, after hiphop star Eminem lambasted him as being effete and spineless in one of his songs (and its subsequent music video) some years back. The other reason is that Moby may have actually hit the nail right on the head. What happened to the once-innovative UK scene?
Being a music fan myself, I'd have to say that all the bands that come from today's UK scene are mostly mainstream acts that sound generic. That scathing comment from Moby may possess more than a kernel of truth. The laddish, pub-rock bands he referred to could apply to the more popular artists and bands from UK, such as Coldplay, Kaiser Chiefs, Razorlight, and even seminal alternative act Oasis. Kasabian has even joined the mix.
However, this name-dropping is quite indicative of the industry, whose mainstream acts have crossed over and developed followings in America and other parts of the world. Having a larger audience can tend to change a band or singer's sound, from inspired and groundbreaking to lackadaisical and generic - see Snow Patrol as an example.
Independent, DIY labels such as Winning Sperm Party are helping break the molds from where many of today's artists are cast. Some of these companies even release music from their artists for free. Bands such as Dananananakroyd, Dinosaur Pile Up, The Joy Formidable, and We Were Promised Jetpacks are beginning to make a stir. Even promising upstarts Los Campesinos! are proving Moby wrong, being as far from pub rock as can be.
The UK music scene isn't anywhere near its death throes, when you think about it. Maybe Moby just needs to dig a little deeper.
Read free music reviews and other insightful and entertaing articles. Visit the site for all music junkies.
Article Source: http://EzineArticles.com/?expert=Ryan_Jay_Crisostomo
Wednesday 4 November 2009
Playing in a Band
Playing in a Band A successful band is more than a group of good musicians - There are many other factors besides musicianship that affect the success of a group. Today I would like to outline some of them so that you may avoid the pitfalls and problems that all bands face when trying to achieve success.
Firstly, I would like to talk about group direction. Before anyone even thinks about picking up their instrument, the direction of the group should be discussed and agreed upon. There are a few different directions a band can go. A '60/40' group is one that plays approximately 60% old pop standards and 40% 'top 40' tunes. A band heading in this direction will play most of its gigs at dances, hotels, weddings etc. and can be assured of a steady income. Recognition for a band like this will probably be restricted to a local level.
Another direction a band can head is to play mainly original material and aim for a recording contract and tours. A band heading in this direction will not make a lot of money until they are well known.
When starting a group, it may be better to go with a '60/40' group to gain experience and money for better gear. Whichever group you decide on, make sure that you all agree on the number of musicians, the types of instruments and the style of music that you are going to play.
You must choose a style of music that everyone in the band enjoys. It is a good idea to listen to other established groups playing live to gauge the popularity of different styles and to get a feel for which genre you would like to play in. Once you have decided upon a style, stick to it. You will notice that your crowd will get smaller because you are playing to a niche market; but you need to remember that you can't please everyone and it is far better to give really pleasing shows to a select group than average shows to many.
It is extremely important to think about the structure of your group. Basically, a group can be broken down into two parts - the 'rhythm section' and the 'lead section'. The 'rhythm section' includes the bass guitarist, the drummer and the rhythm guitarist. It is the job of the rhythm section to lay down the beat of the piece of music. The drummer and bassist should work together to set the beat up; the rhythm guitarist should fill the beat to give the whole rhythm a full finish.
The 'lead section' includes the lead guitarist the vocalist and other things like the keyboardist etc. This section should work together to embellish upon the beat that the rhythm section sets up.
It is important that each member does their part and does not over do it. You must remember that you are working as a team in order to achieve a combined sound.
If your group is really serious about getting out and playing and making a real impact on the music scene, then you should spend a lot of time on rehearsal - probably more time on that than anything else (apart from maybe sleep). It is important to be organized and to not let each other down as bands often breakup over commitment issues. When you start rehearsal, make sure that you have a goal for the session and that you keep record of what you achieve.
Rehearsal is important but I really can't stress enough to you the importance of playing to a crowd. You will gain 20 times the amount of experience on stage as you would in the rehearsal room. Work on a good stage appearance and think about the things that you are going to say to your audience. It is most important to connect with your audience. You should practice these things in the rehearsal room.
It's not all band work - you need to practice by yourself as well. Think of it as your responsibility to the other members in the band to keep your skill level up/increasing and to know your parts as best you can before you get to rehearsal. You will save countless hours if you work on band music outside of band rehearsal.
The most important thing when it comes to making a successful and tight band is unity. If the band works as one, it will achieve good things.
http://www.learn-electric-guitar.org
Article Source: http://EzineArticles.com/?expert=Steve_Robbo
Firstly, I would like to talk about group direction. Before anyone even thinks about picking up their instrument, the direction of the group should be discussed and agreed upon. There are a few different directions a band can go. A '60/40' group is one that plays approximately 60% old pop standards and 40% 'top 40' tunes. A band heading in this direction will play most of its gigs at dances, hotels, weddings etc. and can be assured of a steady income. Recognition for a band like this will probably be restricted to a local level.
Another direction a band can head is to play mainly original material and aim for a recording contract and tours. A band heading in this direction will not make a lot of money until they are well known.
When starting a group, it may be better to go with a '60/40' group to gain experience and money for better gear. Whichever group you decide on, make sure that you all agree on the number of musicians, the types of instruments and the style of music that you are going to play.
You must choose a style of music that everyone in the band enjoys. It is a good idea to listen to other established groups playing live to gauge the popularity of different styles and to get a feel for which genre you would like to play in. Once you have decided upon a style, stick to it. You will notice that your crowd will get smaller because you are playing to a niche market; but you need to remember that you can't please everyone and it is far better to give really pleasing shows to a select group than average shows to many.
It is extremely important to think about the structure of your group. Basically, a group can be broken down into two parts - the 'rhythm section' and the 'lead section'. The 'rhythm section' includes the bass guitarist, the drummer and the rhythm guitarist. It is the job of the rhythm section to lay down the beat of the piece of music. The drummer and bassist should work together to set the beat up; the rhythm guitarist should fill the beat to give the whole rhythm a full finish.
The 'lead section' includes the lead guitarist the vocalist and other things like the keyboardist etc. This section should work together to embellish upon the beat that the rhythm section sets up.
It is important that each member does their part and does not over do it. You must remember that you are working as a team in order to achieve a combined sound.
If your group is really serious about getting out and playing and making a real impact on the music scene, then you should spend a lot of time on rehearsal - probably more time on that than anything else (apart from maybe sleep). It is important to be organized and to not let each other down as bands often breakup over commitment issues. When you start rehearsal, make sure that you have a goal for the session and that you keep record of what you achieve.
Rehearsal is important but I really can't stress enough to you the importance of playing to a crowd. You will gain 20 times the amount of experience on stage as you would in the rehearsal room. Work on a good stage appearance and think about the things that you are going to say to your audience. It is most important to connect with your audience. You should practice these things in the rehearsal room.
It's not all band work - you need to practice by yourself as well. Think of it as your responsibility to the other members in the band to keep your skill level up/increasing and to know your parts as best you can before you get to rehearsal. You will save countless hours if you work on band music outside of band rehearsal.
The most important thing when it comes to making a successful and tight band is unity. If the band works as one, it will achieve good things.
http://www.learn-electric-guitar.org
Article Source: http://EzineArticles.com/?expert=Steve_Robbo
Tuesday 3 November 2009
Great Guitar Songs For a Band
Like all great guitar based bands you need some great guitar songs but what exactly makes a great guitar song? Well there are a number of aspects such as an irresistible riff, a solo or jam that still impresses even after several times of listening to it and a final power chord that blows you away, causing you to replay the song time and time again. It is these aspects that make up some of the greatest songs such as Purple Haze - Jimmy Hendrix or A Hard Day's Night - The Beatles.
It is within the notes of the song that determine the greatest guitar moments, which is evident in songs such as the above as well as Johnny B. Goode - Chuck Berry and Brown Sugar - The Rolling Stones. The notes of these songs portray a mixture of desire, fury, despair and joy but they do it in such a way that makes you feel all of these emotions at once. A great guitar song for a band has the need to say something new and to say it loud. This is because rock has a sound associated with impendence and taking a stand and the guitar is essential to undertaking this.
Great guitar songs have the ability to combine a mixture of styles and pull it off perfectly and it is great guitar songs, such as the ones that I have previously mentioned that give not only new and emerging bands the ability to gain an ear for music, but it also allows individuals too as well. It is through listening intently to songs that allows you to be able to distinguish between notes.
No matter how advanced you are with your guitar playing there will be some great guitar songs out there that are perfect for you, one example of this can be seen within the number of great guitar songs out there for guitar beginners.
Back In the USSR - The Beatles, Suffragette City - Bowie and Basket Case - Green Day as well as Molly's Chamber - Kings of Leon are all prime examples of great guitar songs that are perfect for bands to play and learn from. Although all of these songs are pretty simple where the guitar work is concerned they are all memorable for the effect they had on the music world.
There are some impressive songs around that are relatively easy to play as they only consist of a few basic chords but by no means does this take anything away from the songs; they are still highly entertaining and well known. Green Day and The Beatles are two examples of this, songs by these artists are considered to be simple and easy to learn, making them the perfect starting point for bands. Talking of starting points for bands, Mr Tambourine Man - Bob Dylan, Wish you Were Here - Pink Floyd and Viva La Vida - Coldplay are also great guitar songs, perfect for new and up and coming band.
All of the above examples of music are all very diverse songs and they all have a difference when it comes to the levels of difficulty associated with playing them but nothing can doubt the fact that they are all great guitar songs.
It is through learning songs such as these that you are able to learn about correct pace and rhythm, which will help you advance onto more complex songs and of course will help you write your own.
Bandjammer is for people who want to have some fun, learning to play great rock songs. Our unique teaching methods support you every step of the way, for both Lead and Rhythm guitar.
Learn easy guitar songs. You can jam with our band, or form you own. Click here for your free guitar songs DVD: http://www.bandjammer.com
Article Source: http://EzineArticles.com/?expert=Andy_Partridge
It is within the notes of the song that determine the greatest guitar moments, which is evident in songs such as the above as well as Johnny B. Goode - Chuck Berry and Brown Sugar - The Rolling Stones. The notes of these songs portray a mixture of desire, fury, despair and joy but they do it in such a way that makes you feel all of these emotions at once. A great guitar song for a band has the need to say something new and to say it loud. This is because rock has a sound associated with impendence and taking a stand and the guitar is essential to undertaking this.
Great guitar songs have the ability to combine a mixture of styles and pull it off perfectly and it is great guitar songs, such as the ones that I have previously mentioned that give not only new and emerging bands the ability to gain an ear for music, but it also allows individuals too as well. It is through listening intently to songs that allows you to be able to distinguish between notes.
No matter how advanced you are with your guitar playing there will be some great guitar songs out there that are perfect for you, one example of this can be seen within the number of great guitar songs out there for guitar beginners.
Back In the USSR - The Beatles, Suffragette City - Bowie and Basket Case - Green Day as well as Molly's Chamber - Kings of Leon are all prime examples of great guitar songs that are perfect for bands to play and learn from. Although all of these songs are pretty simple where the guitar work is concerned they are all memorable for the effect they had on the music world.
There are some impressive songs around that are relatively easy to play as they only consist of a few basic chords but by no means does this take anything away from the songs; they are still highly entertaining and well known. Green Day and The Beatles are two examples of this, songs by these artists are considered to be simple and easy to learn, making them the perfect starting point for bands. Talking of starting points for bands, Mr Tambourine Man - Bob Dylan, Wish you Were Here - Pink Floyd and Viva La Vida - Coldplay are also great guitar songs, perfect for new and up and coming band.
All of the above examples of music are all very diverse songs and they all have a difference when it comes to the levels of difficulty associated with playing them but nothing can doubt the fact that they are all great guitar songs.
It is through learning songs such as these that you are able to learn about correct pace and rhythm, which will help you advance onto more complex songs and of course will help you write your own.
Bandjammer is for people who want to have some fun, learning to play great rock songs. Our unique teaching methods support you every step of the way, for both Lead and Rhythm guitar.
Learn easy guitar songs. You can jam with our band, or form you own. Click here for your free guitar songs DVD: http://www.bandjammer.com
Article Source: http://EzineArticles.com/?expert=Andy_Partridge
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