Produce Your Music At Home - 4 Tips for Producing Your Music at Home May 10, 2008
Posted by admin in : Music , add a commentThanks to some great advances in technology, it’s now possible for any musician to capture their creativity into a recorded song. The best news is you can record and produce your music from the comfort of your home. This is not as difficult as you may think, and nowadays you can produce some music that sounds quite professional, without being an expert sound engineer. Learn 4 Tips for Producing Your Music at Home.
1) Get Your Sound Right Before Recording.
Try to perfect your overall sound before you record your songs. This minimizes the need for post-recording editing. You also want to make sure you use a good pair of headphones and listen carefully to the input stream coming from the microphones you use. You may need to use a mixer to adjust the frequencies. Also, you will want to be careful not to use too much reverb, because you don’t want your input to sound muffled.
2) Learn the Capabilities of Your Recoding Equipment and Software One At a Time, and Try Reading Your Manual.
This will help you avoid getting overwhelmed by all of the technical terms you may not bee too familiar with. You will also get a better understanding of how to use your recording equipment and software, so you can get the most out of your recording experienceand produce better recordings. Also, don’t forget to read your manual. Although you may tend to toss your manual aside, you’ll be surprised with what you can learn with your manual. Reading a manual can really speed up your learning curve, so you can begin producing your own music in no time!
3) Finish Your Songs!
If you are like many musicians, you’ll find that you have your hard drive full of “beginnings”, “openings” and first-halves of songs that you have never finished. You may work on it for a while, then you run out of ideas, or you get bored with it and start working on a new song instead. This is very common, but it is not a great thing to do.
Be disciplined and finish your songs, even if you seem to have lost interest in them. You should hold off on working on a new song until you completely finish your song. Worse case scenario, if you have a great idea for another song, jot down some notes or do a brief sound recording, then come back to it AFTER you finish the song you’ve been working on. If you don’t do this, you are setting yourself up to have several unfinished songs…therefore making it extraordinarily difficult if not impossible for you to reach your creative potential.
4) ALWAYS Create a Backup Copy of Your Music!
The last thing you want to do is create a masterpiece, then lose it all because your system crashes. ALWAYS create a backup copy of your music recordings. Things happen like power outages, hard drive crashes etc. Don’t let these misfortunes rob the world of your unique music creativity. ALWAYS backup your music!
To learn more tips about producing your music at home, visit this URL: http://www.indie-musicnetwork.com/recordmusic.html
ABOUT THE AUTHOR: Traci Crowley provides resources that help you Create, Produce, and Sell your music from home. Visit her website at:
http://www.indie-musicnetwork.com and subscribe to her free newsletter for instant tips and tricks for Creating, Producing, and Selling Your Music from home.
Top Six Reasons to Buy a Digital Piano Instead Of an Acoustic May 9, 2008
Posted by admin in : Music , add a commentThere are several reasons why piano and keyboard players choose digital pianos over their acoustic counterparts.
Let’s talk about some of the main reasons.
1. There is no need for tuning.
Acoustic pianos have to be tuned once or twice a year. However, since the sounds of digital pianos are in digital format, they never go out of tune. Forget about paying a tuner all the time and save.
2. They are portable.
A regular upright piano could weigh over 500 lbs. A grand piano weighs a lot more. Compare this to digital pianos that weigh less than 100 lbs. You could easily carry one under your arm from gig to gig. Transportation is easy. The fact that many of them could be disassembled is also a great advantage.
3. They cost much less.
Acoustic pianos are very expensive and out of the price range of most people. You can save yourself a lot of money by buying a digital piano. For less than $2000, you can get one that is top of the line. You will even find those that cost only a few hundred dollars.
4. You don’t have to disturb neighbors.
Worried about disturbing the neighbors? There is no need to be worried. Simply plug in a pair of headphones and play silently. With an acoustic piano, it’s obvious that you do not have that privilege.
No headphones? Simply use your volume controls. You can play without headphones, strike keys very hard and not produce a disturbing or loud sound.
5. More sounds for less money.
With an acoustic piano, you’re basically limited to one piano sound. Digital pianos come with several sounds, giving you so much variety. Sounds range from several piano voices to organs, vibraphones, guitars, harpsichord, strings, bass, and more.
6. They have MIDI capabilities.
Most digital pianos can be connected to a computer through a MIDI interface. MIDI allows you to interact with other electronic music devices. In this technological age, this feature is becoming increasingly necessary, and digital pianos and keyboards are being used to control large MIDI and recording set-ups.
There are several other advantages of having a digital piano such as:
What are the drawbacks?
Digital piano manufacturers are getting better and better at duplicating the tone of real acoustic pianos. But no matter how well the piano sound is sampled, it will always sound digital. The acoustic sound is far superior to that of a digital piano.
But for the reasons stated above, I’d buy a digital piano any day.
Mantius Cazaubon offers a guide to help you choose a musical keyboard that meets your needs on his site, http://www.yamaha-keyboard-guide.com. Visit Yamaha Keyboard Guide for reviews of Yamaha keyboards, digital pianos and other music keyboards.
Tags: acoustic piano, acoustic pianos, digital piano, digital pianos, piano, pianosMusical Improvisation Basics - 8 Vital Things To Remember May 8, 2008
Posted by admin in : Music , add a commentThis article discusses 8 vital things to remember as improvisers - whether advanced or just getting started:
1. Your technique is probably miles ahead of your ability to think.
This isn’t just true for classical players. I’ve known lots and lots (and lots) of jazz
players who have let their technique run the show as opposed to their brains.
Happens all the time.
With players who are just beginning to improvise, this is vital to keep in mind. Slow
down! Even at furious tempi, you can “long meter” melodic phrases that dance and
skip over the fast tempo - thinking them in real time. And you can have great
precision and musicality in doing so.
FYI, most players who play so fast you are asking yourself how can they think that
stuff in real time - probably aren’t really thinking that stuff in real time. Most are
performing a memorized, yet impressive move. Sort of a human software, “sub-
routine call.” To me, not the real thing.
Personally, I’d rather listen to simple ideas that are inspired than impressive, over-
thought, over-prepared ideas any day. Particularly when they are masquerading as
“improvisation.”
2. You will be playing unexpected notes (mistakes) in the best of situations.
Yes, I know, we’re supposed to KNOW what we are doing. But to get good at
anything, we have to stretch, and stretching means taking risks, and taking risks
means making mistakes.
Over time, you really will be able to hear a melody and execute it flawlessly. But by
then, you’ll be stretching into new realms of harmony or rhythm and hearing more
possibilities in melody - and making more mistakes. It really never stops, if you’re
doing it right.
3. Keep a music manuscript journal.
Write down any ideas that you have - chords, bits of melody, melodic shapes,
anything. Use the notation system devised over hundreds of years. If you can’t be
precise, don’t be. If all you can think of is a rhythm with undefined notes, write the
rhythm with X’s as the notes - defining them as non-specific. Non-specific is good.
4. Here’s a big one - sing with your playing.
Start now. Start with your current repertoire. By doing so, we are unconsciously
hooking up our brain with our voice with our instrument.
What we’re reaching for is the ability to “sing” our lines as we create them,
simultaneously playing the right notes on our instrument. That’s a non-linear jump,
but we can build the muscles for that now.
If you’ve ever heard a Keith Jarrett record, you’ve probably heard all the weird noises
he makes with his phrases. Sounds like he’s squeezing one out (and that’s probably
not far from the truth…). I think I can safely say that he is letting his phrases force
the issue, physically and mentally. He doesn’t sing perfect notes, but almost the
intention of his lines - as I have said in the past, “riding the forward momentum of
the moment’s creation.” You’ll note that the intensity of his vocalizations seem
phrase related, as opposed to note defined. He sure ain’t singing melody.
So, if you can’t sing your phrases, growl them. Get yourself to the next level by
allowing the force of the music to drive the notes and phrases out of you. In time,
they begin to align.
5. Here’s a related one - Think in terms of phrases, as opposed to notes.
Be non-specific. Any way we can keep the big picture in mind is a very good thing. I
have found that painting the big picture, tends to forgive the micro mistakes.
Another approach is to think in terms of texture as opposed to notes. This frees us
from note definition and allows for us to discover the music that transcends note
specific thinking.
6. Create some time every day for you to experiment and not sound good.
This process really does take a daily commitment to achieve. Spend a good 20
minutes playing stuff you are willing to sound outright “wrong.” If you have to wear
headphones with an electronic instrument in order keep the ego unmolested - so be
it. But spend this time.
7. Mistakes often are the best means for discovering something that is unique
to you.
This is a really big one. We are all shaped by a compilation of experiences, positive
and negative, over the course of our life.
Why would music be any different?
When you make a mistake, you may find a new melodic idea, a new harmony, a new
voicing. Write these down in your music manuscript journal (see above). They will
become the basis for your own library of musical ideas that are unique to you.
A caveat. Your mistake generated idea may not be totally original. Your F minor 9
voicing may be the same one 40,000 other pianists may use. But it is your process
that delivered the idea, and that process is entirely unique. It may make you write
material that is particularly F minor 9 centric. Maybe that way, you’ll write music
that hasn’t been thought of before coming from that point of view.
Music improvisation is a non-linear explosion of creative thought.
What makes us unique in life, works the same way in the music that we create. Even
if you were an identical clone of someone, there is no one who has all of your
experiences and made the mistakes you’ve made.
Use this.
8. Finally, build a safe space for this development so you aren’t dissuaded from
your path.
This process is a very personal one. Sharing your results may not impress anyone
except yourself for now. That’s fine. Keep it private as needed. The last thing you
need to do is show your journal to someone who says, “Oh yeah, I’ve seen that
before. So and so did it this way, and so and so did it that way.” Deflation does not
breed continuity.
It’s almost as though you are building your “Chi.” In martial arts, “Chi” is the life
force that is released upon a move (maybe that’s what Jarrett is up to…).
You are interested in building your musical “Chi,” because that will permit things to
happen that won’t happen any other way. Deflating it by sharing with the wrong
people is counter-productive and makes little sense.
I hope that this article has been helpful to you. If you like it, gift it to someone. I
only ask that you credit me as below:
©2005 Ben Dowling, the author of “The Metaphysics of Improvisation” - is a pianist,
composer and an authority on music improvisation who publishes Music-
Improv.com, a web site that provides useful paradigms and practices for musicians
interested in expanding their ability to improvise.
Learn more about the conceptual and metaphysical underpinnings of musical
improvisation by visiting http://www.music-improv.com