Should You Quit Your Band?

This is been going around the Internet the last week, and I have to say, it's brilliant. I especially like the fact that it keeps on referring to how well the drummer players. As drum legend Buddy Rich once said, "You can't have a great band without a great drummer!" Truer words have never been spoken.

In the end, the problem with thinking about quitting a band is very similar to thinking about quitting a job. Once the thought gets in your head, you've already committed and it's only a matter of time before it happens. Proceed down that road with caution (especially if the band has a great drummer).

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The 15 Worst Lyrical Cliches

A couple of months ago a young songwriter sent me some songs to critique. His performance was great, the arrangement and production was cutting edge, and the song had a great melody. The only problem was that his lyrics were so "moon, June, swoon, bloom" that I almost felt embarrassed for him. This was a guy that definitely needed a co-writer or a big life lesson to deepen his lyric content a bit.

That's why this post from Songtrust is so appropriate. It's sort of tongue and cheek, but it's actually really right on. There are so many things in this world to write about, so stay away from these 15 cliches!

1. Message to all my haters

2. Cold as ice

3. Love is blind

4. Lost without you

5. I saw her walking down the street

6. It’s now or never

7. Believe in love

8. Dreams can come true

9. Keep it real

10. I run this town

11. The party never ends (or ‘the party don’t stop’)

12. Cuts like a knife

13. Don’t know what to do

14. With or without you

15. I’m down on my knees

Don't you feel better now that you got that out of the way. Good, remember, you've been warned!

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16 Ways Studio Playing Differs From Live

I've been getting a lot of emails lately about becoming a studio musician, so I thought that this excerpt from The Studio Musician's Handbook might be appropriate. It's about the 16 ways that playing in the studio is different from playing live.
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"You’ve probably had a lot of experience playing live, but playing in the studio is a distinctively different experience. The thought process is different, the mindset is different, the approach is different, and the chain of command is different.

In an effort to contrast these two different experiences, let’s move from the most simple differences to those that are, shall we say, a bit more subtle.

1. Repertoire - Most live gigs rarely change repertoire without rehearsal. A session musician has to be ready to change material on the fly. Not only are they are expected to learn it “on the fly,” but also come up with the appropriate parts that will help make the song not only as memorable as possible but as accessible and pleasing to not only the artist and producer but to listeners who may make the song part of their lifetime’s musical soundtrack. No pressure!!!

2. Scrutiny - On stage whatever you play is gone as soon as you play it. In the studio, what you play is under a microscope and will likely be analyzed, dissected and reorganized all in the name of making the performance stronger.

3. Equipment - The gear you use on a gig won’t always translate to the studio. You choose the gear for a gig based upon versatility, durability and general ruggedness. The only thing that counts in the studio is the sound. While one size might fit all on a gig, it usually makes for a boring recording, especially if you’re recording multiple tracks or more than one song. The studio requires a wide range of sonic possibilities, so you’ll need to bring different guitars, amps and pedals to get there.

4. Leadership - On a gig you have a bandleader that calls the songs, counts them off, possibly may direct the solos, and ends the songs. In the studio you’re answering to a hierarchy consisting of the producer, artist, and engineer (in cases of sonics). The producer is the ultimate decision maker, with ultimate authority over everything you play.

5. Nuance - The little things count in the studio. Everything you play can be critical so nuances are just as important as the body of what you’re playing. When you play live the nuances are usually gone in the wind, overcome by the the stage volume, acoustics and attention of the players and audience. In the studio, everything you play is scrutinized and that’s too much pressure for some players. In the studio, you’ve got to be great every time, every take.

6. The Live ‘Feel” versus the Studio ‘”Feel” - Players well versed in both idioms tend to exhibit more finesse and restraint in the studio and cut loose in a different way. The studio requires the musician to play to a whole different set of variables created by the signal chain after the instrument and the needs of the session.

7. Etiquette - You can get away with being a jerk on a live gig since the other players usually will put up with you (up to a point) as long as you perform well or the audience loves you. Not so in the studio. If you make someone feel even slightly uncomfortable for any reason, chances are you probably won’t be asked back. 

8. It’s hard work -  That’s not to say that playing or singing on a 4 or 5 hour gig isn’t difficult, but you play a lot of different songs every set and get the glory of audience feedback. In the studio, the only feedback you get is from the producer, artist and maybe the engineer, and 99% of the time they’re analyzing how you can play a part better rather than singing your praises. And the level of concentration is definitely up a few notches. On a gig you can breeze through the music, almost losing yourself in your playing. In the studio, every note counts and requires your utmost attention.

9. Preparation - Live gigs almost always require sufficient rehearsal. Most recording sessions happen with little or no preparation. As a result, a session musician has to be highly adaptable and be able to learn music on the fly.

10. Approach - Studio musicians can be asked to change their approach in the middle of a take! Not so in a live performance.

11. Pace - Early in a session, studio musicians often hear, “We really like what you’re doing but we don’t like the sound. We’re going to change a few things in here.” Rarely, if ever, do live performances stop to tweak sounds, but it’s very common in any recording context for those on the production/engineering side of the glass to stop mid-take and say “You’re doing great but we have to fix a few things.” A session player needs to always be ready to move at the pace determined by the environment. Things may change on the fly from breakneck speed to time-crawling meticulousness.

12. Creation versus Interpretation - Live musicians are usually expected to re-create a pre-existing repertoire, where the studio cats create the repertoire. 

13. The Required Skill Set - For rhythm section players, there’s a whole different level of musical literacy required. Not only should one be able to read music well, but the top session musicians can access a variety of styles and feels on a moment’s notice. It also takes a really good set of ears and musical taste buds to make it to the top of the session musician hierarchy. 

14. Artist vs. Entertainer - Live musicians entertain, studio musicians create entertainment. It’s like the difference between going to see actors in a play and actors on the silver screen. Both achieve the same end, but theater changes from performance to performance while film is a one-time document meant to stand the test of time and to weather repeated exposures.

15. Venue Variables and Studio Situations - Live performance almost always presents the same circumstances for the musician. His or her instrument(s), collaborators, and set list (see Repertoire above) will usually not change much or without fair warning. Not so in the studio. Except for the great studio bands of the ‘60’s and ‘70’s, studio musicians are used to seeing new faces frequently, almost always play new material, and although the venues change, it’s not in the ways live venues do. The session musician learns to expect change at any moment since the tune can morph and he may be asked to play a different part or instrument.

16. The Live Wolf Pack and the Studio Lone Wolf - Most live performances require a group and a sizable supporting cast, unless you’re a DJ or a solo singer/songwriter. Recording musicians usually convene at a studio, arriving on their own, so a different camaraderie exists than the “We’re all together on this bus!”, mentality of live work. Recording musicians are independent and can work with different people every time they play music. Not usually so for the live players."

To read additional excerpts from The Studio Musician's Handbook and my other books, go to bobbyowsinski.com.

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The Very First Audio Recording

Everybody knows that Thomas Edison came up with a way to play back recorded sound in 1877, right? That must mean that he was the first to record sound as well, right? 

If you believed that, you would be wrong. A French scientist known as Edouard-Leon Scott de Martinville actually did the first audio recording 17 years earlier through his invention known as the phonautogram. The thing is, the phonautogram enabled Scott de Martinville to create a visual representation of his voice, but he wasn't able to play it back. All he could see was lines etched in soot by a feather.

But an organization called The First Sounds Collaborative found that first recording along with 5 others in the archives of the French Academy of Sciences in 2008 and have been working on a playback system since. Finally they've been successful, and now we all can hear a rather primitive bit clear recording of a voice of a man from 150 years ago singing the French song "Au Clair de la lune."

The interesting thing is that although Scott de Martinville never expected anyone to play it back, he did include a recording of a tuning fork along with his singing. Imagine that - the guy was forward thing enough that he included a reference tone recording nearly a hundred years before it became it became a standard practice during the time of magnetic audio tape.

You can hear all this for yourself along with a great explanation of the phonautogram at the firstsounds.org website. The site is a treasure trove of historical audio information.

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Being A Musician Helps You Live Longer

I've always felt that being a musician was a profession of a higher calling that most others. When you're doing it well, especially with others, there's a metaphysical and spiritual lifting that other professions, nobel though they be, just can't compete with.

Now comes research that shows that music, as we have suspected all along, has numerous rewards, from improving performance in school to dealing with emotional traumas to helping ward off aging. These come as a result of the brain biologically and neurologically enhancing its performance and protecting it from the some of the ravages of time thanks to the active participation of the player in the act of producing music.

Nina Kraus's research at the Auditory Neuroscience Laboratory at Northwestern University in Evanston, Il. has already shown that musicians suffer less from aging-related memory and hearing losses than non-musicians. They also found that playing an instrument is crucial to retaining both your memory and hearing as you age, and how well you process all sorts of daily information as you grow older.

It turns out that just listening to music isn't enough though. You actively have to participate as a player in order to receive any of the benefits.

That's as good a reason I can think of to learn how to play an instrument and keep on playing it for life. It's not only good for your spiritual health, but your physical side as well.

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Logic, Reason And Live DAW Comparison

I'm always interested in the progression of DAWs, especially ones that I don't use regularly myself. Here's a great video on the differences between Apple Logic Pro, Propeller Head Reason, and Abelton Live. I learned a lot from this movie and unless you're currently a user of all of them, you will too.

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The Secret To Eating On The Road

Anyone who's ever been on road even for a few dates knows how screwed up your diet can get. The inconsistent schedule can turn your eating habits upside down, which eventually will take a toll on your energy. In this excerpt from The Touring Musician's Handbook, a number of road veterans provide some tips on the best way to eat in order to stay healthy.

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"After a few weeks on the road, you start to get weary. After a couple of months, you’re constantly tired in a low level sort of way. Sure, you may be getting enough sleep, but it’s a restless, uncomfortable sleep that silently wears on every fiber of your being. When that happens, it’s easy to give up on any health routines that you might have and just want to survive. That’s when you have to be more vigilant than ever before you slip into some nasty health-related habits that can stay with you for the rest of your life.

What To Stay Away From

One of the first things to get out of whack is your diet. Junk foods are never good for you, but they can be especially hazardous on the road. Fast food not only can add some unwanted pounds but the added dairy products like cheese and mayonnaise can play havoc with your voice (more on that in a bit). Mayo alone can easily add 200 calories to a dish and anything with a cream sauce even more. You’re better off to ask them to hold it or put it on the side. 

The most important thing is to eat healthy, and it’s so easy not to in our situation. There are snacks and sodas around all day and you have a number of choices for meals because most (of the bigger) tours are very well catered. So you need to watch your diet and keep your weight down. A lot of guys put on weight when they go out on tour because they eat a lot at meals and eat a lot after the show.   Terry Lawless: keyboard tech with U2

Watch your diet. That’s a big deal. I’ve seen so many guys that would go out on their first tour and come back a year later and they’d gained forty pounds. You get to the venue at about four o’clock and backstage there’s going to be catering, it’s going to be good, and you’re going to pig out. As you know, musicians are not known for their self-control.   Mike Holmes: keyboard player for Lee Greenwood, Leroy Parnell, and Delbert McClinton

You have to stay away from eating pizza every single night, unless your twenty-five and still have the metabolism of a hummingbird (laughs). The older you get, the better shape you can keep your body and mind, the better you’re going to perform and play.

One of the things that’s great about being on the road is that you travel to great cities and you can eat a lot of great food and you can go out and party with your friends every now and then and have a really great time. But you can’t do that every night because you’re going to end up fat and lazy and not in very good shape. Eventually it will take it’s toll no matter who you are.   Paul Mirkovich: musical director for Cher, Pink, Janet Jackson and Anastasia

Some Good Things To Eat

On the bus, apples and peanut butter on whole wheat bread is a good source of protein, carbohydrates, vitamins and roughage, and will help you save your pre diem. It’s easy to get dehydrated so drink lots and lots of water, and substitute fruit juice instead of soda whenever you can. Healthy alternatives like protein bars, dried fruit, trail mix and nuts are easy to take with you to snack on, and the more fresh fruit you can eat, the better.

I also take Power Bars or some kind of nutritional bar on the road with me because you can’t depend upon other people for your sustenance on the road. I’ve been stuck before when we’ve missed our flight and nobody had any money for food, so I learned never to go out on the road broke. Don’t let anyone stick you on an eight hour bus ride on a sit-up bus with no food and no water where they’re telling you, “We can’t stop because we don’t have the time. We’re going to miss sound check as it is.” While that may be true, you have to take care of yourself, so when you get on the bus, take a bottle of water and a couple of Power Bars. If they stop for lunch, great. If they don’t, you’re still covered.   Ed Wynne: sax player for Al McKay's All Stars and formerly of The Doobie Brothers

When To Eat

The best time of the day for your biggest meal is lunch, since a light dinner works best to prepare your metabolism for the show. At lunch you usually have a great variety of dishes to choose from with a lot of healthy alternatives. Be on the lookout for ethnic restaurants because they usually have many healthy alternatives rich in vegetables and protein alternatives like tofu. If possible, remember to substitute brown rice for white; it’s healthier for you.

Try not to eat after the gig. The only kitchens that seem to be open late are the ones that feature deep-fried food. When you eat a grease-laden meal before you go to bed, there’s no chance for your body to work it off. The calories can really add up after a few nights a week of post-gig fried food gorging. If you must eat after a gig, keep it light and healthy.

Finally, take a shower whenever the opportunity presents itself, since it doesn’t come often enough."

You can read additional excerpts from The Touring Musician's Handbook and others at bobbyowsinski.com.

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Introducing The Delay Genie App

About a year ago one of my publishers, Hal Leonard, asked me if I'd be interested in doing a phone app. If I was going to do one, I wanted it to be something that I would use myself, all the time, so I came up with the Delay Genie.

The Delay Genie basically replaces those time delay charts that most studios used to have so you could easily set the reverb predelay and delay times when you're mixing. While most delay plugins allow you to do some form of automatic timing, the Delay Genie is different because it will allow you to easily calculate dotted notes and triplets, time denominations that are essential to a good mix and one of the tricks of most top mixers.

You can calculate the time delay either by first entering the BPM of the song, or tapping it in where the app will calculate it for you. After the BPM is directly entered or tapped in, the Delay Genie will instantly display:

• delays in 1/4, 1/8, 1/6, 1/32, 1/64 note time increments
• delays in triplet time increments for 1/4, 1/8, 1/6, 1/32, 1/64 notes
• delays in dotted note time increments for 1/4, 1/8, 1/6, 1/32, 1/64 notes

As a bonus, in the Live mode, the app also calculates the delay time from the stage to a delay speaker stack in a live sound reinforcement situation.

The Delay Genie app can be used for:

• setting the delay time to make a track larger than life
• setting the delay time so it fits better in the track
• setting the delay time so it sticks out of the track
• setting reverb pre-delay time
• setting reverb decay time

What's more, the price is right. It's FREE, although it will cost $.99 if you want to remove the advert.

Give it a shot and let me know what you think. It's now available in the Apple iTunes App Store.

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10 Most Expensive Speaker Systems

Sometimes people who love audio have more money than sense, and that's why the audiophile business thrives. When you have people paying 700 bucks for a wooden knob and multiple thousands for a speaker cable, you have to admit that there's some psychological voodoo involved.

But that's nothing. How would you like to spend a cool $2,000,000 on home playback system? Here's a great article that lists the top 10 most expensive speaker systems. I've only listed 5 here, but you can see the entire article at the whatuwantnow blog.

"When its music, debate, rock party, wedding or even a religious occasion, speakers are the most important concern to look, and to make one occasion perfect, people love to have good quality speakers,

1. ULTIMATE by Transmission Audio

Can you imagine a speaker can cost $2,000,000? Yes, this is the one, the most expensive speaker of the world, which wants 31,000 Watt to be listened. It has four aloof dipole subwoofers, and every subwoofer carries 10 fifteen inches subwoofers. This is not enough; every dipole plate has 24 eight inches unit channels, and 2 dipole MF on each channel along with one HF Channel plate of 68 meters ribbon.

2. Grand Enigma by Kharma

Second most expensive speakers of the world costing you around $1,000,000, you can’t imagine the beauty of these speakers which are found in a Building in Belgium. They are totally enigmatic and loud with advance stereo system launched after complete test.

3. Infinite Wisdom Grande Loudspeaker by Wisdom Audio

Third most expensive speakers of the world costing around $7, 00,000, are really astonishing speakers built like a tower of 23 length with 2 tons of the weight, perhaps suitable for big ground parties.

4. MBX 10.9s46 by California Audio Technology

Another most expensive speaker of the world costs $560,000, are two guitar shaped attractive speakers in red color, each weighing 1 ton and height of 12 feet.

5. Sphäron Excalibur by Acapella Audio Arts

Another most expensive speaker of the world costs $380,700 and is uniquely has identical columns created of eight, thirty inch of subwoofers, and this speaker has buzzes of twelve square meters.

How do these stack up? Can't say as I've never heard any of them, but I'd venture to say that they'd all be improved by Carl Tatz's Phatom Focus System.


Read the entire article here.

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Facebook's Massive Media Storage

Perhaps you recently bought a few terabyte hard drives and are feeling that you're pretty well covered for storage. A terabyte, of couse, is a 1,000 gigabytes. The next increment is a petabyte, which is 1,000 terabytes.

So consider for a moment just how big a petabyte is.

• Just 1 petabyte equals 20 million 4-drawer filling cabinets filled with text.

• 1 petabyte equals 13.3 years of HD video.

• 20 petabytes was the total hard drive space manufactured in 1995

• 50 petabytes is the equivalent of the entire written works of mankind, from the beginning of recorded history, in all languages.

That's why the recent IPO filing from Facebook is so amazing. In it they state that they already store over 100 petabytes of photos and videos from their 850 million users.

Having trouble wrapping your head around that number? Maybe the following infographic will help.

Obviously technology has moved into the realm of super-storage, and what once seemed quite large is now small. Welcome to the world we now live in.

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David Guetta "Turn Me On" Song Analysis

This week's song analysis is #2 on the Ultimate Chart and is at the tip of a trend in music that's starting to snowball. The song is "Turn Me On" by French DJ David Guetta, featuring singer Nicki Minaj.

Electronic dance music has been a huge underground scene for a number of years now, and we've seen flashes of it on the top 40 charts, but now it's beginning to break through in a big way and David Guetta is leading the charge by adding star vocalists to what was once purely electronic music.

Guetta was one of the first to join this trend on his 2009 album One Love, which included the hit singles "When Love Takes Over" (featuring Kelly Rowland), "Gettin' Over You" (featuring Chris Willis, Fergie and LMFAO) and "Sexy Bitch" (featuring Akon). The last song hit the top five in the United States and all three reached #1 in the UK. The album also featured another internationally known single called "Memories" (featuring Kid Cudi), which became a top five hit in many countries. 

Guetta has sold over three million albums and 15 million singles worldwide and is currently one of the most sought-after producers in the music business.

As with all song analysis, we'll look at the song form, the arrangement, the sound and the production.

The Song
"Turn Me On" is a very basic song form with one twist in the prechorus. The form looks like this:

Intro, Verse, B Section, Interlude, Chorus, Verse, B Section, Interlude, Chorus, Bridge, Chorus

Every section is 8 bars long except for the Interlude (the "Oh" part before the chorus) which is only 4 bars, and that's the only thing that changes the song up a bit form-wise.

The Arrangement
There aren't a lot of elements or layers to the song by the very nature of electronic dance music. Instead of a drum kit and bass, the rhythm element is made up of a huge kick drum and bass sound, which take up so much sonic space that's it's difficult to fit additional foundation instruments in.

What's very interesting in "Turn Me On" is the way the claps and high hat are used to develop the song. Usually a song is developed by adding additional arrangement elements or additional instrument or vocal layers. On this song percussion is used to accomplish the same thing. Here's how it's done:

In the first verse you only hear the kick and bass sounds, but doubled claps in stereo are used to develop the B section. In verse 2 the claps continue, but a hat sound is used to develop the 2nd B section.

Here's what the arrangement elements look like:

  * The Foundation: Bass and kick sounds

  * The Rhythm: Arpeggiated synth line, claps from the first B section onward, hat sound in the second B section.

  * The Pad: A synth in the bridge

  * The Lead: The vocal

  * The Fills: Background vocal line at the end of the chorus, arpeggiated synth in the choruses, vocal answers in the first half of the bridge

The Sound
Another function of electronic dance music is the fact that distortion is normally viewed as something to be embraced and not rejected. There's plenty of it here that's a big part of various sounds, but even the vocal (which you'd expect to be clean) has a lot of distortion.

There's a slight ambience sound on most of the syths, but most of the layering on both the syths and vocals comes from timed delays that are long enough to hear and fill in the holes between phrases.

A couple of cool things are the way the the vocal is manipulated in the Interludes by panning from left to right channel and back again, all the while modulating it gradually into full distortion at the end. I also loved the use of the stereo claps that enter in the first B section.

The Production
I think a big reason why this song is a hit is its excellent dynamics. The song goes from a whisper to a roar and back again several times during the song, which keeps your attention on a rather uninteresting song form.

Want an example? Listen how the song starts off quiet, gets a bit bigger during the first verse, a bit more during the B section, then comes down to just a vocal (over a gurgling synth) during the interlude, then smacks you over the head on the chorus. The same happens during the second verse, B, interlude and chorus, then again from the bridge to the last chorus. The tension and release is why it remains interesting.

Send me your song analysis requests here.

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Are You Ready For Smart Headphones?

Headphones are a pretty mundane piece of audio gear, which is precisely why it's time to smarten them up a bit. I don't know about you, but one of the things about phones that always bothers me is when the the cups get mixed up where the right and left one are reversed. Thanks to a bit of technology, that may not be a problem that much longer.

Researchers at the Igarashi Design Interface Project recently developed a set of "universal headphones" that are so smart that they can do the following:

• Sense when you've placed an earbud or headphone on the wrong ear, then change the channels to accomodate. 

• Sense when two people are sharing earbuds and change the channels so each earbud contains both the left and right channels (and even allow each listener to hear different tracks at the same time).

• Automatically pause and resume play depending if the phones are on or off your ears.

The way the development team came up with right/left ear sensing is by attaching a proximity sensor to one of the earpieces to measure the distance from the ear. When placed in the right ear, the sensor detects the ear behind it. If it's then placed in the left ear, it knows that the distance has changed and then signals a on-board processor to switch channels.

It's so cool when old technology like speakers, mics and headphones get a new technological twist. Although these updates aren't available in a commercial product yet, expect to see them soon.

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