Regardless of whether you are playing a gig or practising, you should always make sure you tune your acoustic guitar before playing it. There is nothing worse than a guitar that is out of tune and for a beginner this can be very frustrating so it is very important understand the importance of acoustic guitar tuning. The few moments it takes tune the guitar can really make a difference so it is very worthwhile to do. If you use an electronic tuner you will get the best results if you are a beginner. It has a build in mic which picks up the sound with an indicator using a flashing light or meter telling you how close you are to the right pitch or whether a sound is too flat or too sharp. All you then do is adjust your acoustic guitar tuning accordingly by turning the string's tuning key. You always tune your guitar from looser to tighter until it is in tune. This is also known as tuning up. Should you be too tight play the string a bit first before unwinding it or tuning down. It works much better if you loosen it by playing it a bit before tightening it again as it will give you much more accurate results and helps the string hold its tuning for longer.
Learn To Tune And Play Guitar. And Impress Your Neighbors Tomorrow! ! ! Are you tired of traditional books that offer very theoretical methods of learning how to tune and play guitar? Or are you bored and disappointed coz you have to spend a lot of time trying to figure out what these books are saying? There are information in this article that will tell you easy, exciting and interesting methods on how to tune your guitar and learn to play it as well. With these methods, you learn fast and can impress anyone in no time. Or even tomorrow if you really want to. There are four different kinds on How to Tune a Guitar that are interesting and exciting to know. And these are: o The Conventional Method o The Unorthodox Style o The E-note Method o The Natural Harmonic Style There is also an untraditional Method of Instructions and Steps on how to play a guitar by making chords where you get to know more than ten (10) chords by learning just one chord. One can easily learn the basic parts of the guitar and their functions by knowing their definitions.
There are more independent guitar makers than ever before, it appears, by all accounts making fantastic sounding and looking instruments. Finely crafted, indeed. I even have one made specially for me in 1987 by my old friend Chris Eccleshall. Now these fine instruments have to be superior in every sense from anything that rolls out of a factory, don't they? A guitar, whose woods have been carefully selected and assembled with all the love and care of a master craftsman has to be intrinsically more musical and more valuable than any "production-line" guitar. Doesn't it? Yes, I wonder. When I consider the history and usage of the steel string acoustic guitar, it occurs that its genius is to be found in its ability to be replicated ad infinitum, with consistent high quality, so that it's available to "the masses" reasonably cheaply. Affordable inherently. It is the modern folk instrument par excellence. Add a little bit of QA/QC and you get instruments of exceptional quality at a price within the reach of the working man and woman.
Recording Acoustic Guitars - an Essay on the Importance of Acoustic Treatment of the Recording Space
Trawling through one internet music recording forum after another (as I often do) is certainly illuminating. The multitudinous posts from earnest recordists enquiring from the experts which microphone, preamp, soundcard, converters, compressor, EQ, reverb - blah, blah, blah - is better than another have a rather dulling effect on my sensibilities before too long. And in truth, I've begun to make a bit of a nuisance of myself at one or two places by interjecting with a recommendation that the poster look to the room before he batters his credit card in the hope that some sparkling new high-end "professional" piece of gear will solve all his recording issues. Sometimes the repost comes back claiming that the initial poster is a hobbyist and is not aspiring to achieve professional results - so why don't I just back off and let the guy/gal spend his/her money the way that he/she sees fit? That's all very well, but it doesn't gainsay the logical flaw in spending in the region of $2k on gear when a similar amount - or much less with a bit of research and DIY - on some acoustic treatment of the recording space would achieve a whole different order of improvement.
Fleetwood Mac is a band of both British and American musicians and singers that was formed in 1967. They continued well after 1974, and in fact, they are still together, but it is believed that the first seven years were their best years. The current members of Fleetwood Mac consist of Lindsey Buckingham, Stevie Nicks, John McVie and Mick Fleetwood. The name of the band was created from the names of John and Mick, though, only Mick Fleetwood has been with the band from the time it began until now. In fact, John McVie, Stevie Nicks and Lindsey Buckingham may have been with the band for a long time, but they were not in the band when it was first created. The band is probably best known for its revolving door, in that there has been a high turnover of the other people involved in the band. When Fleetwood Mac was first created in 1967, it consisted of Mick Fleetwood, who was interested from the start, Peter Green, who brought up the idea of putting the band together, Jeremy Spencer and Bob Brunning.
Starting your score can be very challenging, and will require a lot of concentration and patience. You must decide on the proper mood, tone, and which instruments you are going to use. Whether you're using classical instruments or programming the music on a computer, the sound of each instrument will adversely affect the tone of the piece. Plan ahead by watching as many of the scenes as you can (if not the whole film) and figure out how many different emotions you will have to convey with your music. The director or music supervisor should also help you when deciding this. With each different emotion or different scene, you may have to compose a whole new piece of music. Creating the Mood The most important thing to remember about composing a score for a film is that the music must be able to help provoke an emotional response from the viewers. Your music must coalesce with the footage to create a visual/aural masterpiece. There are thousands of films that wouldn't have been what they were without the music that they had.
As an exiled Scot, who has lived here in Germany for the last fourteen years, my Scottish heritage and culture are becoming more and more important to me. A good example of this is the fact that when I lived in Scotland, I never owned a kilt, and within a couple of years moving here I bough myself a full Highland Dress outfit. And I take every chance I get to wear my kilt, whenever the opportunity presents itself. What amazes me, is how the Scottish culture and music are embraced by other countries around the world. And I don't just mean America, Canada, Australia, New-Zealand and the commonwealth countries, which all have large numbers of residents who have either emigrated from Scotland, or who have Scottish heritage. No I refer here in particular to Germany, a country which I have grown to love over the last fourteen years. Music has always played a big part in my life, especially singing. And when a couple of years ago I was invited to join a Gospel choir, I jumped at the chance.
I started in music video production over 12 years ago first doing music videos for independent artists in the Hampton Roads area of Virginia, but after my 4th "indie" music video I had my first major music video for U-God of the Wu-Tang Clan which aired on B.E.T's Rap City. I got into music video production because I would see music videos on TV made with high budgets that turned out crappy. I would always say "I could do way better with a lower budget". So I put my money where my mouth was, brought a camera and an editing computer and 17 music videos later the rest is history. Getting into music video production is very easy. Think about it. No matter where you live, there are music artists looking to pay someone to shoot and edit their music video - so you already have a starving market. But when most directors get their first music video, whether it be indie or celeb, they get 2 important things wrong. Let me explain. First, if you want to get into music video production there's one thing you need to know.
One easy way to customize your guitar's look and possibly even the sound is to put on some new volume and tone knobs. This is one of the quickest customizations you can do becuase control knobs are largely available in many different materials and styles. I personally like taking out the stock knobs for some wooden ones. They create an organic and high end look that also may improve the sound since it will be vibrating through wood instead of metal or plastic. Along with just about any kind of wood, you can obtain them in silver or gold painted metal or various plastic forms. They can come in numerous different shapes and sizes so there should be a good match for whatever type of guitar you have. The wooden volume and tone knobs generally cost more but its worth it for the quality. An idea that usually works well is to get knobs made out of the same wood as the fretboard. The best part about customizing your guitar's control knobs is that most of the time you will be able to pull the stock ones off yourself.
In late 1972, as Genesis set about making its sixth album, Selling England by the Pound, Steve Hackett was becoming fed up with his role as the group's guitarist. He had already recorded two albums with the English prog-rock act-Nursery Cryme and Foxtrot-for which most of his compositions had been rejected. What's more, the group's keyboard-dominated music was providing him with few opportunities to stretch out as a guitarist. "At times, playing guitar in Genesis was very difficult, " acknowledges Hackett. "You'd often have a very busy keyboard part, and the guitar had to be wedged in." The band's lineup at the time certainly left little room for the guitar pyrotechnics for which Genesis would later be celebrated. The five-piece act consisted of Hackett and bassist Mike Rutherford, keyboardist Tony Banks, drummer Phil Collins and vocalist Peter Gabriel. Successfully integrating the artists' distinctive styles required a delicate balance. "You couldn't come in like Hendrix with the whammy bar and do a 'Star-Spangled banner' on too much of the stuff.