So your band is looking to take it to the next level. Or perhaps someone has offered to pay your way out of the home studio scene and into a big studio you've only seen pictures of. This week I want to discuss the pitfalls I have witnessed and how to avoid them. I swear I could make a living saving bands money -- if they would only listen. You don't have to trust me, but read on. I may just be saving you not only thousands of dollars but your actual career.
This week, I'd like to discuss some tricks I've learned to make a guitar really stand out in a track. As a producer, I have to make many decisions. One of the main decisions concerns the dominant feature of the song. Since we are all guitarists here, let's just assume the guitar is going to be the main focus (as opposed to a more "vocal" song). Next, we see what kind of song is it. For this blog post, let's use a rock track. By that I mean we want the guitar sound to be distorted, creamy, fat, juicy with some delay.
What do you do if you are having an off day? Just not feeling it? We all have off days. However, I am a professional. That means I'm expected to perform. So even if I'm having an off day, my playing can only get so bad. I can always call upon experience. And being well practiced helps give a good performance. It may not be magic, but it will be damn good.
Hello, fellow guitar freaks! This week I'm going to discuss a topic that has been on my mind a lot lately: Is it better to mic an amp on a track or use an emulator? (By emulator, I'm talking about either an external box like a Line 6 Pod or an internal software based amp simulator like Amplitude.)
Hi, gang! This week I am going to challenge all you aspiring session guitarists with a series of questions. Allow me to preface this by telling you that we are all session guitarists today. If you record at home or in a professional studio, you're already one. But I am speaking about session guitar as a career. Here goes!
When you were young, you played. There was no thought process to speak of. If you wanted to dance, you danced. If you wanted to build a fort, you built a fort. Your imagination had no limitations. Your heart had no limitations. Feelings were expressed freely and without reservation. It was an instantaneous world.
As promised, this week I'd like to move onto a continuation of last week's blog on effects. Previously I discussed some of the most commonly used FX in the studio. This week we are going to look at combining these into what we call a chain.
Hi, gang! Been busy these past few weeks. One session after another. This week I'd thought you'd like to hear about what I've been doing because it may help answer a question I often get asked. The question is: How much theory do I really need to know to be a session player?
If you are serious about your playing, and you are serious about your gear, you will be taken seriously in the studio. When a producer or client sees a guitarist walk in with top gear, an immediate message is sent out. That message is, "I take myself seriously, I take my playing seriously." But shouldn't the studio have everything I need? MAYBE. I wouldn't count on it! Be a hero and be prepared! (Thank you, Boy Scouts of America!) Some of these will be obvious. Others not so much.
Hi, gang! Seventy percent of my time as a session guitarist is spent soloing and/or coming up with parts. These can also be considered mini solos or licks. Or, as we call them from a songwriting POV, hooks. A memorable little snippet that repeats through the song. Or maybe just a part to wake listeners up during the second verse.