THIN, CREAMY, LUSH... What is it about guitar, music and sound that drives players to come up with such odd descriptive words for their guitar sound?
Perhaps it’s that there really is no good way to talk about our guitar sound, so we resort to inventing terms to fill in the blanks for us. Or perhaps it’s simply that coming up with odd words to describe musical sounds is fun and makes us feel smarter than our friends who don’t understand the words we’ve made up. In any case, it’s time once again to decode some confusing audio terms. Here are five major offenders.
"Punchy"
Probably nine out of 10 mixing tutorials for guitar compression focus on how to make the guitar sound punchy. But what does that really mean? How can something actually sound like it’s punching you in the face?
When engineers mix guitars, (especially crunchy sounding electric guitar with over-drive /distortion), they typically focus on using compression to even out the transients and make sure each frequency hit is at a consistent level with the rest of the band-width. At the same time, they don’t want to over-compress the sound and get rid of all of the transients altogether. This leaves the guitar sounding consistent, but still full of dynamics – or, in other words, punchy.
"Thin"/"tinny"
While guitar players are often worried about thickening their tone, there are also instances when thinning out guitars can be useful as well. Sometimes mix engineers will thin out distorted guitars to make them sit better in a busy mix with lots of other instruments. Rather than "muddying up” the mix, the distorted guitars will cut through in the high frequencies, creating separation between the guitars and the other instruments. You can accomplish this by cutting some low-end frequencies and/or adding high-end frequencies to the guitars.
At the same time, some people might hear a sound that’s been thinned out and think it sounds tinny or even harsh; achieving the right sound is all about balance and perception.
"Chimey"/"shimmery"
Guitarists tend to be some of the worst offenders when it comes to making up audio terms that no one understands. Have you ever heard someone talk about a chimey guitar tone? How about shimmery? You’re forgiven if you had no idea what they were talking about. Most professional audio engineers don't either!
Often, when guitarists talk about chimey or shimmery tone, they’re more than likely thinking of players like Johnny Marr of the Smiths or Roger McGuinn of the Byrds. These guitarists have a tone that’s bright and clean, but there’s also another special element to their tone that makes their instrument shimmer. Marr was known to use a chorus pedal most of the time, while McGuinn often played a 12-string electric guitar. Another option would be to try playing in a Nashville tuning with the E, A, D, and G strings tuned an octave up. All of these methods tend to add more high-end frequencies to your sound, but also create more doubling between notes, which gives us the impression that the sounds are bouncing off each other, and thus "shimmering or chiming."
"Lush" Lushness is probably one of the most overused audio terms today. It’s not difficult to define, but achieving the perfect balance of lushness without making something sound overly produced can be a real challenge.
Usually when a sound is defined as lush, it has a lot of reverb and delay applied to it; the notes sound like they go on forever and blend perfectly with one another. This is a great sound for vocals as well as instruments like guitars, strings, and synths. The trick, however, is to use enough delay and reverb to enhance the sound, but not so much as to overdo it and end up in muddy or soupy territory.
"Creamy" Another favorite term among guitar players is creamy. This often comes up when discussing overdrive pedals. Many overdrive pedals offer a creamy tone, but which, a guitarist might ask, is the creamiest?
Creamy tone doesn’t necessarily refer to the band Cream (although they had some pretty creamy guitars), but rather to the perfect use of overdrive that adds just the right amount of sustain to every note. Usually a creamy tone is slightly overdriven, but not distorted, often with a boutique overdrive pedal or even with tube amp distortion. In fact, when people think of a creamy blues guitar sound, they may be thinking of a sound that was achieved without any pedals at all. Simply finding the right balance between your guitar’s volume knob and the gain knob on a good tube amp can create all the cream you can handle.
All of these sounds are about balance. Use compression properly and you can make your drums sound real punchy. Use too much compression and they’ll sound squashed. Add a bit of chorus to your guitar to make it shimmer, but make sure it doesn’t get too trebly and become harsh. Perhaps this is why these terms, though sometimes ridiculous, are also useful – they allow us to describe the balance that good audio requires without having to spell it out in detail.
So rather than asking a producer to add a good amount of delay to your vocal – but not too much – you can simply say that you want your voice to sound lush. It may be imperfect, but at least it gets us closer to the sound we want.
Casey van Wensem is a freelance composer, musician, and writer living in Kelowna, B.C., Canada.
The end of the song tends to be the last thing you think about. You can end cold or you can fade out, but there are also numerous other ways to bring your song to a close...
These can include; dissolution, subtraction, cadences, and the false beginning. After all, the last moments of your song are the freshest memory your listeners will have.
Here are seven creative ways to close out your song, with a few examples for inspiration. And please pardon us if the list is a bit Pink Floyd-centric. In our defense, they’ve recorded a lot of material, and their catalog serves as a clinic in distinctive endings.
1. Dissolution
If you have strong improvisers in your group, you can dissolve the song instead of ending it. The structure of the song gradually comes unglued as the players stray further from their written parts, playing with rhythm as things get deconstructed. This sort of thing is fun to do live, because a carefully arranged song will have a section that’s never played the same way twice. Living Colour (a band full of strong improvisers) did it well at the end of "Information Overload."
2. The false beginning
False ends are a neat trick – just wait for the applause, then hit ‘em up with that last big chorus. But there’s also the false beginning. Play the first couple of notes of an earlier section, then drop it. This technique works best when one more time through that verse or chorus would be too much. But it’s good to tease the audience with it.
3. Cadences
A cadence is a series of chords that resolve, usually to the root chord. They provide a conclusion that’s highly satisfying to the ears, especially when it’s a very melodic number with lots of chords or when it’s a big, epic piece. Sunny Day Real Estate specializes in epics, and this one ends on a nice cadence.
4. Subtraction
This is another great way to mirror the introduction of a song at the ending. A song might begin by starting with a beat, then adding one instrument at a time as the song builds. You can do the same thing in reverse when the song concludes, letting one instrument after another sit out until only the beat (or another instrumental part) remains.
5. The loop
"Isn’t this where we came in?" That’s the question that the unidentified speaker asks over a strain of melody as you flip from side two of Pink Floyd’s The Wall back to side one. You can connect the end of a record back to the beginning as a way to establish circularity. You can also do the same thing with an individual song, creating a seamless loop when the song is on repeat.
6. Just don't end the song
Instead, start right into the next song. Good live bands often have a couple of numbers that just work when placed back to back. Therefore, the first one doesn’t end: the second song simply begins. Of course, this trick works on recordings, too. You’ll just have to find a moment to stop for the edited single. This technique is most famously used on almost the whole second side of Dark Side of the Moon.
7. Go a cappella Chances are, you’ve got a song with some great vocal harmony between band members. While your rhythm section is blasting away, that harmony is tucked away in the background. Why not turn it loose at the end of song? Have your instruments sit out while you croon one round of that chorus. People love a good harmony and are always left wanting more. Just ask Stephen Tyler.
Jesse Sterling Harrison is an author, recording artist.
Here are seven ideas that you can start to include in your everyday life to both help boost your musical creativity and to help you promote and further your overall creative genius...
As a musician, how should you live your life? If you said "suffering," then we need to talk. Sure, there will always be aspects of persistence, letdowns, and struggles, but if you’ve been programmed to believe that the only way to create is to suffer, then you’re hitting this journey already at a deficit.
It’s sad how many artists think that their only connection to creation is sorrow. I mean, look at the plight of some of the greats! Too many have left this earth well before their time. I’m not saying that they consciously chose to live in sorrow, but I believe it worked its way into their lives in one way or another until they couldn’t separate themselves from it.
I see how it could help to channel emotions for a sad song when you’re freshly broken up with, but that doesn’t mean you should string together bad relationships in order to write your next album. You don’t need a torrid life of melancholy to receive inspiration – you simply need to be open to inspiration. I’m from the school that positivity breeds success, and nothing too positive can be accomplished if you’re operating at either extreme of your emotional spectrum. I realize that reads a bit like a PSA for depression, but positivity and motivation go a long way. That advice extends beyond your art to decisions in your everyday life.
I had a teacher years ago who preached a motto that still runs through my mind often: "Practice your art each day without judgment, without expectation, so when opportunity comes you’ll be ready." Basically, always be performance ready because you never know who is going to ask to see your stuff. That’s about as much as you can stack the deck in your favor in this thankless, gypsy life we’ve all chosen.
With that in mind, here are seven things I try to include in my everyday to live the life of a creative genius – they keep me on my toes. Maybe they’ll help you, too.
1). Warm up: No need to hit the ground running. Find a warm-up routine that eases you into your practice, whether you do lips trills and squats in preparation for the tuba, or hum through some vocal exercises in a nice, warm shower. 2). Practice: A lot. That doesn’t mean that you need to spend eight hours each day practicing, but promise yourself that you’ll at least pick up your instrument and blow into it, strum it, or otherwise love it in some way. 3). Exercise: Whether you hit the gym or do "Yoga with Adriene" on YouTube, you need to get those endorphin's flowing.
4). Eat the right kinds of food: Feed your mind and body with good grub. Too many carbs are magically delicious, but they’ll also slow you down. Try to have a balanced diet rich with nutrients and protein. (Of course, the occasional pizza throwdown is a must for creativity!). 5). Learn something new: Challenge yourself to learn new songs, techniques, and ideologies. Keep your routine from growing stale by continuously adding to your arsenal. 6). Take breaks: Allow yourself time each day to escape your art. Zone out. Read a book. Watch a movie. Go sky diving. It really doesn’t matter as long as you aren’t pondering the next great chord progression. 7). Perform like no one's watching: Your art should be for you first. Always perform from your heart, for your heart. If it touches others, then you may have something marketable on your hands.
Jonathan Hack is a Brooklyn resident, musician, writer, and ping pong aficionado. His career in the theatre has spanned acting, music direction, production, carpentry, and more. As a marketer, he has worked with major brands in music and fashion.
Welcome to, "Figure it Out Fridays - Lesson 002," the unique Ear Training Guitar Lesson on YouTube.
The focus of these lessons will be to study how to transcribe, (learn by ear), a new guitar melody or a chord progression every week...
Musical ideas are released on Tuesday's, with the Music and TAB's released that same week on Friday. Do your best on the days in between to learn the musical parts. Then, be sure to check out the "Part Two" video to learn exactly how the musical idea operates. Enjoy, and good luck transcribing!
Simple tips to help musicians land (and keep) that next big gig as a Hired Gun!
My name is Matt Fazzi, and I’m from a New York-based rock band called Rare Futures. I've worked in several other bands as a "hired gun" musician in the past few years, (with some pretty well-established acts such as Taking Back Sunday, Atlas Genius, The Dear Hunter, and Into It Over It, to name a few). As somewhat of a seasoned veteran in the tour-for-hire world, I wanted to share a few ideas to help up and coming musicians get into the "hired Gun" zone of tours and gigs.
Play, play, play I know it's boring to say "practice, practice, practice," but it’s the inevitable truth: the more you play, the more you’ll improve – and if you want to be a gun-for-hire, you’re going to have to be badass at your instrument. Hopefully you love your instrument so much that playing isn't really practice anyway, so with that in mind, there’s a variety of ways to stay riffin’ and progressing.
Train your ear by learning your favorite songs or albums front to back and playing along until you’re perfect, soaking up every little nuance along the way. Take any chance you can to jam with fellow musicians, because you can always learn from how someone else approaches their craft and how they play. There’s a million ways to utilize the internet to improve as well. Searching YouTube to learn new practice scales or watch someone dissect chords can really help expand your playing knowledge and get you familiar with your instrument.
The idea is to advance to a point where you are so relaxed and proficient, you can play confidently under more challenging circumstances where nerves or other factors start to come into play.
Diversify your styles
It’s best to listen to as many different styles of music as you can and always look for something positive to take away. Be open to flavors outside of your comfort zone. From the rhythms, to the production, to the chord arrangements and melodies, there’s plenty to explore within a song and learn and draw from.
Absorbing an array of different genres will broaden your tastes and help expand your arsenal of tricks to call upon when adding to a band’s song or sound. It’s like adding spices to your spice rack: you want to have diversity, you can’t just stick to salt and pepper all the time. Being able to play a vast array of styles and quickly adapt and interchange them is an invaluable skill when you’re stepping in and out of new band situations a lot as a hired hand.
Nail your stage persona
You become extremely valuable to a band when you have your performance details on lock. Pay attention and be aware of how you're presenting and carrying yourself onstage and how it fits within the band’s ultimate vibe. You want to complement and mesh with the team when performing, not detract from what's happening onstage. If everyone wears black, wear black. If everyone dresses like a clown, reach for that makeup and Bozo nose.
Details like how you’re blending within the band, how you look when you move and groove, and even what you’re wearing are important pieces of the puzzle and reflections of your professionalism and awareness, so don’t sleep on them. Not every bedroom shredder is made to perform on an arena stage, just like not all situations call for that David Bowie onesie you love to wear so much. It’s worth keeping in mind people are paying to see you onstage, so you shouldn’t look like you rolled out of bed or just finished painting a house.
Put some thought into the image you’re attempting to project. And don't be a statue during the gig; music is rhythm and it should move you. Shake that rump. It’s a show, after all!
Over-prepare
This means do your music homework beforehand and don't waste anyone in the band's time when you hit rehearsals. If they ask you to learn four songs, learn 20. Study their music closely and really get inside the details so that when you discuss the songs in rehearsals, you know the titles, arrangements, and everyone’s parts like the back of your hand.
Making sure your gear's in working order (and knowing how it operates inside and out) is crucial so you can properly achieve the right sounds and efficiently remedy any potential issues down the line on tour. It’s all about repetition and familiarity. Sensing a pattern here?
Be adaptable
Being in a band on tour, you learn quickly that nothing ever goes 100 percent smoothly or as planned, so the more you can adopt a go-with-the-flow attitude, the better off you’ll be. Don’t throw a fit because you had to get a Dunkin' coffee instead of your normal Starbucks, and don’t go Ozzy Osborne with your wacky comfort demands. Nobody has the patience and energy for it, and frankly, that’s probably not gonna get you hired back for the next tour.
Be adaptable and positive. It’s tough living in each other’s personal space for almost 24 hours a day for sometimes weeks or months at a time, so to successfully get through it takes a huge level of understanding and respect for your fellow band-mates. You should have a team-first mentality; everyone is pulling the same rope, so look out for your crew, lend a helping hand at all times, and be respectful of the limited space in the van or bus by not treating it like your bedroom. Be on your best behavior at all times!
Be professional
At the end of the day, being a consummate touring pro is about reliability and consistency across the board, from preparation, to performance, to attitude – all of which are important elements to being a well-rounded musician and giving yourself the greatest chance for success and longevity. Follow these guidelines, and you’ll get that next gig!
Multi-instrumentalist Matt Fazzi has pursued countless creative endeavors throughout his 15-year career. Having performed alongside notable acts including Taking Back Sunday, Atlas Genius, and A Great Big Pile of Leaves, Fazzi has continually shared his innovative passion for blending genres and influences with no signs of stopping. His latest project, Rare Futures, just released their latest ambient and soulful album titled This Is Your Brain On Love, out now.
This week on the GuitarBlog we're discussing, "Making Money Teaching Music Lessons," and how it can be a great way to earn a reliable income.
For a lot of musicians, the idea of having a balanced lifestyle, combined with set hours, a fully booked schedule, (plus reliable monthly income), are all "without a doubt" quite attractive.
Add to that, the evenings are still free for gigging with a; band, or as a solo-act. All important weekends are always off and free for gigging in the; club-scene, casinos, coffee shops, or restaurants.
So, what musician wouldn't want to teach and earn even more money? The truth behind teaching is, there are both up-sides and down-sides to doing it. And, this business isn't exactly a perfect fit for every musician under the sun.
In this video, I'll be breaking down a few key points with respect to what is involved with the business of teaching music privately. Enjoy!
Welcome to, "Figure it Out Fridays: Lesson 001 - Part Two," Ear Training Guitar Lesson.
Here's the Answer Key for, "Figure it Out Fridays," Ear Training Lesson 001.
In this series, we study how to transcribe a new guitar melody or chord progression every week. Musical ideas are released on Tuesday, with the Music and TAB's released that same week on Fridays. Do your best on the days "in between" to learn the different guitar parts.
Up-Load your guess of Tuesdays guitar idea (from the part one lesson) to your YouTube channel. Share your examples on; GooglePlus, Twitter and on FaceBook.
Be sure to check-out the "Part Two" video released every Friday to learn exactly how Tuesdays guitar part looks charted to TAB and in Music Notation. Enjoy the series!
