The Legends Of Classic Rock

Tuesday, November 18, 2014

How To Play Hendrix Material Your Way---A Little Audio That Will Help You Be More Interpretive When Playing And Recording Jimi's Stuff!

I originally put up an article on this, showing players how to play Jimi Hendrix material their way, and not just copying Jimi's stuff.

But I thought that Jimi's material is so important to the history of music and not to just copy it note for note. Even Jimi wouldn't want that. Even Jimi wanted to play material that took him to a different plane in regards to texture and phrasing when playing his own material took him to heights most musicians never got to. And having someone like Eddie Kramer as his Recording Engineer helped take his material "on a ride" even Jimi was grateful for.

In my audio I make it simple for you to play Jimi's material your way, and to make changes to his material that take your playing back to a time when real rock and roll meant something.

I think Jimi would be proud of ya.

PS: I even include some obscure Hendrix material you can take and play your way as well.

Much success players!

Just click this link to how to play Jimi's material your way.

Tuesday, November 11, 2014

How Your Band Can Stop Procrastinating---And Start Succeeding

https://soundcloud.com/mdgrove/how-you-the-musician-can?utm_source=soundcloud&utm_campaign=share&utm_medium=blogger&utm_content=http://soundcloud.com/mdgrove/how-you-the-musician-can

Just click the link above

This little audio will show you how to do the small things as musicians to get to where you need to go to as a band, and a musician. Most musicians won't even attempt to do these things I've listed and I don't think that's you. I got this idea from a well known internet marketer who creates a lot of value for others. Thanks to Jason Moffatt.

Jason's site helps people grow as individuals and help people in business too. Back to my shit now.

By taking care of the little stuff in your band you'll go farther as a result and come out ahead, and other musicians who you thought were better than you and had more on the ball, will fall by the wayside. That's not saying you wish them to fail. You don't. That's why the Musicians Instant Press Kit helps create value for you and other musicians you help out.

It's a short little audio that will help you and your band to start taking action, and get moving!

Monday, November 10, 2014

Guitar Effects Pedals--What Your Favorite Overdrive Pedal?

I was just reading Guitar World's take on their top 10 pick of Blues type Distortion pedals and the benefits each has to offer. Their picks did leave something to be desired, and even a couple that got left out like the Zakk Wylde OD, and the Boss DS-1 pedal. Just surprised, that's all.

Now don't leave this page because it's about blues type OD's. That's where all music starts, in the blues region if you want to create that signature sound.  Most OD's are not blues based, but rather rock based.

It goes back to the 60's even before Hendrix made Roger Mayer's Octavia famous.

GW's pick for the top one was a new one that some of the top roots music players are using, and pedals that run the gamut in either vintage OD, or more midrange ability to drive your signature sound into the nether regions.

My top 10 would have been different. I'll leave you today with a link to Guitar World's review and pick of their top 10 list of OD pedals. Thanks to Chris Gill of GW for his painstaking work on this.

But I'll leave with this as well. It's something Chris said in a previous article on picking an OD pedal to buy and use. Test some out before you buy. It's kind of like the " Shiny Object Syndrome" as I call it. Don't buy the first pedal because a top player uses it, or players you know use it. It may not be right for you.

And don't base it on price either. You can't exactly budget price quality gear. Not if you want to be a better player. Just buy an OD that's right for your music, and can blend in well with your band. I'm not shitting you.

Okay, here's the link to Guitar World's top 10 OD pedals.
http://www.guitarworld.com/la-grunge-top-10-blues-approved-overdrive-distortion-pedals?page=0,4

Yeah, it's an excessively long link but it will take ya to the piece by Chris Gill of GW.

Thanks again man.

PS: I'll have something up soon from Dee Curtis our resident guitar guru and consultant here at Canadian Guitar Player on how to pick the right pedal.

Enough said, now go get that OD that will complement your tone.

Mark  

Thursday, November 6, 2014

Rickenbacker Transonic Amps---A Throwback To Better Amps And More Creativity in The Studio And Live

By Mark Grove



Rickenbacker came out with a series of amps called The Transonic Series in the late 60's that SteppenWolf, Jeff Beck, and Zeppelin, used and endorsed. The Transonic series unfortunately failed and were taken off the market within three years.


Rock guitar in the 60's brought along with it the hankering for more power, and with that power meant a demand for more powerful amps. Bob Rissi was the head of Rickenbackers Electro String Amp Division at that time from 67' to 70'. There were two types of amps: First there was a 200 watt 100 series amp along with a 350 watt 200 series. The 100 was a one piece unit that had an open back and on board effects such as Reverb, Tremolo, and Fuzz. All these effects had separate controls for mixing these effects together.


The 200 had a closed back and a detachable head and two types of speakers; 12" and 15 " by the Lansing company.An option available was a Rick-O-Gain unit, which was a power amp and speakers which could attach to the Transonic 200, and give it 700 Watts at full power.


These amps are scarce today according to Richard R. Smith who penned the book, The complete history of Rickenbacker Guitars. So Both the Transonic 100 and 200 series amps sound like they would be a good collectors item for musicians.


Amps haven't changed that much over the years being they have the same basic effects only they are digital to some degree now, and aren't as natural for recording purposes. The early amps were harder to learn to get used to and control the distortive tones, which meant stretching your playing ability little by little. The Transonic Series amps definitely fell into this category. So if you come across one of these amps learn to play it, you won't regret it a bit.

Monday, November 3, 2014

Led Zeppelin's Robert Plant Gives Some Advice To Musicians On Why Full Albums Are Better

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                 Robert Plant talks about why full albums are the true mark of a band, and that singles don't hold any weight. As well that real fans were buying albums in Europe in 1975 and in North America we were buying singles that Atlantic Records put out. Your band could turn around that marketing and use singles to market a band. But a true sign is it's creativity and original work in a full album, not  singles.

I think every band out there should watch this short interview with Plant and gain some insight on how to market like a true band. As well I'm doing some research on some old Jimmy Page interviews, and I'll have some gold nuggets on how Page used his recording studio wizardry in the age of Analog to his band's and other band's benefit.

This is a short interview your whole band should watch to learn from.

Mark G                                                                                                                                                                    

Saturday, November 1, 2014

Black Sabbath's Master Of The Bottom Feeding Tone---Geezer Butler--And How You Can Use His Expertise To Create Your Own Bottom Tone

By Mark Grove

Co-Writer Dee Curtis

One of the most emulated Bass players known to mankind in the last 35 years Geezer Butler, knows a thing or two about bass tone and how it melds with the rest of your band. I thought about the raps I've had with resident Canadian Guitar player consultant, Dee Curtis on tone and how best to get it. Now, I'm paraphrasing here. When you crank your amp thinking that it will add to your sound, think again.

Even Heavy Metal Bass players have to watch that their bass tone isn't too dirty or just overwhelms the other half of the bass sound, that being the drums. An old Bass Player of Dee's had a Yamaha 300 watt amp hooked up with a Fender Bass; can't remember which model. He loved to just crank that bastard, but it didn't go well with the type of music being played. Dee feels that you don't need to crank your bass amp to get a great tone and powerful sound that doesn't kill everything in it's path.

http://www.geezerbutler.com

Also, learning how to set up your amp and bass right for better tone is vital to any tonal perfection, or as close to it as you can get. Dee agrees with me that you don't need even a 100 watt amp when you're practicing or onstage at a local club. If you know how to set up your amp properly, you should be able to obtain bass tone that has deep range and a pocket that just blows you away. Experiment with sound by figuring out whether you should be using a pick or using just your fingers for some tracks.

And if some tracks can use more distortion in relation to the sound your band want, try and mic your cabs and record the band to see if your bass tone has any added depth and tone. You'll eventually figure things out, even if that means a different amp bass guitar or strings. If you love being a bass player,and I know you do, you'll think of everything you do to make your tone better as a lab experiment and enjoy the bass journey.


Bottom Feeder Gear of Geezer Butler


Bass-- Lakland(Bob Glaub Model)
(Joe Osborn)

Strings-- (DR) various models--Red Devil -- Hi Beam--Black Beauties

Gauge -- .050 to .110 .045 and .105

Amp -- Ampeg SVT

Effects -- '75 Tycobrahe Wah
DL4 Delay
Line 6 Bass Pod Pro

Cabs -- Ampeg 8 by 10's
2 by 15's
4 by 12's with EV Drivers

Now, go toward the Bottom Feeder gear boys and girls.


http://www.geezerbutler.com

Wednesday, October 29, 2014

When Your Band Should Hire A Manager--It's Not Always When You're Successful

When Your Band Should Hire A Manager--It's Not When You're Successful

When should your band hire a manager? Hmmmm?

Picture of Peter Grant and Robert Plant: Peter was band manager for Led Zeppelin

Most musicians seem to think that they are better off hiring a manager when they're starting out than making 10 grand a week.  First of all you'll never learn anything if you let someone handle things when you're just starting out. It's vital to learn all you can about gigging, recording and taking care of your band.

And like I keep saying working on joint ventures with other bands, indie labels and managers. If you do what I say in this article you'll do good period. This is a repost and an important one. If you have any questions, and I know you do just email me and we'll talk.

mdgrove@inbox.com.



By Mark Grove


Many bands seem to think hiring a Manager or agent when you're first starting out is a hip thing to do. When in fact, for the most part it is a major mistake due to music industry economics. By that I mean bands just starting out playing locally will usually play for the door, or if they're lucky $100.00 for the night. Or in a lot of cases for nothing--with the smart musicians using that time to build their chops in front of an audience no matter how small.


If you hire a manager that means paying out 10 to 15 percent of your hard earned playing dollars, and if you use an agent as well that means another 10 percent on top of that. When a band is just starting out playing locally they are better off booking the gigs themselves, that way all band members receive an equal share.


But if you don't know much about the music industry from the business end of things and would rather have someone handle the bookings, media and label deals, at least do your homework. Talk to your local musicians union which is a fountain of info on what agents get paid, contract know how, how to obtain media coverage and what's involved in a record label deal. Not just Major label deals, but how to cut a production or distribution deal with a solid independent label. Which is where you will obtain a better deal anyway.


Hiring The Right Manager:


If you're just starting out and want to hire a manager anyway, make sure that he or she is willing to work with the band when times are tough money wise and willing to work to build a bands business and personal affairs for possibly years, yes years guys for next to nothing. That way when your act starts making a good living you'll know you have a legitimate manager. Most bands will make the majority of their money on the road, even the Rolling Stones.


Live performances will consist of playing mainly the club scene locally, and regionally to gather a larger fan base. When you have a manager and agent who know the clubs and are competent at handling bookings, lodgings and regular media interviews in each town they play, then the band is able consistently make better money. Then you know they are starting to climb the ladder of success.


As well, a good manager knows how to handle a bands budget for on and off the road expenses as well. So in these days of accounting scandals, keep your eye on your manager even if he is a good friend. A good manager will send any demo or recent releases to independent labels and a small number of major labels. But a band for the most part if they're industrious enough--will forgo any major label interest and do it them selves--being able to keep the lions share still.


That's not to say all Major label deals are bad. For the most part a band if they are smart will only go for distribution deals when dealing with a Major. Even then they have to make sure they get a fair deal. If it looks fishy even after having a music industry lawyer look into it, get the hell out!


The Business Side And Creativity Of Music


As you all know having someone in your corner early in your music career to steer you in the right direction is vital, and along with that being confident enough to trust someone to handle your business affairs. But keep in mind what I said earlier, watch your manager like a hawk no matter who they are.


But on the plus side, a manager who has music business and creative vision will see beyond making money from just managing your affairs but know the right A&R people for your style of music. Along with that, session players who are suitable for stage and studio work if your band has to take on hired guns. Along with being able to see what markets are suitable for your genre of music which may not be in North America, But Europe or Asia.


An agent should be separate from a Personal Manager to better enable an agent to concentrate on bookings in clubs, festivals, and bigger venues along with setting up concert dates where a band can start opening for others. Having an agent take care of the money gigs and a manager setting up your music business and taking care of personal affairs, enables you and your band to concentrate on the creative end of musicianship. But musicians should at least have a working knowledge of the business side of music. That way if you and your manager part ways, you and the other band members can take over the business end temporarily.


Learning About Music And Thinking Differently To Succeed As A Musician

Even if you've been in the business for years you can still learn from guitarists who've only been at it for a few months believe it or not. They may play something at a jam session that totally floors you and end up using that little riff or chord structure as an element of your style, by changing it slightly so you're not just stealing it. As well, and I keep saying this, learn as much as you can about the music industry from others and reading magazines such as Canadian Guitar Player Magazine, Canadian Musician and Guitar Player to learn the latest innovations and to constantly educate yourself. Associate yourself with musicians who are serious about their craft and you won't constantly find yourself spinning your wheels in bands that go no where.



I may be getting a bit off topic, but what I'm talking about in this article is imperative to do. I know a lot of music industry people would disagree with me on when to hire a manager and how to run one's music business, but then again you have to think differently guys.


How I help Band's through my website:

Canadian Guitar Player Magazine is not just about this writer coming up with articles to help musicians. This web site helps musicians by publishing articles on aspects of music they understand and are accomplished at, such as instrumental playing, recording, band publicity techniques etc. This way a musician or a band has an instant press kit and a way of promoting a band differently. Most press kits have a band bio, musical style and a bit about the band.


Generally just bragging about the band. That's all fine and good but does nothing really to help the band get gigs or show any extra ordinary work or creativity. But by having articles written on a musicians expertise or experience in a certain area of music, along with the musician writing and publishing articles themselves and interviewing other musicians, helps their careers that much further along.


But as I said at the start of this article, hire a manager who is there to help you creatively and further your music vision along with handling day to day responsibilities such as transportation, lodging, dealing with agents, A&R dealings and music conferences. Having tunnel vision to the future of your music career will only help your career that much more.


Keep in mind what I've said in this article and you won't go wrong. Just make a few adjustments along the way. Oh, and don't forget to e-mail this article to a fellow musician.