Guitar Lovers

Traditionally, heavy metal bands play a step or two down from standard tuning. Though some may dismiss metal as a bunch of noise, listening to a band like Slayer, early Metallica or even newer bands like The Bled or Killswitch Engage will let you know that these guys can play as well as any bona fide blues guitarist.

The major chords are typically E or D (the latter being the most popular), but it really depends on your own personal tinkering. Personally, I like to alternate between standard (EADGBE) and D-standard when I’m playing on stage and I can do this with ease with a guitar tuner.

Tuning that is catching on, however, is BF#BEG#C#. It’s great for thrash, but if you’re looking for something on the technical side, I highly recommend standard or D-standard.

If this is your last summer before you venture off for college, you might be concerned about what college life is going to bring. Whether you’re in the dorms or you’re going to rent an apartment, life is about to change quite a bit, and it’s natural to worry about that change. The biggest concern among incoming college freshmen is that they won’t find any new friends or that they won’t be popular. But being a popular college freshman isn’t rocket science. It just takes some of the following pointers.

The biggest mistake new freshmen make is not being outgoing or confident. Nobody knows you at college, so you have to make the effort. Introduce yourself to a lot of people, and get them involved in fun activities. Whether you take the initiative to organize a dorm Frisbee game or you teach somebody on your floor the acoustic guitar, just remember to be friendly and involved. The more people you meet, the more likely you are to find people that share your interests. Your high school reputation doesn’t follow you to college, so you’re free to become the person you want to be.

Many people who are interested in music gravitate towards the electric guitar. Especially if you’re interested in learning music with a bit more of an edge to it, it’s a fantastic place to start with your musical training. Whether you’re teaching yourself or you’re turning to a professional tutor for help, there are some amazing and iconic songs available for new or established lovers of electric guitars.

If you want to learn songs that feature the electric guitar, try learning the main riff of “Seven Nation Army” by The White Stripes. Or perhaps you’re more interested in Weezer songs, in which case you should learn “Say It Ain’t So.” And if you want to take your guitar lessons to earlier works, tackle “Foxy Lady” by Jimi Hendrix or “Layla” by . Whatever song you learn, don’t forget that there are numerous online videos with step by step tutorials, so if you ever get stuck, you can probably find a video to help you along.

When the Rolling Stones released “I Can’t Get No Satisfaction,” Keith Richards inadvertently set the music world ablaze with the usage of a Gibson fuzzbox that he used during the recording.  By the end of 1965, Gibson sold out of the pedal and other guitarists began experimenting with finding their own tones and sounds.

These days, there are a variety of different guitar effect pedals out there, all of which can produce different sounds based on the pedal type, guitar, and amp.  Many guitarists use pods, which can emulate a variety of tones, while others will use traditional pedals to change their sounds quicker. 

Finding the perfect tone can take time, particularly if you’re using multiple guitars and pedals.  While it can be time consuming, it will be worth it once you’re able to find the best tones for your songs.

For many seasoned guitarists, playing in Drop D (DADGBE) is a bit of a cheat.  Personally, I find it easier to play my guitar in Drop D, especially in a live setting when I prefer to thrash around and get out my inner Greg Ginn. 

Drop D utilizes power chords better on guitars, particularly for punk rock and metal bands.  Before writing off Drop D as a farce for people who can’t read or play music, give it a try and you might be surprised how it can open up songwriting options and playing.

Whether you like it or not, rock n’ roll is here to stay. What used to be a music that was frowned upon by the older generations is now the music that almost everyone loves. This music has been dominating the charts time and again, thanks to its youth appeal. Rock n’ roll has been an avenue for self-expression.

What differentiates rock n’ roll music from other music genres is the type of instruments being played. Sounds mostly come from electric keyboards, drums, and guitars. It then doesn’t come as a surprise that the number of electric guitars for sale has gone up. More and more music lovers, particularly guitarists, have traded their old guitars for the funkier ones. Knowing how to play an electric guitar is a skill and an art. The arrangements can be quite difficult that it takes talent and a lot of practice to master it.

Digital Audio Workstations

Most home studios these days are based around computer Digital Audio Workstations, which combine tracking (recording), audio editing, effects and processing, and mixdown features into one convenient package. These amazing software tools are superpowerful, but all that power can come with the price of complexity. Here are some tips for getting more out of your Digital Audio Workstations.

22. Custom Templates
Sessions with preset tracks and input assignments will get you started quicker.
Remember Tip No. 1 about making it easy to get your studio recording? The same applies to your DAW. You can set up your own templates—empty sessions with tracks already created and assigned to inputs and outputs—so that all you have to do is plug in a mic, arm the track, and hit Record. This saves time and makes the path from inspiration to recording much faster and easier.

23. Optimize Your CPU
Disable background programs you don’t need.
Computers are complex beasts. Often there is a lot going on that we aren’t aware of. Unfortunately, all of that stuff that we’re unaware of saps power from your computer’s ability to play tracks and run plug-ins. Go through and disable any background programs and processes, such as antivirus, backup, and anything else you don’t need that could sap power away from recording and process audio. In many cases, you’ll be surprised how much CPU power you make available to your DAW.

24. External Hard Drives
Record your tracks to a dedicated hard drive.
In most cases you’ll get better results if you record audio tracks to a dedicated hard drive, rather than to your computer’s system drive. With the system drive, there’s always danger of the system interrupting for some reason. Plus, you’ll generally have more room and a faster response with an external FireWire or USB 2.0 drive. You’ll also want another external drive for backing up all your files for safekeeping.

25. RAM-tastic
Add more RAM for better performance.
The number one way to increase your computer’s power is to add more RAM. RAM is the memory that your machine uses to load the operating system and any programs, as well as data that is being processed, off the hard drive. In my opinion, 1 GB of RAM is the minimum amount you should have for basic recording, and I highly recommend at least 2 GB. If you’re running virtual instruments (software synths and samplers), 2 GB is the minimum, with 4 GB being much better. You’ll be surprised how snappy and fast your computer feels when it has enough RAM to function well. (Always check your software’s minimum system requirements for the amount of RAM the manufacturer recommends.)

26. Sampling Rates
If you can hear the difference with a high sampling rate, use it. If not, save your hard drive.
Should you use a high sampling rate, say, 96 kHz, even if your recording is going to end up as a CD or an MP3? For a rock, pop, or similar recording, I don’t hear much difference. For a solo steel-string or classical guitar piece or an intimate, acoustic jazz recording with great mics, preamps, and converters, there may be a subtle improvement. But don’t take my word for it. Try recording the same tracks with high and standard sampling rates, then compare. If your ears hear a difference, go for the high rate. If you can’t tell which is which, save the hard drive and computer resources

MICROPHONE TIPS

The microphone is where it all starts—the sound is never going to get any better than it does when it is captured by the mic. You can tweak it, twist it, slice it, dice it, and squash it, but the quality of the raw miked sound is essential to the final results. These tips will help you optimize your miked signals.

11. Mono Miking
One mic will give you a tight, punchy track.
Should you use one or two mics on your guitar? The answer depends on the result you want. For a driving, hard-strummed track in a band context, one mic will create a tight, punchy sound without taking up too much room in the mix.

12. Stereo Miking
Use two mics for a complete picture of your guitar.
For a solo guitar track—fingerstyle or picked—two mics will give a broader, deeper, more spacious sound, with width that fills both speakers. Two mics can also be positioned to capture a more complete “picture” of the guitar than a single mic can.

13. Multiple-Mic Solutions
Make sure your tracks are in phase.
If you’re using more than one microphone on a source, or if you’re recording more than one instrument at a time and the sound from one instrument is getting into another instrument’s mic, you could have phase issues caused by the different arrival times of the sound waves at different mics. “Out-of-phase” tracks have a hollow, empty sound when combined. Most mixers (software or hardware) include a phase switch for each channel; try it both on and off. One position will usually sound noticeably better than the other.

14. Tracking Guitar and Voice
Use mic polar patterns to isolate tracks.
Tracking someone who plays and sings at the same time can be a real challenge—it’s difficult to isolate the guitar from the vocal so that each can be treated differently during mixdown. There are several things you can do to increase isolation between the two. Place the mics as close as possible to the guitar and the singer’s mouth. Take advantage of the mic polar patterns—cardioid, figure-eight, hypercardioid; all these mic patterns have “nulls” where they don’t pick up sound well. Try to position the nulls for the guitar and vocal mics so they aren’t picking up the other source. Depending on the song and performance, I prefer to just go with it—either live with the bleed between the guitar and vocal or use one well-placed mic pulled back a bit to capture both. The result will be a natural, “you are there” recording of the performance.

15. Recording More Than One Player
Make the performers comfortable.
As a recording engineer, my goal is to capture a great performance. When recording more than one player simultaneously, I make sure the performers are set up so they are completely comfortable, then I’ll place my mics to capture the sound as well as I can. As in Tip No. 14, try to place the mic “nulls” so that there is as much isolation between the performers as possible, and consider putting something between them—a sofa, a divider, whatever you have, in order to improve isolation. Or, again, just go with it: place mics in front of the performers and capture a “you are there” recording of the performance where everyone happily bleeds into everyone else’s mic.

16. Size Matters
Experiment with different mic types.
Should you use a large- or a small-diaphragm mic to record? For vocals—and vocal-like instruments, such as wind instruments—large-diaphragms are the standard. For acoustic guitar, in general, small-diaphragm mics will give you more detail and clarity while large-diaphragms will provide a fuller, punchier sound. Having said that, experiment! Try each type and see which you prefer.

17. Omnidirectional Mics
For natural sound and room ambience, try an omni.
Omnidirectional microphones mics pick up sound well from all directions. The advantage is that they will give you an even, balanced sound and good dynamic response, with no proximity effect (bass boost), even with the mic very close to the guitar. You also get some room ambience, resulting in a more natural sound. The disadvantage is that there is no isolation—the mic will pick up everything in the room to some degree. And if the room doesn’t sound all that great, you may not want its ambience in the recording. I love omnis for stereo “live” recordings of classical, acoustic jazz, and similar styles. They aren’t as common for multitrack recordings, but I’m using them more and more for their natural sound quality.

18. Give It Some Space
Pull your guitar mics back a few feet.
No one ever hears an acoustic guitar from a foot away—which is where we often place our microphones. As listeners, we always hear the instrument from some distance back in the room. For most instruments the sound “develops” and comes together a few feet away from the instrument. With guitar, for example, the main source of the sound may be the soundboard—though the sound quality will vary depending on the spot on the soundboard you are listening to. But vibrations from the neck, back, sides, even headstock, all contribute to the overall sound to some degree—and a close mic will never capture all that resonance. Try pulling your mics back a few feet, or use distant mics placed five or more feet away in conjunction with close mics, to really capture what your guitar sounds like.

19. Laser Accuracy
A laser pointer will show you exactly where your mics are pointed.
Want to know exactly where your mics are pointing? Use a laser pointer alongside your mic to see exactly where it is aimed.

20. Sonic Reinforcement
Record a pickup track alongside mic tracks.
If a guitar has a pickup, I always record it to a track, even if I’m using microphones. I then have the option of blending in the pickup sound (with or without EQ to shape it) to reinforce the mic tracks.

21. Tweak the Pickup Track
When recording a pickup signal, use a good direct box and shape the signal with EQ.
If you’re working with just a pickup (no mics), it can be a challenge to get a great recorded sound. First, use a good direct box or instrument input. Consider using something like one of the Fishman Aura processors, which use digital “images” of real acoustic guitars—I’ve done solo guitar recordings using these and had excellent results. Many listeners couldn’t tell I hadn’t used a mic! D-Tar’s Mama Bear is another option, as it uses digital modeling to create more realistic acoustic sounds from a pickup. Otherwise, record the pickup signal dry, then during mixdown carefully EQ the pickup signal to remove any harsh upper midrange. Brighten the top end to open up the sound, and shape the bass to be more realistic. Then, add a small amount of extremely short reverb—1/10 of a second or so—to simulate the resonance of the instrument. You don’t want so much that you hear it as a reverb tail, just enough to add some space and depth to the pickup sound.

I am a self-confessed music lover. I don’t just love listening to music, I also enjoy learning how to play music. The first instrument I’ve tried was the piano. I loved it but my love affair with the piano didn’t last long. Then, I decided to try my luck with a stringed instrument. I started learning how to play a guitar. I realized that strings were my cup of tea. After learning the basics, it was easier to learn the trickier arrangements.

Currently, I’m into playing the banjo. It is also a stringed instrument but is less popular than the guitar. It can come in four, five, or even six strings. This instrument is more often associated with folk music or country music. The songs are mostly upbeat and merry.

by Frederick Burton

Self-discipline.Author Napoleon Hill defines self-discipline as:

“Taking control of your mind, your habits, and your emotions. Self-discipline is the ability to do what you should do, when you should do it, whether you want to or not.”

I think that sums it up, but as a musician, there are things you can do to make the most of your practice time.

I’ve heard a lot of musicians say that they practice while watching TV, listening to music, etc. They claim they need some sort of distraction in order to better concentrate or they become bored. In my opinion, this is a deep pitfall. Sometimes, something is better than nothing, and sometimes it’s not. Remember, what works for one person doesn’t always work for everyone. It’s up to you to find what is right for you. But here is some advice to develop a musical environment that will maximize your practicing.

First off, let’s find a quiet room: a room away from everything that can be distracting, a room without a television or a radio. Let’s make this room very bright, but without blinding yourself. This will minimize unnecessary straining of your eyes, thus causing a headache. Your area should have all equipment necessary for your practice session: guitar, music stand, necessary books and music, a good chair with a sturdy back for support, a foot stool, tape recorder, and believe it or not, a notepad and a writing utensil. It’s also cool to have posters of your influences on the wall. Now, your ready. But wait…

An important aspect of practicing is the all-important goal setting. Do you have a goal when you begin your sessions? I do, and its very important for all to develop one. An example of a goal is: “I have two hours today, I’m going to first work on my I-VI-II-V chord progressions in every key using the 5-4-3-2 string group.” This is a short term goal. A long term goal is: “Man, give me two years, and I’m going to be as good as Jimmy Bruno.” This goal is a bit more unrealistic, but with practicing, who knows… I’m really just throwing out some ideas, but the point is to create a goal, both short and long-term. Write them down and tape them to a wall in your newly created musical room. Recite them to yourself, and let it soak into your subconscience. Another thing you can do is to write down on your notepad all the things you may wish to practice: Scales, Arpeggios, Technical Mechanics, Tunes, Sight Reading, Improvising, etc. In those two hours ,maybe you can touch on all these topics spending 15-20 minutes on each aspect. If you happen to be strong on scales and weak on sight reading, then concentrate more on the sight reading and less on your scales. You be the judge.