The Line 6 Helix – The Chameleon Steals The Show!

On a swaying brown branch in northern Madagascar, in the dry, gritty wind of a baking afternoon, a Parsons Chameleon sits amazingly still.

He’s blending. Blending in perfectly with the sparse foliage and branchery around it, and waiting…

Waiting for that tantalizing treat that always comes with patience – his baited, buzzing bug snack!!

The reason he’s so good at snagging these juicy gems is because of its singular, creative trait – the ability to blend in with its surroundings by changing its hues and tones to whatever it wants.

(Sigh) Man… if only we could do that with our guitar rigs.

Oh. Wait…

WE CAN!!!

Friends & Lizards

One of the great things about hosting a website about music gear is that your wacky musician friends are more than happy to share and talk about their latest G.A.S. attacks and why their choice is so legit. “Dude – you won’t believe this thing! The sound is AMAZING!!”

Been there, played that! It’s a rare instrument which has a sound so intoxicating that it stands out from the pack, but when you hear it… you WANT it. Bad!

Enter the ever lick-ready John Fiaschetti, one of my good friends who loves to shred. He was quite rambunctious for the chance to show off his latest gear acquisition – the Line 6 Helix guitar processor. So we obliged him the opportunity by shooting a video of his G.A.S.relief celebration. If you haven’t seen this video, treat yourself and check it out HERE.

A Tone-Changing Beast!

Now that you’ve heard and seen John’s personal paean to this new product, let’s explore some specifics that led him to take the plunge and ascend the stairway to guitar-modeling heaven.

Line 6 has been at the modeling game for over a couple decades now, first appearing in 1996 by releasing a small combo amp called the “Flextone”. In the mid 2000s I used their Bass Pod for some live and studio use. They had a dream of really making digital modeling a force to be reckoned with that could emulate real amps and mics and such authentically.

They did a good job too. In the 90s and 2000s though, I still didn’t think they nailed the sound of real amps, because my real amps always sounded better to me in the mix. But they came close enough for rock ‘n’ roll and, with the advent of their “Pod” series, they took over a large share of the guitar gear market, a big reason being their very low, approachable pricing.

Fast forward to June 2015, when their new “Helix” was unveiled. Immediately we all could tell this was a big step forward from where they’d been. The patches actually could fool you into thinking the real amp was being used. Who’da thunk?!

You can dial in whatever tone you’re dreaming of on the Helix. The raw materials within this unit are vast, and stellar. The picture above shows you just how many different pieces of gear are emulated superbly in the Helix.

The plethora of options might be excessive for some, but for myself personally, I appreciate having options when trying to get that perfect mix for whatever the latest song is that I’m working on. With this many variations in the Helix, it’s actually easy to find the ways to craft the tone you’re after, and with a few knob adjustments… or maybe even right outta the box!

The amp models, the mic models and the effects are truly robust and endlessly configurable. You could spend the rest of your life playing with them and creating untold trunks, branches and boughs of cool sounds to grow your tonal forest.

Want to emulate the exact tone of a Mesa Boogie Mark IV on its Channel 1, with an SM57 mic pointed off axis from the cone from 6 inches away? No problem.

Of course, it’s not going to actually say “Mesa Boogie Mark IV”, because that’s a trademarked name. Lucky for you and all of us though, the manual provides a heartening “translation page” that will tell you that the “Cali IV Rhythm 1” patch is exactly that amp and channel. Nice!

The same is true for Effects, Speakers and Microphones; whatever combinations you want to use, you can dial it in and set your sound free, quick and easy.

Because of this, if you’re a musician who has to emulate a lot of different tones and approaches in your work, like session players or wedding bands, this is a welcome aid to keep you playing more than you’ll have to edit. That’s always a plus.

The basic elements of each sound you create or call up are put together with “blocks”. These are the amps, cabs, effects, splits, loopers, inputs, outputs, and impulse responses.

Then you can set the “paths”. This sets the signal flow, which can be parallel or serial, and the Helix allows you two completely separate pathways to really configure some wild variations if your blood runs that cold.

Need to have rigs set up for different concerts? The Helix provides you with 8 setlists, which can hold up to 128 presets. Unless you’re Superwoman, that’s waaaaay more than you’ll need for any live event. Good to have the wiggle room though, right?

Your requisite sends and returns are available, as well as the possibility to set it up in stereo mode.

Reptilian Easy Street

One thing that is very consistent about the Helix line, that I’m hearing from amateurs, gigging friends, and all the way up to pros and audio mags that I have trusted for decades, is the level of ease with which you can perform functions.

The Line 6 team has really thought out the editing hierarchies well, and pretty all are in agreement – if you need to make any changes to your tone you can do so quickly with simple controls that make access and on-the-fly mods a Madagascar breeze. It’s not just that the raw materials are there to mix, it’s that they are also easy to mix.

The unit comes with a full color ‘cheat sheet’ that will make it easy for you to edit whenever you need to without consulting the full manual. That’s cool. I remember they did the same thing for the Bass Pod, back in the day, and I used that sheet all the time!

Currently I see on the Line 6 website you can also register, once you’ve purchased the Helix, for a second full year of warranty coverage… for free! Can’t remember ever seeing that happen before for any piece of gear I’ve purchased, so if you’re at all interested, this is a great time to buy so that you get double the protection over this valuable processor.

Can You Spot an Imposter??

The biggest hurdle regarding Line 6 products is simply this: do emulations hold up as well as the real things for you? In other words, can you play through a modeling product and come out with a sound that is as hot, beefy, toned and appropriate for your genre and song lists as what you get through your rig of outboard gear?

From my research, most are saying they can with the Helix. That’s why this thing is getting 5 stars all over the place in personal reviews.

I can tell you this also: many times, those that hold the line against emulations, and loquaciously issue tirades against the chameleons of the jungle, are spouting off from their own egos without any actual testing behind it.

I’ve worked in the pro audio niche for decades now, and I have personally witnessed people who said they could tell the difference between an outboard gear piece and the equivalent software product go down in flames when various companies would actually set up for us an A/B comparison to test our ears and sound recognition abilities. Especially with this new iteration of pro modeling coding, it’s going to be quite the rare person that will be able to tell the difference.

Despite that, there are some online to write that they can hear the difference. Well, if you can, then just keep walkin’. Gear modeling is not for you.

But for the rest of us, we have no problem shredding solos for the fans and sounding convincing enough for the masses cheering with their hands in the air with the Helix. To my ears, John’s ears, and hundreds of others, it delivers the goods as handily as a chameleon tongue delivers lunch!

Made in the Jungle Jam Shade!

The Line 6 Helix could very well be the dream rig of hundreds, if not thousands, of gigging musicians who want the flexibility and quality of sound it provides, but can’t afford the other similar offerings from other modeling companies like the Axe FX or the Kemper Rack. I’ve also found online page after page of “jumpers” – those who have used the expensive rigs in the past, but now have paid less for the Helix but say they prefer it.

As my bud John Fiaschetti said, “If you spend a little time, like every one of us wants to do, you want it to sound the way you want, you wanna tweak, you wanna make it sound right… you can go from zero to hero faster than you would imagine.”

Now who wouldn’t like the sounds of that?

As always, if you have specific questions that I didn’t address here, throw me a line in the Comments and I’ll get it answered for you. If this kind of guitar gear remedy excites you as much as it has John and so many across our rockin’ land, go check it out for yourself HERE.

Until next time, I’ll be feelin’ the chameleon love and rockin’ the Helix wah Pedal preset for a while. Time to make the jungle talk!!

Now, go… make… sounds!!

Teaj

Serious G.A.S. RELIEF!! Episode 1: John Fiaschetti & the Line 6 Helix!

Hey, everybody! Hope you’re having just an AWESOME week.

Good news, we’re expanding here to take on more videos for 2018. We caught the YouTube bug and we’ve got it bad, so… welcome to the premiere of “Serious G.A.S. RELIEF!!” In these vids, we’ll be interviewing people about their own personal G.A.S. experience and the specifics of their gear love. First-hand experience is always insightful, and can really help us make good investment choices.

You’ll be seeing more of these first-hand videos from here on out. I’ve got some really cool musicians lines up who live, work and love their gear. You’re gonna love it!

With that in mind, let’s now hear straight from the rocker’s mouth. Today, John Fiaschetti takes us through his devotion to his new Line 6 Helix guitar processor.

Enjoy the fun, and, as always, thanks for making SeriousG.A.S. part of your regular routine!!

HERE is the direct link to Line 6 and their overview of the unit. Stay tuned to SeriousG.A.S. also, because my own review of it comes out in the next day or so.

Go make sounds!!

Teaj

 

Phil Collins – 7 Things To Learn From His Autobiography

In the big hair days of L.A. in the eighties, I was sporting said ‘big look’ and fronting my band at the time, “Reason Y”, and livin’ the dream.

The keyboardist, Kenny, and I wrote the tunes, and we were influenced by many various groups, but one that we dug quite high above most was Genesis. “Trick of the Tail” was especially a favorite, and I recall quite a few songs that we worked on that had that certain prog-rock, British tinge to ’em.

I wasn’t so aware of it at the time, since I hadn’t taken up drumming yet, but now that I look back on it clearly one of the reasons we were so drawn in by that band was its drummer – Phil Collins. The finesse, artistry and command of morphing grooves and time signatures was so tightly woven by his deft hands, it’s hard to imagine the group being at all the same without him.


Cut to this past year, 2017, when after decades of successful work in Genesis and as a solo artist, Phil released his autobiography, “Not Dead Yet”. I recognized the not-too-sublte nudge-nudge, wink-wink to Monty Python immediately, and knew I had to have that book. And thanks to my family’s giving Christmas spirit… I got it!

Behind the Lines

Every life is a library, I tell my kids, full of tales of wonder, mystery, loss, victories, creation and destruction. The only way we can know the stories is if they are either shared with us, or we live out a part of them.

Since most of us rarely get a sneak peek ‘behind the lines’ written by famous esteemed people, except through their books, magazine articles or on-camera interviews, all three are excellent ways to learn from their successes, and mistakes, and hopefully improve our own little corner of the stage as a result.

Who knows? Maybe they’ll be clamoring for our tell-all one day? 😉

In The EAR Tonight

Protect your hearing. I’ve said that countless times to my son, who took up drums so early he was not yet out of diapers. Thankfully, from that very first time at the skins, he was wearing drum cans, and I’ve never let him do otherwise. And, yes, I model doing the same.

Phil finally, very late, joined in on the ‘in-ear monitors’ game. Now he swears by ’em, but for years he continued with the old way: playing drums with no ear protection AND have a monitor screaming LOUDLY his bandmate’s parts so they could lock together. I’ve done it too. I’ve also heard sound engineers complain time and again about the musician monitors on stage being so loud they can almost turn the F.O.H. speakers off and not lose anything!

That’s some serious dB levels, people. And that… is terrible on the ears.

If you haven’t switched yet, definitely do so. You’ll thank me later, tho’ I’m sure Phil would be quick to point out that it’s also crucial to have someone engineering the monitor volumes that you can trust. He had a single burst of loud, piercing volume once by a green rookie that he still thinks has something to do with his one ear being 50% deaf now. Doctors disagree. He doesn’t believe ’em, and I know why.

That HURT!

“No” Reply At All

Learn to say “No”. A lesson we must all learn in life. For some, though, it comes late, and at a painful cost.

As Phil describes in his book the offers that were presented to him, I can totally understand why he didn’t say ‘no’. Imagine your musical heroes all lining up to want to work with you. Why, it’s like your greatest fantasies come to life! And when you know that the amount of wealth you’ll accrue for you family by taking on these prestigious responsibilities will be, um, … well, quite vast, then it would be hard indeed to turn down such overtures.

But what Phil gives us is a rare insight into the worth of accomplishments and successes when viewed in the cold pallor of regret. It wasn’t worth it. To miss the important stepping-stone moments in your kids’ lives… because of an itinerary so full that it just leaves no wiggle room at all for loved ones? Not worth the eventual cost. It wasn’t that any one of his obligations was so wrong; more that he just chucked balance out the window because he didn’t say ‘no’ to perfectly reasonable and desirable things that were handed to him on a silver platter.

Kind of reminds me of Mr. Creosote in “The Life of Brian”. Just that ooooooone last, little “wafer-thin mint”… caused a whole lotta damage. And no pail is gonna pick up all those pieces!

Living Forever

Phil sang on the “We Can’t Dance” album: “I’m trying hard / to do it all / so I can remain / healthy and sane / I’ll live forever…”

Unfortunately, in order to eke the most we can out of this incredible life we’re given, we need to be vigilant about guarding it from the effects of over-exertion and simple time. Phil took after his dad, he says, in that if something appeared to be wrong with his health, but wasn’t that bad, he’d just ignore it… It’s bound to just go away eventually.

But sometimes that eventuality does not coalesce.

On his last Genesis tour, in 2007, Phil suddenly found he could not hold his drumsticks. Something was wrong. Ignoring it didn’t help. He finally was forced to go in for treatment.

What they discovered was that his 50+ years of drumming had taken a high toll on his body, and at the moment it was most severely being manifest because around the upper spine vertebrae, the calcium had been basically demolished and the bones were severely worn away. The prognosis: immediate surgery or soon he’d be dealing with paralysis in a wheelchair.

The younger we are, the more impervious we feel to pain, decline, injury, deterioration. I know a 20-something friend of our daughters who, for example, just ran a FULL marathon… without training for it… for the first time.

Um… I like to run. And I want to continue to run. No matter how old I get. But this one thing I know… unless you want your body to revolt, you’ve gotta train correctly for such taxing endeavors in order to keep things strong for later years.

So the reminder to us is clear: check your health. Every year. Make “A Visit to the Doctor” an annual event. Because just ‘cuz we don’t see it doesn’t mean there’s not a “Lurker” in the bodies we are so demanding of. We ignore what’s going on inside to our own peril.

ABACAB

That the Genesis song “Abacab” ever became a successful single on the radio is still an astounding bit of luck to me. The song’s not bad, mind you; it’s another stellar piece of push-the-boundaries artistry by the band. The reason I still shake my head in disbelief is because 1) the song clocks in at 6:57 minutes total (very un-radio friendly!), and 2) the chorus has absolutely no meaning to most people who aren’t songwriters!

Do you know what ABACAB refers to? It’s the song arrangement; the form of the song, broken down into the constituent parts and laid out in the order they perform them in. “A” is the verse. “B” is the chorus. “C” is chorus 2. When you’re trying to figure out which order works best you can just write these letters as shorthand to try.

One thing was clear early on regarding Phil and the band: they worked hard at what they created and studied hard to not only perform well, but keep improving. Fleshing out the order of the song they were writing is just one example. Here’s another: almost every night or day after a concert, Phil would listen to at least some of the concert recordings taken at the sound board. Year after year, tour after tour, even at the height of their success around the Invisible Touch album, Phil was still studying and committed to improving his craft, and the skill and understanding of those around him.

Now, I’ve known a lot of musicians in my career. I can count on one hand (two, if I stretch it) the people who, to my knowledge, ever did this more than a couple times. Most of the time, once you’ve kicked off the tour and have a few venues under your belt, it’s time to glide, baby – just let it ride… go out do the show and collect the cash, then move on to the next jackpot, OH, I mean, concert.

Yet another reason why I’ve respected Phil’s career all these years, tho’ I only learned through his book the lengths he went to make sure he delivered the goods consistently. Every time.

Bottom line: ya wanna be good?

Work for it. And study it. Hard.

Counting Out Time

Quality time is a myth. What’s needed in relationships, especially those with kids, is simply time. Any time. Time doing absolutely nothing – sometimes those are the best times of all! If there’s one thing Phil teaches us, by drawing back the curtain on some of his regrets, it’s that if we spend a large quantity of time away from those we love and are committed to, that decision will definitely turn around and bite us in the butt… big-time. And like Tim the Enchanter said, it’s got “… nasty, big, pointy teeth!!”

More than any other regret, time not spent with his kids weighs heavy on his mind. If you were around for the 80s at all, you know that you couldn’t escape Phil – he was everywhere: films, bands, albums, soundtracks, cameos, concerts… LIVE AID, for heaven’s sake! And, of course, his songs were ongoingly the backing music for people’s lives around the world; to some degree, they still are today.

Genesis (permission Jean-Luc)

But all that accomplishment took time – lots of time. And, unfortunately, we only have 24 hours in our days. A guy’s gotta sleep sometime, even if it’s just for a few hours. Add to that the geographical challenge of his kids for some years living thousands of miles away from him with their mother in another country and you can see why it’s a period of time lost that he wishes he could regain.

In the end, we all must be very deliberate about the time we set aside, daily if at all possible, for our loved ones. This means not saying ‘yes’ to things that might challenge our family goals. Or let’s put it in more succinct terms…

Dance on a Volcano

One of his career’s worst nightmares that he’ll probably never shake was due to heat. Extreme heat. And the responsibility of his supersonic speedy race to play live in both Europe and America, the same day, for the Live Aid telecasts. He was facing a whirlwind tour day in all senses of the word except one: when he was onstage for the European concert set, there was definitely no wind. Of any kind. And that… was the problem.

It was a white, hot day. Blisteringly hot, as Phil puts it. He had already had to play a set backing Sting on drums and vocals, so he was already feeling the burn. There were no fans on stage. Zilch, Null. Nada. And everybody was sweating. Phil couldn’t help but join in the pool, not cool, party.

Problem was, he then had to do a short set himself, just him and a piano. His temp was up, he was trying to not looked soaked, since they were all baking, and his hands were also sweaty to the point of it being ridiculous.

Which is why he hit a clanger note in the middle of “Against All Odds” that soon became the ‘clam heard ’round the world’.

Not a great way to start a veeeeeeeery loooooooong day.

But soon enough he was rushed off so he could get to the airport in time to be flown over the Atlantic to the American concert in a Concorde jet.

And then more interesting madness ensued, having to do with Led Zeppelin. But I’ll let you read the book to discover that little treat.

So, my friends, no matter what genre of music you play; no matter how high or low on the music career ladder you have climbed; no matter what instrument you have to play with exceptional skill at any moment… if you’re too sweaty – FIND A FAN!! lol

One More Night

This one’s a simple, yet all to common trap: if you’re married, don’t allow yourself to be alone with an old flame you really loved years ago.

‘Nuff said.

That’s All

What a great read! Many thanks to Mr. Collins for really rather candid (British understatement, that) and letting us understand what went into so many things that we only heard about in a cursory (and many times WRONG) delivery, through a fan mag, or newspaper, or a VH1 video.

Regardless of scuttlebutt, Phil, your legacy will be timeless meaningful songs and, yes, being a family man too, despite shortcomings and challenges. Your heart is evident in your lyrics. Keep up the classic work, please!

If you’ve never read a musician’s autobiography, I heartily entreat you to do so. I’ve ingested about 20 to 30 now and I’ve learned so much from each one. Especially concerning what NOT to do. In fact, you’ll be hearing more from chapters in those other books about other musicians’ lives in the future too. But Phil’s “Not Dead Yet” is, without question, a great way to start!

Agree? Disagree? Got insights to add? Lemme know if the comments. As always, thanks for putting down your music gear long enough to drop by the site. Always a pleasure to have you.

Now, go… make… sounds!!

Teaj

 

The 7 Best Crash Cymbals of 2019 – Sizzlin’ Crash For Your Cash!!

“BOOOOooooooossssshhhhhhhhh!!!”

“KkWEEEEEEEeeeeeeeessssshhhhh!!”

“TTSSSSSsssssssssssssssssshhhh!!!!!!”

Ahhh, the sweet sound of dramatic, alloyed, rhythmic accents; in other words… bring on the CRASH CYMBALS!!

Below you will find a consensus-driven list of the best out there currently, in four different price ranges.

Amazon, Musician’s Friend and Guitar Center all have excellent “no-questions-asked” return policies that I’ve used many times, so don’t hesitate to link to your dream crash – they’ll help you find the right one if you change your mind!

Now… let’s hit some metal!! 😉

Cheap Shots!

Let’s face it: if you’re not gonna spend much, you’re probably not gonna get much. Unless you find some used piece somewhere on Craigslist. It has to be stated that as far as sustain, timbre and overall professional sound, you’re probably not going to find anything suitable in the under $100 category.

That said, we DO have two solid options for you. Both have 5-star positive reviews, and both are, for the money, providing plenty of percussive punch, without necessarily making the pros line up outside before the store opens.

Also, both of these cymbals I chose because they can be used for diverse genres of music. There are lots of atypical cymbals under $100 that are described as ‘trash’, ‘metal’, ‘gong’, or other specialized niche sounds that are well off the beaten path. Instead, the following two picks are good choices if, for example, you’re buying your first crash cymbal and it needs to be used for many types of music and many different songs.

Along those same lines, your best bet for good, all-around crash cymbals, especially when first starting, is to invest in either 16″, 17, or 18″. Once you have those staple sounds then you can branch out from their into other sizes, larger or smaller.

The Meinl 18″ Medium Crash

Though I was not aware of this company until the last decade or so, turns out they’ve been around making cymbals since 1952! They also currently use more diverse alloys in their cymbal production than any other cymbal company, given them a more diverse line.

They’re known as a “company of drummers making products for drummers”. I believe it – in 1974 Meinl was the first company to have the smarts to offer a start-up cymbal set so we all could save bucks on our first cymbal outing. Thanks, Meinl!

This particular crash I think sounds great. Certainly better than dozens of other crashes I listened to under $100!

Listen to it for yourself HERE.

All reviews I read on this particular cymbal were all five stars too, so… I’m not the only one who thinks so! If you’re ready for an inexpensive dip into the cool pool of ringing, accentuating tone, you need wait no longer… !

The Stagg 16″ SH Medium Crash
Stagg SH 16 inch cymbal

This Belgian company has been helping beginner musicians afford their first instruments and accessories since 1995. They’re still mostly an online company here in the States, so I’d never encountered their sound or products before in any of the many cymbal rooms I’ve frequented over the years.

Researching them this week, however, I was very pleasantly surprised! For the price I found very few others that could compete with the well-rounded sound they deliver, at least when it comes to being a 16″ crash.

I can totally hear this one sitting in some of my mixes, across several genres and for many songs. It’s got a nice, crystalline clarity that will accentuate pop/rock for you and I quite nicely.

Also, the reviews I read from others were all five star ratings on this particular cymbal. Way to stand up to the big dogs, Stagg!

If you want to hear how it sounds in full kit, go HERE, then skip to the 46-second mark. There you will hear this 16″, as well as the 18″ in the same line, within the context of a full drum set and growling groove.

Obviously, this one will be brighter than the Meinl, being that it’s a 16″, not an 18″. So, if ya wanna spread some tropical rays out to the world, let this cymbal be the sound of ocean to your fan’s ears! Get it HERE.

Movin’ On Up!

Our next level is the under $250 category. This amount of investment allows us a lot more options, and a lot higher quality! You’ll find in these selections a more professional sound as well as increased longevity… something we all want in our drum gear.

This is also where we start to see a lot of subtle (and NOT-so-subtle!) variations in timbre, shades and hues. The options just keep multiplying here, so you’ll have no lack of tonal permutations in this stratum of sound!

The Meinl Classics Custom Dark 18″ Crash

First up, an excellent, singular choice from the good Germans. This is not only a cymbal that sounds good, yet distinctive – it also turns heads ‘cuz of how it looks!

There’s a large, mega-church I’ve attended for years, and played for, that has a drum kit set up but players must bring their own cymbals.

I have often seen (including just yesterday!) players bring complete sets of Meinl cymbals to use on the kit. Even if I’m just watching in the audience, I can identify them on the TV video feed through the cameras because of their distinctive, larger company icon. A lot of these players can afford anything, so that says a lot.

Veronica likes this one too. Here’s why she says it’s a no-brainer choice for the money:

“This one uses the B10 alloy formula, has machine hammering and a special chemical process done
at Meinl’s factory in Germany to give it its’s distinctive dark finish.

The deeper tones in this line on the larger-sized crashes are delicious and dissonant. It cuts, but still
retains the bite of the B10 formula.

The dark finish also keeps the cymbals dry, so they are great for recording as well as live performance.”
Thanks, Veronica! Always good to get word from the trenches on what’s hot… and what’s NOT.

If you’re G.A.S.-in to ‘keep it dark’ (nod to my Genesis prog rock days!), go take a listen, and pick some sonic SHADOW up for yourself!

The Zildjian A Series 16″ Medium Thin Crash

From the cymbal makers who’ve been doing this longer than anybody comes another dependable, consistent, pro-sounding cymbal. I looked at dozens of their line-up for this article, but this one was the clear winner.

In case you don’t know, Zildjian has been at this since 1623.

They’ve tried just about everything in their search for the ‘perfect cymbal’ and have a global, loyal following amongst professionals and amateurs alike.

In my career I’ve seen more musicians wearing Zildjian clothing of various types than probably any other. There’s a reason.

This is a cymbal no one in a studio setting will complain about; it’s going to give you a very traditional, expected cymbal sound. If you want something more on the fringe, go for the 17″ or the 18″ Rock Crash in this same line. Again, great clatter for your cash.

This beauty has an 89% 5-star rating from the user reviews, so you know it’s a dependable disc. In testing it in my studio, it fits comfortably in pretty much any mix I try it on.

Consider this one your golden, workaholic chameleon – you can pretty much use it on anything and get smiles and a nod from the engineers. What better at the end of the day?!

To hear it in action, check out THIS vid. And if you’re ready to take the plunge on the Zildjian decades-long, solid reputation, the golden ZING awaits you!!

 

Paybacks are Swell!

When you get to the under $400 category you truly have reached professional level, and, for the most part, it’s really hard to land a lemon in this upper-crust land. Also, this to me is the price point where you get the most for the money; the biggest return on your investment. These cymbals will continue to pay you back in sweet, swishy sound recording after recording. So take that for what it’s worth.

There will always be some products that rise above the fray though, just as in the ranks of professional, well-trained, super-capable athletes there will always arise superstars.  In the upper crust of crashing, these are your best bet:

The Sabian AAX Series 17″ Studio Crash

This, ladies and gentlemen, is my favorite crash of all time. I love, love, love how this alloyed wonder sounds on all my recordings.

Extremely well-balanced; perfectly pitched; resonant to just the right degree… I just can’t say enough about it.

I currently use eight different crashes on my two drum kits and, by far, this is the one I would say I cannot live without if I were forced to choose only one.

The bell is a bit smaller than most other crashes, which translates into a quicker response time. The sound is very full, not too bright or brittle at all. If you want a great all-around cymbal that’s going to sound excellent in the studio or live, you cannot go wrong with this cymbal.

Listen to its lusciousness HERE.

If you’re into a specific sub-genre of music, like death metal or rockabilly, then perhaps it might not be your perfect choice. Then again… it might be fine! As usual, it really comes down to what you define your personal sound as a drummer to be.

One thing’s for sure: this cymbal will always sound professional no matter what music type you throw at it.

The AAX I bought is the 17″ model, but it comes in a variety of sizes, from 14″ all the way up to 20″.

Want more specs? Want more pictures?? Want an online cart to put yours in??! I’ve been there, my friend!!

As of this writing, Amazon is, for some inexplicable reason, selling this exact cymbal for about forty bucks less than all the other stores I checked. I don’t know how long it’ll last, but if the price is still under $200, GET IT NOW! The usual price is much more…

 

The Paiste Signature 17″ Fast Crash

As you heard from the pros above, the Paiste Signature line is full of great, all-around workhorse choices that you can’t go wrong on.

HERE, on Paiste’s site, you can test drive all their cymbals, recorded with quality mics and their full sustain left for you to lean in and appreciate, and salivate.

I honestly would be happy with most of the line, tho the Power Crash timbre didn’t thrill me. In the end, I chose this particular size and line because it sits in the mix of my recorded songs the best out of the many choices Paiste gives you.

I let a couple of my song mixes play and tested the various iterations of the Signature series, but in the end it was pretty clear: the 17″ Fast Crash sounded the most pro and sat in the mix better than any of ’em. I don’t think it was close, either.

Get one winging its ringing way to your own kit and see just what I mean. It’s a true standout among an elite group of cymbals.

 

Spared No Expense…!!

The Paiste Formula 602 Modern Essentials Crash

I first came across this line of cymbals due to my familiarity with Vinnie Colaiuta, the extraordinary L.A. session player who has played on so many albums it’s crazy.

When I lived and had a band in L.A. (shout out to all “Reason Y” fans!!) our drummer was Vinnie’s drum tech and set-up technician for when he played a studio session.

I learned just how amazing he was by listening to Matt’s stories of his amazing consistency, creativity, control and finesse time and time again, and then buying the CDs he graced with his awesome sticking.

One time, Matt said they turned Vinnie’s click track off to see how long he could continue to match the metronome. It was well over 2 minutes before there was any hint of being off. Extraordinary!

This line of cymbals he personally co-designed with Paiste and has used them in hundreds of gigs across the globe. My own experience with them is simple: they ain’t playin’ around, people – these little gold discs will give you SERIOUS G.A.S.!

Vinnie uses these in the studio AND out live, so whatever venue you’re in, these will deliver. Stack these around your best kit and your F.O.H. or Control Room engineer will thank you…. and be jealous at the same time!

Listen to him describe the line HERE.

His comment about these being “the people’s cymbals” is a good way of describing them; they’re so versatile, yet silky, rich and warm, especially as you increase in sizes, that you could use this line in dozens of music genres and never sound out of place. My personal favorites are the 17″ or 18″, but the whole dang line is bangin’, I’m tellin’ ya.

So, that, in a slightly larger nutshell, is why the 602 Modern crash cymbals are my top of the line cymbal of choice for the over $400 price point. If you’re ready to join Vinnie and the big dogs in the ‘impressive shimmer and shine’ category, go get ’em… and maybe YOU’ll be the next top recording session drummer-for-hire!!

If you want sizes besides 17″, 19″ or 22″, Amazon has ’em… RIGHT HERE!

“This is How We Dooo It…”

At the start of every year, I like to scan a panoramic view of the music instrument industry and give to you the best options I can find, in varying price points, that will take your music to the next level… and beyond!

Wanna know the parameters I use to judge? Simple – I consider three different avenues of instrument research:

  • Advertised info from reliable suppliers
  • First-hand accounts of gigging players with whom I’ve played
  • Personal online reviews from forums and review sites

With this deliberately broad instrument analysis, I end up with a well-rounded and real-world-grounded recommendation for each instrument type.

I mean, we all work hard for our cash, so why not maximize what we get for it, right?!

Researching to bring you the 7 best crash cymbals for 2018 was no easy task. There are more cymbal manufacturers than ever this year, and some of the new boutique options are quite good, but, as is usually the case, more pricey.

I’ve been very impressed with some models from Amedia, Matt Nolan, Bettis Customs… but they’re a little out of most people’s prices ranges, so… if you want to look up how beautiful they are and G.A.S. away, be my guest. 😉

Also, I’m not limiting the picks to ‘dark’, ‘light’, or ‘exotic’ cymbals. I personally have all ranges of crashes because, when I go to record a song, I pick the cymbals to use based on how they sound with the basic tracks of the song. Sometimes even my favorite cymbal just doesn’t sound right for a particular song, so it’s good to have a wide variety of timbres and resonances in your cymbal arsenal.

Lastly, you must know that I have ZERO affiliation with any particular cymbal company, so I get no kick-backs, side-cash or free products from the manufacturers because of what I say here; my choices are simply what I find work best in the studio and/or live, and give me the professional sound I’m always aiming for.

So that’s how I was able to take you through the ongoing reconnaissance of the ‘crash cymbal’ market. With dizzying dozens of options out there, it helps to have a guide map through the maze of seismic sizzle. So… hope you found a winner for YOUR kit!

Desert Island Cymbals of the Pros

As a bonus insight for you, I started my research by asking a slew of friends who are professional drummers their opinions. I asked this one simple question:

“What is your favorite crash cymbal? The one you couldn’t live without if you could only use one?”

They all responded with the list you see below, as well as vivid descriptors of the lusciousness of their particular pick. Heck, their answers already have me G.A.S.-ing for a couple! Here are their choices, in no particular order:

Steve Nolton (“Simon Vitale Band”; “Aretha Franklin”):

The Paiste Signature 16″ and 18″ Medium Thin Crash.

He would love him some Zildjian K‘s though!

Gabe Helguera (DrumBeatsOnline.com; “I Prevail”):

Gabe says he swears by the 20″ Meinl Byzance

extra thin, hand-hammered crash. You rock, dude!

Danny Cox (DannyCoxMusic.com):

“Depends on the music, but I’ve got a

nice set of the new Avedis ‘A’-s, and

I love them. I also like Avedis ‘K’-s.”

Mike Murphy:

The Paiste Signature Series

15 or 16 ‘Fast Crash’,

or the same sizes in the

‘Full Crash’ series.

Brad Giamo (“Barbara Payton”;

“Mainstreet Soul”; “Allie Louise”):

“It really depends on what type of music

I’ll be playing, but for a non-specific-type gig… any good medium 18″ with a good attack & sustain.”

Veronica Ellis ( ‘Trash Not Garbage’; C.M.U. Symphonic Band, Percussion Ens.; student of Dr. Andrew Spencer):

Veronica knows her stuff; she works day in and day out with music equipment at Guitar Center in Allen Park. She loves music, and her knowledge and helpfulness stand out from the pack.

Why don’t more women go into drums, I ask you?! ;-0

Her pick is: “The Sabian 15″ AAX-Plosion Crash! One of my favorites. The thin design with the raw bell gives the perfect amount of swell, body, & decay. Great for recording, the softer, full cymbal sound is smooth, but the decay is short enough for it not to be too washy. Not to mention, raw bell for days!”

Can you tell she knows cymbals?! LOL

Sticking Your Own Stroke of Luck!

Alright, so now you have all the info you need to go nab a great, new investment towards a rich future of bashing, swiping, zinging, stroking, crashing, exhilerating fun!

In the final analysis, it’s all about bringing your music to life well, either on the stage, or in the recording sessions. Each of these options I’ve given you today will not let you down in those areas; instead, you’ll find yourself smiling about the sound, and having some money left over for your next G.A.S.-y dream buy!

Lemme know how these choices work for you, either live or in the studio, by writing us in the Comments section. Our shared stories weave an enlightening tapestry of experience that can point our sound in the right directions and keep our wallets… heavy with saved cash.

Think I’ll go bash on these for a while and get my blood movin’. In the meantime, expand your cymbal on the cheap with these great picks, and…

… go… make… sounds!!

Teaj

Teaj in the storm fields!

Iris 2 – Hacking A World of Sounds!

It was 1987.

I was listening to Peter Gabriel’s third album, the one his fans call “Security” (it, like the two before it, has no actual title!).

It was my first time giving it a listen; somehow I”d missed this early stuff of his from the 70s, but his recent “So” album was so stellar I had to go back and explore his past catalog.

From the very first song I was mesmerized; this artist has a way of finding patches, tones, sounds and ambient stabs that are so… ALIEN-sounding, but in a good way!

The ear-changing moment of the album for me was when I reached the sixth song, “Lay Your Hands On Me“. As Peter often does, the song starts very quiet and uber-mysterious. An airy pad. A slight rhythmic pulse.

Then a sudden, sparse but loud, tribal sounding drum beat. An outer-space-bass riff. Quick, thick tides of melt-y, bend-y fretless bass moans.

And then… that sound. The one that had me guessing for years. Thirty-one seconds into the song all the rhythms just stop, and a single, bizarre sound steps bright into the spotlight.

The first tone and the last three tones appear to be a sort of marimba synth patch, but in between those notes is this… this sound. It’s so weird. So different. For the life of me I can’t place what the heck it is!

But one thing I know it is for sure – CREEPY!

Years later I finally stumbled upon the end of my tonal quest: Peter had taken a common garden SHOVEL, placed it on pavement, and dragged it, all the while recording the subsequent noise it made.

Brilliant.

Get Out Your Lightning Bug Jar

Mostly because of the esteemed Mr. Gabriel, my palette of what tones/sounds/noises can go into a song has never been the same. His shovel solo opened my brain to a world of noises and possibilities they hold for complementing a song.

It is for that reason alone I picked up for Christmas “Iris 2“, the synth software engine by Izotope. This beautiful beast of an instrument can be used totally with what it comes with, an incredibly varietous eleven gigs of sounds. Patches that are not your typical fare. Think ambient, strange, at times disturbing, or mysterious.

But for those more adventurous, Iris 2 can become your one-way ticket to Peter Gabriel land, providing you with a virtual lightning bug jar that you can use to go out into our vast planet and capture whatever little tonal critters you like, bring ’em back to the studio, and show them their new home… in your song!

Jar Specs

Iris 2 is the second iteration of Izotope’s peculiar software, providing those who sing its praises a lot more patches and more flexible modulation parameters for less money than its introductory set. Here’s what you get:

Teaj using Iris 2 for a new song in Pro Tools
  • 11 Gig sample library in 24 bit .wav file format
  •  A huge list of classic analog samples or oscillator waveforms
  • Four separate tracks, or “pools”, for stacking samples to create your own fantastical patch
  • Import & integration capability for your own personal samples gleaned from… any sound, ANYWHERE!
  • A Spectogram, or visible representation of the sound, via waveform and/or texture visuals, provides crazy manipulation of sounds in new, outrageous ways
  • Over 100 parameters to manipulate for each sample!
  • 20 different LFO wavetable types
  • Lots of MIDI expression controls that allow further eccentric mangling of whatever samples you throw in
  • Insanely adjustable envelope filters
  • Five usable Effects: Distortion; Chorus; Stereo Delay; Reverb and Filters
  • A new redesigned interface, that includes movable and dockable modules that you can place wherever you want

If you want to, you can dig deeper and go ‘tweak crazy’ with other menu-deep manipulations, but just the basics I’ve outlined above have kept me busy for days now… and I’ve no end in sight.

Put it this way: if this were a lightning bug jar, it’d be the most souped-up container ever cast, made to catch marvelous, curious creatures never dreamed of in your ho-hum mosquito world!

A Look Under the Lid

Basically, to use this software, you load in up to four sounds. They can be the eleven gig worth of stock sounds that come with Iris 2, or your own noises that you’ve recorded yourself, even with just your phone like I did all day yesterday. Talk about fun.

Once you choose them, they appear before you stacked vertically. You then can either use the new hybrid patch that you hear as is, or use a clover-field full of manipulation filters, effects, LFOs, etc., to fiddle further with the patch until it’s as twisted as your idiosyncratic mind desires. You can even play the sample in reverse, loop it, or trigger it as a one shot.

Did I mention this is fun?

But wait – this’ll blow your mind: once you’ve imported your samples, you can then use selection tools to only let parts of the sound pop through, even in totally random ways, based on what you select or draw. The tools include a brush and magic wand, which anyone familiar with Adobe Photoshop will know what to do with handily. It’s such a blast to not only load in a peculiar sound that you caught from… well, anywhere, but then draw selections upon the waveform that the sound morphing as it plays. Take a look at this picture:

See how the waveforms have been drawn upon, so that the lighter selection is played but the darker is not? This creates tonal types that are kind of like flanging and phasing but yet different. You’re really just hearing EQ morphing based on the patterns you draw over the waveform.

SO MUCH FUN!! With a little bit of practice, it’s also a way to create very usable patches, with morphs that are as subtle or in your face as you desire.

Obviously, a lot of people around the world have caught on to this software, because one quick Google of “Iris 2 sounds” brought up pages of websites with programmed presets and new samples for Iris 2 that they’ve developed (i.e. so you don’t have to). Some are free; some are on the cheap. Regardless, if you actually don’t like programming… don’t. There’s a ton of sounds that come with the program, and a ton more made by others for the program. Problem solved!

Maximizing the Catch!

There’s a couple things that you need to know going into Iris 2 as a soft synth in order to keep it working well: first, if you go hog-wild on it and use every parameter you can slide your mouse to, on all four samples, you’re gonna run out of buffer pretty quick. I did encounter latency once, but I admit I was deliberately taxing the program it to the point of exhaustion to see how far it (and my computer) could go.

I have a pretty souped-up computer in my recording studio, with two solid-state drives, two disc drives, and extraneous amounts of memory. Most things give me no issues. But there are some software programs, like this one, that simply demand a lot of the CPU, because they are doing really hard bit crunching under the lid. With such powerful designs, lapses will come up at times if you go too crazy. In the past few weeks since I’ve gotten Iris 2 though, it’s only dropped the ball on me that once, so in most cases you’re probably going to be fine unless you have a very slow, very weak computer.

If you keep a few things in mind, though, you should be fine. Izotope recommends (and so do I now) that you do the following to keep the synth lag-free and delivering the goods:

  1. Freeze or Bounce your recorded Iris tracks
  2. Hide the User Interface
  3. Set the Buffer size according to the appropriate current task
  4. Avoid the N.Y. and Tokyo filters, as they suck the most memory
  5. Lower your Voice count
  6. Reduce your envelope release times
  7. Reduce your sample distances from the original pitch

I have not done any of these and Iris has been working great until I seriously overtax it by going overboard with manipulating the samples. If you must go there, then you may have to engage the tips above.

If you want specifics about each of those points, check out Izotopes breakdown of how to be an un-laggy pro here.

Join the Chase! Your Noises Await!

Here’s the deal: if you like to experiment with sound – tweak it, bend it, shape it to perfectly fit your own vision of music production… you are absolutely going to LOVE this software. You could literally spend months doing nothing but creating patches that stand waaaaay apart from the typical synth patch list that comes with the latest name brand music keyboard.

And if you’ve had G.A.S. for a platform that can give you trippy, aqueous, evolving and sometimes foreboding atmospheric beds… your train has arrived, my friend! In two words, this soft synth is fa-sheezy fly!!

A monitor view that’s crazy coo’!

I checked the price today HERE and saw (to your happiness!) that it was still at the sale price it was at near the end of last year – $49. For what this software does, I’d call that crazy cheap. And if you sign up for an Amazon Rewards card, they’ll even give you the software for free.

I like free. Free is good for G.A.S.  😉

The fields of sound production are ripe, so go catch that lightning in a jar, then bring it back to your studio, and make even Dr. Frankenstein jealous of your skills. And when you do, leave me a comment below and tell me what magnificent beast you caught and put in a song. We’ll all wanna hear!

Iris 2. It’s the perfect, fun, creative way to go… make… sounds!!

Teaj

Freshen Up Your Music! Five New Ways to Play In 2018

Happy New Year, everyone!! Here in the first days of 2018 I’m rarin’ to go, ready to dish out to you all some hot, fresh music gear content to rock your world! New days; new months; new opportunities for all-surrounding G.A.S. Whoot!! Let’s jump into the bangin’ fray!

David Lee Roth wrote in the lyric to the song “The Trouble With Never”, the following enticing query:

When was the last time you did something for the first time?!

Immediately, I said, “Now that is a killer question. That is a question we should all ask at least once a year.”

And what better time than now: New Years Day!

(Hit the U2 track NOW)   lol

Here are some methods, tools, tricks and off-the-beaten-path approaches I’ve taken, and will take again, that always shake up my songwriting and production.

How Do You Play That Thing??

Most of us that play instruments have certain styles, riffs and approaches that we use whenever we pick it up. The methods that come naturally to us; the ways we’ve played for years, if not decades.

But what if we didn’t just go for what comes natural? What if we tried playing our instrument in a way we never have?! Would this introduce a fresh bolt of espresso into our musical flavor?? You betcha it would!!

Here’s an example: Most of the time when I compose at the piano I tend to use triads or 4-note clusters in my right hand. I am very chord conscious when writing or playing, mostly due to studying Elton John, McCartney and Billy Joel so much.

But this past year I had to learn a piece by master composer Jimmy Webb – one of my favorite songs of his called “If These Walls Could Speak”. His piano part on that song is more different than any other piece I’ve ever played. He doesn’t play so much in chords, but more in a constantly revolving, complimentary duet of right-hand against left-hand melodies.

It was one of the hardest pieces I’ve ever learned, but finally nailing and performing it really taught me a new way to approach the keyboard when I compose. Totally worth the effort, the time, the focus.

So how can you do that on your instrument? Here’s some

  • Strum if you usually pick.
  • Record with a synth patch that you always thought you’d never use. Find a way to make it good.
  • Play electric guitar with only your fingers, no pick.
  • Put down your drumsticks and use only brushes on a song.
  • Go fretless instead of using your regular bass. Yea, I know it’s harder.  lol
  • Record a vocal track but sing like one of your favorite artists that sounds very different from you.
  • Put a mute in your horn for a track
  • Play a related instrument. Ex: instead of drums, play a djembe, cajon or Udu drum.
  • Double or triple track your instrument if usually you’d only record it once.
  • Record a pizzicato track instead of bowing on your violin, viola, cello or bass.
  • Go early Peter Gabriel and lay down a drum track with no cymbals!
  • Play a part on one instrument like you would play it on a different instrument! For example: construct an acoustic guitar melody while thinking of composing an alto sax line.

Okay, so… you get the idea. There’s lots of way to shake things up a bit, and I’m sure you can find more than these. Get at it and let me know how it goes!

How Does That Work, Again??

Now let’s put the same method to work with our studio hardware and software. We all know that there are certain ways we dial things up usually, because we know they work and don’t waste the client’s time.

Well, it’s time WE took the time to give ourselves a moment to just play. PLAY. Play around with all that awesome gear and find something new. Create a different way. Song hit history is full of these gear-driven breakthroughs – why can’t you do one of them?!

Here’s some wierd ways to get started:

  • Put a gate on some track you normally wouldn’t. Phil Collins did it and transformed the industry in the 80’s.
  • Use (or buy if you don’t have one) a looper pedal and figure out one song to do totally alone.
  • When was the last time you put a tremolo on something? Do it, and make it complement the song.
  • Run an instrument through an amp that normally shouldn’t go through an amp.
  • Put a guitar effect on a vocal track.
  • Try the AutoTune synth effect on something different. Cher won’t mind!  😉
  • Run several effects on a track in serial fashion and see what happens.
  • Put mics where you never have before. Try to fit the new angled sound in a mix.
  • Run a track through headphones, mic it, and put THAT on a separate track.
  • Sample a sound you’ve never used & put it in a song. More points if it’s a totally random noise.
  • Introduce a new piece of software or hardware that you’ve never used. I just bought and loaded “Iris 2” by Izotope, for example, and am having a BLAST! Review coming soon!
  • Get really wild and use a phone app, like Skrot, to add bizarre textures!

There ya go; enough to get started. Basically, just go into a private session this week saying, “I’m going to record in ways I never have and discover something new and brilliant.” If you do, you will!

“It Was a Dark and Stormy Night….!”

If you are a writer of lyrics for your recordings, challenge yourself in this new year to write just one story song.

Most songwriters of the last three decades have all but abandoned the story-telling technique of writing. I’m deliberately trying to bring it back this year. There are a few bastions of this tradition still out there, but not many. I want to see it proliferate again.

If you try this, you’ll want to keep it up. Not because it’s easy, mind you; it’s not. But the pay-offs are so uplifting and unforgettable. It’s like you wrote a movie, not just a song. In fact, many of the top story songs of our time have been turned into movies, simply because the narrative was too good for Hollywood to pass up!

Here’s my own personal list of story-song favorites. If I could have written any of these I would be very proud of my work. Have you heard these masterstrokes?:

  • Ode to Billy Joe” by Bobby Gentry
  • I’m So Happy I Can’t Stop Cryin‘” by Sting
  • The Wreck of the Edmund Fitzgerald” by Gordon Lightfoot
  • Hurricane” by Bob Dylan
  • Cat’s In the Cradle” by Harry Chapin
  • The Highwayman” by Loreena McKennitt
  • The Leader of the Band” by Dan Fogelberg
  • Harper Valley P.T.A.” by Jeannie C. Riley
  • Eleanor Rigby” by the Beatles
  • Kawliga” by Hank Williams
  • Space Oddity” by David Bowie
  • Hazard” by Richard Marx
  • Angie Baby” by Alan O’Day/Helen Reddy
  • El Paso” by Marty Robbins

You’ll notice there’s a plethora of country songs within this list. The reason is that Country Music has always had a great affinity for the story song and, even to this day, country songwriters still strive for that emotionally explosive story song that will make them a lyric legend.

Who knows… could the next one be by you?!

Who’s That New Voice in the Mix?

No matter what, or how, we practice by ourselves, we all know that WHO we play with makes a big difference on the final product. Do you want to develop a new sound? Or discover new musical playgrounds? Then throw a new human being in the mix!

Invite a musician friend over to your studio that’ you never have, then pick up your instruments and see what happens. I can guarantee you it won’t be like anything you’ve done thus far. And THAT… is what makes it cool for both of you.

As proof, I have dozens of songs that I’ve written with other people, as well as dozens of recordings of me playing or just jamming with other people. On every single one I play differently than I would if left alone in my studio. Each person brings out something unique, and the collaboration, when captured, is elusive gold.

If you’ve worked with others before, invite over someone new for this new year. If you’ve never recorded or jammed or written with anyone else… um… why the heck NOT??

Give it a try. Not only will you probably not regret it, you’ll more than likely want to do it again. And again. And again…

Hey… That’s Different!

If you are a player, not a writer, you still can up the creative ante this year. Try this: take a great song that you’ve always appreciated and respect, and dare yourself to come up with a new, modern cover that reflects your own personal take on it.

The coolest way I’ve ever heard this done was when Peter Gabriel recorded a cover of Paul Simon’s “The Boy in the Bubble“. In a word: IN – CRED – I – BLE!!!!

Do yourself this favor: go listen to Simon’s original on his “Graceland” album. Paul wrote a doozy here; truly stellar and unforgettable. He’s always been a writer of songs you wish you could write and this is no exception.

When it’s down, immediately go to Gabriel’s “Scratch My Back” album and listen to his version of the same song.

If that doesn’t inspire you to give this technique a try, I don’t think anything will. What a moving, impactful, transcendent compliment to Paul’s original. When I hear these kinds of thoughtful quid pro quos that took such investment and care, I remember why I got into music in the first place. This is inspiration, people. This is where life pours into art… and art pours into life.

So go on – pour a little creative sugar on us. We’re all waitin’ anxiously!

The Beauty of the Blank Slate

No matter what last year was to you – good, bad, slow, swift, magic or meh – you have an open door before you and the chance to write this chapter with the ink and pen of your own strengths, beliefs and aspirations. Let’s go forth together and conquer some new heights, not just the same ol’ foothills we’ve been in for a while. I’m climbin’ with ya!

Try ‘these ideas for yourself, and let me know how they work for you. Share in the Comments section your great ideas, and let’s raise up flags of inspiration for all the Internet to see. I’ll be reading, and listening.

Now, go… make… sounds!!

Teaj

 

 

 

 

What Happened in 2017 – A Musician’s Look Back

So, Christmas and New Years Eve 2017 are now left in a crazy haze behind us. Hope yours was great! Hope your music G.A.S. was passed with brightly wrapped presents that gave you the “Ahhhh…!” of sweet Gear Acquisition Syndrome relief!

Ahead of us now is a great big open sky to fly into: live gigs; studio sessions; videos; podcasts; quiet moments of composing alone; louder moments of writing with others. The singing sky’s the limit.

But before we wander wildly into the thicket of of what 2018 may bring…

… what about 2017?

The Year’s Transformative Tunes!

All around us, music continues to be a force that shapes our thoughts, emotions, friendships… even our culture. Many acclaimed musicians used cutting-edge gear, well-honed songs and informed market savvy to bolster their presence in our lives. Let’s take a look:

Ed Sheeran was, as you probably noticed, everywhere. Not surprising since his new album this year, “Divide“, went to number one both in England and the U.S. He was Spotify’s top streamed artist, at over 6.3 billion (yes, that’s a “B”) streams, and finished strong by having the most popular album in the U.S. He set a record too: he’s the first artist to have two songs  debut in the top ten in the same week! Ed teaches us a lot about how to use Facebook, Twitter and Instagram effectively. If you wanna know how to do it as an artist, follow him and take notes.

Kendrick Lamar appears to have the largest overall total market activity though, with his latest rap record, “Damn“. It also took 2nd place in the list of best-selling albums of 2017. Total market activity takes into account sales, streams and all manner of music listening methods. He even did a collaboration with U2, which we’ll laud in a minute, on a good track that stays with you. Looks like Kendrick is in it for the long haul, y’all.

Coming in at number three in popularity, Taylor Swift nonetheless turned airing relationship laundry into gold again with her new “Reputation” album that scored the number one, top-selling album of the year. The category of ‘album sales’ does not take into consideration the streaming of songs, which Ed Sheeran clearly dominated. That means Taylor’s loyal fans want to actually BUY her stuff, not just watch it flow past. I know the feeling; I still support my favorite musicians by buying their material.

I learned to appreciate her talent due to our daughter Emily’s excessive consumption of all things Taylor when she was a teenager (the “Love Story” days). I still respect her for writing or co-writing all her songs, even if the lyric content is not exactly something I relate to at the moment.  😉

Rihanna was the top-streamed female artist, for the third year in a row. Wow – that woman knows how to build a music career! Social media; radio; television; music videos; live performances – she got the touch and she touches everywhere!

U2‘s new album “Songs of Experience” finally arrived, went to number one, and subsequently snagged a brand new Billboard record – U2 is now the only group in music history to have a number one album four decades in a row. And I had just read some critic saying how they were a thing of the past. HA!

(This is why I’ll always side with the artist over the critic. I mean, at least the artist is actually creating something!)

My favorite tune on the album is “You’re The Best Thing About Me”. If they don’t release that as a single they need a new manager.  lol

Toys That Keeps Us Up at Night!

As long as we live, there will probably never be a shortage of music gear to taunt us musicians. From the shop windows the latest, greatest electronic or musical wonder purrs, “Ohhhhh… but if you only had MEEeeee…!”

Heck, I get G.A.S. just thinking of walking into Guitar Center, let alone being there!

Here are some items that made really big splashes during 2017. Perhaps you bought ’em too?:

  1. The Universal Audio Apollo Twin MkII: This thing is such the bomb. And yes, I want one… NOWWWW!! This hybrid hardware/software gift of the audio gods is so well-designed and full of truly transformative power, I can’t imagine anyone getting this, investing time to gain skill in what it offers, and not coming to the same conclusion. Take a look at the best review I’ve read about it HERE.
  2. The Aston Spirit Microphone: Love, love, love this mic. Can’t say enough about it. Click HERE for my full review on it from this past year. For the latest song I just recorded I used only this mic for vocals and the results were the bomb! For lowest price information go to  THIS PAGE.
  3. The Yamaha MX88 Keyboard: According to my man David at Guitar Center, this has been selling gang-buster with those keyboardists who want all the great Motif sounds in one package, and prefer the piano feel of weighted action keys. As a Motif owner myself, I’m sorely tempted! Check out the review on HERE.
  4. Samson SR850 Headphones: I reviewed these last year in THIS article. Outstanding quality for a crazy low price – $32.80! They’re now my go-to cans for either listening to music or tracking a vocal at a mic. Probably the most comfortable when I’m in a long session too. Buy ’em like I did HERE.
  5. The Gibson Les Paul Faded Guitar: We’re now able to get a true Les Paul guitar for under $800??? What??!! Never thought I’d see the day, but… here we are. If you’ve always wanted one, and you don’t mind the look of it being different than the typical Les Pauls you’ve seen, you must take a serious look at this aggressive, little beast HERE!
  6. The Warm Audio “Tone Beast” Mic Pre: The versatility of this preamp is amazing. It’s not often you can get so many different colors out of one front-end sound unit. I also did quite a thorough review, complete with recordings, HERE. Truly one of my favorite pieces of gear from 2017. Not only is it’s sound stellar… it looks cooler than any of my other pieces of outboard gear too. May it stay in my studio forever! Buy it HERE and join me in singing its praises.

Stats for Another Musical Year!

Could our attention span as Earth’s dominating sentient species be on the wane? The average song length of top t10 entries in 2017 shrunk by seven seconds; the average length was 3:42, compared to 2016’s 3:49. A song called “Gucci Gang” was also the shortest tune to reach the top ten in forty-two years! A.D.D. much?

Musicians all across the world are now also having to consider the security of their shows more than ever. The explosives at Manchester Arena; the shooting at the Route 81 Harvest Festival; the still-remembered Le Bataclan shooting of 2015… it’s no longer a guarantee that a concert by your favorite artist, or you, is going to end all smiles, laughter and new t-shirt.

Because the reach of the world’s violent, radical fringe has extended even into our peaceful world of art and sound, the cost of security for major concerts and venues has increased by as much as 20 percent. Guess whose profits that eats into? Another way our career path is more uphill than ever.

Something called “Slow Ticketing” has arrived this year. It is being championed by Taylor Swift and it’s basically a way to keep bots from buying up all the live concert tickets before you can get a chance to buy one. Usually it means signing up with TicketMaster in advance of tickets going on sale so they can prove you’re a “Verified Fan”.

Not every music act is using it, but if we as fans choose to support the artists applying this method, perhaps we can get back to where each concert at least has some tickets at a price point that working-class fans can afford. Keep your ears open for this opportunity.

Finally, the stats show that music streaming became the number one way we listen to music now. It’s up almost 60% from 2016. Spotify pretty much owns the streaming world, mostly due to its being multi-platform: whether you’ve got an Apple phone or an Android, Spotify will work for you.

Music ownership continued to go the way of the dinosaur, with overall album and single sales declining again as they have for years now. Album sales dropped by 17.7%. Digital sale downloads declined a whopping 19.6% in 2017. Obviously, this streaming thing is taking its toll on the music industry.

CD sales overtook vinyl record sales in 1988 with the Dire Straights “Brothers In Arms” album, and had a good long run, but in 2014 digital album and single sales finally knocked it off its shiny, round throne. In 2017, CD sales continued their downward trend, dropping by 20% under 2015.

Overall, physical album sales (vinyl, cassettes, CDs) dropped by 16.5%.

Interestingly, well over half of those turning to Spotify for their music consumption use playlists as their go-to method. In the long run, this is a win-win for artists and audiences, as a no-name artist could, with the right song, move up the ranks into stardom in a relatively short time thanks to this all-inclusive method. Witness the rise of Cardi B and her “Bodak Yellow” as the latest, greatest example.

Another interesting musical tidbit about 2017: it was the first year that the R&B/HipHop category led the music industry with the largest share of music consumption overall for the year. Not bad, groove and rap-meisters! The Rock genre came in second, proving that the stone keeps rolling strong decades after its explosive birth.

Oh, and for you ol’ wax lovers, vinyl purchases actually went up this year, again. By 9 percent! Heh… who’dda thunk? The genre most purchased in vinyl? You can probably guess: Rock.

Any of those numbers surprise you? What you expected? Do they make you smile? Grimace? Want to make a tuna sandwich??

Regardless of what tanks or floats in our industry, keep your dreams alive and keep your nose to the DAW-stone.Wisely-directed efforts will pay off, and wisely-invested G.A.S. will help you get there!

The Forward-Thinking of Looking Back

At the end of each year it’s in our best interest to turn around, spotlight the awards that we earned, gather up any pieces that broke, and settle into considering… what made all the difference? As Socrates said, “The unexamined life is not worth living.” If it’s true then, it’s true in 2017. So, if you’re ready… let’s shine the spotlight on your perceptive past:

  • How was 2017 for you?
  • Do you feel it propelled you forward or dragged you back?
  • Is it a year you look back on with fondness, or chagrin and regret?
  • What were the failures you can learn from? What were the victories to celebrate?
  • Was it us? Was it fate? Right place, right time? Wrong place, wrong time? An absurd, unexpected amalgamation of both?
  •  Were results tied to your performance? Or were they delivered like Christmas presents from Amazon right to your door, whether you even ordered them or not??
  • What did you do that strengthened your success trajectory? What harmed it?
  • Which investments paid off the most and why? Which should you not spend money on again?
  • What proved to be the best use of your time? What actions now look like time and resources wasted?
  • If you could re-do one thing for 2017, what would it be and why?

 

Fears and failures. Grand slams and gains. Two sides of the same coin. All facets of what it means to live… human.

Remember these facets well – they will help guide you through 2018.

Sing Forth, You Ripples!

Just as our habits have a tendency to define us, so the decisions we make each year about our careers can either increase the odds of us making a splash in the big music pool, or further decline our efforts.

The big question of the year is… what ripples are you sending out?

We don’t always have clarity looking back; sometimes we find a long line of abstruse echoes, like Rey in the latest Star Wars movie – places where we’re unsure exactly how it all fits. Was that action/result/investment really wise in the grand scheme of our goals and dreams? Sometimes it’s hard to say. But more than likely we’ll glean some nugget of advice that the past you is dying to tell the current you. So listen to your ancient doppel-ganger; they know what they’re talkin’ about.

You probably also had at least one awesome discovery, new skill acquired, or a clear, perspicuous link that improved you to today. That counts for something; learn from it as well.

A Year of Gratitude

For me, 2017 was the debut year of “Serious G.A.S.”, my website you’re currently visiting. Welcome! This little eddy off the music pool is all about musicians and our love for the gear and instruments that help us do what we do: make music that transforms.

SeriousGAS has risen through the Google ranks in record time and has surpassed my expectations, so thank you. Thanks for tuning in. Without you, my own ripples would dissipate into glassy silence.

In 2018 I shall continue to bring you tips, tricks, insights, laughs and reviews about the machinery that is so intertwined with our artistic expressions. I have many new and hilarious surprises planned, so stay tuned. I think they’ll “resonate” well with you!

As always, do leave your own insights and comments below. That’s the great part of sharing on the Internet – it’s like we’re all in a big studio together. So share your latest gear madness with me and the fans.

So you’ll always find me here, ongoingly empathizing with those G.A.S. attacks that flare up from time to time… in you and me both.

But for now, go… make… sounds!!

Teaj