sábado, 16 de maio de 2015
sexta-feira, 15 de maio de 2015
Playing Guitar Instrumentals: Worth it?
It depends.
Most people love the sound of classical or flamenco guitar. Things like Steve
Vai or Satch or that kind of instrumental stuff most people just hear as one
long guitar solo, which is boring.
Do you play guitar because you like it or because you want other people to like it?
You have to ask yourself who you're writing your music for. If you are writing complex instrumental guitar pieces in order to receive recognition and praise from a wide audience, it would seem you've already found the disappointment that expectation leads to.
Musicians in general have two inherent traits: an ego, and a lack of confidence in their work. The ego may be strong and apparent, to hide the lack of confidence, but the lack of confidence leads to a desperate need of approval to feed the ego. It always goes back to the ego.
So, musicians will rarely care about your long, complicated guitar instrumentals because they tend to be more concerned with their own long, complicated guitar instrumentals. And everyone else who isn't an active musician, doesn't care about your long, complicated guitar instrumentals, because they want to hear lyrics, vocals, a clear and defined melody, a chorus, repetition, and familiarity.
You're working in a very specific area, with a very specific crowd. But I can tell you this: no matter what you write, no matter what you play, someone somewhere is going to be a fan of it.
Also it has taken me a while to come to the realisation that the primary motivator should be that you are doing it for yourself, never expect anything from it. Some people are just difficult for any number of reasons (the critics). Really being a muso is just creating sounds in an organised way that means something to the composer. There is no right or wrong only the limitations of culture. you could write and record something and people now could call it drivel until someone hears it down the line and they call it a work of genius. both are neither rigt or wrong.
I've been a (somewhat) dedicated guitar player for 20 years and even I don't want to listen to 'guitar music' You'll always be able to get guitar players to critique your playing and composition, if you want to appeal to a wider audience you're gonna have to give 'em something more musical, that they can relate to.
Music is mostly about relatability (and I mean, feeling you can relate to the actual music, I'm not talking lyrics here) and most people just can't relate to four minutes of guitar playing, because as far as they're concerned, that's just four minutes of some bloke playing the guitar, it's more likely than not that they can't even relate to the voice of the instrument at all, as it just seems to them to be a singular element.
Many times I've been practicing and different people have basically said "I don't know anything about guitar so I don't know if that's good or not" With stuff like Vai-style guitar music, asking your everyday person to listen to it, is like asking them to watch classical russian drama, and then asking them how they felt about all the sub-context.
Make music you have fun making, that you like to listen to and most importantly makes you think "Hell yeah! I'm awesome" Who cares what other people think, I don't know, but I don't think you picked up a guitar for the first time and got into the hobby for them.
The problem with a lot of instrumental music is that the average listener identifies with the sound of a voice leading the melody. That's a start. The other problem is that most instrumental music at the amateur level is just a reason to wank off over a chord progression, with no regard to melody or structure.
Yeah, this is why no one should try to copy other people's styles. What's the point of listening to your music if it's just a poor man's version of someone else's music/style. You don't even necessarily need to be as good as Satriani or Vai or whatever if your music is interesting in other ways.
Guitar instrumentals in general often seem to be too much about playing leads and everything else is more or less half assed. Even if you happen to be a guitarist, make everything in the song good. Don't just make a backing track and a guitar solo. Put equal effort into the drums, bass, piano, overall song structure, etc
the truth is nobody cares how fast you can sweep, how many fingers you use when you tap, how fast you can play that tricky legato lick. even with the more melodic players in that style of music, its very hard and boring to listen to it with the constant wanking and show off (think of michael angelo batio using a 4 neck guitar).
There's one thing I always noticed before becoming a musician/guitarist myself. Example. Typically, guitar solos in general - especially really fast ones...they sound bland to the average listener, like a cluster of random notes. There's too many notes, too much going on to pick up and too fast to really comprehend the music. You can have some amazing melody in there but what good is it if people can't hear it?
I noticed when starting to transcribe pieces, one of the first ones I did was some 140bpm metal song (which isn't even that fast right). There was this double lead part accompanied by orchestra and synth. The whole part was in 16ths for a good 32 bars and on top of this there was screaming vocals. Not until slowing it down to about 40bpm could I hear how beautiful the melodies were and how everything worked together. I couldn't help but think that the melody was "wasted" by being played too fast.
My point here is that complex instrumentals often times can't be appreciated by non-musicians. You might have been in a situation where you had a friend listen to one of your favorite songs and they just said "This is just noise...even I could play this". Obviously they have no idea what they're talking about but they do have a valid point that to them - it really is just noise - and this is true for a ton of complex compositions. You want to write music that everyone can appreciate, it has to be on an appropriate level.
If there is no distinction in what the melody is or what the "solo" parts are in an instrumental piece, no one will want to listen to it. That's why guys like Satriani, Vai, and Gilbert are well-known and admired. In their instrumental works, they have a distinctive meoldy (think Surfin' With the Alien) as well as a seperate and distinctive guitar solo. Being able to have that seperation allows the casual listener to actually enjoy the song. For example, my one neighbor isn't a musician, and he admires Joe Satriani's guitar work and how he's able to have a melodic line along with a solo.
Shred makes me laugh because a) its not technically virtuosic and b) has little composition interest. In other words it sucks because fails at what its purports to showcase.
I don't recall a shredder with decent technique for a long while. Granted, most can alternate pick and sweep but that's it but they don't usually have anything else to their technique. I doubt 99.9% could fingerpick, do a jazz chord solo, or a flamenco.
I have to admit, rather embarrassingly that I was a "shredder" some years ago. It always made me unhappy because I never was where I wanted to be. However I finally realised I needed to unlearn shred, and its taken me a while to unlearn my shredding, and slowly start afresh. Thankfully I am much happier now playing music.
Honestly when it comes down to it, for any kind of art.. be it music, or anything else... you should be doing what you do for you. Do what you love, and love what you do... and if nobody else gets it... then screw them. That doesn't mean you shouldn't want others to like it.. of course everybody wants to be heard and appreciated by others... but ultimately you're art is an expression of what is inside of you... not necessarily what others want to hear. The people who do like what you do will appreciate it... you can't worry about everybody else.
Do you play guitar because you like it or because you want other people to like it?
You have to ask yourself who you're writing your music for. If you are writing complex instrumental guitar pieces in order to receive recognition and praise from a wide audience, it would seem you've already found the disappointment that expectation leads to.
Musicians in general have two inherent traits: an ego, and a lack of confidence in their work. The ego may be strong and apparent, to hide the lack of confidence, but the lack of confidence leads to a desperate need of approval to feed the ego. It always goes back to the ego.
So, musicians will rarely care about your long, complicated guitar instrumentals because they tend to be more concerned with their own long, complicated guitar instrumentals. And everyone else who isn't an active musician, doesn't care about your long, complicated guitar instrumentals, because they want to hear lyrics, vocals, a clear and defined melody, a chorus, repetition, and familiarity.
You're working in a very specific area, with a very specific crowd. But I can tell you this: no matter what you write, no matter what you play, someone somewhere is going to be a fan of it.
Also it has taken me a while to come to the realisation that the primary motivator should be that you are doing it for yourself, never expect anything from it. Some people are just difficult for any number of reasons (the critics). Really being a muso is just creating sounds in an organised way that means something to the composer. There is no right or wrong only the limitations of culture. you could write and record something and people now could call it drivel until someone hears it down the line and they call it a work of genius. both are neither rigt or wrong.
I've been a (somewhat) dedicated guitar player for 20 years and even I don't want to listen to 'guitar music' You'll always be able to get guitar players to critique your playing and composition, if you want to appeal to a wider audience you're gonna have to give 'em something more musical, that they can relate to.
Music is mostly about relatability (and I mean, feeling you can relate to the actual music, I'm not talking lyrics here) and most people just can't relate to four minutes of guitar playing, because as far as they're concerned, that's just four minutes of some bloke playing the guitar, it's more likely than not that they can't even relate to the voice of the instrument at all, as it just seems to them to be a singular element.
Many times I've been practicing and different people have basically said "I don't know anything about guitar so I don't know if that's good or not" With stuff like Vai-style guitar music, asking your everyday person to listen to it, is like asking them to watch classical russian drama, and then asking them how they felt about all the sub-context.
Make music you have fun making, that you like to listen to and most importantly makes you think "Hell yeah! I'm awesome" Who cares what other people think, I don't know, but I don't think you picked up a guitar for the first time and got into the hobby for them.
The problem with a lot of instrumental music is that the average listener identifies with the sound of a voice leading the melody. That's a start. The other problem is that most instrumental music at the amateur level is just a reason to wank off over a chord progression, with no regard to melody or structure.
Yeah, this is why no one should try to copy other people's styles. What's the point of listening to your music if it's just a poor man's version of someone else's music/style. You don't even necessarily need to be as good as Satriani or Vai or whatever if your music is interesting in other ways.
Guitar instrumentals in general often seem to be too much about playing leads and everything else is more or less half assed. Even if you happen to be a guitarist, make everything in the song good. Don't just make a backing track and a guitar solo. Put equal effort into the drums, bass, piano, overall song structure, etc
the truth is nobody cares how fast you can sweep, how many fingers you use when you tap, how fast you can play that tricky legato lick. even with the more melodic players in that style of music, its very hard and boring to listen to it with the constant wanking and show off (think of michael angelo batio using a 4 neck guitar).
There's one thing I always noticed before becoming a musician/guitarist myself. Example. Typically, guitar solos in general - especially really fast ones...they sound bland to the average listener, like a cluster of random notes. There's too many notes, too much going on to pick up and too fast to really comprehend the music. You can have some amazing melody in there but what good is it if people can't hear it?
I noticed when starting to transcribe pieces, one of the first ones I did was some 140bpm metal song (which isn't even that fast right). There was this double lead part accompanied by orchestra and synth. The whole part was in 16ths for a good 32 bars and on top of this there was screaming vocals. Not until slowing it down to about 40bpm could I hear how beautiful the melodies were and how everything worked together. I couldn't help but think that the melody was "wasted" by being played too fast.
My point here is that complex instrumentals often times can't be appreciated by non-musicians. You might have been in a situation where you had a friend listen to one of your favorite songs and they just said "This is just noise...even I could play this". Obviously they have no idea what they're talking about but they do have a valid point that to them - it really is just noise - and this is true for a ton of complex compositions. You want to write music that everyone can appreciate, it has to be on an appropriate level.
If there is no distinction in what the melody is or what the "solo" parts are in an instrumental piece, no one will want to listen to it. That's why guys like Satriani, Vai, and Gilbert are well-known and admired. In their instrumental works, they have a distinctive meoldy (think Surfin' With the Alien) as well as a seperate and distinctive guitar solo. Being able to have that seperation allows the casual listener to actually enjoy the song. For example, my one neighbor isn't a musician, and he admires Joe Satriani's guitar work and how he's able to have a melodic line along with a solo.
Shred makes me laugh because a) its not technically virtuosic and b) has little composition interest. In other words it sucks because fails at what its purports to showcase.
I don't recall a shredder with decent technique for a long while. Granted, most can alternate pick and sweep but that's it but they don't usually have anything else to their technique. I doubt 99.9% could fingerpick, do a jazz chord solo, or a flamenco.
I have to admit, rather embarrassingly that I was a "shredder" some years ago. It always made me unhappy because I never was where I wanted to be. However I finally realised I needed to unlearn shred, and its taken me a while to unlearn my shredding, and slowly start afresh. Thankfully I am much happier now playing music.
Honestly when it comes down to it, for any kind of art.. be it music, or anything else... you should be doing what you do for you. Do what you love, and love what you do... and if nobody else gets it... then screw them. That doesn't mean you shouldn't want others to like it.. of course everybody wants to be heard and appreciated by others... but ultimately you're art is an expression of what is inside of you... not necessarily what others want to hear. The people who do like what you do will appreciate it... you can't worry about everybody else.
quinta-feira, 14 de maio de 2015
Crazy Jam 03/11/2014
Um ensaio/jam feito em 03/11/2014
Paul Dias - Voz & Guitarra
João Cardoso - Guitarra
Thierry Rodrigues - Bateria
Pedro Duarte - Baixo
Paul Dias - Voz & Guitarra
João Cardoso - Guitarra
Thierry Rodrigues - Bateria
Pedro Duarte - Baixo
quarta-feira, 13 de maio de 2015
Basswood body on guitar , sucks?
First of all,the type of wood affects the tone of a guitar or bass,along with many other factors,like bridge,pickups,amp etc.Scotty Groove may say it doesn't,but ask any professional luthier and he/she will tell you otherwise.If the material wouldn't affect the tone,they could just slap some pickups on a plastic board and make a guitar/bass out of it and trust me,it's not that they didn't tried it over the last decades.The only company I know, that makes good sounding guitars,with a synthetic material is Aristides guitars,from The Netherlands.They use a material called ''Arium'' which is a super expensive mix of carbon,glas-fibres and other stuff.I've tried out one of their 6,000 euros superstrats and it sounded like my modded with S.Duncans,old Yamaha Pacifica,that I got for 200 Euros.That's why the big manufacturers stick with wood,maybe in the future,somebody will invent a cheap,good sounding,synthetic material that can replace tonewood.
Second,saying that basswood ''sucks'' it's like saying alder,mahagony,ash,koa or any other tonewood ''sucks''.Some musicians prefer it,like the ones I mentioned,some others don't.Like I said,I like mahagony more,put that's just personal preference.I hardly doubt,on the other hand, that guys like Satriani,EVH or even Guthrie Govan(his new Charvel sign. model has a basswood body) are ''tonedeaf''.Also John Suhr,likes basswood and makes some super expensive boutique guitars out of it,but hey what the hell does he know,right?It's more cheap then other tonewoods,because the damn tree,grows everywhere unlike mahagony,swamp ash or koa,who are tropical trees.There are also different quality grades of basswood,just like with the other woods.I highly doubt though that this one here is made out of the low grade quality basswood,they use on the cheapo chinese guitars.
Eddie used basswood for as he puts it for "tone with a maple cap to give it bite " This configuration was used with Peavey "
Joe Satriani is using guitars with basswood bodies for nearly 30 years,John Petrucci's MusicMan JP & Majesty models are also made of basswood,because it's extremely light weight and has a ''neutral'' tone in between mahagony & alder..
I remember an interview with Angel Vivaldi,he also uses basswood guitars,where he explainend why he likes that particular tonewood.He said,it has a ''neutral'' tone,unlike the ''bright'' tone of Alder, which is great when you play with lots of gain & various effects.Personally,I prefer mahagony guitars,because I like their ''chunky'' tone but if even somebody like Petrucci has basswood in his super high-tech MusicMan guitars,it can't be that bad.
Second,saying that basswood ''sucks'' it's like saying alder,mahagony,ash,koa or any other tonewood ''sucks''.Some musicians prefer it,like the ones I mentioned,some others don't.Like I said,I like mahagony more,put that's just personal preference.I hardly doubt,on the other hand, that guys like Satriani,EVH or even Guthrie Govan(his new Charvel sign. model has a basswood body) are ''tonedeaf''.Also John Suhr,likes basswood and makes some super expensive boutique guitars out of it,but hey what the hell does he know,right?It's more cheap then other tonewoods,because the damn tree,grows everywhere unlike mahagony,swamp ash or koa,who are tropical trees.There are also different quality grades of basswood,just like with the other woods.I highly doubt though that this one here is made out of the low grade quality basswood,they use on the cheapo chinese guitars.
Eddie used basswood for as he puts it for "tone with a maple cap to give it bite " This configuration was used with Peavey "
Joe Satriani is using guitars with basswood bodies for nearly 30 years,John Petrucci's MusicMan JP & Majesty models are also made of basswood,because it's extremely light weight and has a ''neutral'' tone in between mahagony & alder..
I remember an interview with Angel Vivaldi,he also uses basswood guitars,where he explainend why he likes that particular tonewood.He said,it has a ''neutral'' tone,unlike the ''bright'' tone of Alder, which is great when you play with lots of gain & various effects.Personally,I prefer mahagony guitars,because I like their ''chunky'' tone but if even somebody like Petrucci has basswood in his super high-tech MusicMan guitars,it can't be that bad.
domingo, 29 de março de 2015
Confessions Of A Shredder: Music, a Career Choice, by Chris Gordon
Many of my students have asked my advice about becoming a full time musician and my answer is usually don't do it!Stay in school,get your degree and a consistent well paying job that will offer you decent security for you and your family. Once that is in place pursue music with no worries or headaches. If, however you feel in your heart that pursuing music full time is your calling then put your seat belt on, open your mind, increase your tolerance for bullshit, and be ready for anything!
I feel incredibly lucky to do what I do. Music has been a full time gig for me since I was a teenager and I truly love what I do. That's not to say that it's easy and every day is a walk in the park. I am constantly having to stay on top of my playing, teaching, and scheduling not to mention juggling multiple projects and maintaining my income and expenses on a daily basis.
This is not a regular job, there is no 401K (the closest thing I get to anything with a K in it is my 500K potentiometer on my guitar), no Health Care to speak of (well OK, there is beer), No vacation (unless you have some decent downtime while on tour and can go sightseeing or even hang out at a local bar), no sick days ( I have performed while burning up with a 103 temp and hallucinating!), no personal days (I have a personal hour at the bar before the show). If you are going to have any of those perks you will have to be pulling in some serious cash flow from your gigs. this most difficult thing about being a full time play is when your not working there is NO money coming in! It is also important to know that it does not pay all that well, so remember you had better love what you do because financially it is not that rewarding! However that does not mean that it's a glorified hobby, though it is often perceived as such by the general public. The truth is that being a full time musician can be a 12 to 14 hour day that includes a multitude of tasks that include emailing, phone calls, confirmations, gig itineraries, contract faxing, show promotion, gear repair, gig research, gig bookings, financials, paying band-mates, hiring and firing band-mates, auditioning, dealing with club owners/managers, quarterly taxes, car maintenance, and if you are teaching then you must contend with student scheduling, billing, having your materials together, and of course getting paid in a timely and consistent manner. Somewhere in all of this the hope is to get a bit of time on your instrument!
Once you are full time, unless you have a personal manager, which is a big expense, you will be doing this all yourself. To get things started, it's probably a good idea to know what you will and won't do as a full time musician. Some musicians won't do weddings, pit orchestra's, or lounge gigs. I can understand this because the dress code sucks! I avoided these gigs myself for a long time unless I was performing at a friend's or student's wedding. However these gigs are a great source of income and keep the old electric twanger in your hands so it doesn't hurt to put a few of these under your belt.I recently did a Pit Orchestra gig and it was really fun! I had to brush up on my sight-reading chops and that is always a good thing. Plus I met some great musicians that I was able to network with and procure a few extra gigs! Keep in mind that gigs like this will cost some upfront money such as a Tux, or a decent suit. Remember to write it off when you do your taxes, so keep all of your receipts! Speaking of that, once you are out there and making the money you will now be able to write almost everything you do. Guitar strings, Picks, Cables, Amps, Guitars, Guitar Straps, Clothing, Gas Mileage, Car Maintenance, etc, so keep every receipt and shop around for a good accountant that you can deal with, he or she will be an important player in your career!
Ok, so let's have a look at some avenues for income as a musician. I am going to draw from my personal experiences here so I may overlook a couple of avenues, however I would rather speak on what I know. My personal list is as follows:
1 .Performance -This includes any live performance show in any capacity: Club dates, Theater shows, Weddings, Casinos, Cooperate Events, Private Parties, Bars, Coffee Shops, Cafe's, Restaurants, Carnivals, Arenas, etc etc.
2. Instruction- Any kind of teaching of music including teaching privately, for a retail guitar outlet, at a school, or even on video,etc.
3. Session Work-Any kind of recording medium in witch you are paid for your performance on the recording. This can include performing on other artists' albums, recording and distributing your own music, commercial jingles, music production, audio engineering, audio mixing, etc.
Ultimatley, you may doing all three of these avenues to keep a steady flow coming onto your bank account. It's no secret that the industry is always in a state of flux, often changing on a daily basis so be creative, stay hungry and keep pushing the envelope. This business can be feast or famine so be prepared for both, stay humble but confident, mind open and aware, continuie to study and perfect your craft, and above all be a reliable member of the team. I have made the most advances by being a decent person and making friends so stay genuine!
Another thing, and this has been a hot topic on the web as of late, you are always responsible for your succsess, not the club owners. They have a business to run and loads to worry about, your job is you and your vision so take care of your store and promote accordingly. The bottom line with that whole isssue is that if you are good and are effecting listeners and stay consistent you will build an audience and a following. This is a business, treat it like another serious business that depends on success to thrive and stay alive. Market, brand, and aof course deliver every single night!
All the best!
Cheers!
Chris
I feel incredibly lucky to do what I do. Music has been a full time gig for me since I was a teenager and I truly love what I do. That's not to say that it's easy and every day is a walk in the park. I am constantly having to stay on top of my playing, teaching, and scheduling not to mention juggling multiple projects and maintaining my income and expenses on a daily basis.
This is not a regular job, there is no 401K (the closest thing I get to anything with a K in it is my 500K potentiometer on my guitar), no Health Care to speak of (well OK, there is beer), No vacation (unless you have some decent downtime while on tour and can go sightseeing or even hang out at a local bar), no sick days ( I have performed while burning up with a 103 temp and hallucinating!), no personal days (I have a personal hour at the bar before the show). If you are going to have any of those perks you will have to be pulling in some serious cash flow from your gigs. this most difficult thing about being a full time play is when your not working there is NO money coming in! It is also important to know that it does not pay all that well, so remember you had better love what you do because financially it is not that rewarding! However that does not mean that it's a glorified hobby, though it is often perceived as such by the general public. The truth is that being a full time musician can be a 12 to 14 hour day that includes a multitude of tasks that include emailing, phone calls, confirmations, gig itineraries, contract faxing, show promotion, gear repair, gig research, gig bookings, financials, paying band-mates, hiring and firing band-mates, auditioning, dealing with club owners/managers, quarterly taxes, car maintenance, and if you are teaching then you must contend with student scheduling, billing, having your materials together, and of course getting paid in a timely and consistent manner. Somewhere in all of this the hope is to get a bit of time on your instrument!
Once you are full time, unless you have a personal manager, which is a big expense, you will be doing this all yourself. To get things started, it's probably a good idea to know what you will and won't do as a full time musician. Some musicians won't do weddings, pit orchestra's, or lounge gigs. I can understand this because the dress code sucks! I avoided these gigs myself for a long time unless I was performing at a friend's or student's wedding. However these gigs are a great source of income and keep the old electric twanger in your hands so it doesn't hurt to put a few of these under your belt.I recently did a Pit Orchestra gig and it was really fun! I had to brush up on my sight-reading chops and that is always a good thing. Plus I met some great musicians that I was able to network with and procure a few extra gigs! Keep in mind that gigs like this will cost some upfront money such as a Tux, or a decent suit. Remember to write it off when you do your taxes, so keep all of your receipts! Speaking of that, once you are out there and making the money you will now be able to write almost everything you do. Guitar strings, Picks, Cables, Amps, Guitars, Guitar Straps, Clothing, Gas Mileage, Car Maintenance, etc, so keep every receipt and shop around for a good accountant that you can deal with, he or she will be an important player in your career!
Ok, so let's have a look at some avenues for income as a musician. I am going to draw from my personal experiences here so I may overlook a couple of avenues, however I would rather speak on what I know. My personal list is as follows:
1 .Performance -This includes any live performance show in any capacity: Club dates, Theater shows, Weddings, Casinos, Cooperate Events, Private Parties, Bars, Coffee Shops, Cafe's, Restaurants, Carnivals, Arenas, etc etc.
2. Instruction- Any kind of teaching of music including teaching privately, for a retail guitar outlet, at a school, or even on video,etc.
3. Session Work-Any kind of recording medium in witch you are paid for your performance on the recording. This can include performing on other artists' albums, recording and distributing your own music, commercial jingles, music production, audio engineering, audio mixing, etc.
Ultimatley, you may doing all three of these avenues to keep a steady flow coming onto your bank account. It's no secret that the industry is always in a state of flux, often changing on a daily basis so be creative, stay hungry and keep pushing the envelope. This business can be feast or famine so be prepared for both, stay humble but confident, mind open and aware, continuie to study and perfect your craft, and above all be a reliable member of the team. I have made the most advances by being a decent person and making friends so stay genuine!
Another thing, and this has been a hot topic on the web as of late, you are always responsible for your succsess, not the club owners. They have a business to run and loads to worry about, your job is you and your vision so take care of your store and promote accordingly. The bottom line with that whole isssue is that if you are good and are effecting listeners and stay consistent you will build an audience and a following. This is a business, treat it like another serious business that depends on success to thrive and stay alive. Market, brand, and aof course deliver every single night!
All the best!
Cheers!
Chris
Cubase - como apagar fragmentos audio inuteis
Outra coisa, uma "dica": faz sempre uma pasta nova para cada música que gravares.
Assim, todos os ficheiros de audio de cada música ficam guardados na sua pasta exclusiva.
Depois, quando tiveres um trabalho a avançar e já com várias pistas gravadas, vais a > Project > Pool e abres as pastas que lá estão dentro. Geralmente é uma "Audio", uma "Video" e uma "Trash".
Na janela Audio podes ver todos os fragmentos de Audio que gravaste e sob re essa zona clicas com o botão direito do rato (em PC é o botão direito) e escolhes a opção "Remove Unused Media". Seleccionas a opção de enviar para "Trash".
Depois, quando tiveres um projecto finalizado podes seleccionar, também com o botão do lado direito, a opção "Empty Trash".
Isto porque os projectos que me enviaste passaram a ocupar menos de metade do espaço de disco duro depois de ter despejado todo o "lixo" que lá estava, de ficheiros gravados e não usados.
É uma maneira de poupar espaço de disco e manter os projectos organizados.
Assim, todos os ficheiros de audio de cada música ficam guardados na sua pasta exclusiva.
Depois, quando tiveres um trabalho a avançar e já com várias pistas gravadas, vais a > Project > Pool e abres as pastas que lá estão dentro. Geralmente é uma "Audio", uma "Video" e uma "Trash".
Na janela Audio podes ver todos os fragmentos de Audio que gravaste e sob re essa zona clicas com o botão direito do rato (em PC é o botão direito) e escolhes a opção "Remove Unused Media". Seleccionas a opção de enviar para "Trash".
Depois, quando tiveres um projecto finalizado podes seleccionar, também com o botão do lado direito, a opção "Empty Trash".
Isto porque os projectos que me enviaste passaram a ocupar menos de metade do espaço de disco duro depois de ter despejado todo o "lixo" que lá estava, de ficheiros gravados e não usados.
É uma maneira de poupar espaço de disco e manter os projectos organizados.
sábado, 11 de outubro de 2014
Limpeza/manutenção da Guitarra
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
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
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