It’s never good enough is it? With every new guitar and each new amp, every acquisition of gear and fancy “toys”, satisfaction always seems to be fleeting. It’s only a matter of time before you ask yourself that familiar question, “what can I do to sound better?!” and then run out to add something to the collection.
Spring seems an appropriate time to clear out the music shelves, so I started sorting the CD’s I received for review over the past 8 months into two piles: Reviewed and Not. I was a little surprised to see that about 400 were Not, and nearly 100 were Reviewed. I should mention that I call myself a reviewer instead of a critic because I will not pan somebody’s work in print. It’s hard enough to get a career going without bad press, and not everybody shares my opinions, so I just don’t review those I don’t really like. I will, on occasion, send a critique to a player whose work has real promise even if I don’t review it. So in that spirit I would like to offer up some tips that have come to me from decades of reviewing as well as talking to other reviewers and critics about their methods.
So you’ve completed basic lessons for playing the bass guitar. Are you satisfied with your current repertoire? If not, here are a couple of neat bass guitar playing styles or techniques that are easy to learn and can immediately add depth and variety to your music.
As someone who has been playing drums since a teenager and been an engineer for nearly 15 years one of the most important things for me in a song is getting a great drum sound. Before anything has been mic’d up or you’ve even got into a studio there are 3 important factors that can contribute to getting that all important great drum sound.
The blues guitar scales are really based off of the pentatonic scales with one extra note added. We call that extra note the “blue note” because it gives the pentatonic scale its obvious “bluesyness.” The only real difference between the scales on the guitar and the same scales on any other instrument is the fact that there is more than one way to play them on a guitar. This is due mostly to the fact that the guitar is a stringed instrument and there are at least 3-5 ways to play any unique note.
When thinking in terms of practicing guitar scales and guitar chords, many guitarists tend to overlook the overwhelming value of such practice. After all, some might argue, practicing a guitar scale just for the sake of practicing a guitar scale, doesn’t seem like a very exciting prospect. The same argument, for some, is also applied to learning and playing guitar chords. In other words, why learn a major 9 chord, when a major triad is easier to learn and play? We’ll examine the answer in a moment.
Modal scales, or modes, are the different ways the major scale can function and sound. Any one of the major scale’s seven notes can function as the root. Each root, or mode, has a unique tonality and sound. All music is either based on or thought of in relation to the major scale and its modes. Using and understanding modes is critical to developing a knowledge of guitar music theory and understanding popular songs. Modal scales have caused an enormous amount of confusion and frustration, perhaps more than any other musical concept. Unfortunately, most modal instruction is either incorrect or misleading.Modal scales, or modes, are the different ways the major scale can function and sound. Any one of the major scale’s seven notes can function as the root. Each root, or mode, has a unique tonality and sound. All music is either based on or thought of in relation to the major scale and its modes. Using and understanding modes is critical to developing a knowledge of guitar music theory and understanding popular songs. Modal scales have caused an enormous amount of confusion and frustration, perhaps more than any other musical concept. Unfortunately, most modal instruction is either incorrect or misleading.
Most guitarists, when in their formative years of learning and playing, tend to focus on learning chords. Lead guitar is often something that comes later on, as you need to understand how harmonies work over the existing backing chords.
Decide what the purpose of your studio session is, and ensure all band members are in agreement. Are you doing this recording for personal pleasure, or maybe you want a CD to get gigs or possibly you want a demo to try and get a record deal? Knowing what your aims are will help you make the right decisions during the session.
Hello my friends in guitar land. The most frequent question I receive from my fellow guitar players is how do I get my own sound. First, I would like to say that in my opinion a signature sound comes from your hands not from your gear. And also from a picture you have in your mind of what you want your “voice” to convey. But the idea that certain equipment will help reproduce the sound you have worked so long and hard to achieve is relevant. So I will give you an idea of what I think is a good set-up for certain types of music and specific roles being played in a musical setting. Please remember that I humbly submit these opinions in good fun and are based on over 30+ years of playing live and in the studio, as well a collecting guitars and amps during those years. I know there are plenty of guitar players out there who know a helluva lot more then I do about guitaring.
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