Jokes for Film Composers

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Guest Post: Jonathan Feist is the author of Project Management for Musicians, published by Berklee Press, distributed by Hal Leonard.

Here’s a joke about a film composer that I like to tell to my project management students—among other reasons, because there just aren’t enough jokes about film composers, out there! It nearly made it into my book, Project Management for Musicians, but I had to cut it out, due to space constraints.

So, this film composer goes to his doctor, and says, “Doc, I’m supposed to be finishing up a film score, but I just can’t concentrate. I wonder if there’s something wrong with me. Maybe I have Lyme Disease?”

The doctor looks at him and says, “Lyme Disease! Did you see a bullseye rash? Do you have any joint pain?”

The composer says, “Well, I’m a little sore, but I think that’s just from skiing last weekend. We went to Aspen for a few days. I was hoping the mountain air would clear my head. But no dice, I still can’t write.”

The doctor asks, “What about your reflexes? Do you notice any change in your hand-eye coordination?”

The composer says, “Hmm, nah, in fact, I just got my highest score ever playing Guitar Hero with my daughter. We play every day for a couple hours when she gets home from school. My reflexes are in tip-top shape.”

The doctor thinks for a minute, then asks, “Tell me, how many drinks do you have in a week?’

The composer shrugs and says, “Not too many, really. Maybe a beer at lunch. A couple glasses of wine at dinner. But not to excess, I’m not a real big drinker.”

The doctor nods, frowns, and says, “Hmm, I think I know what’s wrong with you. “

“You do?”

Yes,” he says. “I’m afraid, there’s something wrong with your butt.”

“With my butt?!” cries the composer, shocked.

“Yes,” says the doctor. “It’s too far from your chair!”

Do you also suffer from CBPS— Chair/Butt Proximity Syndrome? It’s a common affliction, in music as with any profession. Studying project management can help!

Project Management for Musicians

Get organized, and take charge of your music projects! This book will help you harness your creativity into clear visions and effective work plans. Whether you are producing a recording, going on tour, developing a studio, launching a business, running a marketing campaign, creating a music curriculum, or any other project in the music industry, these road-tested strategies will help you to succeed. Music projects come in all sizes, budgets, and levels of complexity, but for any project, setting up a process for planning, executing, and monitoring your work is crucial in achieving your goals. This book will help you clarify your vision and understand the work required to complete it on time, within budget, and to your highest possible quality standard. It is a comprehensive approach, with hundreds of music industry-specific tools for keeping your work on track, mitigating risk, and reducing stress, so that you can complete your project successfully. You will learn to: develop work strategies; delegate tasks; build and manage teams; organize your project office; develop production schedules; understand and organize contracts; analyze risk; and much more.

More Tips for Studio One Users

William Edstrom Jr. is the author of Studio One for Engineers and Producers.  Here are some video tutorial excerpts from the DVD.  For more tips on Studio One, check out this post about Larry the O’s series, Power Tools for Studio One 2.  

RECORDING TO LAYERS

Setting Tempo of Imported Audio Tutorial

Comping Example

Audio Bend Examples

Find more great tutorials for DAWS software and other music-related skills on our MusicPro Guides YouTube channel!

Studio One for Engineers and Producers

Studio One for Engineers and Producers is specifically designed to help engineers and producers who are already comfortable using another DAW software platform make the transition to Studio One. Text, illustrations, and video examples (on the accompanying DVD-ROM) demonstrate the creative, practical, and technical benefits provided by PreSonus in this modern, well-developed, flexible, and user-friendly application. All instruction is presented in straightforward and simple language that gets right to the point, taking into consideration the need for amateurs, home studio owners, and commercial professionals to get up to speed very quickly.

This Quick Pro Guide starts by relating Studio One’s layout and functionality to other common DAWs, to identify the most important similarities and differences. It then follows the creative process through the normal progression of a modern recording/production, to help the reader get to work as soon as possible. This new cross-platform (Mac/PC) DAW is built from the ground up for speed, efficiency, and power; Studio One for Engineers and Producers is the perfect tool to shorten the pathway from installation to inspiration!

How Straight No Chaser Changed The Game

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Guest Blogger: Deke Sharon is the co-author (with Dylan Bell) of A Cappella Arranging. The following is an excerpt from his blog on Casa.org. Please pay them a visit for more a cappella news and discussions from Deke, who has produced music for the a cappella sensation Straight No Chaser.

They’re the funny Christmas song guys, right?

Yup. And they just sold out a 6,500 seat venue in Connecticut.

When you’re looking at the a cappella landscape over the past decade, no group has changed the game more than Straight No Chaser.

Yes, they were incredibly lucky when Atlantic Records called, but for 99 out of 100 groups, the story ends there. A cute footnote for a few thirtysomethings that had a viral video from a concert that happened decade before.

But it didn’t, because Straight No Chaser is group like no other, re-writing vocal music history year after year. What have they shown the world?

Ten Is Enough (and not too many)

Name a band with 10 people. I can’t. Maybe when you add up background singers and the like, but that’s not the band, that’s the road show. SNC is ten guys, always ten guys. Rock bands are 4 people, and theatrical shows are 30 people. You just don’t see 10 people on stage, and that kind of curiosity can be a deal breaker for promoters. They’re a cappella already… and they also chose a format that’s not done. And yet they made it work. Not only the number of guys was a risk, but…

Thirty Is Not Too Old To Start

Maroon 5 didn’t have their first hit until they were about to throw in the towel, but they don’t act or dress like they’re 30, and they’d been performing for years, building a fan base and learning the ropes. Straight No Chaser’s formula is not kids running around on stage like a band, it’s more like the Rat Pack: classy gentlemen in suits singing songs you love and making you laugh between songs. Sit out your 20s, then start your career in popular music in your 30s? Not done. Impossible. Until now.

To read read Deke’s next 4 reasons, visit this blog post on Casa.org!

The tone of the book is instructive and informative, yet conversational: it is intended to stand alongside any academic publication while remaining interesting and fun. A Cappella Arranging is a good textbook – and a “good read” – for every vocal arranger, whether amateur or professional; every vocal music classroom, and any professional recording studio.

The Producer’s First Meeting

Guest Blogger: Bobby Owsinski is the author of The Music Producer’s Handbook, one of guides in his Handbook series along with The Touring Musician’s Handbook and The Studio Musician’s Handbook.  Below is an excerpt from his music production blog, The Big Picture.

Almost everyone knows the main phases of an album project (preproduction, tracking, overdubs, mixing, mastering), but the fact of the matter is that there’s one more phase that actually begins the process – the meeting.

That’s where the producer meets with the artist for the first time and they both decide if they like each other, can work together, and most importantly, be creative together. Of course, there may be other meetings before this decision is finally made, but the first one is critical for both the producer and the artist.

The problem is that any times the artist or band doesn’t know exactly what to do or expect (especially one without much experience), so that leaves it up to the producer to guide things. Here are some questions to ask to determine if you’re a good fit with the artist.

What are some of your favorite records? Why?

What are your biggest influences? Why?

What recordings do you like the sound of?

What kind of sound are you looking for?

To read the rest of Bobby O’s questions, visit his blog!

The Music Producer’s Handbook

The Music Producer’s Handbook (another book in Bobby Owsinski’s successful Handbook series) describes in detail the duties and responsibilities of a music producer. In his thoughtful, down-to-earth, and savvy style, Bobby O. brings his wealth of experience to bear in answering the questions faced by all budding music producers: How do I become a producer? How do I get the best out of the musicians or vocalist? How do I get a great mix? How much money can I make? Covering the entire range of producer concerns, from organizing each phase of the production to mastering the final mix, The Music Producer’s Handbook takes a sometimes intimidating and mystifying process and breaks it down to an entertaining tutorial that will fatten the toolkits of professionals as well as novices. As with all the books in the Handbook series, a third of the book is dedicated to exclusive interviews with name producers who share their techniques and stories with the reader. An accompanying DVD takes the viewer through each phase of the production process.

 

 

 

More Tips for Pro Tools 10 Users

Glenn Lorbecki is the author of Power Tools for Pro Tools 10, and 2 books in Hal Leonard’s Quick Pro Guide series, Tracking Instruments and Vocals with Pro Tools and Mixing and Mastering with Pro Tools. Below are excerpts from the DVD that comes with Power Tools for Pro Tools 10.

SETTING UP A ROUGH MIX

More video tips for Pro Tools 10:
Using Direct Plug-ins

Recording and Playback
Automation

See also: Tips for Pro Tools Users from Tracking Instruments and Vocals with Pro Tools

Find more great tutorials for DAWS software and other music-related skills on ourMusicPro Guides YouTube channel!

Power Tools for Pro Tools 10 provides a detailed look inside one of Avid’s most exciting Pro Tools releases yet. Instructor, certified Pro Tools trainer, and award-winning producer/engineer Glenn Lorbecki will walk you through the best ways to get the most of out of Pro Tools 10. See and experience the new features incorporated in this powerful software offering, all the way from the new ways it handles data, memory, and gain functions to some seemingly small updates that make a huge difference in your productivity. This focused and comprehensive guide provides excellent instruction in the newest Pro Tools 10 features; at the same time, it establishes a foundation of technical and creative protocol that will help beginning and intermediate users – as well as seasoned professionals – establish the most expedient work flow while recording, processing, and mixing the highest quality audio.

Happy National Barbershop Quartet Day!

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Celebrating National Barbershop Quartet Day, here is a recent blog post from one of our a cappella experts…

Guest Blogger: Deke Sharon is the co-author (with Dylan Bell) of A Cappella Arranging. The following is an excerpt from his blog on Casa.org. Please pay them a visit for more a cappella news and discussions from Deke.

BOSS: A Little Bit Of Magic

It doesn’t make sense, at least on paper.

A cappella is at its best when precise, when clean and rich; an impressive, well balanced array of sounds akin to popular music with instruments.

Why then would I get up on stage and perform music I haven’t rehearsed? Music I perhaps don’t even know?

Well, it all started a decade ago in a town called Bremerhaven in Northern Germany. The House Jacks were performing for a packed club (“Pumpwerk,” a former waterworks of some kind), at which we were told a couple hundred of the attendees were all from the same company.

Northern Germans speak English better than most Americans (!), so we conduct our entire show in English, joking with the crowd between songs, and I recall the banter that night was particularly cheeky, probably due to the audiences obvious inebriation. Garth, our tenor at the time, stepped forward and said “our next song will be” and someone from the audience yelled “Great Balls of Fire!”

Ha. No.

“It will be…” and the song requests kept coming. Couldn’t finish the sentence. So, when someone yelled out “James Brown I Feel Good” we said “Fine!”, playing along with the joke.

And you know what? It was pretty good. So we took another request. And another. And the audience went WILD.

To read keep reading this article, visit this blog post on Casa.org!

The tone of the book is instructive and informative, yet conversational: it is intended to stand alongside any academic publication while remaining interesting and fun. A Cappella Arranging is a good textbook – and a “good read” – for every vocal arranger, whether amateur or professional; every vocal music classroom, and any professional recording studio.

Your Guitar: Adjusting the Truss Rod

MusicPlayers.com has published an excerpt of How to Make Your Electric Guitar Play Great (Second Edition) by Dan Erlewine. Here is a tiny taste of the excerpt, but visit MusicPlayers.com to read the whole excerpt on how to adjust the truss rod on your guitar to help it play great!

Adjustments are what setups are all about, and the first adjustment to make is the truss rod. Almost all electric guitars have adjustable truss rods, and few setups would be complete without tweaking the truss rod.

Occasionally a guitar neck is perfect as is, and doesn’t require adjustment. If you have one of those, don’t mess with a good thing. This chapter will show you how to recognize a neck that’s perfect, and how to adjust a neck that’s up-bowed or back-bowed. Our goal is a state of controlled straightness, with a very slight curvature called “relief.”

Up-bow refers to a fretboard that curves in the direction of the string pull, creating a valley under the strings. This makes for high, stiff action.

Back-bow refers to a fretboard with a hump in the center, occurring when a truss rod is so tight that it bows the neck away from the string pull. Back-bow makes a guitar completely unplayable because the strings buzz against the humped frets.

Relief is a controlled up-bow, deliberately adjusted into a straight neck to create string-to-fret clearance that allows for the strings to vibrate without buzzing. Not every guitar benefits from relief, and not everyone likes it. The choice between relief or a straight neck is up to the player. But such a great majority of setups require relief that you can consider it a standard.

Truss rod control of the fretboard’s straightness goes hand in hand with setting the string height at the bridge and the nut. These adjustments together produce the playing action, so a professional will simultaneously adjust a truss rod while raising or lowering the bridge and measuring string height at the nut. This process involves watching, measuring, and adjusting the neck, then measuring, watching and adjusting some more. It’s a dance involving all of this at once, so you’ll need to refer to the nut and bridge chapters as you work with the truss rod information presented here.

Keep reading this excerpt on MusicPlayers.com!

How to Make Your Electric Guitar Play Great, Second Edition by Dan Erlewine. From shopping for a first electric guitar to setting customized action, this do-it-yourself primer for owning and maintaining an electric guitar explains the ins and outs of choosing the right guitar; cleaning, tools, and basic maintenance; personalizing and improving on a “factory setup;” troubleshooting; basic guitar electronics; choosing and installing replacement pickups, pots, switches, and capacitors; setups of the pros; and much more. This new edition is overhauled from top to bottom and re-organized to make it easy for the reader to make his electric guitar sound and play great. This edition also covers bass guitars.

8 Contemporary A Cappella Coaching Tools

deke4Guest Blogger: Deke Sharon is the co-author (with Dylan Bell) of A Cappella Arranging. The following is an excerpt from his blog on Casa.org. Please pay them a visit for more a cappella news and discussions from Deke.

I looked at the clinician list for BOSS 2013 and thought “Holy moly! There are dozens if not hundreds of contemporary a cappella coaches now!” So encouraging, so exciting!

Alas, there’s literally no training program for coaches, no formal pedagogy. I assume they’re all just sharing the lessons they’ve learned as singers and directors, as I do.

To that end, I’d like to share with them, and with you, a few of the hard-leaned lessons and perspectives I’ve assimilated over 20+ years of working with groups. No need for me to mention the obvious musical techniques (tuning a chord, blending vowels, etc), as that’s easy to find. Instead, I offer a few thoughts to help round out a coaches approach, technique and toolkit:

The Big Picture

Music is communication, and as each piece of music has a particular message and mood, the myriad decisions there are to make around a particular song and arrangement should all point to the song’s central emotional focus. This is easy to conceptualize, but I find it alarming how often directors lose sight of this fact. Why did you choose this move? Why are you singing this chord in this way? “Because it looks/sounds good” or “because I like it” are not acceptable answers, especially in light  of a young director’s desire for perfection above (more on this later).

If I’m working with a group and I feel nothing when they’ve sung the song for me, my very first act is to make sure the group both understands the song’s meaning and has a clear emotional goal for the song. If it’s not clear, we discuss the lyrics, and I invite the singers to discuss their own related experiences and feelings. At the end of such a discussion, it’s very helpful to summarize in a few words, like “big crazy circus” or “gentle melancholy stream.” The specific words will be a trigger, something the director can mention when playing the pitch, just before starting the song, to help the group focus it’s emotional delivery.

Show AND Tell

There’s an oft-spoken adage in writing – “show, don’t tell” – that definitely carries an important message: use words to create a feeling rather than simply state what a character feels. Expanding this idea into coaching, I urge you not only to explain to your group how they should feel, but to reflect that feeling in your own tone of voice, your own gestures, your own mood. Create the moment yourself as you’re urging your singers to find it. In essence, you’re called upon to act while you direct, just as you’re asking your singers to do the same when they sing. Wave your arms and jump around, slump your shoulders and speak more quietly… whatever it takes. Change the mood in the room to reflect the song, and help your singers find the moment.

To read Deke’s next 6 tools, visit this blog post on Casa.org!

The tone of the book is instructive and informative, yet conversational: it is intended to stand alongside any academic publication while remaining interesting and fun. A Cappella Arranging is a good textbook – and a “good read” – for every vocal arranger, whether amateur or professional; every vocal music classroom, and any professional recording studio.

The Truth About Vocal Style

Tim Carson is the author of The Worship Vocal Book. Below is an excerpt from his new book as provided for by Live 2 Play Worship. Please see their site for the entire excerpt.

Vocal style is one of the most powerful tools we have to help us express our hearts through song. Style is the palette of colors that we use to express emotion. When style is used at its best, we capture the essence of a song, connect our hearts to what we are singing, and find a full spectrum of colors that will communicate to our congregations. Style not only allows others to hear the language of the heart, but invites them to engage their hearts in the same way. But style can alienate and distance our congregations as much as it can invite and engage them. The right song, the right message, and the wrong style can render all of our efforts in rehearsal and preparation (and even in vocal development) a profound waste of time. Our voice can sound amazing, and we can develop all of the range, dynamic control, and technical ability in the world, but if we do not have control over style, we may as well be a pastor at a church in Texas, preaching in Japanese. That pastor could have passion and skill, and the right heart and motivation, but people just aren’t going to get it. The inability to effectively use style can be just as much of a hindrance to our ministry in worship. For most singers I begin working with, style is an elusive aspect of singing that they feel they have very little control over. They would explain style as the unique quality that defines their voice. It’s what you hear when they sing—it’s their style. Other people on their worship team have their own style. Someone on their team sounds really good on a certain type of song because that is their style. Another person sounds best on another type of song because that is their style. But style isn’t something they feel they have any control over. Style is what defines them.

But this is not the case for those vocal artists who see style as a tool bag of resources that help them communicate their hearts through their voices. Style serves vocal artists but does not define them. Style is the palette of colors that they get to use as they create a work of art, painting a picture and communicating a message through song.

So how do we make that shift? How can we develop the ability to be served by style rather than defined by it? Can style be learned, or do you just do the best you can with what you’ve got?

Breaking Down the Mystery of Vocal Style

The first step in mastering style is to break style down into manageable pieces. We all have a broad understanding of style. We like certain styles and dislike others. We recognize when we move from one stylistic genre to another. But what are the specific characteristics that really define style? Nearly all of what defines style can be broken down into four stylistic tools:
• Diction
• Tone Color
• Vibrato
• Pitch Fluctuation

Keep reading this excerpt on Live 2 Play Worship!

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At a wide range of conferences and sessions, the principles presented in The Worship Vocal Book have proven to produce better singers, time and time again. The techniques in this book draw on four-hundred years of classical, foundational vocal instruction and yet they are fresh. Tim presents them in a way that is different from any other method available today, particularly as it pertains to the contemporary worship singer, leader, songwriter, or performer. The information is presented in a way that is easy to follow, and it works!

Music From Rikky Rooksby

Guest Blogger: Rikky Rooksby is an author and musician. To enjoy all of his works please visit his author page.

The writing of my best-selling series of books on guitar-based songwriting was grounded in my practical experience of writing and recording my own songs as well as listening carefully to those of others. I’ve now put a selection of songs in various styles on SoundCloud.com for listening. One song comes from an album of Pet Sounds-era Beach Boys type songs. There’s another from an EP of songs marking the 25th anniversary of Led Zeppelin’s five nights at Earl’s Court in London in 1975. There are two free downloads,  out-takes from my forthcoming guitar instrumental album Atlantic Canticles. I’ve also included some extracts from my classical composing, including the first movements of a string quartet and a piano quartet, a string orchestra setting of the traditional folk tune ‘The Gaelic Waltz’, two extracts from commissioned music, and a short elegiac organ piece ‘For The Few’ written for the RAF pilots of the 1940 Battle of Britain. After the release of Atlantic Canticles I will release an album of songs.

Rikky Rooksby

Rikky Rooksby is a guitar teacher, songwriter/composer, and writer on popular music. Considered the premiere author of songwriting guides, Rooksby has also written numerous music history and guitar instruction books and has published over 200 interviews, reviews, articles, and transcriptions in music magazines. He has also transcribed and arranged more than 40 chord songbooks, including music by Bob Dylan, Bob Marley, David Bowie, Eric Clapton, The Beatles, and many other artists.

A member of the Guild of International Songwriters and Composers, Rooksby is also a sought-after teacher who leads courses on music at The Oxford Experience and other international continuing education summer schools.