The Value of Choosing a Good DJ Name

What is in a name? Names came about for the purpose of identifying each other, so making names part of our identity – a fact that should not be taken lightly. Even when parents choose names for their unborn children it is a process that takes a lot of research and thought, also as you…

What is in a name? Names came about for the purpose of identifying each other, so making names part of our identity – a fact that should not be taken lightly. Even when parents choose names for their unborn children it is a process that takes a lot of research and thought, also as you now are deciding on your DJ name you have probably spent a fair amount of time pondering the various possibilities. The mistake is not to make is to just on impulse decide on a name before thinking it through.

Your various options.

A common thing DJ's do nowdays is use their real name, with perhaps a slight alteration or adjustment, if you are happy with your real name (full name or surname, either way) then there is little reason not to stick with it. The counterargument to this is that it shows your lack of creativity and willingness to explore other avenues. Success is certainly not dependent on whether or not you use your real name – think David Guetta versus Deadmau5 – both very successful DJ's, one using his real name the other a pseudo name.

Chances are you already have a nickname, or sometimes you had a nickname in college or school, if it is something that stuck then it probably stuck for a reason. Nicknames and monikers have often become the names of some of the most successful DJ's out there.

But if You are not keen on your real name or a nickname then generally there are three more ways you can go: descriptive name, abstract name or a reference name. A descriptive name is one which describes you, either what type of DJ you are or what type of personality you have. An abstract name can be anything from a group of jumbled letters coming together to a word from another language. A reference name is not all too common but in essence it is a name referencing something you either like or take interest in, many artists and bands have reference names – either referencing their favorite movies, books or sometimes something more personal from their history.

Being a communication based society, social networking and internet visibility are very important, so there are quite a few important factors to take into consideration when making your choice – the practical side of things – are there any other DJ's with what your name conflicts, if so consider slight alteration or adjustment, a total revamp is not necessary. Also make sure you will have an easily identifiable Facebook and twitter page and any other social networking sites you intend on using.

A few more guidelines .

When performing and getting exposure it is important that people will be able to easily identify your name, if they go back home and can not remember your name because it was too complicated – then you probably lose a fan, even if your name is not that complicated but people have difficulty spelling it, they probably will not be able to find you online losing you once again a possible fan. Many DJ's are very artistic by nature, if you are one of them you might want to consider looking at incorporating your name around a logo that brings a more unique feel to your name compared to the generic standard name. When unsure about your decision ask for advice from friends and family, other peoples perspective can be eye opening and will help you a lot in your search for a suitable DJ name.

Why Behringer Is the Future

Behringer is a pro-audio company founded by Uli Behringer in 1989 that has a unique business model (in the pro-audio Industry) of selling high quality products at entry level market prices. Behringer is part of the Music Group – alsoaired by Uli Behringer. The company was originally based in Willich Germany but in 1990, to…

Behringer is a pro-audio company founded by Uli Behringer in 1989 that has a unique business model (in the pro-audio Industry) of selling high quality products at entry level market prices. Behringer is part of the Music Group – alsoaired by Uli Behringer. The company was originally based in Willich Germany but in 1990, to lower production costs it relocated to China; In 2002 Behringer's own factory was completed – in the Zhongshan city of China's Guangdong province – called Behringer City which incorporated all previously separated production plants for speakers, guitars and digital pianos. Behringer has a sales network spanning over 130 countries making it a very easily distinguishable global presence in the pro-audio Industry.

Behringer's vision has maintained throughout the years what its founder originally had in mind when starting the company: provide professional products at prices every musician can afford. One of the ways they do this is by having their product resources produced in house, from the assembly of their mixers to the fretwork on their guitars, it's all done on site at Behringer City. For their loudspeakers they mold the cones from raw pulp, machine their own parts and wind the voice coils themselves, this not only makes their products less expensive but also allows them a greater level of quality control – this strategy was different than that taken by other musical instrument companies who used third party manufacturers to produce their product resources – but it has proven to be a sustainable business model that has served them and their clients well throughout the years. In an Industry that was orientated around selling only to the commercial market – the philosophy of selling professional products at prices every musician could afford was really revolutionary; their “Double the features at half the price” mantra was born out of this philosophy. They still maintain that helping musicians and recording artists make a start in the industry what motivates them to excel.

Behringer being part of the Music Group gives it many advantages over its competitors; Music Group owns Klark Teknik and Midas , two very prominent figures in the pro-audio scene, they are recognized the world over for their digital consoles and EQ / FX processing. Berhinger thus has the use of all the R & D that Midas and Klark Teknik have done through the years as well as their many years of combined experience. Music Group only recently having received these companies, there has not been much collaboration between its subsidiaries companies but the products that have come out of this mix match process so far have had commercial success beyond compare, especially Behringer's X32 series. It is quite handsome then that whatever the future holds for Behringer, odds are it will redefine the Industry.

Behringer's product ranges and individual products never take too long after release to garner praise and acclaim that outshines their competitors; The X32 Digital mixer received the Pro Sound Web Reader's Choice Award at the NAMM (National Association of Music Merchants) show 2013 in Anaheim, California, where it was competing against products that cost at minimum three times its own price. Commercially the X32 mixer sold more than 20,000 units in its first six months after release. It is quite obvious then that if the trend continues – Behringer is likely to be the future of the pro-audio industry and keep on blowing its competitors out of the water.

Promoting Yourself As a DJ

Starting out in the DJ industry can be very challenging for up and coming DJ's, especially if you do not know what you are doing. Rookies often have a hard time getting into the industry because of misconceptions like – If you do not start at the largest venues and parties you will not become…

Starting out in the DJ industry can be very challenging for up and coming DJ's, especially if you do not know what you are doing. Rookies often have a hard time getting into the industry because of misconceptions like – If you do not start at the largest venues and parties you will not become well known in the industry – but that is not the case.

The DJ industry can be very harsh to newcomers and can be especially so if you lack perseverance. To get your foot in the door you will have to start small, In terms of events: small parties, functions and weddings are a good place to start – these events will also help you build up confidence and experience. When performing at events remember to always have mix tapes available to give to any persons interested. Word of mouth will be your major source of exposure in the first stages of your career but sending out your mix tape to places such as local radio stations and clubs might just pay off, too much exposure can never hurt.

Being the unforgiving industry that is, you will not get many second chances … if any. So it is of paramount importance that your performances always exceed people's expectations – planning events properly and putting in as much effort as possible into all relevant details will ensure quality performances and help you build a sturdy public image. Memorable shows are always remembered by the crowd; Being known for your quality performances, you will soon be called back to perform again and again.

Another important aspect to consider is your onstage persona, Many artists such as Daft Punk, Buckethead and even Deadmau5 have built successful careers partly due to their popular and unique onstage personas. Your persona can be used to protect your privacy, but well known DJ's use them mainly to build a strong connection with their fans; a proper persona with an interesting visual aspect such as a unique dress style or mask (think Deadmau5) can greatly enhance your shows. Having your own unique sound as well as style will make you immediately identifiable to the public, giving you an advantage over the DJ's with no unique attributes.

Lastly a thing to remember for budding DJ's when performing at clubs they have little or no experience with, is to make sure that they understand the vibe at the specific club, a little research can go a long way; clubs often have their own unique vibe and style which their patrons are used to and enjoy, so sticking with the vibe will ensure you are not booed of stage even though your music might be good but not in line with the expectations of the club's patrons .

The Industry is harsh but with perseverance and a firm understanding of the fundamentals you can not go wrong. If your performances are Incorporating different external sources such as music, lights and ambiance of the venue and then making them work seamlessly together that is what will define you as a quality DJ.

Factors to Consider When Buying a Piano Alternative

What is a piano alternative and what is their purpose? The modern piano we are all familiar with first came into being in the early 1700's and has since served greats such as Bach and Mozart, but as with most instruments they started progressing forward into the Electronic Age, and in the 1950's the first…

What is a piano alternative and what is their purpose? The modern piano we are all familiar with first came into being in the early 1700's and has since served greats such as Bach and Mozart, but as with most instruments they started progressing forward into the Electronic Age, and in the 1950's the first electronic keyboard was released by the Wurlitzer Company named the “100”. Like our ancestors from the stone age to the bronze age piano's advanced from their conventional non electronic origins to the digital age. Piano alternatives fall into two main categories -electronic keyboards and digital pianos, there are of course also other keyboard instruments such as keyboard synthesizers and MIDI controllers but these are not generally considered to be piano alternatives, but rather instruments that use a keyboard layout for other musical purposes. Piano alternatives such as the electronic keyboard – even though having been around since the 1950's – only started gaining popularity in the 80's and were immensely popular during the 1990's.

The piano alternative is exactly what the name implies – an alternative – the digital piano and electronic keyboard are in concept not different instruments to the pianoforte but rather substitutes; unlike in the guitar family of instruments which consist of acoustic and electric guitars, which are different instruments completely without themselves. In a typical band composition you would find an electric guitar playing along a bass guitar, but you are illegally to find a digital piano playing alongside a conventional piano. Of the piano alternatives the electronic keyboard could be seen as the largest deviation from standard as it has many extra features that the digital piano and pianoforte do not have, these can include: demo songs, metronome, learning modules – with light and sound aids, effects, recording function and autochord function to name but a few, but even though it is sometimes specifically used for its effects and large sound bank of tones, it is mainly considered as a substitution to the conventional piano.

Differentiating factors

Many people start off on electronic keyboards or digital pianos when wanting to learn to play the piano, the main reason behind this is the fact that they are less expensive than conventional pianos, but it could also be because of size constraints – conventional pianos are very large and heavy – so depending on where you will need the piano to be placed you might have to make due with a digital piano instead of a conventional piano. The digital piano's design and build is aimed at people who are to a relative degree very serious about their future in playing the piano, and so it has certain features to accommodate that need.

Digital piano:

  • Weighted, full length keys often touch sensitivity is variable
  • keys numbering from 81 to 88
  • Contains very few if not any rhythms and voices in its sound banks, if offered they consist of the basics: Grand piano, harpsichord and jazz or pipe organ.

The electronic keyboard on the other hand is piano alternative that truly makes use of its intrinsic electronic nature by having far more digitally incorporated features.

Electronic keyboard:

  • Tones can be set to: piano, organ, flute, drum stick etc.
  • Effects include: sustain, reverb, echo
  • Extra features such as transposition is also common.

Piano alternatives can to this day still not match the absolute sound quality of the traditional piano forte; accomplished pianists often describe the digital piano as sounding fake end “electric” – this has to do with many factors in acoustics, but what is often cited as a major hindrance for the digital piano is its inability to convinently reproduce the timbre of a conventional piano . The lack of proper polyphony (the piano's ability to play multiple notes at the same time) is another factor that adds to the digital piano and electronic keyboard's – to the trained ear – often phony sounding reproductions.

Piano alternative technology has progressed sufficiently enough so as to produce sounds that are pleasant sounding and convincingly real to the ear, the choice only lies in which alternative you prefer – the digital piano or the electronic keyboard.

The Art Of Simplicity (Music Production)

Listen to the instrumentals of some of your favorite RNB or Hip Hop records and you will be surprised when you realize that they are fairly simple, clean, and straight forward. You might think to yourself, “WOW I COULD MAKE THAT”, and in some cases you may be right. However, there is an art to…

Listen to the instrumentals of some of your favorite RNB or Hip Hop records and you will be surprised when you realize that they are fairly simple, clean, and straight forward. You might think to yourself, “WOW I COULD MAKE THAT”, and in some cases you may be right. However, there is an art to these records. It's the art of knowing when enough is enough in a production. When you do not need any more sounds, changes, or melodies. And this is not an easy skill to develop. It comes with experience.

The thing about it is that WE as producers have to realize that it is not about US. We might run the show, but it's not our show, its the ARTIST's show. We're the backstage crew. Up coming producers and producers that are selling beats online or producing for local acts may want to take note on this as well. Why is this so important? Well here's why. I can not tell you how many times as an up and coming producer I played beats for artists and they just did not get it. They just could not really get a feel for it. I began to wonder why this was happening. What was it about my productions that artists could not forgive? I mean, I knew my tracks were banging and I had all kinds of melodies and sounds going in and out, so why were not they able to vibe with it? Well simply put, there was WAY TOO MUCH GOING ON. And at times artists can be discouraged or just feel that there is not enough room for them to express themselves as they wish too. So I decided to put myself in the shoes of an artist listening to beats to buy and rap on and that was when it hit me.

I noticed that I would choose beats that had a nice solid bounce (rhythm), catchy melody / chord sequence and enough openness for me to get a vibe and flow going. I would choose beats that “felt right”. And I noticed that all of these beats were rather “simple” but also creative at the same time. Then I took it a step further and began listening to instrumentals from songs on Billboard, major releases, and I noticed more of the same. The backing tracks were for the most part simple and straight forward. There would be parts such as the chorus where things picked up a bit, but they never went overboard. This idea runs across all genres of music. Keep it simple and let the artists shine. As a producer, have a basic idea and allow your songwriters or artists to bring the idea to fruition. Do not try to cram melodies and random sounds to “fill your beats up”. It simply does not work that way.

The best advice I can give is to put yourself in the shoes of the artist. When making your tracks ask yourself am I doing too much here? Will an artist be able to get a vibe from this? And as a producer it is your job to have that type of vision. You should be able to hear the song, concept wise, from start to finish. Knowing when enough is enough is a skill that takes experience but as with anything, the more you practice it, and the more you study other music, the better you will become at it.

Remember: As the producer, It's not your show – it's the artist's show!

History of CF Martin Guitars

CF Martin Acoustic Guitars have been made in the US since 1833 and have developed a reputation for quality and craftsmanship unparallel by any other company. While CF Martin Acoustic Guitars may have a high price tag, most musicians will agree that they are worth every penny. Humble Beginnings in Nazareth Christian Frederick Martin may…

CF Martin Acoustic Guitars have been made in the US since 1833 and have developed a reputation for quality and craftsmanship unparallel by any other company. While CF Martin Acoustic Guitars may have a high price tag, most musicians will agree that they are worth every penny.

Humble Beginnings in Nazareth

Christian Frederick Martin may not have been a carpenter, but he did come from a long line of wood workers and cabinet makers. Apprenticed to the Austrian guitar maker by the name of Johan Stauffer at the age of 15, Christian learned his craft well and, after immigrating to the United States, opened his own shop in Nazareth, PA in 1838.

It is generally accepted that the Martin Company invented the X-bracing system during the 1850's, though there is no actual proof. And even though fan bracing was becoming more popular in European-made guitars, Martin and other American guitar makers stuck with the X-bracing.

It was a good thing that they did, for the increased demand for guitars during the early 1900's (a demand that had its origins in the rising popularity of folk and country music across the US), which resulted in a demand for louder guitars. With the switch from catgut strings to steel strings, the X-bracing Martin had been using proved to be just what was needed to support the weight of the steel strings.

The Great Depression had a drastic effect on all guitar makers, and Martin was no exception. To counter the decrease in demand, they began making innovations to their guitars such as the longer 14-fret neck that allowed CF Martin Acoustic Guitars to reach higher notes. The 14-fret neck changes plus several guitar body shape configurations increased the popularity of their guitars to such an extent that these changes became standard on their guitars.

By the 1960's Martin guitars were back-ordered by three years, but the company refused to go public, choosing instead to remain family-owned. By Year 2000 the company had built its one millionth guitar and is currently headed by the great-great-great-great grandson of the founder.

Famous Musicians Playing Martins

CF Martin Acoustic Guitars have always been in high demand by professional musicians. Elvis Presley is known for having played a Martin and Joan Baez got her start with a Martin 0-45. But the list does not stop there. Arlo Guthrie played a Martin as did Paul Simon as well as Eric Clapton, all of what have CF Martin Signature Acoustic Guitars named after them. Each of these famous musicians had specific models that they preferred, but they were all attracted to the quality of CF Martin Acoustic Guitars.

Popular Models of Martins

While each Martin guitar is extremely well made, certain models have always been more popular than others. The CF Martin 000-28EC and 000-28ECB models, for example, are known as the “Eric Clapton” models. The limited edition 000-28ECB is made of an extremely rare Brazilian Rosewood (represented on the model label as “B”) and can cost upwards to $ 10,000 due to this rare wood. The 000-28EC, on the other hand, is one of Martin's most popular models, most likely because of its more affordable price tag of about $ 3,300.

So Why a CF Martin?

CF Martin Acoustic Guitars are not just well constructed instruments, they are works of art. And for the musician who can afford them, they are highly-valued instruments that are well worth the price.

The Invaluable Checklist for Your Live Sound Setup

When you have the rider and are more or less sure of the lineup, you can gauge what type of equipment you will need. At every live gig, there are different requirements, you may need more of some things and less of others but here below I point out the things that are necessary at…

When you have the rider and are more or less sure of the lineup, you can gauge what type of equipment you will need.

At every live gig, there are different requirements, you may need more of some things and less of others but here below I point out the things that are necessary at every concert.

What's in a live sound setup?

1. Mixer.

Obvious right? Still, you should be aware of how many tracks the band will need and the size of the mixer required for the gig.

The size of the mixer variaries if you're mixing a 16 track rock group or a 24 track special show with different line-ups. Also be aware of extra tracks for FX returns or plays for example.

2. Enough Monitors

The band needs to be able hear themselves onstage. Bring enough monitors. It will be a pain both for you and the band if there are monitoring problems.Having a great stage sound will let the gig run smoothly and the band will appear more confident, resulting in a better live sound.

3. Decent PA

You will not need a huge JBL Vertec line-array for a small club so plan accordingly. When talking to the equipment rental make sure you specify the size of the venue and type of the concert.

The professionals who work there will usually be able to gauge how big your system will have to be. Sure, they might make it a little bit bigger than they really have to in order to charge more, but it's safe to say that they're really trustworthy.

4. Outboard Equipment.

In addition to the mixer, the FOH engineer must have a decent selection of outboard equipment to help him mix. When working with analog mixers, this means having a huge effects rack with compressors, gates and multi-effects.

But when working with digital mixers, all the compressors and effects are built-in, making the process of inserting them a breeze.

For example, working with a rock group and an analog mixer you will need at least:

  • Compressor / Gate for the kick drum.

  • Compressor / Gate for the snare. You can often get dual gate / compressors that you can use and save space in your effect rack.

  • Gates for the toms.

  • Compressor for the bass.

  • Compressors for the vocal, if more than one then use the compressor on the lead vocal.

  • 3-4 different types of effects. Drum reverb, plate reverb for vocals and tap-tempo delay are my favorites and the ones I use the most.

5. Extra Cables

Lastly, because with Murphy's law watching closely everything that goes on in the live sound field, make sure you have backups of everything. And more often than not, that means cables. Bring more cables than you think you will ever need, because you will need them.

What Else is in your Live Sound Setup?

So when you're packing for your next live sound gig, prepare yourself and make notes of what you will need. Do you have a big enough mixer? Enough monitors? Will your PA be enough? Keep all these questions in mind and follow these guidelines and you'll do great.

Mobile Disco Service

Are you wondering who will entertain your guests? Are you looking for a cost effective solution? Are you looking for someone you can rely on delivering a fantastic service? In that case Mobile discos are a great service that can entertain your guests. A mobile disco consists of speakers, disco lights and a DJ who…

Are you wondering who will entertain your guests? Are you looking for a cost effective solution? Are you looking for someone you can rely on delivering a fantastic service? In that case Mobile discos are a great service that can entertain your guests. A mobile disco consists of speakers, disco lights and a DJ who can cater for everyone by playing great music and communicating with the whole audience and individuals using the microphone in a clear, professional manner. Prices for mobile disco may vary but on average you can pay anywhere from £ 300 – £ 400 for about 5 hours. This will also include setup and delivery to the venue.

Before booking the mobile disco service there are a couple of questions you should ask to ensure you get exactly what you want and need.

1. Find out if they're insured. From experience most hotels will ask for a copy of an insurance certificate, public liability insurance and a list of PAT tested equipment. If they can not provide any documents most events including hotels will not let them play. Of course this means that you could be left without any entertainment for you and your guests.

2. Do you get written confirmation? Any good mobile disco will send some sort of written confirmation for the booking either by email, or a contract to sign. There will also typically be a deposit to pay which will vary depending on the overall cost.

3. How diverse is their music library and can they play for and keep all the guests happy? Will they take requests throughout the night?

Asking these three core questions will give you the right answers to lead you to booking the right mobile disco to entertain your guest. Any service that can not answer these three simple questions probably can not step up to the plate and deliver high quality. The entertainment industry is like any other and unfortunately there are many cowboy's who do not have the right equipment, are not particularly good, do not have insurance and other safety documentation. There are a few associations out there which take subscription fees and ask disco jockeys to follow strict guidelines when signing up, however the industry is not really regulated by any official body, so do be careful!

Hiring a mobile disco will bring great fun to your party wherever it is a wedding, corporate function, birthday party of kids and anything else. Any good reputable disco service will get your guests dancing all night to fantastic music from old to new. If the party is talked about for weeks after, you know the DJ was good. Apart from playing music a DJ can host Karaoke where you and your guest will be asked to sing along to songs. All the songs will be instrumental and you will be reading lyrics from a TV Screen, Other extras apart from disco lighting and speakers include; smoke machines, bubble machine, Karaoke machine, special up-lighting and TV screens for video DJ's.

Internships in the Entertainment/Music Industry

Time spent in the classroom is not always considered the most important aspect of college. What is arguably the most significant part of college is the internship that students participate in, which provides real life experience in the profession that a person may wish to work. Internships in the entertainment and music industry vary from…

Time spent in the classroom is not always considered the most important aspect of college. What is arguably the most significant part of college is the internship that students participate in, which provides real life experience in the profession that a person may wish to work. Internships in the entertainment and music industry vary from positions in A & R to marketing to planning events. Internships that are predominant in this industry include through Madison Square Garden, particularly with Fuse, the record label Fueled by Ramen, and Paradigm Agency. Each of these internships guarantees that the student going into that internship will come out with a new perspective of the industry and with the skills to handle it.

Madison Square Garden is known for its place in the entertainment and music industry. There is a summer student associate program for “marketing / sales entertainment and Fuse” that is currently enrolling and is offered annually. Fuse is a television network that features everything going on in the music industry today. Fuse is always on top of the latest music and entertainment news. The internship's listing states that they want nothing but the best and expect nothing short of greatness. This is the ideal internship for someone that wants to get their hands into the pool of the entertainment and music industry. To learn more about this experience and other examples Madison Square Garden's potential opportunities, visit the Madison Square Garden webpage and then search through the student opportunities page.

Fueled by Ramen is a record label near two decades old. This record label is responsible for artists such as fun., Gym Class Heroes, and Paramore, all of what have had a song on the charts within the past two years. While there is no page on the website just for potential interns, it does direct those that want an internship from Fueled By Ramen to email them and include all the information possible that would make said person qualified for an internship position here. Include a resume in this email for the best results. There is no specific time frame in which this firm accepts interns, so there are almost always opportunities. This is a top internship for a person that wants to intern for the label responsible for current hit artists. To see more information on Fueled by Ramen and what to do to qualify as an intern, visit fueledbyramen.com.

Finally, the agency that is responsible for booking and managing most of the artists that are prominent in the industry, the Paradigm Agency, is a prestigious agency that does not hire full time workers frequently, but welcomes interns more often. Paradigm is responsible for various talents and assisting interested clients in booking what talent they choose. During this internship, the intern will work in various areas of Paradigm learning the ins and outs of the office and what it is like to be an agent through assisting one. Of the four different locations for Paradigm Agency, the availability of internships vary, however they also accept applications and resumes year round to keep on their file. For more information on Paradigm Agency, visit http://www.paradigmagency.com and search the career opportunities.

Internships are a vital part of the college experience and even to those who do not have experience in a certain industry, but would like to try it out. Not only do internships help provide real word experience, but they help interns decide if the industry and position suit them.The three firms I have listed all offer years of knowledge and experience that would benefit any intern to the highest extent. These internships could be critical to the success of those interested in entering the music or entertainment industry.

History of Fender Guitars

While Fender may be known best for its electric guitar models such as the Stratocaster and Telecaster, Fender acoustic guitars have developed a solid reputation in the music community. The Fender History But Fender's rise to fame was hardly a smooth trip. In fact, it began with a Californian; an inventor by the name of…

While Fender may be known best for its electric guitar models such as the Stratocaster and Telecaster, Fender acoustic guitars have developed a solid reputation in the music community.

The Fender History

But Fender's rise to fame was hardly a smooth trip. In fact, it began with a Californian; an inventor by the name of Leo Fender who was an electronics technician began experimenting with making amplifiers and custom-built guitars in his radio shop. Sometimes he went on to produce the first instrument amplifiers that had built-in controls that could adjust the tone of the guitar.

In 1951 Leo Fender introduced the Broadcaster; a prototype guitar with a solid body. Sometimes this prototype became the Telecaster, the first solid-body, electric Spanish-style guitar to ever be sold to the public. This breakthrough was quickly followed by the Precision Bass guitar (also in 1951) and the Stratocaster, which was released in 1954.

But in 1965 Leo, who was in poor health, sold Fender Musical Instruments to CBS. The next twenty years saw Fender's popularity explode, though it began to taper off thanks to poor management on the part of CBS. But in 1981 Fender underwent a restructuring that increased Fender's market presence by focusing on improving the quality of the instruments. Every time the company was bought from CBS by a group of employees and investors committed to reviving Fender's reputation and bringing the best guitars possible to the public.

Fender Acoustic Guitarists

Their plan worked. Today the top guitarists in the business go to the Fender Custom Shop located in Corona, California. Here they are walked through the design of guitars that are custom-built to their specifications.

Electric guitarists are not the only ones who rely on Fender. Musicians like Rancid's popular guitarist Tim Armstrong rarely on Fender for the quality of instrument they have come to depend on. And Tim Armstrong is by no means the only Fender defender. Guitar legend James Burton, and Nashville's own singer, songwriter and producer Buddy Miller not only play Fender Acoustic Guitars, but Fender has created signature Fender models for them. Adam Banton, the enigmatic BMX athlete who is sponsored by Fender because of his musicianship got his start with a low-end Fender Acoustic. And Radical Classical, the cutting edge classic guitarist from San Diego plays a Fender CN-240SCE Classic Design Acoustic Guitar.

Fender Acoustic Guitar Models

But Fender has not stopped with simply producing the best in electric guitars. With the increasing popularity of country music and acoustic guitars, Fender decided to expand on its limited, although affordable acoustic guitar line by becoming the exclusive North American producer of the Manuel Rodriguez line of guitars. These hand-crafted guitars that have been made in Spain since 1905 by the Rodriguez family have done a tremendous amount for increasing the popularity of Fender acoustic guitars.

While not everyone can afford a Manuel Rodriguez, which can cost anywhere from $ 500 to $ 20,000 depending on the kind of wood it is crafted from, the Fender Dreadnought is a lower-end model which reliability and affordability ($ 200- $ 400) ) makes it a popular model for those who are just learning to play but are looking for a good quality instrument.

For those who are wanting a top-quality acoustic guitar but who are also looking for a unique look to their instrument, the Fender Kingman's C-shaped maple neck and awesomely styled block inlays coupled with the Stratocaster headstock give the Kingman a unique appearance and classiness that is affordable with a list price of $ 599.

So Why Buy a Fender?

While Fender may have made its name with its electric guitars, Fender acoustic guitars have a quality of build and an affordability that makes them a definite contender in the acoustic guitar market. If you have not ever played one, try one out, you may just find yourself in for a surprise.

Justin Bieber – Making an Impact on Music and Fashion

In a remarkably short time, Justin Bieber has made a major name for himself and done so in a variety of ways. In fact, it is safe to state that Bieber may be well on his way to becoming a pop culture sensation in a truly multidimensional fashion, as his presence and influence is being…

In a remarkably short time, Justin Bieber has made a major name for himself and done so in a variety of ways. In fact, it is safe to state that Bieber may be well on his way to becoming a pop culture sensation in a truly multidimensional fashion, as his presence and influence is being felt in a variety of different ways.

Musicians and singers have had their impact on popular culture and fashion for generations, and Bieber continues this long tradition. Emerging from relative obscure this Canadian import took the United States, and then the entire world by storm in a whirlwind of activity that has yet to subside.

Like so many celebrities, Bieber has no real choice but to wear sunglasses a good deal. In part, this is done to help hide from the paparazzi who are always on the trail of a celebrities the likes of Bieber. But this young star's obvious love affair with glasses, such as polarized lenses for glasses, has other practical aspects as well.

So what are polarized sunglasses and why would Bieber be interested in wearing them? When it comes to lenses for glasses, it is quite tough to beat polarized lenses for glasses, as they are excellent at reducing glare and greatly improving vision and clarity. If you are on the lookout for paparazzi or just want to get the clearest view of the action possible, then these are the lenses for glasses for you!

Recently Bieber introduced his own pair of sunglasses, the Justin Bieber Purple Glitzy Sunglasses which even have bejeweled rims and the very recognizable Justin Bieber signature. Regardless of the type of sunglasses that you own you want to protect your investment. One great way to do this is to replace your lenses if they ever become damaged. Even if you are very cautious accidents may happen, but those accidents do not have to be costly ones. There are companies that ship you professional, high quality polarized lenses for glasses anywhere in the world for free and save you money at the same time.

Justin Bieber's impact on pop culture and fashion looks has become well-established and will likely only continue to gather steam in the coming years. As long as entertainment and fashion are intertwined, you can expect to see musicians and celebrities like Bieber have a significant, if not massive, impact. Whether he's wearing polarized lenses or any other kind of sunglasses, you can be sure that Bieber will not have much luck dodging either his fans or the relentless and highly efficient paparazzi machine.

Get a Thundering Tom Sound in 3 Easy Steps

For some reason “Thunderstruck” by AC / DC comes immediately to mind, even though I'm not a huge fan of the Hard Rockers from Down Under. But anyway, it's necessary to be able to coax a throbbing tom sound out of your drum tracks and by using these easy steps you are so close closer…

For some reason “Thunderstruck” by AC / DC comes immediately to mind, even though I'm not a huge fan of the Hard Rockers from Down Under.

But anyway, it's necessary to be able to coax a throbbing tom sound out of your drum tracks and by using these easy steps you are so close closer to your powerful rock drum sound.

Step 1 – Use Your Equalizer

When doing toms I prefer EQ'ing before I compress. I want the sound of the drums to come through before everything else so I start by sculpting the sound. Thunderous toms need a rich low end as well as a nice attack. What they do not need is the boxy sound of the middle frequencies that clutter up the tom sound and make them lose their thunderous definition. The best way is to cut the middle frequencies first and then find the complimentary lows and high afterwards.

  • Cut the Mids – Start your cutting at 300 Hz or so and sweep along the mids until the toms start sounding thicker. Subjectively, by taking out the middle frequencies you are making more room for the lows and highs to come out and play. Cut the boxy frequencies until you hear your toms getting thicker.
  • Add the Lows – Add more lows to get a thicker tom sound. Depending on the size of the drum there are different frequencies involved. Big floor toms have a fuller sound around 80 – 100 Hz but smaller toms might need to be boosted even higher, around 100 – 200 Hz. Sweep along the lower frequencies with a wide bell curve, or a shelving boost until you find the frequency that compliments the tom.
  • Sprinkle with Highs – Now that you've gotten a thick sound from your drum you might need to add some attack to it. A broad but small boost around the higher middle frequencies, say, 1.2 kHz – 5 Khz should give your toms a little more attack. Be easy on the highs since you do not want too much. Just enough to compliment the thunderous lows.

Step 2 – An Audio Compressor With an Attitude

Now that we've gotten the general sound of our toms going, it's time to use some compression to make it even more powerful. Compression is a big subject and not one I'll be delving into detail here. However, we need to set our compressor to our drums and knowing what each part does is important. Let's go through some of the parameters that are important for our tom sound.

  • Medium Attack – We want the attack of the toms to come through before our compressor clamps down on it. If the attack is too fast the initial transient will be eat up by the compressor. Timing the attack so that the compressor allows the initial hit to come through is important to this specific sound.
  • Ratio – Set the ratio to around 6: 1. By cranking up the ratio you bring up the power of the toms. A ratio of 6: 1 is not extremely high so that you will not notice the sucking sound of too much compression but it is enough to give your toms a powerful sound.
  • Crank the threshold – If the toms are only used in harditting fills or specific tom parts, as opposed to low-key tom beats then cranking up the threshold is a good way of making sure the toms are heard. By lowering the threshold you are essentially squashing the signal harder and hearing all the little nuances and subtleties of the toms that otherwise would be too quiet to hear. Put your threshold at around -20 and make sure you are compressing at least 6-10dBs on the peaks, if not more.

Step 3 – Add Some Reverb

Now you should have a fairly thick and creamy tom sound. You can either leave it as is and focus on the rest of the drum-kit, making everything sound tight and great or you can add this one last step. Adding individual short reverbs to each tom can be a great way to add some more power to your tom sound. Short rooms or halls that do not leave a long reverb trail can make your tom sound larger than life, especially if you pan them accordingly. By using mono reverbs and panning them behind each tom you can give your toms that extra punch you need.

Conclusion

By now you should be familiar with how you can get a thunderous sound out of your tom tracks. Not only can you use these techniques on your toms but try them on other percussion instruments as well. I use the EQ method in step 1 for many instruments, not just toms. By being familiar with what each processor does you can work faster and more efficiently on your mixes.

21 Recording Studio Tips for a Smoother Session

1. Being late – If you are the engineer show up early to make sure everything is working properly. If you're the musician do not make the engineer wait around for you. 2. Not changing the strings of your guitar – Scummy strings can not be fixed in the mix. 3. Not knowing your parts…

1. Being late – If you are the engineer show up early to make sure everything is working properly. If you're the musician do not make the engineer wait around for you.

2. Not changing the strings of your guitar – Scummy strings can not be fixed in the mix.

3. Not knowing your parts – It's a waste of time and money to come unprepared.

4. Singing with a cold – Reschedule your vocal session if you know you can not perform.

5. Giving a lackluster performance – Not everything can be fixed in the mix.

6. Being disrespectful – It goes without saying, the engineer is your best friend. So treat him well.

7. Recording for recording's sake – Similar to not knowing your parts. If you are just piling on parts without a clear direction, it's still a waste of time and money.

8. Recording a badly sounding drum-kit – Replace the drum heads and tune your drums. It'll be worth it.

9. Not having a plan – Make sure you know what you are going to do during the session. A good plan goes a long way.

10. Do not cram too much into one session – Do not try to record drums, bass and orchestra in the same three hour session. Recording takes time, so plan accordingly.

11. Skipping the warm-up – Singing first thing in the morning is hard is not it? So is nailing a 200 bpm solo without warming up your fingers.

12. Recording too hot – Better be safe than sorry. Record at lower digital levels to avoid clipping.

13. Not being in tune – I'm sorry. It's a pet peeve, but people are sooner to forget to tune their instruments.

14. Not having enough cables – Say you're doing a recording and you did not bring enough cables. It's not only a huge waste of time to go and get what you forgot, but it also reflects poorly on you as a professional.

15. Not being familiar with how things work – If you are working with a new piece of equipment, or working at a new studio then it's imperative you do not look stupid when you're trying to figure out how things work.

16. Fix it in the mix? If you know you can (and will) fix it in the mix, then use this sentence. If you know you can not fix it, do not lie. It's one of the more common lines in the audio industry.

17. Communicate – Even though engineers and artists are a closely bred species that do not share all the lingo that's inherent to them. If the engineer is not a musician then getting too musical will be confusing. Likewise with an engineer getting to “audio-engineer-y.”

18. Do not do drugs – I know what Bill Hicks said about drugs and music, but it's usually not a good idea to be stoned or drunk during a recording session.

19. Bring extras – Extra strings, extra picks and extra drum sticks for instance. Some things break and it's better to be prepared when (not if) that happens.

20. Break the session into chunks – It's better to record two energetic four sessions than one long eight hour one where the last two hours people are tired and uninspired.

21. Not being comfortable – As an artist, much of your performance is based on how you are feeling when you are recording. If you do not feel comfortable then your playing will suffer.

Conclusion

Think about it, there are just as many things you need to NOT do in order to get that great recording down on “tape”. Just like it's all about following the right guidelines for recording, engineering and musicianship; there are also some pitfalls you need to avoid.

10 Ways NOT to Record Your Audio

Like a teacher that is so familiar with a subject he expects the students to see how easy it is immediately. Well, sometimes the most common mistakes are the simplest to overlook and the ones engineers do not bother to tell you. They just expect you to know why that's wrong and how to do…

Like a teacher that is so familiar with a subject he expects the students to see how easy it is immediately. Well, sometimes the most common mistakes are the simplest to overlook and the ones engineers do not bother to tell you. They just expect you to know why that's wrong and how to do it right.

So without further ado, here are a few recording tips on how to NOT record your audio.

1. Do not record at 16 bits

We have 24 bits now, and we want all the headroom we can get. Use 24 bit audio and record at lower levels, that way you do not have to worry about putting your recording into the “red”.

2. Do not record in the red

Back in the analog days people used to overload their pre-amps a little. Just to get that sweet sound you know? Well, there is nothing sweet about digital clipping. Do not record in the red when you are recording digitally; digital clipping sounds horrible and you can not fix it. Like I said, record at 24 bit and enjoy recording at lower levels.

3. Do not Record With Shoddy Cables

Cables matter. They may not matter as much as the microphone or type of pre-amp, but they certainly have a say in the overall sound. Do not use a shoddy “the cheapest I can get from Radioshack” type cable.

4. Do not Record Your Guitar With Reverb

If it's absolutely crucial to the sound and you know 100% that you will not want to change it during mixdown then go ahead. But if you are not sure if that specific reverb works, or if you do not think it will fit with the arrangement then consider recording it dry. If the guitarist can not play without it then add some to his headphones from your software to compromise.

5. Use the Right Microphone

Do not use a cheap dynamic to record vocals and then wonder why the vocal track sounds so bad. Even though dynamic microphones may work for some vocals and styles chances are you need a decent condenser instead. Use the right microphone for the job, and if you have access to a few, try them out.

6. Position yourself correctly

Before I knew anything about recording I stood in the middle of my bedroom and sang into a cheap dynamic microphone I held in my hand. Not the most ideal situation for a great vocal performance, since not only was the microphone wrong (and bad) but standing in the middle of the room AND holding the microphone was a recipe for disaster. But I still surprised why my vocals sounded so bad. Well, now I know! Acoustic treatment and a great sounding room are a must, as well as positioning the microphone correctly.

7. Waves of Phase

Are you recording with two microphones? Make sure they are not causing extreme phase problems. Phase cancellations weaken the audio signal and make your signal sound thin and well … bad. If you did this mistake already most DAWs have an “inverse” setting where you can flip one of the tracks 180 °. Try that to see if the signal gets stronger. If it does then you were having some phase problems during recording and should probably try to get better at recording with two microphones in the future.

8. Do not record tracks in a hurry

Some artists work well under pressure. Most do not. Do not expect a singer to be able to belt out all the vocal tracks to an album in 2 hours. Do not plan for efficiency, it never works. Things will go wrong, people will show up late and you will not be able to record everything you wanted. Get used to it and do not record in a hurry.

9. Do not record to the highest possible sample rate

Rather, record to the one you can handle. Higher sample rates mean more space and the difference between 30 tracks at 48kHz or 30 tracks at 192 kHz is a whole lot of hard disk space. With many people recording to their laptops the highest sample rate and the most ideal sample rate might not be the same.

10. Do not record bad instruments

If an instrument is faulty, out of tune or needs new strings or heads then replace them before you record. Drums that have old heads sound worse. Replace them and tune them before you track your drums. Old guitar strings, at least to me, sound bad. Restring your guitars to get a more vibrant sound. Trust me, it will shine through on the recordings.

Download Rapper Beats for World Class Recording Status

Ever get the feeling that you're a face in the crowd of other aspiring artists in search of the right rapper beats, but at the same time that you could light a fire under the industry if you just got your ideas in front of the right person? If so, you are certainly not alone.…

Ever get the feeling that you're a face in the crowd of other aspiring artists in search of the right rapper beats, but at the same time that you could light a fire under the industry if you just got your ideas in front of the right person? If so, you are certainly not alone. In fact, you've probably even heard the famous lines “Yeah, do you know how many starving songwriters there are out there?” or my favorite: “You know that for every one person who makes it as a songwriter, there are thousands who never do?” Well, if you're ready to make these people eat their words, here are a few tips that can get you set on the fast track to download rapper beats for world-class recording status and to stand out from the crowd.

The first thing is that using the same approach that everyone else is using is not going to make you the one in a thousand who is going to put your listeners in a trance. If you really pay attention to the artists who are making their mark in the world, you'll find that there is a key difference between them and those who are known as “one hit wonders” or those who never make it all: they aren 't recycling and repackaging the same grooves and riffs that have become a dime a dozen in the music industry. Instead, they're constantly thinking out of the box and looking for sites to download rapper beats for world-class recording status that no one else can duplicate.

A great example of someone who is constantly coming up with fresh ideas is the undisputed master Dr. Dre. Pay attention to his music and you'll notice that he is doing two specific things that very few people out there are doing: the first thing is that instead of sounding like a repackaged copy of others, he just has his own “personality.” The other thing that you'll notice about Dre is that he has the ability to make each artist he works with sound unique. In other words, you do not hear one of his songs and think: “That's a Dre beat.” Instead, they just sound like unique and creative rapper beats.

Think about this in relation to your own songs, how many different MCs and artists might you be dealing with during your career? What if you could make each of them stand out with their own signature sound? Surely, if you could master this it would not take you long to cut through the noise and start making a lasting impression on those in the music industry who could really help you elevate your success to world-class recording status. As you know, all it takes is connecting with the right person and making a strong impression on them with the music you create over the rapper beats you download.

However, you also need to make sure that when you meet that person you're able to get their attention and create an impression on them as quickly as possible. So where can you begin to carve out your own signature sound like this? It starts with downloading unique and high-quality instrumentals that support your individual style and help you turn your ideas into songs that can keep your listener's attention. Thankfully, the Internet gives you the option of connecting with some of the most prolific music producers around the world. This can help you turn your ideas into solid, hit potential songs when you download rapper beats that can put your listeners in a trance, and turn you into a world-class recording artist.