De tempos a tempos preciso de fazer manutenção das minhas guitarras, e como muitos sabem, as cordas custam dinheiro... ter muitas guitarras implica um investimento jeitoso de stock de cordas!!! Stock que é necessário quando se está activo profissionalmente. Conheço muitos guitarristas que deixam as cordas na guitarra para além da morte anunciada das mesmas. Isto serve para vocês também
Para estender a vida útil das cordas, convém fazer alguma manutenção das mesmas e é possível mantê-las praticamente como novas ao toque até perderem eventualmente as suas características e afinação. Comprem uma folha de lixa da mais fina que existe, pode ser uma 1000 que serve para polir metais e acabamentos de madeira. Cortem um pequeno pedaço para manusear facilmente e enrolem por baixo da corda. Vão polindo a corda suavemente ao longo da mesma até ficar livre dos detritos e de qualquer resistência que possam sentir de ferrugem. Repitam nas cordas lisas. Nas cordas enroladas, basta passar uma ou 2 vezes para limpar apenas, visto que não convém desgastar o enrolamento. Vão notar de imediato que a corda ganha o seu brilho e estalo no fretboard novamente.
Para manutenção do fretboard, usem um bom óleo de cedro e uma trincha pequena para chegarem bem a todas as zonas de braço, mesmo com as cordas postas. Deixem a madeira absorver o óleo e depois passem um pano (de micro fibras por ex.) para absorver o excesso. Podem até untar a guitarra toda com óleo, pickups, partes do hardware, parafusos, etc...A guitarra vai agradecer o óleo de cedro e não faz mal nenhum Limpem o excesso, eventualmente vai secar e podem puxar o brilho novamente.
Daqui a uns tempos explico o que faço cada vez que meto cordas novas e quero limpar os trastes até ficarem brilhantes e sem atrito, removendo a oxidação que vai aparecendo nas zonas do braço onde menos tocamos, tipo a partir do traste XX na zona das cordas mais grossas. Garanto que o instrumento fica em perfeitas condições.
By: José Carlos Matos
sábado, 11 de outubro de 2014
sábado, 2 de agosto de 2014
25 Things Every Guitarist Should Know...
01. Nobody likes an a-hole ...Reality check:
Most musicians don't give a damn whether you're the second coming of Jimi, Eddie or Buck Dharma. They just want someone with a good attitude who will play the parts correctly. And since most of your time is spent offstage, relating with the other musicians on a personal level becomes as important as relating to them musically. Remember-no one is indispensable. Just ask David Lee Roth.
02. Having a great feel is your most important musical asset.
No one will want to play with you if you have bad time. You must have a great feel-it's that simple. By "great feel" I mean the ability to lock in with the rhythm section and produce a track that grooves. If there's one thing I would recommend you to constantly work on, it's developing your groove. Listen to the greats to learn how grooves should be played: from rock (Led Zeppelin's "Whole Lotta Love" to 16th-note funk (James Brown's "Sex Machine") to blues shuffle ("Pride and Joy" by Stevie Ray Vaughan). Tape yourself (with a metronome) playing them-you'll be able to isolate and work on your problem areas. Or pick up the excellent JamTrax series (Music Sales), a series of play-along tapes covering everything from blues to alternative to metal, to stay in shape. This is the one area where you should be most brutal in your self-assessment. You'll be a much better player for it.
03. Develop your own sound
There's no better way to learn how to play than to cop licks from your favorite guitarists. The problem to watch out for is when you start sounding too much like your favorite player. Remember, rules, especially musical rules, are made to be broken.
04. Be on time
You wouldn't believe how many musicians don't believe that punctuality is important. It is crucial.
05. Listen, listen, listen!
When you're on stage or in the studio, don't be in your own world-listen and interact with the other musicians you're working with. React to what they're playing. Don't play too loud or get in the way when someone else is soloing. Put their egos ahead of yours-your number will always be called if the other musicians feel that you made them sound better.
06. Know what you want to be
The most successful people in the music business are totally focused-they have specific goals in mind and do whatever is necessary to achieve them. The simple realization that you don't have to be a musician to be a rock star and don't have to be a rock star to be a musician can spare you years of cynicism and bitterness.
07. Play for the song, not for yourself
It's imperative to play what's idiomatically correct. For example, don't play Yngwie licks on Bush's "Glycerine" or a noodly jazz solo on Soundgarden's "Outshined," no matter how much it impresses you. I learned this the hard way while auditioning for a punk singer. I thought I'd show her what a good, well-rounded musician I was and ended a thrash song in A with an Am(add9) chord, instead of a more appropriate A5. I was promptly shown the door.
08. Play with musicians who are better (and better known) than you
There's no faster way to improve and jump up to the next level than to play with great musicians. You'll learn the tricks of the trade, and pick up on their years of experience in the trenches, as well. But if you want to be a star, there's no better way to kick-start your career than by ingratiating yourself with someone famous and be seen sycophantically swilling drinks with him or her at the coolest bar in town.
09. Less is more
Most players you hear or read about pay lip service to what has become the guitardom's ultimate cliché. The fact is, though, what's glibly easy to say is not necessarily easy to do. I learned this on a gig backing up a singer on a cruise ship (It was the actual "Love Boat!"). Back then, I couldn't read music or play over changes very well, so during the first show, in abject fear, I played very sparsely-only what I was sure would work. After the show, the singer told me she had never worked with so sensitive an accompanist.
10. Image does matter This is one of the sad truths about the music business. The good news, however, is that not every musical situation calls for the same image. So use some common sense-if you're going to be auditioning for a wimpy jangle band, don't come dressed like a Marilyn Manson cast-off.
11. It's essential to have a great touch, or vibrato
There are players who say it took them 10-15 years to develop a great vibrato. They're the lucky ones-most never find it. Your touch is like your fingerprints-it's what distinguishes your blues playing, for instance, from that of countless other guitarists. Think of B.B. King or Jimi Hendrix-they are instantly recognizable. There are two main types of vibrato: one generated by the wrist (a la Hendrix and B.B. King) and the other from the fingers (favored more by classical guitarists). To determine which type works for you, check out your favorite guitarists' vibratos and try to imitate them. You can also pick up B.B. King's video Bluesmaster (Volume 1) to see his unique "bee-sting" vibrato demonstrated in-depth.
12. Get your sound/tone together
I can't emphasize enough how important this is. Know your gear well enough so that it works for you, not against you. For example, if you're looking for a Stevie Ray tone, you won't get it with a Les Paul going through a Marshall. You'll need a Strat running through a Fender Bassman (with an Ibanez Tube Screamer for extra punch). Unless you're a studio tech-head, a great guitar and amp (with an overdrive or chorus pedal) will probably sound 10 times better than a refrigerator full of rack-mounted shit (believe me, I've been there).
13. Practice what you don't know, not what you do know
In order to improve, you must practice. That sounds frightening, but let me reassure you that good practicing doesn't necessarily entail sitting grimly in a basement (while the other kids are outside playing), mindlessly running scales and arpeggios-you can get all the technique you need by learning licks from your favorite guitarists. For example, Eric Johnson's intro to "Cliffs of Dover" is a veritable lexicon of minor-pentatonic ideas. Here are the three axioms of good practicing:
A. Master small bits of music first (no more than four to eight notes at a time), then connect them to form longer passages.
B. Start out playing new ideas at a slow tempo (this builds muscle memory), then gradually work up to speed. It's much better to play slow and clean than fast and sloppy.
C. Always practice with a metronome
14. Get your business chops together
Business chops are just as important as musical ones, if not more so. If you want to make money as a musician, you have to start seeing yourself as a business and your music as a product. Acting against the stereotype of a musician (you know — stupid, drunk and gullible), as hard as that may be, will show club owners and record execs that you're not a pushover.
15. Be fluent with both major and minor pentatonic scales
In rock, pop, blues or country situations, knowing these scales will enable you to get by 80 percent of the time. I heartily recommend my book Practical Pentatonics (Music Sales)-a nifty little volume that covers just about all you need to know to be comfortable using the pentatonic scale in real-life gigging situations.
16. As soon as you learn something cool, apply it immediately to a real-life musical situation
Many guitarists learn tons of licks that sound great when played in the practice room. But the minute they get on stage, they have a hard time integrating this new material into their playing. Before you learn something new, you should have an idea where you could fit it in.
17. Learn as many melodies as you can
Not only does learning melodies to tunes (any tunes) increase your repertoire, it also (subconsciously) gives you an incredibly distinct edge in developing your phrasing. Ideally, you should be able to duplicate any melody you hear.
A. Listen to how singers interpret melodies and try to mimic their phrasing on the guitar.
B. Try to play back any, and I mean any, melody you hear-be it a TV commercial, nursery rhyme or the Mister Softee ice cream truck theme.
C. Always learn a melody on more than one place on the guitar neck. You want to play the melody, not have the melody play you.
18. Know your place
When a bandleader asks you to play something a certain way, smile and do it! Don't argue. Don't pout. Don't think you know better. Don't be an asshole. You'll have plenty of time to be in charge when your three-disk epic rock opera adaptation of The Jeffersons gets picked up.
19. Contrary to popular belief, taking lessons and listening to other styles of music doesn't hurt
It never hurts to broaden your scope, no matter how great a player you already are or how much you think you've already learned all there is to know. Opening your mind to other styles and techniques makes you a better, more well-rounded musician. Period. A great teacher can inspire and enable you to develop as a creative, exciting player.
20. Learn as many tunes as possible, from start to finish
It doesn't matter what style you like to play in, the more tunes you know, the easier it is to get a gig or kick ass on a jam session. And there's no excuse for not doing it-even if you're not at the point where you can learn tunes off the recording, you can avail yourself of the hundreds of transcription books out there. Heck, you can learn five new tunes a month just by reading Guitar World!
21. Develop authority as a player
You have to get to the point where you feel as creatively comfortable in front of hundreds of people as you do in front of your sister and the dog. And the only way you can attain that authority is by putting in the time. Playing at home only gets you so far-it's imperative that you play out as soon as you can. Attend jam sessions. Take less-than-ideal gigs, just for the experience. Take any gigs, for that matter-it's the experience that counts!
22. Hang out with other musicians
The best way to get contacts and gigs is to be seen and heard. How can anyone recommend you if they don't know who you are? As unpleasant and greasy as this may sound, do your best to befriend other guitarists. Though there's intense competition amongst players, most of your work will come as a result of recommendations made by other guitarists.
23. Know the fundamentals
Being able to hear common chord changes will help you learn tunes off the radio faster. Knowing a little basic theory will help you with your songwriting and your ability to intuitively come up with rhythm parts. For example, knowing that the harmonic structure of most blues tunes is I-IV-V (C-F-G) and that early rock ballads were usually built on I-vi-IV-V progressions (C-Am-F-G) will help you to play just about any tune in those genres or compose one of your own. One more plug: you also might want to check out my book The Advanced Guitar Case Chord Book (Music Sales) to get an idea of how to apply cool chord voicings to common progressions in all types of music.
24. Be careful out there
As soon as you or your band become somewhat popular, all sorts of characters are going to start crawling out of the gutter with designs on you. Have fun, but don't go overboard. And always keep an eye on your equipment-it's your life's blood. And try to save some cash.
25. Don't s#!t where you eat
Don't f*** the singer. Don't fuck the drummer's girlfriend. Don't f*** the drummer's dog. Don't f*** the drummer. Don't backstab your bandmates. Don't pocket tips. Don't be an a-hole!
Most musicians don't give a damn whether you're the second coming of Jimi, Eddie or Buck Dharma. They just want someone with a good attitude who will play the parts correctly. And since most of your time is spent offstage, relating with the other musicians on a personal level becomes as important as relating to them musically. Remember-no one is indispensable. Just ask David Lee Roth.
02. Having a great feel is your most important musical asset.
No one will want to play with you if you have bad time. You must have a great feel-it's that simple. By "great feel" I mean the ability to lock in with the rhythm section and produce a track that grooves. If there's one thing I would recommend you to constantly work on, it's developing your groove. Listen to the greats to learn how grooves should be played: from rock (Led Zeppelin's "Whole Lotta Love" to 16th-note funk (James Brown's "Sex Machine") to blues shuffle ("Pride and Joy" by Stevie Ray Vaughan). Tape yourself (with a metronome) playing them-you'll be able to isolate and work on your problem areas. Or pick up the excellent JamTrax series (Music Sales), a series of play-along tapes covering everything from blues to alternative to metal, to stay in shape. This is the one area where you should be most brutal in your self-assessment. You'll be a much better player for it.
03. Develop your own sound
There's no better way to learn how to play than to cop licks from your favorite guitarists. The problem to watch out for is when you start sounding too much like your favorite player. Remember, rules, especially musical rules, are made to be broken.
04. Be on time
You wouldn't believe how many musicians don't believe that punctuality is important. It is crucial.
05. Listen, listen, listen!
When you're on stage or in the studio, don't be in your own world-listen and interact with the other musicians you're working with. React to what they're playing. Don't play too loud or get in the way when someone else is soloing. Put their egos ahead of yours-your number will always be called if the other musicians feel that you made them sound better.
06. Know what you want to be
The most successful people in the music business are totally focused-they have specific goals in mind and do whatever is necessary to achieve them. The simple realization that you don't have to be a musician to be a rock star and don't have to be a rock star to be a musician can spare you years of cynicism and bitterness.
07. Play for the song, not for yourself
It's imperative to play what's idiomatically correct. For example, don't play Yngwie licks on Bush's "Glycerine" or a noodly jazz solo on Soundgarden's "Outshined," no matter how much it impresses you. I learned this the hard way while auditioning for a punk singer. I thought I'd show her what a good, well-rounded musician I was and ended a thrash song in A with an Am(add9) chord, instead of a more appropriate A5. I was promptly shown the door.
08. Play with musicians who are better (and better known) than you
There's no faster way to improve and jump up to the next level than to play with great musicians. You'll learn the tricks of the trade, and pick up on their years of experience in the trenches, as well. But if you want to be a star, there's no better way to kick-start your career than by ingratiating yourself with someone famous and be seen sycophantically swilling drinks with him or her at the coolest bar in town.
09. Less is more
Most players you hear or read about pay lip service to what has become the guitardom's ultimate cliché. The fact is, though, what's glibly easy to say is not necessarily easy to do. I learned this on a gig backing up a singer on a cruise ship (It was the actual "Love Boat!"). Back then, I couldn't read music or play over changes very well, so during the first show, in abject fear, I played very sparsely-only what I was sure would work. After the show, the singer told me she had never worked with so sensitive an accompanist.
10. Image does matter This is one of the sad truths about the music business. The good news, however, is that not every musical situation calls for the same image. So use some common sense-if you're going to be auditioning for a wimpy jangle band, don't come dressed like a Marilyn Manson cast-off.
11. It's essential to have a great touch, or vibrato
There are players who say it took them 10-15 years to develop a great vibrato. They're the lucky ones-most never find it. Your touch is like your fingerprints-it's what distinguishes your blues playing, for instance, from that of countless other guitarists. Think of B.B. King or Jimi Hendrix-they are instantly recognizable. There are two main types of vibrato: one generated by the wrist (a la Hendrix and B.B. King) and the other from the fingers (favored more by classical guitarists). To determine which type works for you, check out your favorite guitarists' vibratos and try to imitate them. You can also pick up B.B. King's video Bluesmaster (Volume 1) to see his unique "bee-sting" vibrato demonstrated in-depth.
12. Get your sound/tone together
I can't emphasize enough how important this is. Know your gear well enough so that it works for you, not against you. For example, if you're looking for a Stevie Ray tone, you won't get it with a Les Paul going through a Marshall. You'll need a Strat running through a Fender Bassman (with an Ibanez Tube Screamer for extra punch). Unless you're a studio tech-head, a great guitar and amp (with an overdrive or chorus pedal) will probably sound 10 times better than a refrigerator full of rack-mounted shit (believe me, I've been there).
13. Practice what you don't know, not what you do know
In order to improve, you must practice. That sounds frightening, but let me reassure you that good practicing doesn't necessarily entail sitting grimly in a basement (while the other kids are outside playing), mindlessly running scales and arpeggios-you can get all the technique you need by learning licks from your favorite guitarists. For example, Eric Johnson's intro to "Cliffs of Dover" is a veritable lexicon of minor-pentatonic ideas. Here are the three axioms of good practicing:
A. Master small bits of music first (no more than four to eight notes at a time), then connect them to form longer passages.
B. Start out playing new ideas at a slow tempo (this builds muscle memory), then gradually work up to speed. It's much better to play slow and clean than fast and sloppy.
C. Always practice with a metronome
14. Get your business chops together
Business chops are just as important as musical ones, if not more so. If you want to make money as a musician, you have to start seeing yourself as a business and your music as a product. Acting against the stereotype of a musician (you know — stupid, drunk and gullible), as hard as that may be, will show club owners and record execs that you're not a pushover.
15. Be fluent with both major and minor pentatonic scales
In rock, pop, blues or country situations, knowing these scales will enable you to get by 80 percent of the time. I heartily recommend my book Practical Pentatonics (Music Sales)-a nifty little volume that covers just about all you need to know to be comfortable using the pentatonic scale in real-life gigging situations.
16. As soon as you learn something cool, apply it immediately to a real-life musical situation
Many guitarists learn tons of licks that sound great when played in the practice room. But the minute they get on stage, they have a hard time integrating this new material into their playing. Before you learn something new, you should have an idea where you could fit it in.
17. Learn as many melodies as you can
Not only does learning melodies to tunes (any tunes) increase your repertoire, it also (subconsciously) gives you an incredibly distinct edge in developing your phrasing. Ideally, you should be able to duplicate any melody you hear.
A. Listen to how singers interpret melodies and try to mimic their phrasing on the guitar.
B. Try to play back any, and I mean any, melody you hear-be it a TV commercial, nursery rhyme or the Mister Softee ice cream truck theme.
C. Always learn a melody on more than one place on the guitar neck. You want to play the melody, not have the melody play you.
18. Know your place
When a bandleader asks you to play something a certain way, smile and do it! Don't argue. Don't pout. Don't think you know better. Don't be an asshole. You'll have plenty of time to be in charge when your three-disk epic rock opera adaptation of The Jeffersons gets picked up.
19. Contrary to popular belief, taking lessons and listening to other styles of music doesn't hurt
It never hurts to broaden your scope, no matter how great a player you already are or how much you think you've already learned all there is to know. Opening your mind to other styles and techniques makes you a better, more well-rounded musician. Period. A great teacher can inspire and enable you to develop as a creative, exciting player.
20. Learn as many tunes as possible, from start to finish
It doesn't matter what style you like to play in, the more tunes you know, the easier it is to get a gig or kick ass on a jam session. And there's no excuse for not doing it-even if you're not at the point where you can learn tunes off the recording, you can avail yourself of the hundreds of transcription books out there. Heck, you can learn five new tunes a month just by reading Guitar World!
21. Develop authority as a player
You have to get to the point where you feel as creatively comfortable in front of hundreds of people as you do in front of your sister and the dog. And the only way you can attain that authority is by putting in the time. Playing at home only gets you so far-it's imperative that you play out as soon as you can. Attend jam sessions. Take less-than-ideal gigs, just for the experience. Take any gigs, for that matter-it's the experience that counts!
22. Hang out with other musicians
The best way to get contacts and gigs is to be seen and heard. How can anyone recommend you if they don't know who you are? As unpleasant and greasy as this may sound, do your best to befriend other guitarists. Though there's intense competition amongst players, most of your work will come as a result of recommendations made by other guitarists.
23. Know the fundamentals
Being able to hear common chord changes will help you learn tunes off the radio faster. Knowing a little basic theory will help you with your songwriting and your ability to intuitively come up with rhythm parts. For example, knowing that the harmonic structure of most blues tunes is I-IV-V (C-F-G) and that early rock ballads were usually built on I-vi-IV-V progressions (C-Am-F-G) will help you to play just about any tune in those genres or compose one of your own. One more plug: you also might want to check out my book The Advanced Guitar Case Chord Book (Music Sales) to get an idea of how to apply cool chord voicings to common progressions in all types of music.
24. Be careful out there
As soon as you or your band become somewhat popular, all sorts of characters are going to start crawling out of the gutter with designs on you. Have fun, but don't go overboard. And always keep an eye on your equipment-it's your life's blood. And try to save some cash.
25. Don't s#!t where you eat
Don't f*** the singer. Don't fuck the drummer's girlfriend. Don't f*** the drummer's dog. Don't f*** the drummer. Don't backstab your bandmates. Don't pocket tips. Don't be an a-hole!
terça-feira, 10 de junho de 2014
17 Ways to Kill a Music Career...
(1) Having a shitty, entitled attitude.
If you’re showing up late for gigs, not rehearsing, not supporting your scene, being a dick to your band-mates, and not working slavishly to cultivate your audience online and off, you’re doing a great job of killing your potential career. Now more than ever, the future doesn’t belong to bands that have crappy work ethics.
(2) Being addicted to any substance.
Everyone makes their own choices about drugs, including alcohol. But when those choices downwardly spiral into full-blown addiction, it can quickly threaten the survival of a band. Irritability, missed appointments, detachment, and unexplained absences are the better outcomes; problems with the law, missed shows, stealing from bandmates, violence and death are where things inevitably end if left unchecked.
(3) Relying on a label, manager or anyone besides yourself to build your career.
Even with a label deal, bands can find themselves de-prioritized, or flat-out ignored. But these days labels rarely sign bands that aren’t successfully working and developing their audiences to begin with. Which means that DIY isn’t some alternative approach, it’s essential for the survival, breakthrough, and growth of any artist.
(4) Choosing a name that another band is using.
The costs of picking a name that is already being used include fan confusion, extreme difficulty growing your brand, and lawsuits. So before you pick a name, Google it, check ReverbNation, even check on MySpace. After that, do a trademark search.
(5) Not having a serious web presence.
It’s impossible to be everywhere, but you need to try. That not only means hitting all the usual (and massive) suspects like Facebook, Twitter, and YouTube, but infiltrating sites that attract your target demographic. It also means interacting with the non-stop flow of fans, as much as you possibly can.
Because if you’re not there, eventually they won’t be, either.
(6) Not selling merchandise.
If you’re not setting up a stand at all shows possible with a full range of merchandise, you’re missing out on income that could fill your gas tank and pay for meals (i.e., stuff you need to survive). And if you’re not working the crowd (on-stage and off) and putting the stand in a prominent, well-lit place with credit card processing capabilities, you’re missing out on even more money.
(7) Not touring.
Some artists, like Zoe Keating, make a bulk of their earnings from recordings. But that is getting harder and harder to do, especially as the recording continues to devaluate. Which means if you can’t tour, you’re probably cutting off a huge revenue source.
(8) Making music that sucks.
Forget about sucking: if your music isn’t outrageously great in the eyes of a significant fan base, major changes need to be made. That includes scrapping the band and starting another one.
(9) Choosing band-mates that don’t share your work ethic, goals, or long-term vision.
A band is like a family, except that you can choose the members. If your bandmates aren’t working as hard as you are, aren’t as dedicated or simply aren’t team players, they will distract and drag down your chances of success in an extremely demanding and competitive environment.
(10) Not being completely available.
A good manager will feed you opportunities, online and off, because that’s what you paid him to do. You need to show up to them, and feed the momentum.
The era of the distanced, untouchable rock star has ended.
(11) Being in it ONLY for the money.
You’re delusional and will probably make more money working at McDonald’s. The reality of this business is that an extremely large percentage of artists are poor, and most of the successful ones were poor at one time. Which means if you’re not motivated by the the music, the passion to create and play, and the cameraderie of it all, you should honestly be doing something else.
(12) Paying to inflate; Twitter followers, Facebook likes, and YouTube views.
Labels, venues, and potential managers are all-too-familiar with these scams. But more importantly, paying for fake followers distracts precious resources away from developing organic fans, the lifeblood of any successful artist.
Without real fans, you don’t have a real band, period.
(13) Insisting on recording drunk or seriously high.
It takes twice as long and twice as much to record that way, and the results are half as good. Remember: a recording (whether a single, EP, album, or video) is a permanent record of your artistic accomplishment that can convert millions of fans for decades to come. A crappy recording rarely has the same power. Don't get stoned or drunk to record, ever!
(14) Giving away way too much free music.
This is an error that rappers frequently make, especially when it comes to mixtapes. Because not all of your music has to be free, at least the part that you control. Ultimately, rappers that fail the strategically use mixtapes to promote paid, more structured releases fail to;
(a) generate any meaningful income from their recordings;
(b) encourage their fan bases to pay (or at least give them the opportunity to pay); and
(c) create any meaningful sales record for prospective investors (like labels).
(15) Delivering crappy press-kits.
Venues and festivals typically have tens of thousands of applicants to sift through, and just a few slots to award. A powerful, well-crafted press kit dramatically increases the chances of getting the gig and catapulting a career; a mediocre kit almost guarantees a quick delete.
(16a) Paying to play shows.
This seems to be mostly happening in hip-hop, where shady promoters actually charge a rapper to open for a larger act or participate in a showcase. But this is absolutely the wrong direction to go, especially since it sacrifices real revenue for ‘exposure’ that they typically can’t afford, while the promoter reaps all the upside.
Avoid these deals at all cost, whatever that cost may be.
(16b) Paying to be mentioned on a show flyer.
Why would you do that? Stop the madness. Right now.
(17) Having a violent audience.
It’s hard enough to attract dedicated fans; it’s almost impossible to choose the fans you have. But fans that routinely start fights, incite violence, or bring weapons to shows can seriously threaten the survival of an artist, simply because venue owners and promoters will avoid this artist at all costs. Which means, effectively, you can’t show up for work.
You must develop a strategy to deal with this problem, or risk choking off a critical revenue source.
If you’re showing up late for gigs, not rehearsing, not supporting your scene, being a dick to your band-mates, and not working slavishly to cultivate your audience online and off, you’re doing a great job of killing your potential career. Now more than ever, the future doesn’t belong to bands that have crappy work ethics.
(2) Being addicted to any substance.
Everyone makes their own choices about drugs, including alcohol. But when those choices downwardly spiral into full-blown addiction, it can quickly threaten the survival of a band. Irritability, missed appointments, detachment, and unexplained absences are the better outcomes; problems with the law, missed shows, stealing from bandmates, violence and death are where things inevitably end if left unchecked.
(3) Relying on a label, manager or anyone besides yourself to build your career.
Even with a label deal, bands can find themselves de-prioritized, or flat-out ignored. But these days labels rarely sign bands that aren’t successfully working and developing their audiences to begin with. Which means that DIY isn’t some alternative approach, it’s essential for the survival, breakthrough, and growth of any artist.
(4) Choosing a name that another band is using.
The costs of picking a name that is already being used include fan confusion, extreme difficulty growing your brand, and lawsuits. So before you pick a name, Google it, check ReverbNation, even check on MySpace. After that, do a trademark search.
(5) Not having a serious web presence.
It’s impossible to be everywhere, but you need to try. That not only means hitting all the usual (and massive) suspects like Facebook, Twitter, and YouTube, but infiltrating sites that attract your target demographic. It also means interacting with the non-stop flow of fans, as much as you possibly can.
Because if you’re not there, eventually they won’t be, either.
(6) Not selling merchandise.
If you’re not setting up a stand at all shows possible with a full range of merchandise, you’re missing out on income that could fill your gas tank and pay for meals (i.e., stuff you need to survive). And if you’re not working the crowd (on-stage and off) and putting the stand in a prominent, well-lit place with credit card processing capabilities, you’re missing out on even more money.
(7) Not touring.
Some artists, like Zoe Keating, make a bulk of their earnings from recordings. But that is getting harder and harder to do, especially as the recording continues to devaluate. Which means if you can’t tour, you’re probably cutting off a huge revenue source.
(8) Making music that sucks.
Forget about sucking: if your music isn’t outrageously great in the eyes of a significant fan base, major changes need to be made. That includes scrapping the band and starting another one.
(9) Choosing band-mates that don’t share your work ethic, goals, or long-term vision.
A band is like a family, except that you can choose the members. If your bandmates aren’t working as hard as you are, aren’t as dedicated or simply aren’t team players, they will distract and drag down your chances of success in an extremely demanding and competitive environment.
(10) Not being completely available.
A good manager will feed you opportunities, online and off, because that’s what you paid him to do. You need to show up to them, and feed the momentum.
The era of the distanced, untouchable rock star has ended.
(11) Being in it ONLY for the money.
You’re delusional and will probably make more money working at McDonald’s. The reality of this business is that an extremely large percentage of artists are poor, and most of the successful ones were poor at one time. Which means if you’re not motivated by the the music, the passion to create and play, and the cameraderie of it all, you should honestly be doing something else.
(12) Paying to inflate; Twitter followers, Facebook likes, and YouTube views.
Labels, venues, and potential managers are all-too-familiar with these scams. But more importantly, paying for fake followers distracts precious resources away from developing organic fans, the lifeblood of any successful artist.
Without real fans, you don’t have a real band, period.
(13) Insisting on recording drunk or seriously high.
It takes twice as long and twice as much to record that way, and the results are half as good. Remember: a recording (whether a single, EP, album, or video) is a permanent record of your artistic accomplishment that can convert millions of fans for decades to come. A crappy recording rarely has the same power. Don't get stoned or drunk to record, ever!
(14) Giving away way too much free music.
This is an error that rappers frequently make, especially when it comes to mixtapes. Because not all of your music has to be free, at least the part that you control. Ultimately, rappers that fail the strategically use mixtapes to promote paid, more structured releases fail to;
(a) generate any meaningful income from their recordings;
(b) encourage their fan bases to pay (or at least give them the opportunity to pay); and
(c) create any meaningful sales record for prospective investors (like labels).
(15) Delivering crappy press-kits.
Venues and festivals typically have tens of thousands of applicants to sift through, and just a few slots to award. A powerful, well-crafted press kit dramatically increases the chances of getting the gig and catapulting a career; a mediocre kit almost guarantees a quick delete.
(16a) Paying to play shows.
This seems to be mostly happening in hip-hop, where shady promoters actually charge a rapper to open for a larger act or participate in a showcase. But this is absolutely the wrong direction to go, especially since it sacrifices real revenue for ‘exposure’ that they typically can’t afford, while the promoter reaps all the upside.
Avoid these deals at all cost, whatever that cost may be.
(16b) Paying to be mentioned on a show flyer.
Why would you do that? Stop the madness. Right now.
(17) Having a violent audience.
It’s hard enough to attract dedicated fans; it’s almost impossible to choose the fans you have. But fans that routinely start fights, incite violence, or bring weapons to shows can seriously threaten the survival of an artist, simply because venue owners and promoters will avoid this artist at all costs. Which means, effectively, you can’t show up for work.
You must develop a strategy to deal with this problem, or risk choking off a critical revenue source.
terça-feira, 29 de abril de 2014
Inversão de fase na gravação
A inversão de fase significa que (no caso das guitarras desta produção) a soma do som do canal esquerdo ao som do canal direito, resulta em silêncio.
Isso acontece porque enquanto de um lado sucede uma onda positiva, o mesmo som no lado oposto, apresenta uma onda negativa.
Quando se somam, cancelam-se.
Isso acontece porque enquanto de um lado sucede uma onda positiva, o mesmo som no lado oposto, apresenta uma onda negativa.
Quando se somam, cancelam-se.
Pode suceder por vários motivos:
. Os cabos de sinal (de efeitos das guitarras ou de microfones) à esquerda e à direita estão com ligações invertidas.
. Os microfones usados na gravação das guitarras foram colocados numa posição tal que o sinal que chegava a um se apresentava na fase oposta da onda que se apresentava no outro microfone.
. Os cabos de sinal (de efeitos das guitarras ou de microfones) à esquerda e à direita estão com ligações invertidas.
. Os microfones usados na gravação das guitarras foram colocados numa posição tal que o sinal que chegava a um se apresentava na fase oposta da onda que se apresentava no outro microfone.
quinta-feira, 20 de março de 2014
João Cardoso - Six String Thing
Este é o meu primeiro album instrumental que não tenho em forma física, ainda! Mas tenho em mp3, que podem ouvir e se quiserem adquirir em https://joaocardoso.bandcamp.com/album/six-string-thing
Tenho aqui musicas como "The Chums Live Together" e "Ain´t Nothing But A Bubble"
que foram escritas em 1988 , quando ainda nem sabia nem tocava guitarra, mas que andaram sempre no meu "pensamento musical" a faixa "Attic Rock" inspirada no famoso sótão deste blog.
Ouçam e comentem
This is my first album and a culmination of years of writing and playing.
Written and composed on paper between 2009 to 2013.
Recorded, mixed and Mastered between April and October 2013, in my homestudio, somewhere in Sintra, Portugal
credits
released 25 November 2013
João Cardoso - all instruments, vst´s , arrangements, producing, Mixing , Mastering and Graphic Design
domingo, 12 de janeiro de 2014
Frustação Musical (Parte 2)
Você tem que perguntar a si mesmo que você está escrevendo? suas músicas para Quê?. Se você estiver escrevendo peças instrumentais de guitarra complexos , a fim de receber o reconhecimento e elogios de um grande público , parece que por vezes você já tenha encontrado a decepção que leva à expectativa .
Músicos em geral, têm duas características inerentes : um ego, e uma falta de confiança em seu trabalho. O ego pode ser forte e evidente , para esconder a falta de confiança, mas a falta de confiança leva a uma necessidade desesperada de aprovação para alimentar o ego. Ele sempre volta para o ego.
Assim , os músicos raramente se preocupam com seus longos e instrumentais de guitarra complicado , porque eles tendem a ser mais preocupados com seus próprios longos, instrumentais de guitarra complicados. E toda a gente que não é um músico ativo, não se preocupa com os seus longos e instrumentais de guitarra complicados , porque eles querem ouvir letras, vocais, uma melodia clara e definida , um coro , repetições e familiaridade. Você está trabalhando em uma área muito específica , com uma multidão muito específico.
Musica é expressão e a musica é sua, o que importa é você gostar, se você achar legal colocar o solo na musica inteira coloque-o, não vai nessa onda de '' iriam dizer '', faz oque você gostar que alguém vai dar valor, pode ter certeza.
primeiro: musicos conseguem se auto analisar sim. quando vc termina uma musica, fique uma semana sem ouvir ela, bem longe dela, e depois volte pra escuta-la. assim voce desintoxica seu cerebro, e ele meio que esquece a musica; desso modo da pra analisar de uma boa.
segundo: geralmente os famosos sao os que nao desistiram. da uma passeada pelo youtube, e verá que tem musicas monstruosamente boas com cem exibições, enquanto tem outras nem tao boas com milhoes. de vez em quando vejo umas composições que me dao até vergonha de comparar com as minhas. mas continuo.
terceiro: a musica é sua, voce faz o que quer. mesmo se vc montar uma musica de um acorde só, e ficar tocando uma mesma nota como solo, ela é sua. nao ligue pra criticas, use-as a seu favor.
se for postar aqui, ou em qualquer lugar, é pra escutar opinião dos outros. tanto como meros ouvintes ou como criticos. nao espere sempre um 'que musica linda'', tampouco um ''que musica horrivel''. apenas poste quando estiver satisfeito. se voce gostou da sua musica, outras vão gostar. pode ter certeza.
Assim , os músicos raramente se preocupam com seus longos e instrumentais de guitarra complicado , porque eles tendem a ser mais preocupados com seus próprios longos, instrumentais de guitarra complicados. E toda a gente que não é um músico ativo, não se preocupa com os seus longos e instrumentais de guitarra complicados , porque eles querem ouvir letras, vocais, uma melodia clara e definida , um coro , repetições e familiaridade. Você está trabalhando em uma área muito específica , com uma multidão muito específico.
Musica é expressão e a musica é sua, o que importa é você gostar, se você achar legal colocar o solo na musica inteira coloque-o, não vai nessa onda de '' iriam dizer '', faz oque você gostar que alguém vai dar valor, pode ter certeza.
primeiro: musicos conseguem se auto analisar sim. quando vc termina uma musica, fique uma semana sem ouvir ela, bem longe dela, e depois volte pra escuta-la. assim voce desintoxica seu cerebro, e ele meio que esquece a musica; desso modo da pra analisar de uma boa.
segundo: geralmente os famosos sao os que nao desistiram. da uma passeada pelo youtube, e verá que tem musicas monstruosamente boas com cem exibições, enquanto tem outras nem tao boas com milhoes. de vez em quando vejo umas composições que me dao até vergonha de comparar com as minhas. mas continuo.
terceiro: a musica é sua, voce faz o que quer. mesmo se vc montar uma musica de um acorde só, e ficar tocando uma mesma nota como solo, ela é sua. nao ligue pra criticas, use-as a seu favor.
se for postar aqui, ou em qualquer lugar, é pra escutar opinião dos outros. tanto como meros ouvintes ou como criticos. nao espere sempre um 'que musica linda'', tampouco um ''que musica horrivel''. apenas poste quando estiver satisfeito. se voce gostou da sua musica, outras vão gostar. pode ter certeza.
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