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play what you like . play what will be practical for your situation . just pick one . | how to choose an instrument 3 | when you listen to the radio , spotify , or your friends mix tape , what do you hear that instinctively perks you up do you find yourself thrumming along to the bassline , or do you go into wild air - guitar frenzies perhaps you should look into stringed instruments . do you thrash the air - drums and beat your fingers on the table constantly these are all great clues about what your natural instrument might be , and it involves hitting things with sticks , hands , or both you may have a natural affinity for drums , but your parents have said , no way—its much too loud when you told them . be creative—either suggest digital drums which you can only hear through headphones , or re - think your needs , and start with something softer and not as jarring , like a set of conga drums . play drums in the school band , but practice at home with a rubber practice pad . while you can be very analytical about what to play , theres another thing to try that has a lot of benefits . close your eyes after reading this , and write down the first 5 instruments that come to your mind . now , look at what you wrote . one of those picks is your instrument . the first one came straight off the top it might be what you really want to play , or it might be just what you associate learning music with . with each successive pick , you focused more on what you wanted . by the fifth choice , you may have been digging for an answer . its a safe bet that all would be instruments you would enjoy , but which is the best choice it all depends on who you are , and how youre going to learn . |
print out your template . tape a piece of plastic wrap over the template . tape tulle over the plastic wrap . trace the template with fabric paint . cut out the mask . attach ribbon to the edges . | how to make a masquerade mask 2 | with this method , you can print out a template that has a great amount of detail . it will take longer , but youll be able to include as much detail as youd like . place it on the table . clear a space much wider than the paper on your surface . make sure its covered on all sides and the template cant move around underneath . if you seem to be having issues , tape the edges of the template down to the table , too . it should be much bigger on all sides than your template . it does not have to be perfectly centered it just has to be bigger . if you dont have tulle , you can use sheer fabric . know that tulle is stiffer and easier to work with it . for your first mask , you may want to stick to one color . be careful not to rest the edge on your hand on the template , smearing the paint . if you do use more than one color , be aware that the colors may run a bit together where they meet . let it dry overnight . gently peel the tulle off the table , making sure everything is dry first . carefully cut out the edges of the mask and the eyeholes . cut two pieces of ribbon 20″ each . spread a little fabric glue on the tips and attach them to the mask . let dry 1 - 2 hours . you can trim the strands shorter if you like , just make sure it will tie around your head before cutting |
put petroleum jelly over the to - be - masked area on your face . start forming your mask . take off the mask . add shape to the mask . attach a dowel . break out the sandpaper . start painting . add your embellishments . | how to make a masquerade mask 3 | be generous - - if you miss an area , it may hurt when youre taking it off . this method will not pull out your eyebrows . just be liberal with your application of the petroleum jelly youll be thankful you did . cut and wet your strips of plaster and make an x on your face . place the first two strips diagonally across the bridge of your nose . apply strips until you have attained the shape of the mask you want . take extra care around your eyes - - leave a little more room than you need . smooth out all the pieces as you put them on . youll want a smooth base to design later on . youll have to wait for it to dry first , though . when it starts to become itchy , thats when you know its ready . loosen up the mask by scrunching your face over and over . the movement of your face and the jelly will slowly ease the mask off the form of your face . this step is completely optional - - if youre happy with the shape of your mask now , move onto decorating . but if youd like to add a bit more , go on ahead if youd like to add ears or any other shape , cut it out from a piece of card and glue on . attach more plaster on and around it until its smooth and allow it to dry . the most accessible way to do this is with a disposable chopstick . glue it on and place plaster strips over the tip . smooth over . any stick - like object will do . when youre finished attaching the dowel , allow it to dry overnight . start grinding away to smooth the rough areas . it doesnt have to be perfect , but this will remove the grainy , granular look of the plaster . wipe the dust off with a cloth and spray with a coat of clear paint to seal . let it dry . heres where you get to do just about whatever you want . it may be wise to stick to one color . most masquerade masks employ only one color scheme . once youre done painting , you may want to include a top coat of glitter spray . it adds a nice , finishing touch . theyll cover the tip of your dowel and make your mask look professional and stylish . think about bows , feathers , ribbon , and jewels . and definitely think about combinations |
clap your hands once . hit one knee with one hand . hit the other knee with your other hand . speed up and slow down . | how to hambone 2 | a hambone gallop is a simple three note combination hand , knee , knee . for the first beat of this gallop pattern , clap both of your hands together . clap your hands so that one hand rests on top of the other . this works best if you are sitting with your knees or thighs extended directly below your hands . slide your top hand off the bottom hand and strike the top part of the thigh lying directly below it . the beat or rhythm of this slap should be the same in duration as your first slap . keep your hand open so that the inside of your palm and fingers strike your thigh . flip your other hand over and strike the top part of the corresponding thigh with the inside of your palm and fingers . the beat or rhythm of this slap should be the same in duration as your first and second slaps . repeat these three slaps in successive order to create the gallop effect . the more rapidly you perform the effect , the more impressive it sounds and the closer it comes to an actual gallop . you can experiment with the speed until you find one that sounds pleasing to you , though . |
experiment with your own rhythms and patterns . hambone with both hands . hambone using your cheeks . strike your elbows and calves . slap different areas of your body at the same time . stomp your feet and clap your hands . | how to hambone 3 | theres no rule saying that you must follow one of the patterns described in this article . experiment with your own moves , rhythms , and patterns until you find a way to express yourself using this technique . while there might be a traditional rhythm for the hambone song , hambone itself is a musical technique or practice and not a song . hambone is simply a form of percussion that uses the human body as an instrument . it has its roots in african - american tradition . as you get more comfortable with hambone motions , creating a more impressive sound and show by striking your body with both hands simultaneously . when slapping your hambones or thighs , you can use both hands to slap both legs or use them to strike one leg . if you feel like being even more showy , you can swap legs and strike the right thigh with your left hand and the left thigh with your right hand . another common hambone technique you can incorporate into your own set of rhythms is the cheek slap , made by slapping your cheeks with the fingertips of both hands . open your mouth all the way before narrowing your lips into a narrow , rounded opening . pat your cheeks rapidly using only your fingertips . if you use your palms or fingers , the sound will come out flat instead of rounded . change the sound as you slap by opening and closing your lips . opening your lips wider creates a higher pitch and narrowing the opening creates a lower pitch . if you are flexible enough , you can twist your arms and legs as you hambone so that you can strike your elbows and lower calves with your open hands . get creative and experiment with different slaps on different areas of the body . you can deepen and enhance the sound by striking multiple places of your body simultaneously with two different hands . for instance , you could slap your chest with your right hand while striking your thigh with your left hand , or slap your thigh with a backhanded right hand while striking the calf of your leg with your left hand . the hand clap is a very basic move , but it does create a percussion sound using your body as an instrument , so it still qualifies as a hambone move . the same can be said for stomping your feet . stomping your feet can be an especially good move to work in since you can stomp or tap your foot while slapping the actual notes out using your hands . this can help you maintain the right rhythm . |
figure out how much you want to spend . figure out the key components for a heavy metal guitar . choose a guitar style . examine the materials and construction of the guitar . recognize the brands and equipment that are good for your genre . | how to choose a guitar for heavy metal 1 | new and improved manufacturing techniques have introduced a wider range of guitars at the lower end of the market . there are many options to choose from even if you have a tight budget . for instance , one can get a decent guitar for 300 . if you have a bit more to spend e . g . 500 – 1000 , there are a wide range of moderate to higher priced guitars . if you are a new player , you may want to purchase a lower end model . you can learn to play on lower end models and eventually work your way up to pricier models once you know the basics . be honest with yourself . simply buying expensive or signature models wont make you a great guitarist . you need to practice . if you already own a guitar or two , consider spending a couple hundred dollars more this time around . if you spend a little bit more , you will ensure you are improving your overall collection of guitars . first , you will need an electric guitar . this is a guitar that needs to be plugged into an electric amplifier for any sound to be heard . they are often completely solid and very heavy . you can also buy hollow ones but they are not as good for heavy metal . in addition , you will need an electric guitar with the right pickups , strings , and wood tones . choose an electric guitar with humbucker or active pickups . humbucker pickups give the guitar a thick and beefy tone , which is great for the genre . active pickups allow you to have more control of the sound . figure out the scale length you need . if you prioritize playability or are a newer player , go for the 24 . 75 inch scale . if you want a tighter response , go for the 25 . 5 inch scale . examine the electronics on the electric guitar . there are many options available such as phase switching , coil tapping and kill switches . decide on the bridge you want . the main choice is between fixed versus tremolo - equipped bridges . tremolo bridges have springs to adjust spring tension , which allows you to raise and lower the pitch of all the strings at once . a fixed bridge is better for beginners . you will need to think about stylistic choices when choosing the right guitar . for instance , you should ask yourself the following questions do i want a six string or an eight string instrument what colors do i want decide on the colours and profile you want . edgier profiles are more associated with the genre . decide whether you want a six string guitar or a seven or eight string instrument . seven and eight strings are becoming popular amongst more experienced players . they allow for a greater range of notes . dont use hollow body guitars for extreme genres . it is better to buy solid body guitars because they sound better for heavy metal . you should examine the wood used in the construction of the guitar body , as well as the shape and wood used for the guitar neck . choose a mahogany or basswood guitar . mahogany is a great wood for heavy metal because it has deep and resonant tones . basswood also sounds great and is less expensive . pay attention to the wood used in production of the neck . rosewood , maple , and ebony are some woods that wont easily get clogged with dirt . look at the neck of the guitar . thinner necks can be a good choice if you are a new player . some of the brands that are respected for this genre include ibanez , gibson , schechter , charvel and dean . read guitar reviews in heavy metal magazines . by familiarizing yourself with the heavy metal scene , you will become familiar with the leading brands of heavy metal guitars . it is not recommended to buy a fender with single coil pickups for heavy metal , although it is otherwise one of the best guitar models . consider brands that are typically less expensive like yamaha , cort , aria , fernandez , squier , or ltd . dont forget the goal is to learn to play the guitar , rather than boasting . if you are a first time buyer , avoid purchasing expensive models with crazy shapes . |
first , buy a cheap prom dress , the bigger the better . next , you need to add things to the dress . if you need to make sleeves find a pattern online for bell sleeves . sew on decorations to the dress . now your dress is ready . makeup should involve a pale face , pink cheeks , and red lips . now , make sure you wear comfortable shoes - you can even wear sneakers , since your dress will be long enough to cover them . | how to create a marie antoinette costume | you can find them for under 20 at the goodwill or at thrift shops . if you dont think your dress is puffy enough i . e . it can fit through the door , buy a bridal crinoline while youre at the thrift shop . i bought one for about 10 . you can also search ebay or other online shops for dresses and crinolines . head to walmart and into the craft section . there you can buy bows , ribbons , lace , beads , pearls , rhinestones , and the like in coordinating colors to your dress . if your dress has no sleeves , you will also want to buy fabric for sleeves . sew the sleeves and leave the end that will be on your shoulder and armpit with a raw edge . sew that to the dress in a way that you find attractive . then , put the dress on . right above the elbow , bunch the sleeve up so that it is skinny on the top and poofs out on the bottom . sew it in place . you can sew a ribbon around the bunched part too . if you need inspiration , look for marie antoinette photo gallery on google . bows and lace were frequently used to adorn dresses , as well as pearls and diamonds . however , you still have a ways to go - after all , what was marie antoinette famous for her hair you could buy a wig , but if you plan on doing your hair yourself , you should begin practicing early . in order to achieve marie antoinette hair , you need a filler - i used a ball of yarn . you place the filler on your head , pin it in place , and pin your hair over it to cover it . when youre done achieving tall hair , decorate it similarly to the way you decorated the dress . rosettes , pearls , roses , etc . fairly simple , really , you will just need an average makeup kit for that , so nothing to worry about . |
know what kind of tone you want . number of windings of copper wire is crucial to the sound as well . once you know what you want , go out and set your sights on a few sets . | how to choose single coil pickups | the most important thing you need to know what kind of tone are you looking for , or what are you lacking in your current setup make sure its not the amp , or anything else that youre not liking . if you have cheap ceramic pickups , chances are you need to replace them if you want a better sound . what kind of tone are you after if you want a single coil with more punch to drive your amp harder if it is a tube amp , you can try single - coil sized humbuckers , made by big companies such as dimarzio or seymour duncan , among others . or maybe youd like a cleaner - sounding pickup , that has a vintage output many companies offer various styles some well known ones are fender custom shop 69s , 54s , and so on . check many manufacturers . alnico pickups have a balanced , and bright sound , with emphasis on highs and not so much mids . ceramic pickups are usually hotter and have more mid - range . more turns means that the magnetic field is enhanced , and will produce more mid - range . an example is the fender texas special . fewer turns means the sound will be brighter and cleaner . you may find something like d . c . resistance , which is a general way of getting where you want to be . more turns of wirehigher d . c . resistanceless treble . if you want vintage - sounding , 5 k - ohms through 7 k - ohms is where youd like to be . for fatter and stronger sounds , anything higher will do . be prepared to spend close to 200 for a set , maybe more , if you want fralins or duncans . however , some small companies can do it for a lot less . try to play guitars with your desired style of pickup , and try to approximate your set - up as well . |
use the appropriate sized allen wrench and insert into side of know and turn counter clockwise . pull off knob . use a dry toothbrush to remove any dirt or grime from around post of where knob was . slide on new knob , and tighten sink screw with allen wrench . repeat for each knob . remove the strings first . change bridge plate using a philips head screwdriver , unscrew all screws from back plate . unscrew all the screws on tuning key . remove the nut and washer from the front using the proper size ratchet . pull the peg out through the headstock . repeat to each tuning key and peg . insert new tuning peg . put your washer on and tighten nut with appropriate ratchet . pop out nut that is located between the neck and headstock . pop in new nut . put spring and saddle through hole and tighten screw to secure . set the height level by using proper sized allen wrench remove screws from cover . place new truss rod cover on . insert screws and tighten . starting with the thickest lowest string , the e string because that string pulls the most tension . using wire cutters , remove excess string . insert string through hole inside tuning peg post . turn tuning peg appropriately to proper tension so that string winds around peg this should be 3 or 4 times around peg . repeat with each string going from thickest string to thinnest string . | how to customize a bass guitar | , to do this loosen tension from the tuning keys located on the headstock so that the string is loose and can be unwound from the peg . repeat with all strings and pegs . then pull strings through the back plate of the bridge . repeat for all strings . bridge should now be able to be removed . apply new bridge plate . screw into place . , pull string through back of bridge plate , over the saddle and up to the corresponding tuning peg . the string will be very long , but you only need 2 to 4 inches of slack past the tuning peg . , |
decide where to go guitar shopping . go guitar shopping with a friend . prepare yourself to talk to the salesperson . shop around for a second hand guitar . consider the appearance and construction of the guitar . feel out the playability and intonation of the guitar . go for lunch and talk the purchase over with a friend or partner . | how to choose a guitar for heavy metal 2 | mom and pop stores offer better service . they will get your guitar set up and give regular maintenance . online stores sometimes offer better prices but will not give you as much service or help . you can also look for second hand guitars by talking to friends who play music or looking online . if you buy a second hand guitar , you will want to do more testing to make sure it is in good condition . if you have a friend who knows more about guitars than you , bring them along when you go guitar shopping . they not only know about guitars but they know you as well . they can help you make a good decision . if you have a guitar teacher , consider asking them for advice . they know how you play and the music you like , so they can also be a great source of advice when shopping for a guitar . the guitar salesperson will ask you questions about your price range , style , and playing ability . you should be able to tell them how much you want to spend , your preference for heavy metal and your experience with the genre . this will help them help you make the right decision . listen carefully to the salesperson and ask lots of questions about models , prices , and key characteristics of the various models . avoid making a spur of the moment decision . if you decide on a guitar while talking to the salesperson in a guitar shop , it is probably best to write down your decision on a notepad and think about it for a day . this may help you avoid getting talked into buying the wrong guitar . ask the guitar store if they will allow you to test the guitar for a couple days before deciding . if you shop for a second hand guitar , you should look for a reliable individual e . g . friend or relative with a guitar or source e . g . a guitar shop that carries secondhand guitars . you should pay special attention to the quality of the construction such as whether there are any loose components or cracks in the guitar . ask an experienced player to go second hand guitar shopping with you . an experienced player will know what warning signs to look for in a second hand guitar , such as cracks in the neck or loose components . if such warning signs are present , you should look elsewhere . otherwise , you should simply look for the guitar that is right for you in terms of appearance , construction , and playability . you want to consider not only the look of the guitar but also how well constructed it is . you want to get a guitar that is both good looking and durable . reflect on the appearance of the guitars in the store . do you like the way the guitar looks do you like the shape of the guitar do you like the colour of course , aesthetics does not determine how well the guitar sounds but you want a guitar that you like . look at the construction of the guitar . check that the metal hardware is tightly screwed in and there is nothing rattling . strum the open strings and listen for rattling . run your hands along the neck of the guitar to see if the frets are smooth and correctly filed . if you are not sure how to do it , ask an experienced guitarist to check the frets for you . you want to choose a guitar that will stay in tune and play well . if your guitar is always falling out of tune , you may be less likely to play it . if it doesnt feel right when you are playing , it might be harder to learn how to play . consider the playability of the guitars in the store . can you press the strings down to the fretboard pretty easily are the frets up the neck really hard to press down they are typically a little harder to play but it shouldnt require excessive stress . try playing an expensive guitar . then switch back to playing an inexpensive model . which feels more playable check the intonation of the guitars in the store . you should check to see if your guitar plays in tune . play a 12th fret harmonic on the first string and match that to the fretted note at the 12th fret . the notes are different in tone but the pitch should be the same . if you have a hard time with this test , ask an experienced guitar player to do the test for you . follow your natural shopping instinct . is the guitar right for your ability and ambition talk it over with people who know you and your ability . |
choose the right guitar pick . replace the strings on your guitar . find the right pickup for your guitar . | how to choose a guitar for heavy metal 3 | the pick is an important tool , since it connects your body to the guitar . you want to choose the right pick for your style . if you do a lot of tremolo picking , you want something with a medium pointy tip and a large thumb hold . great for black metal tunes . if you do more precise picking , you want something a little bit stiffer so you can define individual notes . this is great for death metal songs . if you like fast shredding solos , choose something that is very stiff and pointy . this is great for power metal and thrash songs . if you play doom or stoner metal , choose a lighter pick that allows you to get the most out of every note . if you play punk rock , make yourself a homemade pick by punching out an old credit card . you should pick strings that are designed for heavy metal . you will want guitar strings with a thicker gauge . dont purchase strings with a gauge below . 010 - . 052 . these will be too thin . on the other hand , you dont want a gauge that is too thick because it will put a strain on your guitar neck and potentially alter the intonation . change your strings after purchasing your guitar . the strings on it will be testing strings . you can use different gauges for different sounds and tones . you know you need to replace your strings if they sound dull . you also know they need to be replaced if they sound out of tune or look dirty . if you dont remember when you last changed them , you should definitely replace them . you should replace all of your strings at once . most importantly , choose one that fits your guitar . figure out the characteristics you want , since some pickups are designed more for hum cancelling and others are simply very aggressive . the humbucker style is often favored by heavy metal guitarists . |
choose a neapolitan mandolin for classical music . buy an f - style mandolin if you prefer country or bluegrass music . buy an a - style mandolin for a less costly option . choose an electric mandolin if youre in a band . set a budget . buy a mandolin with spruce soundboards for the best tone . buy a laminate or plywood constructed mandolin to save money . | how to buy your first mandolin 1 | classical as well in its construction with a rounded , gourd - like back , this mandolin is closest to the original mandolina if youre interested in an authentic piece . if you prefer a darker toned instrument , and are willing to pay more for a finer construction , as cheaper ones are rumored to have a poorer sound , consider purchasing a neapolitan style mandolin . the f - style is a fancier looking instrument and typically has a scrolled top and ornately carved body . most professional bluegrass and country musicians prefer the f - style mandolin . however , when you are buying your first mandolin , realize that the f - style will cost much more than the a - style . a - style may be a good choice for beginners if you enjoy bluegrass , irish music , old - time tunes , classical or rock and roll . a - style mandolins have carved tops , a flat back and a single or twin sound hole . having the ability to amplify the sound of the mandolin , which can be muted by other stringed instruments in a band , makes choosing an electric mandolin appealing . hooking your mandolin up to an amp and adapter can help the sound of the mandolin to resonate against the other instruments also . , with a price range of 200 - 8000 , there are many factors that add and subtract from the final cost of the instrument . be prepared to consider the type of wood , whether it is solid construction or pieced together , and who is making it . in the 200 - 300 range , instruments will be in the a - style with a laminate style wood construction . these instruments are likely imported from japan . they are still reported to sound fine despite their lesser construction , and could be a good choice for a beginner . the 500 - 1000 range includes instruments of higher quality wood which are more ornately decorated . parts of the instrument may be of a solid construction rather than pressed together . they are still of the a - style as youll need to add approximately an additional 1200 to begin in the f - style . the 2000 - 3500 range includes even greater detailed instruments in finer wood qualities . you will finally be able to see some f - style instruments of good quality in this price range as they are a little fancier with the scroll at the top of the instrument and hand carved . those who make mandolins are very careful about which piece of spruce they choose , testing each one for certain sounds before construction . quality hardwoods do increase the price of the instrument . they still produce a decent sound , and you wont be spending the big bucks . you can tell if a piece is solid wood or laminated by checking out the seams to see if you can detect a layered effect . if the piece is laminated , you will be able to see a thin layer of spruce over an under layer of mahogany or possibly even plywood . |
check out numerous mandolins in person . go to an acoustic shop . be careful purchasing online . consider buying a used mandolin . look for a solid physical construction . have an experienced player check out the instrument as well . play the instrument before you purchase it . test the action of the strings . | how to buy your first mandolin 2 | youll want to hear how a variety of instruments in various price ranges sound and even how they feel upon closer inspection . not all instrument stores will specialize in mandolins , or even carry them , so you should do a little shopping around . acoustic music shops or mandolin dealers should have sales personnel experienced with these types of stringed instruments . if you are able to find one who has been in business andor played for a long time , they will be a valuable resource in choosing the best beginner instrument . ask around and get a variety of opinions on instruments and retailers . if you purchase a mandolin online , be sure that the retailer provides a fully refundable return policy , so that you can ship the mandolin back if you decide you dont like it . purchasing an instrument without having been able to hold it in your hands and hear how it sounds can be a gamble for a first time buyer . while it may not be as impressive as having one built for you , being able to talk to a person who has owned the instrument for some time and probably has a fair amount of knowledge about mandolins in general , could be really beneficial for you as a first time buyer . make sure that the joints , seams and bindings are solid and hold the instrument together . check for cracks and missing or broken parts if you plan to purchase a mandolin that is used . inspect the neck . the neck should be straight and the joint that holds it to the body should not be loose . examine the face , or soundboard , of the mandolin . when you are buying your first mandolin , you dont want to purchase an instrument that has a warped soundboard . when in doubt , consult a mandolin luthier stringed instrument maker or repair person . ask for their opinion on whether the mandolin has the correct arch to it when they look at it from the side . then , ask them to look at the back of the instrument and check to make sure it does not have any fine cracks . this can be a sign of wear in an older instrument or mishandling of a new one that could warrant the help of a luthier to fix it . turn all the tuning keys to make sure they function . a beginner mandolin should be easy to tune . take along a friend or mandolin teacher with you for a second opinion . an easily playable mandolin is sometimes said to be the most important quality for a beginner , even over the sound of the instrument . if its too difficult to play , you may not stick with it . strum each string , pressing down on every fret , listening for buzzes and tone quality . you dont want a beginner mandolin that buzzes or wont stay in tune . the action is the distance between the fret board and the strings . the action on a beginner mandolin should not be too high , and it should not hurt your fingers when you press down on the strings . |
get a case . purchase a tuner . get a strap . purchase some strings and extra picks . consider buying a capo . purchase a songbook or a cddvd with some song instructions . | how to buy your first mandolin 3 | you can purchase a hard case or a soft case , referred to as a gig bag . hard cases tend to be more expensive , but also offer greater protection . a good rule of thumb is to consider how much you have spent on the instrument and use that to decide on how expensive of a case to get for it . either way , you will want to protect the instrument from scratches and nicks . electronic tuners are recommended , and getting familiar with the tuning process is too . you will inevitably have to replace strings on a stringed instrument and tuning will be necessary to ensure the best sound and the longest life of the instrument . , this allows for ease in carrying and playing the instrument with less strain on your body . it also allows for less chance of dropping and damaging the instrument while playing or carrying while not in its case . there are wide varieties of both of these necessary tools and a lot depends on your own personal preference , so as a beginner consult others opinions and try some out for yourself . when buying strings , the different makes can affect the sound . roundwound makes the instrument a little more bluegrass in style whereas flatwound has a more classical tone to it . this tool is strapped to the fretboard of a stringed instrument to allow a different range of sound than would be possible without it . they come in either metal or nylon and a range of costs . you will need music to play after all is said and done , and while you may be able to find it online , its nice to have something readily available to start with . bring a book or two home with you . |
make a simple knot in the string . make a loop as indicated . overlap the loop on the knot in the direction indicated by the arrow , holding onto points b and c of the knot . tighten the loop on the knot in the direction indicated by the arrow , holding points b and c of the knot still . from the strings of the 3rd octave to those of the 0 octave , insert an anchor in the knot by using a 2 - cm piece of gut string from the 5th octave . | how to change a harp string 1 | , tighten by pulling the string outward , holding points b and c of the knot still . |
thread the string into the hole of the tuning pin and pull upward for the 0 and 1st octave strings , thread the string into the hole of the pin twice . use the tuning key to turn the tuning pin clockwise . make a loop and fix it under the string by turning the pin further clockwise . turn the pin clockwise , taking care the keep the string to the right of the hole . winding the string correctly to the right of the hole in the direction of the neck . | how to change a harp string 2 | , |
thread the string into the hole of the tapered pin and pull upward . turn the pin clockwise , taking care the keep the string to the right of the hole . | how to change a harp string 3 | continue turning the pin clockwise . |
thread the string into the hole of the tapered pin and pull upward . release the string pulling it out about 4 cm 2 - 3 fingers . turn the pin clockwise , taking care to keep the string to the right of the hole . | how to change a harp string 4 | , |
lighten up , bring a pad and pen . pay attention to the actors . draw a picture of what you think the cover of the movie should be when it comes out on dvd . get some snacks . bring your phone . look around the audience . play pranks . call a friend and ask them to come . | how to enjoy a bad movie | feel free to laugh at the corniness and the bad plot . this way , you can write your own review . this will keep you entertained . try to write it in different points of views , such as pretending you enjoyed the movie , then pretending you hated it . see if there are any actors your recognize . do any of them look like your family or friends , you can even get a few snacks then combine them to make an interesting mix . you can blog about the movie , play games , text , and read other critic reviews . check the theaters policy to see if they allow phones . rate the audience by youngest , oldest , best outfit , best hair do , most snacks , most interested , or least interested . go to the concession stand and ask for some waffles . go into the bathroom , run out , and say you went to the wrong one even if you didnt and that you are traumatized . pretend your purse is a dog . pretend to throw up on the floor . go up to the attendant and pretend like you know him and have a long conversation with him . go to an audience member , give himor her a big hug and say whats up long time , no see . how ya been pretend to go into labor . break up with an audience member of the opposite sex , that you dont know . how many people can you weird out in one sitting even offer to pay for the ticket and have lunch after , you know , to rave about the movie . |
craft a budget . decide whether to purchase used or new . determine which model to buy . shop around . | how to buy and sell musical instruments 1 | decide beforehand how much money you are willing to invest in your instrument . if you are a beginning player , perhaps plan to spend a bit less . if you are a professional player , you likely will want a high quality instrument . in that case , your purchase is an investment in your career and future . if your child is in a first year music class , you might consider spending less money on her first instrument and then if she sticks with it , buy her an upgrade later . for children starting to play , renting an instrument is also an affordable option . even pianos are available to rent . check your local music stores or ask your childs music teacher for more information . based on your budget , think about the pros and cons of buying a previously used or brand new instrument . for example , a new instrument should be in excellent condition , not be tarnished or scratched , and function well . it also will cost more than the same model that is used . used instruments might have slight cosmetic defects but could function just as well . some used instruments , such as valuable , historic violins are actually considerably more expensive than new violins . if you are a period player e . g . play mainly baroque music , you might seek an instrument from that period . this likely will be more expensive but can be worth it if you play at an intermediate or professional level . if the instrument in which you are interested is vintage , you likely will pay a higher price . for beginner players , used instruments are a great idea . children particularly will feel less pressure if their parents have not invested a significant amount of money in an instrument for them . when looking to buy an instrument , there are numerous manufacturers , models , styles , and materials . based on your budget , available space , and living situation , seek the best option for you . when deliberating , the following considerations might help if you live in a small apartment , you might prefer to buy an electric keyboard that you can place on a table . if you plan to place your piano in the living room , see how much available floor space you have . if you have a very large room , you could potentially purchase a baby grand or grand piano . for smaller rooms , an upright piano might suit you well . for pianos , you can purchase regular upright pianos with the option of listening to the sound via headphones . these pianos are ideal for dense living situations . when purchasing a drum set , consider whether you have space and sound protection for a full set . if you live in an apartment building and have lots of neighbors , you might buy an electric drum kit instead . silver trumpets are more valuable than brass trumpets . similarly , flutes with gold mouthpieces also have a higher value . if you want to resell your instrument in the future , consider the values of the materials . in order to get the best product and price , look at all the available options . check for online retailers that specialize in your instrument . also , visit local music stores and consignment shops . if your area has a service like ebay or craigslist , inquire into listings there as well . your local flea market also might have some instruments on offer . if possible , always try out an instrument prior to purchase . if buying a more expensive used instrument at a pawn shop , flea market , or through an online site , ask for a certificate of authenticity . do not send any money for an instrument through an insecure format like international money transfers . ask your childs music teacher for a recommendation . inspect instruments before purchase if possible . for brass instruments , check the valves . for pianos , lift up the lid and check the strings . check for any noticeable defects . for tips on buying a piano , see buy a piano . to learn more about buying a violin , read buy a violin . for a cello , see buy a cello . for advice on buying a beginners trumpet , see buy a beginner trumpet . |
buy some snacks and drinks . try to spot flaws in the editing or other mistakes known in the film industry as continuity errors . imagine that the actors resemble among people you know , such as co - workers , teachers , friends , or relatives . make connections between the characters and you . spot advertisements . take a breather and test your wits . count the number of times someone in the audience coughs or sneezes . warp the script . make a mental list of worse things that you could do working on a road crew , cleaning a toilet , lying on shards of glass , getting shot at in iraq , watch this movie again etc . pay attention to the surround sound effects . watch out for the small circle icon . exercise your mind . name every character in the movie . look out for implausible things that are happening in the movie . clean up your own trash when the film is over . | how to enjoy a boring movie | having something to munch on will make the time go by faster . have a small laugh to yourself if you find it funny enough . however , if you laugh too loud , the person next to you may find that you are mentally unsound . maybe the actors have done something that your relatives have done too . what things do you have in common have you gone through some of the same things as them or been in their position catch the reactions of the other actors on what the actor who resembled you had done . perhaps , you could learn something to make yourself a better person . see if you can spot product placement advertising or other brand names featured in the movie . often most of them can be tad obvious to the audience trigger your laughing bag if you find it awkward see how long you can hold your breath . use your watch to time yourself or just count in your mind . again , if you violate the serenity of the theatre , people may find you brain sick . you might want to use your hands to do the counting because the dull movie may cause you to lose count if you reckon the number mentally . start mentally changing what the actors are saying for example pretend they end all their sentences with the words , for booze . you can even stop paying attention to their real words and make up a whole new , more interesting conversation for them to have . it sounds immature , but can be incredibly hilarious in the right movie . just try not to laugh too loud . try to make yourself laugh quietly see if you can determine where specific sounds are coming from inside the theater . move your eyes and tilt your head slightly towards the direction of the sound . people around you who thought that the movie was uninteresting may laugh to that also known as a cue mark , it appears very briefly in the upper right hand corner of the screen about every 20 minutes . its a cue mark that tells the projectionist when to change a reel . recite the alphabet backwards or count backward from 200 by sevens . other similar mental exercises will help you pass the time . this is especially fun if you choose incongruous names , for example if you see a character who looks like your high school math teacher , name him montel which means chubby in malay language . try not to laugh out loud . did someone just fall out of a plane and live come on , filmmakers . again , try not to laugh out loud . doing some good deeds may help you avoid having to watch another boring movie in the future . |
determine if you are going to make a left or right handed guitar . determine the scale of the instrument . mark the neck . trimming the head down . tuning pegs . mark the bridge position . make the tail end holes . now we will start to assemble the parts and glue or screw them down . the fingerboard . assemble the cbg . sound holes . finished . | how to build a simple cigar box guitar | a right handed guitar has the neck oriented to the left . the tuning pegs will be on the left and the tail of the guitar will be on the right . a left handed guitar will be the opposite . measure and mark accordingly take the box and remove the lid by cutting it along the paper seam in the back . this will help you cut the box and position the neck without having the lid in the way . looking at the box front on , find the center of the left and right sides and mark it on the painters tape . mark 34 from the center . this is where you will cut the box down for the neck . mark on the outside of the left and right side 1 down . cut these areas out of both ends of the box . the holes on each end should be 1 12 x 1 . the scale is the distance between the nut tuning peg or head end of the strings and the bridge . there are no rules as to length but 24 is a good start so we will use that . put neck stock in the box with about 1 12 sticking out the side and measure 34 the way into the box from where the tail end meets the box . this is where the bridge will be . mark on the neck stock in pencil where the neck meets the outside of the box on each end . do not worry that your neck seems deeper as the hole it sits in . it should be about 14 deeper . adjust as needed . remove the neck stock and measure from the bridge mark out 24 along the neck . this point is where the nut will be . remember the nut is where the strings end at the head end . at the head end of the neck , you are going to make a series of cuts that will thin out the head so that you can apply the tuning pegs . you will need thin the head down to 58 from its 34 thickness . from the point where you have the mark for nuts , measure about 5 12 out on the neck and cut there . measure 58 from the bottom of the neck in the head area and mark this the length of the head area on both sides . you will need to remove the 18 to 316 from the top of the neck . hold or clamp the neck in a vertical position and saw down the neck along the mark in the head area . saw until you reach about 12 from where the nut will be . cut this area out from the top . dont worry if you didnt get it straight or if the cut was even . using hand tools is difficult and you can always make a new neck later . you will need to make a series of holes in the head area for the tuning pegs . take two pegs that are for one side and one for the opposite side and arrange them on the neck so that they are not too close together about 14 apart . something like left - right - left or right - left - right . mark where the holes should be and drill 38 holes in the head . make sure the shaft of the tuning pegs are 38 . if not , use the appropriate drill bit . lay the neck in the box where you marked the outsides on the neck . measure from the box edge to where the bridge mark is . put the lid on and lay a piece of painters tape where the bridge should be using the same distance you just measured . mark this point . this is where the eyeboltbridge will be . remove the neck and on the tail end in the are that sticks out , drill three 18 holes roughly 38 apart . they can be closer or farther , but make sure the center one is centered to the neck . you can drill in any spot or shape you want see example picture . place the neck back in the box and replace the lid . you can glue the lid shut if you want . use rubber bands or painters tape to hold the lid shut . you can screw the lid onto the neck if you want or you can glue it as well . place the 14x2 poplar strip on top of the neck so that it sits flush with the lid and mark it where the head was cut . make sure it covers where the nut was marked . the nut will sit on top of the fingerboard . once cut , glue it onto the neck by spreading the glue thinly on both the neck and the fingerboard using an old credit card or cardboard . place them together , wipe off the excess glue and clamp using rubber bands . allow to dry . once all the glue is dry , remove the tape from the lid and the rubber bands from the neck . attach the guitar tuners using the screws provided . glue the nut in place using a small amount of glue as well as the bridge . use painters tape to hold them until dry . once all the parts are dry , remove the tape and cut two holes in the lid for the sound holes see picture . the holes can be about 1 to 1 12 . try to center them as best as possible . try using painters tape to mark where you want the center of the holes to be . |
decide if you want company . pick a movie genre . browse available movies within the genre . check movie ratings if you are watching with children . take turns or vote if you cant decide on a movie . choose a space for your home theater . this doesnt have to be a room completely dedicated to watching movies , but it should be a space where you can watch a movie undisturbed for a few hours . set up a tv , projector , or computer . consider buying a sound system . move furniture for optimal viewing , if necessary . dim the lights . turn phones off . make the space comfortable . opt for bottled drinks . pick finger foods . schedule a snack intermission . | how to enjoy a movie at home | maybe you want to enjoy your movie in solitude , or maybe you want to round up some pals or family members to watch with you . its your call . watching a movie with others can be a blast , but it also means that you might need to compromise on a movie selection . if you are watching alone , simply pick the genre that youre in the mood to watch . if youre stressed , a comedy could help you relax . if you want some excitement , go for a horror flick . on the other hand , deciding on a genre as a group can be tricky , particularly for diverse groups . when in doubt , pick a popular genre , like adventure or comedy . you might want to avoid more polarizing genres like documentaries or musicals . browse movies within your own collection , or take a look at the options on streaming services like netflix , hulu , and directtv , if you have them . for each movie you consider , check out online reviews to get a better idea of movie content and quality . set a time limit for movie browsing . this can take forever if youre not careful , and then youll have less time to enjoy the movie . give yourself 20 minutes , max . if are watching a movie with kids , be certain to check movie ratings as you browse to help you find age - appropriate content . while ratings can guide your selection , they arent meant to provide all the answers . you should do research on your own as well . reading a couple of different online sources can help you determine whether a movie is age - appropriate . if you are enjoying your movie alone , simply pick the movie that you feel like watching within your chosen genre . otherwise , consult the people who are watching with you . if you cant come to a consensus , try taking a vote . if movie night is a regular event with your family or friend group , different group members can take turns picking the movie each time . ideally , it should be a relatively quiet space with curtains or blinds that allow you to block out light . if you have a basement , consider using it as your home theater . your room could also work as your home theater . watching a movie from your bed is a super comfy option . of course , your home theater will need a screen to display your movie . flat screen tvs work best for areas with ambient light , like a living room . however , if you have a dedicated home theater in a darker area of the house , consider investing in a projector . projectors can create a movie theater - like experience . pick a room with enough wall space for a 100 inch screen , and one thats large enough to set up the projector at the proper distance from the wall . conduct online research and talk to professionals to find the right projector or tv for your space . you dont need a tv or projector to watch a movie . if you are enjoying a movie alone , you can watch directly from your computer or tablet . if you want to take your home theater to the next level , consider purchasing speakers . speakers will enhance the sound quality , creating a more immersive experience . consult a professional to determine which speakers would be best for your space and needs . room size is a major factor . large speakers dont work well in small , closed - in rooms , while small speakers may sound weak in large , open rooms . a sound bar is a good option if you want a significant upgrade in sound quality , but arent ready to invest in a pricey surround sound speaker system . a good view of the screen is key to enjoying a movie . make sure the chairs and couches are positioned for a great view . sitting too close to the screen can be overwhelming , while sitting too far away can make it difficult to see . if you are watching a movie with others , make sure that they can get a decent view from their spots . a dark environment is important for an immersive cinematic experience . turn off or dim your overhead lights and lamps , and close curtains and shades if its light outside . light and sounds from a phone can be extremely distracting , as you probably know from your local movie theater . turn off or silence your phone , and have others do the same . one option is to have your fellow movie watchers place their phones in a bowl in the center of the room . the first one to grab their phone has to refill everyones drinks and snacks for the rest of the night . one of the best things about watching a movie at home is the added comfort . put on your comfiest lounge wear , and bring extra blankets and pillows for an super cozy feel . if you are enjoying your movie with others , ask them to bring extra blankets and pillows . you can never have too many to avoid untimely spills in the middle of your flick , choose bottled drinks . this is especially important if you are watching with spill - prone kids . for an environmentally - friendly alternative to disposable plastic bottles , pour drinks into refillable bottles and sip away . finger foods are easy to eat while lounging on the couch . popcorn is classic movie snack . pretzels , candy , and chips with dip are other movie - friendly options . try spicing up regular popcorn . add seasoning , like cayenne pepper , or drizzle your popcorn with caramel for a sweeter snack . if youre looking for a healthier finger food option , try fresh fruit if your movie is especially long or you are watching with antsy kids , scheduling a brief intermission is probably a good idea . pause the movie at the halfway point so everyone can take a bathroom break and grab extra drinks and snacks . |
get your instrument appraised . examine the market value of similar instruments . assess the condition of your musical instrument . determine whether your instrument qualifies as antique . set a price for your instrument . find a proper place to sell your instrument . advertise effectively . seek buyers . ship instruments carefully . | how to buy and sell musical instruments 2 | in order to know how much your instrument is worth , you can visit an appraiser . some music stores offer cost - free verbal appraisals . the price for an insurance appraisal can vary . for example , it can cost from 75 to 250 . alternatively , you can estimate your instruments value on your own . to find an appraiser in your area u . s . visit httpwww . appraisersassociation . orgindex . cfmfuseactionpage . viewpagepageid750 . for very valuable instruments , get your instrument authenticated . each instrument has its own unique value based on several characteristics age , quality of craftsmanship , condition . nevertheless , you still can get a gist of the local market . visit online sites like ebay or craigs list to see what prices other people are using . are there any cosmetic issues like scuffs or marks is there a problem that makes your instrument function less well , such as missing or damaged keys on a piano or a damaged bow for a violin does the instrument still play normally and completely any factor that diminishes the condition of the instrument will lower its price . full functionality is particularly important . the best way to do this is by visiting an appraiser . still , you can do a bit of research to determine this factor yourself . do you have the original case are there etchings on the instrument that note a manufacturer or year once you locate a manufacturers mark , perform an online search to see what information you can find . for example , if your piano is a steinway , locate the serial number by lifting up the cover . once you locate the number , you can contact steinway for all the available details place of sale , age , model , etc . this service costs 50 . for tips on determining the date of your guitar , see find out the age and value of a guitar . use industry periodicals to find out about common pricing for collectibles . based on all the information you have gathered , formulate a price range in your mind . you will want to set your price towards the higher end of your scale because people likely will negotiate your price downwards . dont just accept any price that someone offers . when selling on an auction site like ebay , you might consider having a lower starting price to accrue more bids . the quality of your instrument might determine what portal is best for you to use . for beginner to intermediate level instruments , online sites like craigslist or ebay can be great . for intermediate to expert level instruments , ask at your local music store whether they buy instruments . auction houses often will sell higher quality instruments as well . use your local newspapers print and online classified sections to advertise . if you belong to any musical professional associations , their magazines also might have classified sections . for tips on selling your piano online , see sell a piano online . auction houses are particularly interested in very valuable instruments like stradivarius violins . ask instrument repair people if they buy instruments . some repair technicians will buy used instruments for their parts . use a consignment shop . the shop displays your instrument in the store and receives a commission for the sale . consider selling at flea markets . if you have older instruments for which you dont want to fetch too high of a price , consider selling at your local flea market . in your print or online listing , provide photographs of your instrument from every angle . make sure your photo background is professional and the room is well lit . in todays digital age , you also might be able to upload a sound file of your instrument being played . give relevant information about the quality of the instrument , its manufacturer , age , condition , functionality , and quality . mention your instruments dimensions and weight in the listing . offer interested parties the chance to play the instrument before purchase . make sure your listing is easy to read , clearly spaced , and printed in an easy font . use bullet points for organization . provide relevant details about the instrument that can enhance its value . if you are willing to deliver , specify that as well . use listing title keywords wisely . when advertising online , use the listings titles keywords to attract the right customers . for example , if you have a beginners trumpet for sale , rather than writing brass trumpet for sale as a headline , try , beginners brass trumpet for sale - - good condition , perfect for a middle schooler starting band class . if listing a piano , mention the brand name , condition , and the size in your listing . for instance , you could write , baby grand , black steinway piano gently used condition . find places where others look to buy instruments and advertise yours for sale . for example , you might advertise at a local school , church , or community center on a bulletin board . ask friends for recommendations of people who might be looking for an instrument . follow up with any interested buyers and offer a brochure on your instrument with all relevant information make , age , condition , etc . after you have sold your instrument , be sure to pack it with bubble wrap and other products like foam that can protect the instrument . tightly pack the instrument so that it cannot shift in the box . ensure that the instrument will not be damaged by water . |
take good care of your instrument . conduct regular maintenance . use the instrument regularly . store instruments well . | how to buy and sell musical instruments 3 | if you plan to sell your instrument in the future , it is wise to protect it now . perform regular cleaning , oiling , and maintenance of your instruments to ensure longevity . if you have a large instrument like a piano , keep it in a climate controlled space . large fluctuations in temperature or humidity can harm your instrument . always shut all the latches on instrument cases so your instrument doesnt fall out . for brass instruments , do not set your instrument on its bell . instead lay it on its side with the valve side facing upwards . clean brass mouthpieces weekly with a mild soap and mouthpiece brush . oil brass valves and lead pipes weekly . bathe brass instruments two to three times yearly . oil the insides and outsides of wooden instruments . keep drinks off any instrument with a wood finish . clean wooden instruments with a dry or damp cloth . swab woodwind instruments after each use , to remove moisture from condensation . have an expert inspect your instrument periodically for any defects or problems . think of this as a regular check - up . also bring your instrument to a specialist if you notice it is sounding differently . if you damage any part of the instrument , bring it in for service . service your pianos two to four times per year . if you have an instrument , play it . while this might seem simple , it is essential . you will notice problems with your instruments sooner if you are using them . particularly for brass and woodwinds , regular playing and maintenance will keep your instruments fitter . if you no longer play your instrument , consider loaning it to a neighborhood child or giving it to an instrument drive if it is not extremely valuable . if you must store instruments for a long period of time , cover any larger instruments like pianos with cloths . place instruments in their intended cases if applicable . cover instruments with protective cloths or blankets . look for a storage space with a constant temperature . avoid direct sunlight . store violins in rooms with medium humidity and a constant temperature . avoid storing instruments in damp basements or hot attics . remove mouthpieces from woodwinds or brass instruments . |
assess your budget . determine which size of conga you want . decide whether you would prefer a wood or fiberglass shell . decide whether you want synthetic or natural heads . browse for congas at music retailers or secondhand stores . | how to buy a conga drum | congas can range in price dramatically between low - end and high - end models . generally , higher - end congas will sound and feel better , which can lead to a more enjoyable time learning basic technique . for this reason , it may be preferable to purchase a single high - end conga as opposed to buying a set of 2 or 3 cheaper models . you can always expand your collection later . congas are available in 3 distinct sizes as determined by the diameter of the drumhead . from smallest to largest , they are referred to as the quinto , the conga , and the tumba . these drums are typically played in sets of 2 or 3 . however , if you can only afford a single drum , buy the conga size , as it is the most versatile . occasionally you will see requinto drums that are even smaller than the quinto , or super tumba drums that are bigger than the tumba . these are rarer , specialty drums that shouldnt be considered by a novice player . the body of the conga , the drum shell , will either be made from wood or fiberglass . wood is the traditional material , and lends a warm , full tone to the drums . it is preferred by most professionals , and is widely used on high - end models . the drawback to wood congas is that they dont project very loudly without the use of proper technique . fiberglass congas are cheaper and more durable than their wood counterparts . they tend to have a thinner , brighter tone quality , but are more forgiving for novice players due to their clear projection . the drum head sometimes called a skin is the stretched membrane that you actually touch with your hands during play . traditionally , conga heads are made from animal skin . rawhide is the standard , but very high - end models will feature buffalo skin . these heads lend a full , warm tone to the drum that complements a wood shell nicely . an alternative to a natural head is a synthetic head . these heads are made to mimic the tone of animal skin heads , but are cheaper and more durable . while the tone of these heads can be a bit thin , they do have a crisper , brighter projection , which suits them well to novice players . after deciding on your desired specs , you can browse for congas . online music retailers like sam ash and musicians friend will carry a wide selection of congas and allow you to read customer reviews . classifieds sites or secondhand stores are an option if your budget is low - sometimes a used high - end conga can be purchased for less than a new budget model . popular conga manufacturers are lp , toca , and remo . |
know the parts of your flute . handle your flute carefully . regularly clean your flute inside and out . keep the keys clean . | how to care for your flute | in order to maintain your flute , you need to be familiar with its parts . there are three joints the headjoint the piece that creates the majority of the sound the body the piece where most of the keys are , and the footjoint the short end piece with a few important keys you must always be careful when doing any activity where you are not playing , such as holding or walking with your flute in hand , or even setting it on a chair . when placing your flute on a chair , disassemble it so that it doesnt roll off . carefully set the pieces down , and make sure nobody sits on it when holding your flute , you should not hold the keys or the rod down . this could damage the keys . you want to hold it in an area where you are not touching any keys . be extra careful when walking with your flute in hand , especially in tight quarters , as flutes are long . part of caring for a flute is cleaning it . after each time you play , you need to clean out your flute . if you dont , it can cause the keys to fill with dirt and grime , and can even cause keys to fall off . you can use a cleaning rod with a clean fabric , or you can buy a fluffy rod from music stores its basically a plastic stick with fluff on it to properly clean a flute . use a different cloth to polish the outside to keep it shiny . always remember to be gentle with your flute dont hold the keys . dirty , sticky keys make your flute harder to play . one thing a lot of flute players do not use , or even know about , is powder papers . they can be bought at music stores , and are used to clean the keys so that they dont become sticky . all you have to do is press the key over the paper gently a few times on each key , and you should be fine . |
read film criticism . check out a review aggregator . check out online film community sites . check out lists . take notes . gauge the mood . think of the setting . consider the audience . narrow it down . | how to choose a good movie to watch | film reviews provide a useful service . they inform you about the plots of films and give you a judgment about their quality . they arent hard to find either . not only are there sites dedicated to film reviews , but there are also general pop culture sites that contain film reviews . these websites dont just tell you which films are worth watching and which arent . they also give recommendations as well . for example , the av club has a watch this film recommendation every week where they highlight a particular film and talk about its merits . be sure to browse newspaper film review sections . most major newspapers have sections where they cover films . these sections usually feature a selection of contemporary film reviews each week . you might have a film in mind , but want to know what the general consensus about that film is . this is where a review aggregator comes in . a site like rotten tomatoes or metacritic collects reviews from different sources both offline and online . usually they will give you a pretty good idea of what the general opinion of a film is . use an aggregator as a guide . review aggregators are like a thermometer which gives you a read on how the public viewed a film . this means that films that starkly divide audiences will seem like they received a lukewarm reception . dont take the aggregators grade as a final judgment about a films quality . with the advent of the internet , now every film buff can talk about what they think about classic and contemporary pictures . these places exist so that like - minded people can debate classic flicks and modern favorites . sites like letterboxd and imdb allow users to talk about their favorite films . these are great places to find out about obscurities and classics . you might try searching for your favorite film , then looking to see if there are any lists that contain that film . when you find a list that contains your film , see if there are any other films on the list that interest you . add those movies to your to - watch list . it can be difficult to figure out what films to watch due to the sheer amount of films that have been produced . thankfully , there are lists of film classics that are available online and offline . for example , you might peruse roger eberts list of great movies on his website . browse dvd collections . there are companies that release dvds of important films . the masters of cinema and criterion collection often release films that are of significance and value . you can find both interesting and entertaining fare by looking through the different films they have released . look through film magazines . sight and sound maintains a list of the best two hundred and fifty films ever made with input from directors , critics , and academics from around the world . the cahiers du cinema has top ten lists from every year that it has been in operation . these are good starting points for when you are trying to find an excellent film . go through the filmographies of great directors . there are directors who have , in the short time that this medium has existed , managed to make unforgettable films . these directors generally have made several fantastic films . usually , you can find the names of these directors by looking at lists of classic films . pick a director that you like , and try to watch as many films by them as you can . if you see a film mentioned that you think you will enjoy , you may want to remember the name so you can find it later . the best way to do this is to jot down a note about its title and when it was made . keep a film diary . sometimes youve seen a film that you want to show to someone , but you have completely forgotten what it was called . to avoid this , create a diary for the films that you watch . every time you see a movie , good or bad , make sure that you mark down its name and who directed it for further reference . this is incredibly important . how people in the room feel will determine how the movie will be received . for example , you probably dont want to show your favorite comedy to a room of depressed people . therefore , you should try to figure out how people are feeling before you come to a final decision about the movie that you are going to choose . you can do this by suggesting different movies to the people in your group . choose your movie based on what they seem to be receptive to . for example , if everyone you ask seems to be in the mood for a scary film , then you can show them halloween directed by john carpenter . a movies effect depends on several factors . location is definitely one of them . watching a film at home is simply different from watching a film at the movie theater . when you are figuring out what to watch , think about where you are going to watch it . for example , when youre on the plane home , you may not want to watch that latest blockbuster because you are staring at such a tiny screen . or , if you are going to be projecting a film outdoors in the summer , then you may want to pick a film that fits that atmosphere . if you are projecting a film outside , you should try a funny screwball comedy from the 1940s . for example , you can show bringing up baby , which is a hilarious comedy starring cary grant as a repressed paleontologist and katherine hepburn as a zany socialite . not only is the film funny , but it can be enjoyed by people of all ages . for a movie night at a home theater , you could try edge of tomorrow , which stars tom cruise as a military publicist who repeatedly has to learn how to be a hero . film - watching is a collaborative experience . therefore , you are going to be choosing a film with other people . you need to think about what they want to see . this means you may have to compromise . for example , if your friend wants to watch a drama , and you want to watch a comedy , then it may be best to watch a drama with comic elements . for example , you could watch the royal tenenbaums , an ensemble family drama with light moments of humor , directed by wes anderson . perhaps you are selecting a movie for children . then , you need to figure out not only what they want to watch , but also what is appropriate for them to see . this is when movie ratings can be helpful . make a list of five to ten movies that you feel are appropriate for your situation , audience , and mood . then , you should talk to the other people that you are going to watch the movie with . ask them how they feel about each movie . after noting their responses , you can pick a film that you know you all will enjoy . of course , you wont always please everybody . however , they will be glad that you took their input into account . |
purchase a film guide . scan the guide , the summaries , and the commentaries . watch more films . get a tv hard drive recorder humax are good and regularly check the tv guide . purchase more films . if you dont want to spend too much on buying films look through charity shops , they now have quite a range of dvds and promo dvds given for a donation , and the money goes to a good cause . check the internet for some info or trivia that you may have missed . repeat this process for quite a while . | how to become a film buff | there are many available online or at bookstores . you can start with roger ebert and leonard maltin if you wish , but if you really want to be familiar with more obscure films , try something more comprehensive . the time - out film guide is a great resource , and its widely available . try a 1001 movies you must see before you die . dont look for exciting plots or melodrama , but rather see what the aesthetic appeals of the film are visual beauty , quality of acting , screenplay , the films overall meaning and depth , etc . even ones that look only mildly interesting . sometimes they surprise you . don´t limit yourself to one or two movie genres you will be the best if you have seen a good number of movies with a variety of themes . be sure to include both current films playing in theatres , as well as films released on dvds and video tapes . be sure to include older movies and foreign films , too there can be some gems among both categories . , you can watch movies as many times as you wish if you own them . repeated viewings allow you to see things in the film that you may have missed the first time that you watched it . details are often lost when you are trying to take the film in for the first time . watching for details can help you familiarize yourself with directors trademarks , and they give the film more meaning . , wikipedia is a great resource , but a very comprehensive one solely devoted to films is the internet movie data base imdb , which has cast , crew , production staff , and technical listings plot summaries links to major reviews in newspapers , magazines , and online sources and lots of trivia and memorable quotes about each film listed . imdb now has parental advisory content in case you plan on taking your kids to a movie . just remember that there are many films out there , and it will take you some time before you are really familiar with a wide range of directors and genres . |
go to the sundance festival website . register for a time slot to buy a festival pass between september 20 and october 12 the autumn before the festival . look for a confirmation email that you have entered your information to receive a time slot on october 14 . check your email on october 14 to see when your time slot to buy your pass will be . log on to the sundance festival website during your allotted time slot and buy 1 of the following passes buy the express pass b . check for confirmation of your passes in the mail . check your email on november 15 on how to send in your photo for the pass photo credential card . | how to buy sundance film festival tickets 1 | after these dates , the computer will randomly assign time slots so there is an orderly and fair way for people to buy tickets . , you will not be able to purchase individual tickets at this time , only sundance festival passes . in 2012 , this pass costs 2 , 500 and includes all access to each film , a photo credential and a ticket to the awards night party . sundance allows the purchase of 2 express pass bs . buy the eccles pass b . in 2012 , this pass costs 2 , 000 and includes access to all films at the eccles theater in sundance , the premiere theater for the event . you also receive a photo credential and a ticket to the awards night party . sundance allows the purchase of 2 eccles pass bs buy the awards weekend pass . in 2012 , this pass costs 500 and includes all access to films during the final awards weekend . it also includes a photo credential and an awards night party ticket . buy the adrenaline pass . in 2012 , this pass costs 400 and includes access to screenings before 11 a . m . and after 10 p . m . it also includes a photo credential and an awards night party ticket . buy the film school pass . in 2012 , this pass costs 300 . it includes access to screenings before 11 a . m . and after 10 p . m . if film school passholders wish to see films during 11 a . m . - 10 p . m . students may wait - list for tickets and use their film school pass as a form of payment . it is only applicable to students and includes a photo credential and an awards night party ticket . , |
go to the sundance festival website and register for a time slot to buy a festival pass between september 20 and october 12 the autumn before the festival . check your email on october 14 to see when your time slot to buy your pass will be . log on to the sundance festival website during your allotted time slot and buy 1 of the following ticket package options premium a and b are 1 , 000 and 800 respectively . look in your email on december 14th to receive your time slot for selecting your tickets . select your tickets during your time slot during january 2 - 5 . | how to buy sundance film festival tickets 2 | look for a confirmation email that you have entered your information to receive a time slot on october 14 . you will not be able to purchase individual tickets at this time , only sundance festival packages or festival passes . both packages give you 20 tickets and 2 tickets to the day 1 party . premium a is the first group to select films for a week after sundance donors and premium b is the first during the b week . classic a and b are 750 and 650 respectively . they provide you with 20 tickets and 2 tickets to the day 1 party . they follow premium a and b in ticket choice order . economy a and b are 650 and 550 respectively . they provide you with 20 tickets and 2 tickets to the day 1 party . they follow classic a and b in ticket choice order . the slcogden preferred pass costs 550 and includes 20 screenings for slc or ogden theaters . this pass will allow ticket selection at the same time as economy b passes . the discovery package costs 325 and includes 10 non - premiere tickets . these tickets are chosen after economy b is through selecting , in the last group . the midweek package costs 300 and includes 10 tickets to movies during january 24 - 26 of the sundance festival . these are the package tickets that are chosen last , along with the discovery package . , |
go to the sundance website and register for a time slot to purchase tickets between november 8 and december 19 . check your email on december 21 to see when your time slot is . purchase your tickets the second week in january , 10 - 13 , during your time slot . purchase open tickets during the festival . | how to buy sundance film festival tickets 3 | receive your confirmation of your sundance registration . individual tickets can be purchased separately for specific screenings for 15 . these tickets are the remaining available tickets leftover from ticket packages . , they can be purchased online up to 36 hours in advance , or at 1 of the main box office locations . utah residents can purchase certain ticketing options for a discount when they present their utah drivers license or identification card . |
look on the internet for good books or movies , or you could just think about a book or movie you already have . read the book several times and understand the plot and the characters . watch the film several times . look on the internet for reviews about the book or the film , you could post your own . think about what makes the bookfilm good and what could be improved about it . search on the internet for the bookfilm . try to write your own article about the bookfilm on wikipedia or another place on the internet . look at the novelmovie from a literary standpoint look for motifs , analyze confusing scenes , understand the context in which the author was writing , and how it could have affected them . join an online forum and share your expertise with others . | how to become an expert on any movie or book | it has to be a book or a movie that you think you will enjoy , or you already do enjoy . look through your books or film collection and choose some ones that you enjoy and would like to learn more about . decide which one you are going to learn more about . if you wanted to , you could write your own review of the book or write a summary about it to help you understand it better . think about the characters , the storyline , the good parts of the book and the parts that could be improved . annotate as you read , marking specific reoccurring elements , motifs , metaphors , and anything relating to a theme that the author portrays . make sure you understand the plot and what is happening . think about the characters and how well they act . you could look up the actors and actresses on the internet and see what films they have been in . ask other people who have seen the film what they think and some things they liked and disliked , as people could have different thoughts about what happens . think about other readersviewers opinions and share your own . when you post your review , make sure it get across what you think about the bookfilm . is it the actors that make it good is it the characters is it the special effects is it the opening really understand what you think about the filmbook . think about how it could be improved . even the best of things can be improved . could the ending have been better would a different actress have played the leading role better there is probably a website for the film and you can find lots of information about the film or book . the writers of the article may have picked up on something that you didnt , so you can learn more about the filmbook from another persons point of view . try lots of different websites as they can offer a range of different information . aim to find out as much as you can , from the publisher of the book to the director of the film , to the inspiration of the plot to the time it took to film . go into detail about the bookfilm and all the points above . , on line forums would also be a good place to go . there are websites for people who like films or books , and you could join one of these and share your opinions . |
study the major characters appearing in the scene . | how to analyze a scene in a film 1 | also look for extras supporting actors who dont speak and bit players supporting actors who have a few lines of dialog . note which characters are in the scene at the start , who arrives later and who leaves before the scene ends . ask yourself what each character wants and whether the character gets what he or she wants . watch for status changes . in most scenes , the statuses of some of the characters will change . for instance in a scene where john asks for a favor from larry and is refused , john has low status and larry has high status . if john then pulls out a gun and forces larry to perform the favor , john becomes the character with high status . identify how the casting of particular actors influence how you see the characters . study the characters costumes and ask yourself what the costumes tell you about the characters . |
take note of where the scene takes place , both in terms of the place and the time . | how to analyze a scene in a film 2 | in particular , note when the scene occurs within the timeline of the movie and whether the scene depicts events out of order . many movies have scenes that occur out of order , such as when the character is remembering or relaying events that happened at another time a flashback or because the director has made the creative choice to show events out of order . usually , even though the events are out of order , the story itself is told in a straightforward manner from the first scene to the last scene . as it relates to the story , ask yourself why the scene is taking place where it is and whether it helps to tell the story or distracts from it . the setting may have been chosen by the director for reasons other than telling the story . try to determine if the setting is important to the story or just interesting to the director . |
pay careful attention to how what you see in the scene helps to tell the story . | how to analyze a scene in a film 3 | this is called the mise - en - scene , a french term that roughly translates to visual storytelling . keeping in mind that what you see in the scene is not the entire location but only what the director has decided to show , ask yourself why the director chose to show this part of the location and not another . this works equally well for scenes shot on a sound stage rather than on location , because the set will only comprise a part of the location it represents . note which characters and objects are in the center of the scene and which are in the background or periphery . study which parts of the scene are out of focus and whether this changes during the scene . pay attention to how the scene is lit . note whether it is brightly lit or in shadow and whether the light has a particular hue . think about how the scene might play if the lighting is changed . |
make a list of every camera shot . | how to analyze a scene in a film 4 | a typical scene can include dozens of shots , from close - ups on a characters face to extreme long shots showing the entire scene from a great distance . there are also shots during which the camera moves , tracking the movements of a character or zooming in on an object . each is meant to serve a purpose in telling the story . note whether the camera is acting as the eyes of a character or is simply watching the scene being shot . try to determine why the director choose each shot , and what the effect of each shot is . pay particular attention to unusual camera shots , such as slow motion , tilted shots or shots where the camera is allowed to shake . for example , a tilted camera shot is often used to suggest that the character represented by the camera is drugged . think about how the camera shots affect the pace of the scene . |
close your eyes and concentrate on what you hear during the scene . note whether the scene is narrated and determine why the director included narration . | how to analyze a scene in a film 5 | many scenes have several layers of sounds and music , from ambient sounds that might actually be heard at that location , such as traffic or birds , to sounds that are inserted to help create a mood . many scenes also include music that helps to tell the story . keep in mind that the director may have deliberately taken out any true ambient sounds and inserted others . imagine what you might actually hear at the scenes location and whether the director made a good choice in the sounds he or she included . take note if the director inserted sounds to evoke a particular emotion from the audience . for instance , a beat or ticking clock creates a sense of urgency or dread . listen to the music and ask yourself what it represents and whether it tells you what to expect . for example , a composer might create a particular melody that you will hear whenever a character is thinking about his lost love . determine whether the movie contains original music or music the director has licensed from another artist . ask yourself why the director chose one or the other or both . close your eyes and listen to music . try to guess what is happening by what you hear . |
know only the basics . watch alone or with a quiet friend . watch all in one sitting . take a few notes . write down all your thoughts after . wait , then look over your thoughts . investigate the movies background . think about the story arc . engage with the writing . judge the acting . analyze the lighting and camera techniques . consider the soundtrack . examine the trappings . organize your evidence . start with an introduction . summarize the plot . explore the themes you find interesting . criticize aspects of the movie you did not appreciate . wrap it up . | how to analyze a movie | if youve never seen the movie you want to analyze before , dont do a ton of research beforehand . you want to go into the movie and let it make its impression on you , not the other way around . its good to know some very simple background information , but otherwise , try to let the film speak for itself . some of the basics you will want to know include the year and place the movie was made the studio that sponsored it and its director , main actors , and writers . try to avoid reading reviews or spoilers before the movie they can bias you . even trailers can make you judge a movie before you see it . you are going to want to focus in - depth on the movie so that you can write a good analysis later , and its best to do that without any distractions . some people find it intimidating to go to the movies alone , but you may find thats its actually fun and helps you focus better on the things that matter . if you feel like you must go with a friend , pick a thoughtful one . someone who squirms or makes jokes all the time will distract you . unlike television shows , movies are meant to be seen all at once . if you interrupt the flow of the movie to get a snack or run around the block , you wont have the experience the creators intended you to have . sit still , and hit pause as little as possible . if you arent in a dark theatre , you can scribble down a few observations to yourself as the movie unfolds . however , your focus should be on the movie , not on your writing , so dont get too caught up in doing an in - depth analysis right there in your seat . you can do that later make sure you dont pause . some things you may want to jot down , especially if they catch your attention , include major plot points . crucial or repeated lines . particularly notable shots . while the credits are rolling and your brain is still fresh , record everything that struck you about the movie or felt significant . you dont have to organize these thoughts into categories yet , so just make a point of focusing on things you thought were interesting , or emphasized by the filmmakers . if youre stuck for ideas , try thinking about… . the way color was used . . whether the shots flowed together or were jarring . . if particular characters or things were supposed to represent certain things . after a day or so , review the notes you took during and after the movie . think about if any of the things you focused on seemed to be bigger issues throughout the movie , from a theme of self - sacrifice to the fact that only evil characters wear hats . once youve identified the themes that seem most important , you can start breaking down the movie to look for evidence in each of its elements . any given movie contains at least two stories the narrative it tells , and the background of its creation . movies take a lot of time , effort , and money to make . learning a bit about how the film youre trying to analyze was made will give you a lot of insight into it . are there any myths about the movies creation for example , the wizard of oz has a ton of urban legends surrounding it . even if the legends arent true , they may tell you about the movies mystique or fan base . did the filmmakers intend for the movie to comment on contemporary politics or culture for instance , dr . strangelove was made in the 1960s and satirized the cold war that the united states was embroiled in . was the movie based on a true story , fiction , or a mix of the two for example , the 1977 tv series roots explores the family history of writer alex haley . even though real people and events are present , the story is fleshed out with fictionalized characters and side events . movies are a storytelling medium , and the success of a film depends on the structure of the story . think about the pacing of the story and whether its choppy or smooth . make note of any major plot twists , too . if you want to figure out if a movie was well - plotted , write down the major events of the plot as you remember them . if you can remember them in order , thats a good sign . most movie plots follow the same structure setup , to new situation , to progress , to higher stakes , to final push , to resolution . the writing of a movie supports the story , so a well - plotted movie is often well - written as well . try to figure out if you got all the information you needed from the writing . make a list of any notable quotes or phrases . does the dialogue sound believable , like real people talkingeven in movies that take place in the past , you should not be so distracted by old - timey grammar that you cant follow the story . try to tell where the jokes are , and if they land well . you can easily tell this in a theatre - - if you hear other people laughing , it means the joke worked . make note of moments of silence . these can say as much as words do . think about the characters for a moment . are they believable this does not mean whether you like the character portrayed or not , but refers instead to whether the acting helped you to believe the characters were real . just as important is an actors presence on the screen . if an actor commands your attention so that you cant look away , theyre probably performing well . are accents and speech patterns consistent throughout the movie do they provide additional information , or are they distractinghow do the actors convey information using their bodies and faces , a horror movie might use a shaky camera and dim light to express authenticity . a blockbuster might rely on bright lighting that makes the actors look flawless , and smooth cuts from shot to shot . try to identify the mood you get from looking at a particular scene , then identify the camera and lighting work that is making you feel that way . angles are important too they show you where the director would want you positioned in a scene . does the angle make you feel like youre looking down on people , or backed up into a corner , movie soundtracks are an accessible way for all types of people to engage with music - - even orchestral music think about the soundtracks volume , mood , and importance to the plot . a good soundtrack will deepen the mood of the movie that youre watching and may even advance the plot . it should not be distracting . horror movies are well - known for their atmospheric soundtracks , which can make a tense environment even scarier . the shining is a famous example of this with the music turned off , some of the most terrifying scenes dont seem so bad . some period movies like a knights tale , or sofia coppolas marie antoinette , use contemporary music to help audiences better empathize with historic figures . the inanimate objects used to set the proper mood for a movie can tell you a lot about it too . is the director of the movie known for a particular aesthetic do you feel a specific way when you look at the sets is this the type of movie in which the plot doesnt matter because the accessories are so fabulous look at the costumes . clothes are an easy way to set a movie in a particular time or place , but if theyre not accurate , they can detract from the film . examine the outfits the characters wear carefully , and try to figure out if they do any visual storytelling of their own . sets are powerful too . many films shoot for hyper realistic sets , while others have more basic backdrops . some directors even choose sets that look like theatre stages as a deliberate choice . you want facts that support your concept of its themes , which could be concepts , colors , or even repeated images or lines of dialogue throughout the film . look over your thoughts on the different elements of the movie and see if you can find support for your thoughts . for instance , if youre analyzing the 1995 disney movie aladdin , you might think about how aladdin craves both freedom from hunger , prison , and poverty and power throughout the movie , and how other characters desires for freedom or power shape them as well . you might think about how aladdin and jasmine each describe themselves as trapped at first , despite their different circumstances , and how the genie is happy to trade physical strength for a vacation at the end . pick the themes that resonate with you . the best writing comes from enthusiasm , so channel what excites you into your work . remember that directors dont necessarily put themes in on purpose . for instance , many critics felt that objectification of women was a theme throughout transformers , but its unlikely that the director consciously chose to do this . now that youve made all your judgements of the movie , its time to help others do the same . mention the background of the film , including the people involved in making it , and make a note of any expectations you had going in . at this point , you can hint as to your theories about the movie , but theres no need to hit your readers over the head with them . in your analysis of aladdin , you would want readers to know that the movies story is based off of a cycle of legends called the 1001 nights and that its images are inspired by an earlier , unfinished movie called the thief and the cobbler . take a sentence or three to explain the setup of the plot and the seeds of the major conflict . try to be as brief as possible plot is but one small aspect of the movie , and you have a lot of ground to cover . to summarize aladdin , youd want to say that its the story of a clever young man whose life changes forever when an encounter with a genie grants him incredible power and privilege - - though not without a cost . it should go without saying , but if youre writing a review , no spoilers . dont describe any major twists or resolutions . if youre writing a more formal analysis for class , its okay to explain the whole plot . dont get too snarky . a joke or two is fine . once youve gone into the bones of the movie , you can tell your reader about the layers on top of them . pose a hypothesis about what you think the filmmaker is trying to say , or even what the filmmaker wants you to think . identify examples of elements in the movie that prove your point . in the story of aladdin , you could make the argument that power is a trap . both jasmine and the sultan are royalty , but their lives are ruled by antiquated marriage laws and jafar , a vizier who towers over both of them . both jafar and aladdin use the genie to gain great temporary control , but these new powers are capricious . jafar is defeated by his power he turns into a genie and is imprisoned in a lamp . by the end , jasmine has been freed to marry who she wants , and aladdin has chosen to free the genie , as he promised . the characters who choose their own freedom - - and prioritize others freedom at the expense of their own power - - are rewarded . you dont have to tie all your observations back to a simple thesis , necessarily . however , its good to stay on task . dont be afraid to criticize . there are very few perfect films , and a nuanced discussion of the films flaws will add strength to your analysis . go ahead and say what would you change about the movie . are there any ways in which it could support its themes better , did the film meet expectations what is your overall verdict use your opinion backed up by analysis and facts . obviously , this is your review , and it cant be objective express whether you think the movie succeeded at its aims , and whether you enjoyed it . in the conclusion of your analysis of aladdin , you might decide that its emphasis on the joys of freedom resonated with you and made the movie a popular hit , but you were troubled about how casual the protagonist was about making weaker or indentured characters like the monkey , carpet , and genie do his work for him . overall , do you think the movie was a success can you imagine the filmmakers exploring similar visions later if youre writing an accessible review for a large audience , feel free to make a recommendation about what types of people might be interested in the movie costume fans , classical music buffs , people who like watching things blow up… |
movies . research online on the history of movies also called films so that you can understand where the amazing technology of this came from . show your knowledge of all movies by saying quotes from them . movie girls love to perform since the actors and actresses they see are in movies . be dramatic at all times . be in the movie theater like every time a movie that interests you comes out . what to wear , hair , accessories | how to be a movie girl | watch them everyday have a different genre of movies for each week . you must have tons and tons of dvds in your room of different genres . from romance to comedy , from musicals to horror films . watch it all . there are movies that are dated in the 1900s , not just the present . watch it all give out fun facts about movies to your friends . if you have a favorite character from a movie , use their sayings andor accent . if they dont know who the person is , tell them all about the character and even the movie . try joining a drama club that is in school or even out . it will boost up your confidences and your acting self . learn how to do different accents such as british and african accent . if you dont think you can , its alright . the drama club will help you . normally popcorn and a drink would be good food , but there is also nachos and others . so , get whatever your tongue is in the mood for . wear anything bright and colorful . if between the ages of 9 - 13 , go to littlemissmatched . com . the website has many different types of colorful items that will definitively show the colorful you . ages above 13 , shop at rainbow turn it into crazy and quirky styles . if you think your embarrassed by that , let it flow natural . if you have nappy hair , turn it into an afro afros are natural and so gorgeous anything bold and bright . pink , yellow , bright green , and gold are the best choices . chunky bracelets are an example of what you can wear . |
set a goal to watch 100 great films in a year . pick up movies you wouldnt usually watch . watch important historic films . understand film eras . learn about genres . go to film festivals . find movies to watch . have a good computer and tv . buy a dvd player . pay for an online movie service . get a library card . rent movies locally . discover that cinephiles love film . realize that a cinephile isnt a snob . understand that movies help you communicate . appreciate what you like even more . analyze movies on your own . learn about cinematography . find out about directing styles . read up on animation techniques . study acting styles . | how to be a cinephile | one way to develop an appreciation for cinema is to watch a lot of different ones . for example , imdb has compiled a list of moves that all cinephiles should watch . set up a weekly schedule to make sure you watch this many movies the next 12 months . for example , you could make a goal of watching two films per week . you could follow the imbd list , or compile your own list . the goal is to become familiar with many different kinds of movies . make sure that when making your list of movies , you select ones you wouldnt normally watch . this is similar to when you are in school and must read books that you would never have picked out . it is an important part of being a well - rounded cinephile . for example , if you tend to watch only romantic comedies that everyone knows about , watch some foreign films that few have heard of . be sure to include films from the past as well as the present . learning how film has changed over the years also makes you well - rounded . for example , the job of a film critic is not to like or dislike a film , but to analyze how well it is executed based on a set of standards . view a film with an eye for criticism rather than personal taste . just as art majors must study the history of art in order to understand modern art , cinephiles should study film history to gain a well - rounded perspective on modern film . watching the silent film the great train robbery can help you appreciate how much film has changed . you should also watch great historic films like casablanca , citizen kane , or psycho . take film classes in college or community centers to learn what others view as important historical film . there are important eras of film just as there are important eras in history . understanding film eras can help you understand the social context of each film , deepening your appreciation . for example , the silent film era is important for its differences in sound and cinematography from modern film . it is common to study films by decade , such as 1950s films and 1960s movies . it is also essential to grasp the concept of film genres . just as there are genres of great literature , there are genres of film . you might study action films , adventure movies , and so on . other genres include comedy , crime , horror , science fiction , and westerns . film festivals occur all over the world and offer a wide assortment of movies . you can watch the films in theaters during the festival and discuss them afterward with fellow critics and cinephiles . this is a way to increase your knowledge base in just a few days . the sedona international film festival occurs in sedona , arizona , and the famous sundance film festival occurs in cities all over the world . although in the era of instant video streaming it may be easy to find movies to watch , this doesnt mean that all movies are worth your time . for example , there are about 3 . 8 million titles on imdb including films , tv shows , etc . ask friends for their recommendations and look up cinephile lists online . you want a good screen with good sound , whether its on a tv or a computer . since most movies you are likely going to watch will be streaming online , it is important to have a computer or device that is able to play streaming videos without a lot of buffering . you can test your devices video capability by streaming a youtube video . most computers need an intel or other pc - based processor and software like silverlight or the flash plug in . make sure you have a reliable internet connection in combination with a good player . even though virtually every film ever made is available online for instant streaming , that doesnt mean you have access to it . having a dvd player on hand is important for increasing your availability because you never know where you might have to obtain a movie from . you may want to purchase a dvd player as an individual device that can be hooked up to a tv or computer monitor . portable dvd players are also available . most laptops and desktops have built - in dvd players . some older movies may only be available on vhs , so having a vhs player may also be useful . because this technology is outdated , vhs players are harder to find . you may want to look online or at thrift stores and garage sales , even in classifieds like craigslist . there are many online movie services that require a monthly fee for unlimited streaming movies . every service has their limits , which is why you might consider subscribing to more than one . hulu offers a wide variety of films and tv shows , although it is only available in the u . s . amazon is a similar service and is available in the u . s . u . k . and germany . netflix is one of the most popular streaming programs , but its global reach is also limited . many libraries have a dvd collection or vhs collection . if you dont already have one , get a library card . you can search for what movies are available on most library websites , then go in person to pick it up . you can also rent movies for a small fee in local movie shops , although stores like this have become rarer as instant streaming becomes more popular . redbox , a red kiosk available at many convenience stores in the u . s . is often a reliable alternative , but they tend to hold mostly new releases . breaking down the word into its parts cine and phile , you can see that a cinephile is more than just someone who likes movies . a cinephile is passionate about film . they generally choose to study movies whether they like them or not in order to develop a real appreciation for this industry . greek has four different words for love , and phileo is love that is centered around companionship and pleasure derived from friends or objects or hobbies . although phileo is part of the word cinephile , this does not mean cinephiles love all movies . rather , they have a passion to understand films in general so they can better critique and discuss them . when many people hear the term cinephile , they immediately picture a pretentious or snobby individual who bores everyone with their opinions and extensive knowledge . however , a cinephile is not a snob . snobs define themselves by what they dont like , whereas cinephiles by what they do like . for example , a cinephile is open to discussing all films , and does not demean others for having different opinions . not only do movies help you become well - rounded and appreciate what you see , they give you subjects of conversation . on one hand , you have a wealth of experience to draw from in order to start quick conversations with anyone . on the other , you are able to connect easily with other cinephiles . this holds true whether you like a film or not . watching films that you would not usually pick out helps you appreciate what you already like even more . films are often full of references to other films . if you have seen a lot of movies , you will pick up on these references and appreciate them more . for instance , in the 2003 movie finding nemo , there is a scene that mimics swarming birds from alfred hitchcocks 1963 the birds . in most school courses , you are taught how to analyze—texts , numbers , artwork , etc . this is precisely what you need to do to become a cinephile watch movies and analyze how they approach different themes and techniques . once you get used to it , you can become good at quickly analyzing films . analyzing movies can be very in - depth , just like writing essays analyzing literature can be . figure out the theme of the film and break it down . figure out how the film is related to reality , looking not at the discrepancies between them but how fiction and reality interact . you may find it useful to watch a movie several times , taking notes on different aspects as you go , in order to become familiar with how to analyze movies . there are several different aspects of film that you can study . there are actually college courses or entire degrees that focus on these aspects . one important one is cinematography , or the skill of how a movie is filmed . it can include all visual areas of a movie such as camera angles and how close the camera gets to a subject . cinematography also includes lighting , color , or anything that you see on the screen . to study cinematography , it might be useful to check out a book at the library or read blogs about it to learn key terms . these can help you know what to look for when you watch a movie . a director is kind of like a book editor . they take the story and direct the actors and settings to match what they like . you can often tell who directed a movie if you are familiar with their directing style . study directing styles by watching as many movies as you can find by the same director . pick out the similarities among the films . for example , director tim burton is well known for his bright colors and odd main characters . sometimes directors will hire the same actors over and over . many of tim burtons films feature johnny depp and helena bonham carter . just because a film is animated rather than live action doesnt mean it should not be studied . you can still explore cinematography , directing styles , and elements of acting with animated movies . you should also learn about 2d , 3d , claymation , stop motion , and cel animation techniques . you may also find similar themes or images among animation projects by the same director , such as the appearance of the characters or settings . you will also benefit from the study of acting styles to help you on your journey to becoming a cinephile . there are many acting methods used today , and some of them are called by the name of the actors who started them , such as stanislavskis system or strasbergs style . if you study these techniques , you may be able to identify them in actors in different movies . this gives you a deeper appreciation for the art of movie - making . |
define your venture . write a business plan . detail all the costs associated with your startup . prepare a cash flow forecast . create your team . formalize your business . bring in the talent . get out there and listen to live music , but listen with a critical ear . meet the press . meet the engineers . visit the music and record stores . get to know the agents . establish your brand . market your label creatively . grow your base . | how to start a record label | for the most effective startup , focus on a particular genre to build your reputation . this focus will be determined in large part by what you wish to accomplish . if your goal is to make a lot of money , then youll focus on popular music . if your goal is to be the go - to label for 21st century post avant jazzcore , your focus and approach will be much different . this is needed on many levels . first and foremost , you will build the framework of your label how you plan on finding and developing talent , your marketing and promotion avenues , how you understand the market and the competition , how you plan on financing your venture , and how you intend on making this a profitable business . if youre independently wealthy , then you may not need investors , at least for the monetary backing . however , you may wish to attract investors who can help you build credibility in your market . for example , if you started a pop music label with your own cash , but were able to convince sir paul mccartney to invest in your label , that would be a huge win for your label . to do that , though , you will need a credible plan that shows sir paul , or any other investor , that you know what you are doing . should you need financial backing , having a plan that shows that you understand both the rewards and the risks , and that you have been able to determine a way forward , will go a long way in convincing an investor to risk his capital on your venture . that will include everything from staples to electricity to recording and production costs . be very thorough when you do this people who might consider becoming involved in your label will certainly be , when they read your plan here are some things to take into account administrative costs rent , utilities , taxes , and licenses are right up front and can be significant . dont forget to include phone , internet , printers , paper , computers , business cards , and office supplies in this list . you will also need a website , as well as somebody to both create and maintain it . some of these costs will be weekly , some monthly , and some that only happen every year or two . it may seem like a lot at first , but if you create a five - year plan , you should be able to chart out how these costs will eventually become a small percentage of the overall financial picture . recording costs as a record label , youre going to be producing acts . that means you need to account for the recording chain , including studio time , the fees for the engineer and producer which may be you , but you need to get paid too , mixing engineers , and studio musicians . marketing budget a great recording is nothing until its actually in the market . to do that , youre going to need to promote your label through online ads , magazine ads , press releases , and your website . you will also need to work with artists and designers to create your logo , packaging standards , and overall design plan . professional services while youre busy making beautiful music , somebody needs to take care of writing clear , effective legal contracts both for your talent , and for your business deals . for that , you will want the services of a qualified attorney who specializes in the music business . youll also want an accountant to make sure that you friendly tax collector doesnt come to call . you need people that you can trust and rely on . planning a cash flow forecast for one , three , and five years out requires some skill , some savvy , and some educated guesswork . the first year should be a very solid plan you will have a good idea of your startup costs already , and you will likely have in mind and made contact with a few bands who will be the first on your roster . using this information , determine how much youll be spending , and a projection about how much these acts will bring in . for example , you can base this on how the bands are doing currently do they pack clubs their music has a good track record , and will probably perform well . if you also have bands that are brand new , and dont have a fan base to work from , youll have to do significantly more promotion to get the word out . as you add more bands to your roster , your income potential will continue to grow . as you plan for years three to five in your forecast , you will need to determine how and when you will add more talent , and how you will promote them . this is where prediction gets a little more complicated a great band on your roster may make it much easier for you to promote all the bands on your roster . similarly , a poorly - performing band will be a cash drain that can lead to financial struggles . unless youre supremely talented in sales , marketing , music , business , art , conversation , and moonlight as a lawyer , youre going to want to develop a team . here are some key skill sets that will enable your success marketing and sales somebody who can get out there and promote your label , who knows the industry , and has a personal relationship with artists , promoters , and people who like to support the arts financially . this person or persons will be key to your success theyre responsible for bringing talent in , and getting the word out . the better they perform , the more successful youll be . production . youll need somebody who understands the recording process inside and out , who can find or develop good engineers , mixers , and producers , and who can run a recording session . contract help . to keep costs down , at least at first , consider hiring other staff on a per - job basis . this would include logo and graphic design , legal , accounting , engineering , and other needs that only occur from time to time . set up the appropriate business entity for your label so that you can operate legally , and protect yourself as well . you have several options , which may be called different things in different countries , but are functionally the same sole proprietorship . this is the one where you do it all . a sole proprietorship is easy to start , easy to stop , and easy to maintain . you may have consultants or friends who help you out with the many things that need to be done , but at the end of the day , its all yours . that includes all the profits , and all the liabilities . it offers little incentive for investors , very little protection for you and should your business fail , any business debts will come out of your pocket . if you are planning on making your label a real business , or want to hire people as you grow , this is not the best option . limited liability corporation llc . an llc is great for a small business . you have the ability to add people to the team as you grow , and it offers personal liability protection should the business fail . it also provides for relatively easy and flexible control over finances , legal , and tax issues . if you plan on seeking investors , or are international in scope , this is not a good option . corporation you , inc . if you are planning to make this a major business venture , are going to be seeking investors , and who like a formal structure , this is the way to go . as with llcs , you are protected from liability for business losses . you can issue shares of stock , raise investment capital , and have decades of legal precedents to call on when necessary . there are strict rules of organization , and your accountant—as well as your attorney—will be kept busy with taxes , fees , reports , and filings . if you are the casual , laid - back type , this is not the best option for you unless you are ready to pick up the pace . with your plan in place , your business in order , licenses and permits applied for and granted , and your production art created and approved , and hopefully some investment capital to get you rolling , its time to get to work watch the audience and see how they react to the band . if they are up on their feet from the start , and swooning over the band , you might be on to something approach the band and talk with them . find out who they are , how long theyve been together , have they released any music , and what their plans are for the future . most importantly , find out if theyve been signed to a label already . that may not be a show - stopper , but for starting a record label , you might want to pick a band thats not already signed your town is loaded with writers who will help you get the word out , but they have to know you . search for them in the local papers , or local music blogs , and make contact . invite them to lunch , or to your studio or to the studio you like to use , and keep in touch with them . find the local recording studios in your area , and visit them . some may be extravagant , high - end studios , and many will be modest one - or two - room affairs , with varying equipment standards . while that is certainly something to consider , more important is the quality of music that comes out of their speakers . get to know the engineers , and talk to them about their recording philosophy , how they relate to bands , and what irks them . this is good to know if , for example , you have a rap artist you think will be a hit , and the engineer absolutely hates rap . ask them to play some of their favorite cuts , and listen carefully . to be really thorough , ask them for a cd of some of their work so that you can also listen on your home speakers . though its rare , what sounds mind - blowing in a million - dollar studio might sound like it was recorded in the back seat of a gremlin when taken out of the studio environment . big or small , they are there to sell recordings . when you get to know them , they may well be happy to sell your recordings as well . its a small venue in the grand scheme of things , but when youre getting started , theres no venue thats too small . these are the people who have their fingers on the pulse of the local music industry . the bands that have signed an agent have passed a certain threshold of legitimacy , simply by being professional enough to hire an agent . if your services show well to agents and promoters , the next time one of their bands says , hey name , i think were ready to record an album , that person will say , i know just the place once youve got the practical business matters well in hand , cultivate and maintain the aesthetic layers of your record label . create a logo and make sure you use your logo and look on your physical labels , on your website , and on all stationary , t - shirts , mugs , etc . sign bands and acts that fit in with the particular image you hope to cultivate . check out successful diy labels sub pop and matador records for examples of brand management , who maintain a fiercely independent business model thats also quite diverse . over the last ten years , the internet has drastically changed the way music is purchased , listened to , and distributed . you may face a hard road to success if youre using the traditional model of touring and relying on cd sales and radio play . youtube videos and pay - what - you - want models are increasingly popular in maintaining the success of your brand . consider promotional gimmicks , like printing t - shirts with the download code for a label mixtape on the tag . goner records , a memphis - based garagepunk label , even offered free 7 - inch records to anyone who got goner tattooed to their body and showed it at the store . sub pop started by focusing on local pacific northwest grunge bands , but now features a diverse array of more mainstream sounds , like iron wine and fleet foxes . with this expansion of the kinds of sounds they embrace , their success and share of the market has grown considerably . even if youre focusing right now on tween pop stars , consider taking ways in which you might crossover and fit other sounds and images into your brand . in the early 90s , major labels were much more willing to take risks on unknown or underground acts . sonic youth , a noisy independent art band from new york , found themselves in a unique position after being offered a big deal by geffen , and the signing was applauded by both label executives and music fans . if your label is bringing in money , consider throwing a curveball by releasing a project from left field . |
protect the records from dust . protect the records from heat . store records vertically . this is the best position to minimize damage - keep them upright and do not cram them too closely together in the storage container . handle records with care . clean your vinyl records regularly . take extra special care of shellac records . place cleaned records in a clean sleeve . ensure that your record player is in good condition . | how to keep a record collection safe | store each record in its original lightweight cardboard cover or in plastic record sleeves . look for acid - free plastic sleeves if you havent already got some . heat is a records enemy and will warp records . store records away from heating sources , such as baseboards , open fires , potbelly stoves , heaters , etc . also store away from damp areas , as humidity will provide a fertile ground for mold growth , which can destroy your limited edition covers . keep records away from direct sunlight . sunlight will damage records both from heat and uv rays . if you do have a warped record from overheating , you can try this remedy put it between two thick pieces of plate glass and place heavy books on top of the glass . when doing this , take the cardboard cover off but leave the protective sleeve in place . while this may not work , given that the warped record is no longer any use to you , its worth a try . if it doesnt mend , try making a salvador dali clock out of it some collectors also insist on storing records in a relatively airtight container or cabinet as additional protection , along with regularly vacuuming around them to keep the records dust - free . obviously they are fragile and will break when dropped . however , even holding them with care can cause problems as the oils from your fingers are left behind and build up over time , so its important to hold records by the sides or the center label only . keeping your records clean will minimize the potential for damage from dust and other particles which could result in scratching . for cleaning obtain a soft , lint - free cleaning cloth . soft cotton or muslin are good choices . dampen the cloth with a cleaning mixture made from 1 part isopropyl alcohol and 4 parts distilled water 20 percent isopropyl to 80 percent water . note do not use this mixture on 78s because theyre made from shellac - see next step . wipe in a gentle circular motion from the edge to the middle or vice versa . allow to air dry . any records made from shellac must not be cleaned using alcohol . very early versions should be cleaned either professionally , or using professional cleaning solutions specifically made for this purpose because the earliest shellac records are very porous . for a shellac record that you think is older and a little more resilient , try a gentle dish washing liquid that has been heavily diluted , and apply with a fine bristle record brush to lift the dirt . dont get the label wet , at all . rinse and pat dry with a towel , then air dry on a dish rack which takes some time , so be patient . that way , you wont transfer back any of the old dirt . a poorly maintained record player can harm your records . keep the needle sharp and keep the turntable clean as well . |
look for the tonic note . the tonic in a key signature refers to the root note that the rest of the scale is based on . spot the chords in use . refer to the circle of fifths . identify the final note in a song . in many cases , the final note in a song will bring the composition back to its root tonic note . play a bit of the song . | how to work out which key youre in 1 | tonic is important because any given set of sharps and flats could correspond either to a major or minor key . the first note of a tonic note is often but not always the tonic note . if there is a chord that the rest of the composition appears built around , the tonic note is probably the root note of that chord . the tonic note in c major is c , for instance . this is especially important if there are no flats or sharps in the notation . purely natural notation will either be keyed in c major or a minor . look for patterns building around one of these two notes . musical keys have chords that suit them . look at the notation and identify the chords in use . next , you can use a chord map to associate the chords with a key . chord maps are a dictionary of the chords that apply to a given key . identifying three or so chords should give you enough ammunition to figure out the key with a chord map . chord maps outline the chords of each key clearly . for example , the chords in the key of c are c major , d minor , e minor , f major , g major , and a minor . the circle of fifths is a shorthand way of remembering the sharps and flats in a given major key . in many ways , its the most important tool in western music theory . to know how many sharps there are in a key , count the number of spaces between a note clockwise from c . c is at the top of the circle of fifths , making it easy to count . take the number of sharps and count it clockwise . the pace you stop at will be your major key . for flats , do the opposite with e , located at the bottom of the circle . count counter - clockwise from e based on how many flats are in your key signature . the circle of fifths is designed for major keys . a minor key will use the same accidentals , except the tonic note will be three steps down from the major . the circle of fifths tells you the number of sharps or flats , but not where they are . use this mnemonic to remember themsharps father charles goes down and ends battle . flats use the same phrase backward , since charles gets flattened in battle battle ends and down goes charles father . for example , since d major has two sharps , you read the first two words father charles → the two sharps are f♯ and c♯ . many composers will end with a tonic note to give their work a sense of completion . cross - reference the final note with the given sharps and flats and see if the accidentals line up with the note in question . if the final note is a chord , look for the root note , or lowest in the chord . this technique may not work if the music youre trying to decipher is experimental or avant - garde . although a chord map and list of accidentals should give you all the answers you need , it nonetheless helps to play out the song . if there was any doubt whether a piece if major or minor , those confusions should be laid to rest when you hear the music aloud . major keys are so - called because they sound happy . minor keys sound naturally sad in contrast . |
listen to the mood of the music . the applied effect of major and minor keys is the tone of a piece . hum to find a root note . you can find a key by humming around for the root note . play out the root note on an instrument . train your ear . | how to work out which key youre in 2 | generally speaking , major keys sound happy , while minor keys are melancholic or sad . listen to the music and keep your ear out for the emotions at work in the piece . in the majority of cases , it should be easy to hear whether a piece is major or minor . once you have that basis down , youll have an easier time of specifying the key to a root note . major keys are typically purer than minor . if there is a mixture of happy and sad - sounding chords in a piece , chances are high it is a minor key . unless the piece of music youre working with is incredibly complex , there should be a tone you can hum that matches all of the chords in a song . if you find this , hold onto the note . record it on a voice recorder if you need to . the beatles classic yesterday is an interesting example due to its sophisticated chord progression . play around by humming a few different notes , and try to hum the note as long as possible . if you find yourself stumped , hum the f note . although certain notes may fit better than others , yesterday is in the key of f major . you may have to try out a few different notes before you hear one that sounds synchronous with the music . if you have an instrument , you can take the note you hummed out and apply it to an instrument . if you have a grasp of what the hummed root note was , you shouldnt have any trouble finding it on the instrument . once you play a note on the instrument that matches your humming , youll have be able to clearly identify what note it is based on standard notation . play along to the beatles yesterday using one note . if you play f , youll find the note backs up the chords used in the song . there are tuner apps online and on your phone that will tell you what note it is youre singing . figuring out the key for a given piece of music becomes a lot easier if you can identify notes with your ear and develop perfect pitch . depending on your musical knowledge , this may be very tricky , but it can be done over the course of time and patience . one technique to help you learn is note replication . using a tuner you can use free online tuners as well , listen to a pitch and read up what note it is . think up the musical note in your head , and try to replicate it with your voice . once youve sung it , play the tuner note again and see how close you got to the true pitch . do this for all of the notes . |
identify keys in popular songs . practice with major and minor - keyed songs . work out the keys by ear . look up the notation for your exercise songs . listen to song versions in reworked keys . | how to work out which key youre in 3 | popular songs are a great place to start if you want to train your knowledge of keys . popular standards like classical pieces or songs by the beatles are great because their keys are easier to decipher than complex or obscure music . notation for these songs are also easy to find online , and the key signatures are easy to look up when you want to see the answers . sites like key finder are specifically around for people to research the key signatures of famous songs . if you want to perfect your key identification , you should be working with songs in both the main key categories . major and minor - keyed songs operate in different ways , and youll have to key your ear out for different patterns between the two . for major - keyed songs , the beatles yesterday and the village peoples ymca are great exercises . yesterday in particular is a good exercise because of how deceptively tricky it is . for minor - keyed songs , try nirvanas smells like teen spirit and michael jacksons beat it . both of these songs have been researched extensively already , and it wont be difficult to find info on these pieces if you need it . listen to each of the listed songs and try to hum out a note that works throughout the piece . even if you know the key of the song beforehand , try humming a few different notes and be mindful of which ones sound better than others . song bridges make something of an exception . its a common pop songwriting convention to bring a section of a song into a different key . this convention is used to refresh the song towards the end . notation will give you a visual equivalent to the music . even simple pop songs can be notated with theory . some music notation will list the key for you at the top of the page as well . even if the answer is spoiled for you , its helpful to know the proper key and look for evidence in the notation that proves that answer . modern pop and rock songs dont tend to have sophisticated notation . you may only find chord progressions and basic melodic notation for pop songs . even so , this information should give you enough information to deduce the proper key . for examples of the difference between a major and minor key , listen to some reworked versions of popular songs . songs like the village peoples ymca are completely different when brought into a minor key . |
copy the music you want to add . open the rockstar folder on your hard drive . go to the user music folder . paste your music . open gta v . click the game icon found on your desktop to launch it . go to the game settings . view your games audio settings . scan for music . exit the settings . get inside a car . play your music . switch between songs . | how to add music to gta v for pc | open the directory on your computer where your music files are saved . select all the files that you want to add to gta v by highlighting it , press the right - click on your mouse , and select copy from the pop - up menu . make sure the music files are mp3 file format . any other format will not play inside the game . note that since you are copying the files to another location , they will take up more space on your hard drive . for example , copying a gigabyte of music means that when you paste it , youll lose a gigabyte of space on your hard drive . press the windows key on your keyboard to open the start menu . type in rockstar on the search text field and select the rockstar games folder from the result that will appear below to go to the rockstar folder . inside the rockstar games folder , double - click the folder named gta v , and inside youll find another folder called user music . double - click on the user music folder to open it . right - click anywhere inside the folder , and select paste from the pop - up menu to copy the music files you selected earlier here . theres no limit to the number of music files you can copy here , but you need to have at least four music files inside the folder for you to be able to play them in the game . wait for the game to finish loading and show the main menu . once youre on the main menu screen , you can choose either continue to proceed with your existing saved game or select new game to start fresh . youll then be taken to the game screen . inside the game , press the esc button on your keyboard to open the in - game menu . press the arrows keys on your keyboard and select settings from the navigation bar on the upper portion of the in - game menu screen . press the enter key to enter and view the game settings screen . scroll down the menu panel on the left - hand side of the screen and choose audio . the audio settings for your game should open up on the main panel of the settings screen . scroll down the main panel and choose perform full scan for music option from the list of choices available , and the game will look for music files inside the user music folder of the game . all other options will temporarily disable and grey out while the game is scanning for music files . the time it will take for the game to scan the user music folder will depend on the number of music files youve put inside . once the scanning is complete and audio options are enabled again , press the esc key on your keyboard to exit the in - game settings screen and go back to the game screen . your changes will be automatically saved . approach any vehicle of your choice and press the f button on the keyboard to get inside and ride a car . once youre inside , the car radio will automatically play . every vehicle has a radio , so youre not limited to just cars . inside the vehicle , press the dot . or comma , button on your keyboard to change radio stations and select the self radio station . this station plays all the music youve copied to the user music folder . to change the song thats playing on your personal playlist , press the equal or dash - button on your keyboard and the next track will be played on the radio . |
find a theme to your song . decide whether you want to start with the melody or lyrics first . come up with a melody . write lyrics . perfect and rewrite if necessary . make sure you have a safe quiet place to be in and relax before you start . stretch or do some yoga , then drink some water and relax . | how to get good song ideas | first off , you need to figure out what you want your song to represent . will it be a song about love and romance heartache and pain or maybe dragons and elves during this process , its best to identify how you are feeling and what your mood is . whats currently inspiring you maybe youre feeling completely mundane , and you feel as though theres no inspiration in your life . in this instance , it may be a good idea to draw from other sources . here are some you might want to try conversations maybe youve had a really good conversation with someone recently . try to think of some of the key points of that talk , and translate it into lyrics . movies think back to one of your favorite movies . what emotions did that film spark you can either write a song about the movie , or simply gather certain ideas from it . novels andor poems whats the latest book youve read if you havent read anything lately , try picking up a book and gathering ideas from that . poems are another good alternative to draw from . this is an important step and sometimes a hard decision to make . do you naturally come up with words or melodies faster this should help in determining which one you choose . if you find that youre inclined to hum out a melody much quicker than you do writing lyrics , then its probably best to pick up your guitar or sit down at your piano first . if youre one who can really jot down lyrical ideas fast once the can of worms has been cracked , then find somewhere quiet to sit down and start writing . the following two steps are interchangeable depending on which one you have decided to tackle first . coming up with great melody is a tricky concept . generally , the simpler the melody is , the more effective it will be . here in lies the tricky part however , coming up with that perfectly simplistic melody , without seeming amateur or cheap . dont be frightened by this though , remember , stay genuine and good things will happen . be patient and really take the time to come up with your best work . start by playing simple chords on your instrument . keep in mind what kind of theme you have decided for your song . if its dark or sad , you might want to stick to minor chords . if its happy and up - tempo you might be better of with major chords . for electronic music , it is best to make sure you have a basic synth , then play around with it until you find something good . start humming or whistling different melodies over the chords . invest in a dictaphone or micro - recorder , you never know when that perfect melody may come along and its best to document it while its fresh in your mind . if you play guitar and like to play open chords , invest in a capo . this will assist you in trying new keys to play in . challenge yourself by learning new scales and chords . this will add depth and ultimately make your music richer . in most cases , lyrics are going to create the initial impression that your audience responds to , so its best to make every word count . timing and delivery of your words are key . try to think of different rhyming schemes and ways of conveying your message . if you get stuck , try using tools such as rhyming dictionaries or a thesaurus . make sure you are using words in the right context . use a dictionary if you are unsure . its important to make sure your song is the best it absolutely can be . theres not much point in spending a lot of time on a tune that youre not completely satisfied with . there is a fine line however , in knowing when your song is complete . some artists may go too far in rewriting their songs , that they end up losing the initial essence that made the song good in the first place . try not to get stuck in that sort of trap . remember , you will always be your own worst critic , so dont go too far down the rabbit hole , or you may never come back . continually challenge yourself , asking , is this absolutely the best i can come up with for this section make sure you have a notebook or computer to write your lyrics . after you do that , the words should come to you dont be afraid to experiment . try thinking outside the box , but not too far as to where no one else will be able to identify with your music unless that is what you want of course play the song for a friend or family member who isnt afraid to give you honest feedback . |
invite your child to help you design the xylophone . dress your child in play clothes in case the colored water spills on him or her . | how to create a rainbow xylophone 1 | although pinging on glasses is fun , creating the xylophone is just as thrilling for small children . make sure you explain what you are about to do so that he or she understands what you hope to achieve . detail and list exactly what you plan to do to create the xylophone . explain that when the glasses are filled with water at different levels , each glass will make a different sound . while most food coloring shouldnt stain , its best not to tempt fate on your childs best clothes . |
learn the different types of metronomes . determine additional features you need . try it before you buy it . set the tempo . set the time signature . set the volume . familiarize yourself with the notes of the music before using your metronome . start out slow . focus on problem areas . speed it up . test yourself . | how to use a metronome | there are pocket - sized digital metronomes , wind - up mechanical metronomes , app metronomes for your phone , or you can even go all out and get a drum machine . depending on your needs , some styles of metronome will perform better than others . in general , mechanical metronomes tend to have more basic features and work very well for a lot of the classical instruments that youd find in an orchestra . digital metronomes tend to have a lot of features designed with modern music performer in mind . consider the instrument you play . there are a wide selection of metronomes on the market for good reason . depending on the instrument you play and your personal preferences you might find only certain metronomes for you . for instance , if you are a drummer you may need a headphone jack , a line out , or volume control features . if you have a stringed instrument that needs to be tuned , you might want to opt for a metronome with a tuner . if you will need to use your metronome on the go , opt for smaller digital metronomes over larger wind - up mechanical metronomes . if find visual cues help you to anticipate the beat and keep time better , either a mechanical metronome . by watching the swinging pendulum while you play it can help a musician to see the beat . some electronic ones also have the option of a flashing diode or led so you can either see the beat , or hear it . be sure the metronome you choose has a wide enough selection of bpms to suit your needs . when you practice you will hear your metronome a lot , sometimes more than 100 times a minute depending on the speed of the song . it is important to try a metronome to be sure it makes a sound you can work with . some digital metronomes make a high - pitched digital beep , while many make a tock noise similar to a very loud clock . try playing along with the metronome and make sure the sound will help you to keep time without getting on your nerves or distracting you from your performance . most digital metronomes will use bpm or beats per minute as a way to measure the speed of the piece . some mobile metronomes available for phones will even allow you to tap the beat on your screen to get the corresponding tempo . on most quartz metronomes , the bpm is listed around the edge of the dial . within the bpm selections , there are corresponding italian words that are traditionally used to describe tempo , such as allegro and presto . on wind - up models , you simply slide the weight up the metal bar to the desired tempo or the marking indicated on the music to be rehearsed . many digital metronomes will allow you to set the time signature , but most wind - up metronomes do not . time signatures consist of two numbers written how you would write a mathematical fraction . the top number indicates the number of beats in a measure . the bottom number indicates the value of the beat . for example , a piece in 44 time would have four quarter notes in a measure , while a piece in 24 time would have two quarter notes in a measure . some pieces of music may have several time signatures . to practice them with a metronome you will have to take it in parts and reset the metronome to match the changing time signatures . setting the volume for the metronome is especially important for any digital devices . you want to find a volume that wont be drowned out by the music but isnt overwhelming either . many swinging or wind - up metronomes will not have a volume control , but musicians can follow the swinging of the metronome to keep accurate time even if they are unable to hear the metronome over the music . some electronic metronomes will also have an led light that goes on and off in time with the beat . practice the piece without any regard to time at first . once you know the notes and chords and have a good grasp on the order they are played , then you can begin to focus on performing the piece at the appropriate rhythm . slow practice will make for fast playing . set your metronome to 60 or 80 bpm to begin with . listen to the metronome for a few moments before you begin playing . you may want to tap your feet or watch the metronome to help you keep the time with your internal clock . music is never equally difficult throughout the entire piece . some spots will give you more trouble than others . use the metronome at a slow speed and take it one note at a time until your hands become more familiar with required movements . you can also try adding in the notes one at a time to work out a trouble spot . begin with just the first note of the piece . play the note again , then add the second note . stop . start again with the first two notes and add the third note , and so on . continue until you reach the end of the piece . once you feel comfortable and confident playing the piece slowly , increase the tempo . small increases are the best . stick to about 5 bpm above the previous setting . go through the piece until you are comfortable with performing at the higher speed . then , increase the speed again . keep raising the tempo slowly until you can perform the song at full speed . once you feel you have mastered a piece of music , you can try practicing the piece along with the metronome . you may not areas where your performance was not as even as you believed it to be . work on those areas some more to become a better musician . |
line the glasses up on a flat surface . fill a plastic pitcher with water . fill each glass with descending levels of liquid . add a few drops of food coloring to each cup . | how to create a rainbow xylophone 2 | have them almost touching each other so that your child can make music with ease . bring it to the line of glasses . explain to your child how you will fill the first glass almost to the top , the next one a little lower , the following glass a little lower , and so on . allow your child to hold the glass in place to help . find ways to engage and include your child throughout the process . ask your child which colors will make purple depending on your childs age , allow the child to add drops of color to the glass to reveal the color . |
give the child a wooden spoon or chopstick for playing the tunes . encourage your child to tap the sides of each glass to hear the different pitches and noises . ask your child questions during the exercise . finished . | how to create a rainbow xylophone 3 | explain how different water levels will produce a different sound . provide enough freedom for your child to experiment with different sound combinations . ask things such as what will happen if you tap the glass at the top instead of at the bottom or , which glass has a lower pitch why do you think the water level makes a difference allow free play time , without questions or hovering . see what music your child feels free to unleash |
base your songs around just one image , thought , or thing . dive deeply into person angst or worries , from relationships to school . tap into the classic punk tradition of anti - establishment , political songwriting . dont be afraid to throw in a sense of humor . know that there is no limit to your songwriting talents and topics . | how to write pop punk lyrics 1 | the most common topics in pop punk are love , adolescence , and youthful rebellion , but the beauty of the genre is how open it is . you can talk about politics , people , science fiction , or a night at the bar with your friends . the important thing is to keep it contained to one idea instead of cramming in 2 - 3 . pop punk songs are short , and youll be much more effective focusing on just one idea for each song . in general , pop punk songs have 2 - 3 choruses , 2 - 3 verses , and maybe one breakdown , usually without lyrics . you can also consider a chant or call and response section for audience participation , but thats about as complex as most pop punk song structures get . pop punk is generally a very personal medium . your fears , stress , and anger all make great , raw emotions for a pop song , so dont shy away from your personal life and opinions . punk is an open , diy genre , and you should add your own take to your songs . while traditional punk steers free of emotional songwriting , pop - punk bands like screeching weasel , good charlotte , and more have proven that there is a demand for emotionally honest songwriting . love and heartbreak suburban angst rebellion against school , parents , etc . growing up . green days album american idiot , perhaps the most famous pop - punk political statement , is really just one album in a long tradition of socially conscious , politically informed punk rock music . typically , the mood is rebellious and angry - - pointing out problems others wont in an attempt to bring about awareness about the issues you care about . bands like the clash , bad religion , and anti - flag can be powerful mentors . some angles include attacking a powerful political figure , like in anti - flags turncoat . exposing an issue or ignored topic , like the clashs spanish bombs or washington bullets . mocking satire , pretending to be a political opponent to show how terrible their views are kill the poor . throughout the history of pop - punk , pranksters , jokers , and biting satirists have shown that pop - punk can be just as funny as it is powerful , personal , or political . from nofxs shes nubs , most of blink 182s early library , or the self - aware the steinways , dont be afraid to write a silly , juvenile song just to get a quick laugh . the lillingtons , for example , wrote most of their songs in an imaginary sci - fi universe , building up stories and ideas through futuristic lyrics . if you feel like writing a cowboy anthem in the vein of social distortion , go for it . there is nothing stopping you from crafting a pop - punk jam from batmans perspective , or the mind of a monkey . pop punk is a wide - open and inclusive genre , so write what you want to write . |
draft out the ideas or lines you want in your song . begin with a simple , catchy chorus , as its an essential part of most pop punk . keep your verses short , using the same length and rhyming for each one . think about adding a sing - along section or chant to a few songs . read and cover other pop - punk songs to learn from the greatest . | how to write pop punk lyrics 2 | sometimes the lyrics just start flowing , but more often than not writers block sets in . power through it by sketching out the ideas , thoughts , or essential images you want in the songs . if you think of a line or rhyme , jot it down even if you dont know how to use it yet . once you have your key images and words , you can start building lines around them . even one good line can be the basis of a song , used as a chorus or a refrain to hold the song together . dont think of writing the whole song in one linear sitting . just start writing parts and fragments , and slowly youll start to see those that fit well together . pop songs , no matter the genre , need to hook the listener and get stuck in the brain . it should be easily remembered , a short , simply phrase with a hummable melody . think of this as the 1 - 2 sentences that sum up your entire song theme . once youve written the lyrics , try humming or whistling out tunes to find a good melody . when it is catchy even without words , youve got a killer chorus to use . green day , rancid , operation ivy , and blink - 182 are great bands who shot to popularity because they can write killer hooks , not just driving lyrics . more likely than not youll write in couplets - - where each set of two lines rhymes with each other i can see into your soul because youre just a victim of mind control . you can also rhyme every line with each other , or rhyme ever - other line together hey me day we for a more melodic , sing - song feel . if youre stuck fleshing out the lyrics tell a tale or story timebomb string together related moments or images on the same theme story of my life . approach the topic from new places or perspectives each verse longview the sing - alongs , which are usually lalalas oooohhhs and ahhhhhhs , are a staple of pop - punk because it gets the audience involved . frequently , the best place for a sing - along is the chorus or the outro , but you can place them everywhere . you dont need one in every song as it can get old . however , even a lyric as simple as nananana nanananana in all the small things can be the difference between a dud and a hit . when people commonly talk about how the beatles or bob dylan were the best songwriters of their generation , they usually point to their years playing 100s of different rock or folk cover songs . you can do the same thing with pop punk . covering songs helps you feel out things that work , learning from the very best as you subconsciously internalize song structure , lyric tricks , and catchy melody lines . cover the songs you like to play more like the bands you admire . reading lyrics without the music is a good way to see how lyrics are written , and a good way to compare you own . |
note that the bass clef is the bottom line of music notes . know the order of the notes . learn a mnemonic to help you remember the bass clef notes on the lines . note that the treble clef is the upper line of music notes . know the order of the notes . learn a mnemonic to help you remember the treble clef notes on the lines . | how to understand the difference between bass clef and treble clef | from the bottom upwards , the notes go g a b c d e f g a . a good one is great big dogs frighten albert . and here is a mnemonic to help you remember the bass clef notes in between the lines all cows eat grass . if this helps , you might find it even handier to make up your own . from the bottom upwards , the notes go e f g a b c d e f . a good one is every good boy deserves football . and here is a way to help you remember the treble clef notes in between the lines think of f a c e as face . |
know your instruments transposition . know the key to transposition . start with the key signature . heres a helpful tool . | how to transpose music from c to b flat | the following are some b - flat instruments trumpet and cornet tenor sax clarinet when a piano player reads a c on the score , the note that we hear is a c . yet when a trumpet player plays a c on the score , the note that we hear is a bb . to make music sound right and to reduce tension in the band we need to write parts for the transposing instrument so that the trumpet player and the keyboard player are playing in the same apparent key . a bb instrument sounds one whole tone lower than what is written , you must raise every note written for that instrument by one whole tone . the easiest way to do that is to start by writing in the correct key signature for that instrument . lets say the piano part is written in the key of bb which should have 2 flats in the key signature , and does not in the picture , concert pitch . one whole tone up from bb is c the concert pitch diagram starts on d it should start on bb , so you will write your trumpet part in the key of c . conversely , if the piano part were written in the key of c , you would start with a different key signature d . to transpose a part for a bb instrument , start from the concert key—the key that is actually being heard—and add a whole step to it . that is the key you will use for your transposing part . for example , lets say the concert key is the key of g major . on the chart , find the key of g major its the second from the top left . note that is written with one sharp , f . one whole tone up from g is a , so find a major on the chart , and you will see it has 3 sharps f , c , and g . this is the key you will use for your bb instrument . sometimes you shift from flats to sharps , or vice versa . for example , if concert key is f major , with a bb , one whole tone up from f is g , which is written written with one sharp , f . remember to not just change the key signature , but write the notes one whole tone up as well . for example , if the note on the concert score is f , the transposed note is g . |
think about your guitar as an extension of your voice , mimicking singers . think about silences as powerful musical tools . use repeated themes and notes to give your solo structure . use bends , slides , and vibrato for more expressive and personalized playing . think of the entire solo , not just the notes you are currently playing . | how to use phrasing in guitar solos | when in conversation , few people simply talk in a stream of similar words . they use pauses , their voices go up and down , and use other bits of phrasing to make the words unique . singers , who must stop to catch their breath , are particularly adept at phrasing . note when they use silence and vary tempo to give just a few words or lines great meaning . the big jazz singers - - like cab calloway , etta james , billie holiday , and more - - have some of the best phrasing in music , no matter what the instrument . every guitarist dreams of playing more notes , and faster , than any other player out there , but the best guitarists know this is a fools errand . from jimmy pages shredding on heartbreaker to the soulful , slow playing of muddy waters , well - placed silences are essential to well - phrased solos . a silence builds suspense , letting the audience catch its breath so they can fully appreciate the barrage of notes coming afterwards . silences can be used to build a solo from calm and collected to face - melting power . thinking of your solo like a conversation , with pauses and waiting , is a good way to get used to this . this can lead to parallel phrasing , where you use similar licks in different parts of the solo , but change them slightly to keep things interesting . thinking again of your solo as a conversation , this is like the thesis . the theme is the 4 - 5 note riff that you keep coming back to , adjust , modulating , and playing with to make a coherent , well - composed solo . throw in hammer - ons and pull - offs , use the whammy bar , or put a slide on your finger . using different types of notes and tones will vary your phrasing considerably , like opening up a whole new vocabulary of notes . good phrasing uses these unique accent notes to punctuate licks or pierce through temporary silence . a big bend or well - held vibrato is a great way to create space in a solo without using silence . this is difficult but essential for burgeoning guitarists . how can your whole solo sound great , not just the individual bits the answer is through phrasing - - building tension and excitement through variation . you could start with lots of silence and build to big notes . you might begin in single notes , then start adding triads and chords to the solo . you might even start loud , then lower the volume before bringing it back up . whatever your plan , having this sort of structure is the difference between random noodling and killer phrasing . |
identify the key of your song . locate key changes throughout the song . choose a complementary key . play the notes of your solo in the complementary key . practice soloing frequently . | how to solo over chord progressions 1 | the most common way of checking the key signature of the song you are in is by observing the notation in the clef at the beginning of your music . this will either have a number of sharps , flats ♭ , or nothing at all . this will help you identify the key . when there are no flats or sharps in the starting clef of your song , your song is in c major . the relative minor of c major is a . major keys g one sharp , d two sharps , a three , e four , b five , f six , c seven , c♭ seven flats , g♭ six flats , d♭ five , a♭ four , e♭ three , b♭ two , f♭ one . minor keys e one sharp , b two sharps , f three , c four , g five , d six , e♭ six flats , b♭ five flats , f four , c three , g two , d one . some songs change key at various points throughout the song . youll need to account for these key changes while soloing by key . scan each line of your music and look for a double bar line . this could be located toward the beginning , middle , or end of any line of music in your song . natural signs ♮ . these are like an eraser that deletes the sharps or flats in your key previously . each natural sign removes one sharp or flat . new accidentals . accidental is the term used to describe any key change , ♭ , ♮ . these will indicate your new key . playing your solo in the same key as your song is the simplest way of ensuring you rock your solo in a complementary key . however , you could also play in keys that are harmonic to the key of your song . keys sharing the same number of sharps or flats , or keys different by only a single sharp or flat on the circle of fifths , generally share many tones , creating harmony . there are many different ways you can execute this . you can play the key in scales , you can break up chords and solo those notes , or you could even transition between the notes of harmonic keys , like the ones surrounding the key youre playing in on the circle of fifths . if you hit a note thats dissonant , dont panic . hold the note for a moment , and then scale up or down with whole or half steps until the dissonance resolves . this way , your dissonant note will seem intentional . soloing is a difficult skill that is often complicated by other factors , like nerves . the more you practice , the easier it will be for you to fall into the motions youve practiced time and again . there are many places you might play with your band to gain experience , including community talent shows local venues on the street , busking school events and talent shows |
search google for the following chainer vst , superwave p8 , string synth and string theory vst . create a folder on your hard drive called plugins and copy the superwave p8 , string synth and string theory files to it . install asio4all if needed . install and open chainer . select your asio driver or asio4all where it says asio driver drop down menu . go back to the main chainer screen . | how to sound like jean michel jarre | if you are just using a rubbishy built - in soundcard , also find asio4all . these are all freeware . chainer is a demo with only the save preset function disabled . , connect your midi keyboard . click on the system and settings menu . choose a sample rate 96000 if you can manage otherwise 44000 will have to do . choose your midi in usually the first available option . click on the button that says asio panel . if asio4all is installed you must do the following set the asio buffer size to 512 samples and offset to 2ms . if pops and clicks appear when audio plays , this size will need to be increased until it is at a playable and pop free level . you will see a row of boxes with drop down arrows . click on one of them navigate to the instruments menu and there you will find the three synths you have just installed . for oxygene 4 select system then settings and change tempo to 70 . then back in the main screen load up the following instruments under each other string theory , string theory , superwave p8 then string theory again . where it says presets on the right hand side select the first string theory as percussive number 5 , the second as bassline number 30 , superwave p8 as oxygene part iv and the last string theory as dirty little line number 35 . learn to play oxygene 4 with the route note of the chords in your left hand and the main tune with your right . you should find it produces a cool sound for equinoxe 5 load up the instruments in the same order as last time . change the tempo to 79 and choose the presets as in this order percussive , arp geeseaplenty gse , bright strings and little machines 2 . for rendezvous 4 same instruments again . tempo back to 70 . use the following presets groove plink , again . with feeling , rendezvous 4 and percussive . |
break your song into chords . solo by soloing according to the chord . emphasize the root note of the chord in your solo . voice lead into the root of your next chord . | how to solo over chord progressions 2 | youll be able to come up with more interesting and varied notes for your solo if you base your solo off chords . chords change much more frequently throughout a song than keys , meaning your chord based solo will likely have a greater variety of notes than a key based one . you may want to go through your song and write the chords for each bar of music if this information isnt already there . now that your chords are written out , you can play scales or arpeggios in the key of those chords to create a complementary sounding solo . when the chord changes , change the scale or arpeggio you are playing to match the key of the new chord . keys with the same number accidentals or keys different by only a single accidental on the circle of fifths are generally harmonious . you can think of the root of a chord as its most central tone . by playing the root of the chord throughout your solo , weaving it into scales , arpeggios , and more , your solo will sound more tonally centered and harmonic . the letter name of each chord generally indicates its root . for example , a gmaj7 chord has a root of g , an fmin chord has the root of f . voice leading is a common soloing technique . it involves playing a note or notes either a half or whole step away from the root of the next chord , before that next chord is played . the notes surrounding the root of your next chord will resolve to that root . when you play the next chord , this technique creates a natural kind of transition between chords . |
determine the chords of your song . find the relative minor of major chords , if necessary . identify the notes of your pentatonic scale . solo with notes in your relative minor pentatonic scales . | how to solo over chord progressions 3 | go through the music for your song and , bar by bar of music , write out the chord progressions that will be used throughout the song . from these chords , youre going to find the relative minor pentatonic of each one . the relative minor pentatonic scale of each chord will only contain notes already in the chord . this means its notes will sound pleasing in your solo . you may want to leave some space between chords when you write them out . this way you can write the relative minor pentatonic beside the root chord . a pentatonic scale is a scale is limited to five notes , with each note of the scale usually being a strong harmonic complement to the chord off which its based . the general rule when soloing with a pentatonic scale is to use the relative minor pentatonic scale , which will nearly always sound good with the original chord . the relative minor of any major scale is three half - tones below the root note . on a guitar , three half - steps will be represented by three frets on the neck of your guitar , with each fret standing for a half step . for example , if the root of a major chord is c , the relative minor would be a . for an f major chord , d would be its relative minor . traditional western scales have eight notes , but your pentatonic scales will only have five . to transform your relative minor scale into a relative minor pentatonic , you should remove the second and sixth tones from your relative minor scale . for example the relative minor of c major is a . to form a pentatonic scale in a minor , remove the second and sixth intervals from the root . this yields a pentatonic scale of a , c , d , e , g . the relative minor of f major is d . d minors pentatonic scale , therefore , would be d , f , g , a , c . if you want to create a pentatonic from a major scale , you can do this by removing the fourth and seventh tone from the scale . using the notes youve identified for the relative pentatonic minor scales of your chords , play your solo . since the relative minor pentatonic scales only use notes already part of the original chords , the solo notes you play will complement the chords . |
understand what youre actually doing . change the key signature . change the notes and accidentals . make sure the ranges are correct . write or generate the new music . enjoy playing your transposed music | how to transpose music from c to e flat 1 | to transpose from c to eb , youre transposing the music up a major 6th , or down a minor 3rd . you will have to adjust the key signature add three sharps , notes , and accidentals accordingly . again , youll be transposing down a minor third , which you can probably figure out mentally if youve done this before , but for handy reference , you can refer to the chart below . to use it , youll first have to identify the major key of the piece in c that you are transposing . if you can figure it out on your own from here , great , or you may have used a program that automatically changes the notes with the key signature . however , if youre doing this by hand , heres another handy reference chart . if youre transposing for a very high - sounding eb instrument , and all the notes you ended up with are below the staff , move them up into the playable range for the target instrument . while writing by hand is an okay method , there are many computer programs that can make this easier , such as finalenotepad . |
put the c music on the bass clef , making sure to correctly write in the notes . switch the bass clef sign to the treble clef sign without moving the notes from where they were . add 3 sharps to the key signature . | how to transpose music from c to e flat 2 | that means that the dots stay on the same line but mean different notes . when doing this a sharp cancels out a flat . for example , if the starting key signature had four flats , adding three sharps would make the new key signature have one flat . |
adjust everything that you can start quickly and that everything is visible . put your music instrument somewhere , where you see it several times a day although it doesnt disturb you . prepare the stand . procure that your rehearsal place keeps how youve adjusted it . | how to rehearse music 1 | if youve got a stand for your music instrument , use it . otherwise open your instruments case so that your instrument is visible . adjust the height . put the scores you have to rehearse on it . put some pens on it . so if you had music lessons or an external rehearsal , dont put your instrument away . start instead with the preparation for your next rehearsal . |
plan your rehearsal time . warm up . rehearse in small units . exercise slowly and accelerate slowly the tempo . change your way of playing . rehearse mentally . solve the hard parts . | how to rehearse music 2 | set a time when you will rehearse each day . try to get a routine . alternatively you can split your rehearsal time . whatever task youre doing , you can only do it efficiently for about an hour . rehearse for a short period and move on with your previous task . use this method several times a day . , just rehearse the first four bars . then rehearse from the third bar to the sixth bar . if youve rehearse two lines that way , try to play those two lines non - stop . move on until youve finished the whole piece . now play the whole piece non - stop . play the score only as fast as you can play it without making any mistakes . this may sound hard at the first time , but you need even more time to correct the mistakes you make over and over again . if you recognize that youre making a mistake , repeat the passage two times in a slower tempo . until now youve learned that you have to repeat very often parts of your music piece in a slowly way when you rehearse . that sounds boring . but boredom is negative when you want to learn something . thats why you should change the way you play after the second repetition . you can try to accelerate the tempo , exaggerate the dynamics , focus on the articulation and much more . put your instrument away . imagine to play the piece . try to visualize it as definitely as you can . you should use this technique early - for example when you have to repeat a passage . this method seems strange at the first time , but the results will teach you a different lesson . |
understand concert pitch . understand the relationship between c and f . c is a perfect fifth , or 7 semitones , higher than f . to help you visualize what that means , look at a music staff and count the lines and spaces from c down to f . you will see the following notes c , b , a , g , f . there are five whole tones comprising the jump between c and f . it may be helpful to look at a keyboard , or even a picture of a keyboard as you count whole and semi tones . create a cheat sheet . look for difficult pairings . test your cheat sheet . prepare practice materials . try writing out your transposed notes . play what you have written . increase the complexity of the score . remember to transpose accidentals properly . move the piece up or down an octave . practice transposing in your head . | how to transpose music from c to f | some instruments , such as the piano and flute , are pitched in what is called concert pitch . when there is a c written in the music , the pitch they play is actually a c . however other instruments , such as the french horn , are keyed in f , meaning that if you play what looks like a c for a piece of piano music , the sound will actually be an f . in order for both a flute and a french horn to play a note that sounds the same , music for french horn , or another f instrument , will need to be transposed into the key of f . other instruments , such as the basset horn , the cor anglais and the f alto saxophone and the wagner tuba are also keyed in f . pictures of keyboards with the names of notes labeled can be found online to help you gain a visual of what youre doing . rather than figuring out what a perfect fifth would be again and again , write down the relationship between each note on a cheat sheet in two columns . begin with the note c . if c is the bottom of the scale , and you want to transpose to f , then f should be the bottom of your transposed scale . c becomes f , because f is five whole tones below c . now go up a half step . c becomes an f , because you need to maintain the ratio of five whole tones or seven semi - tones . in c to f transposition , there will be two times in the scale when one note in the pairing has a sharp and its companion does not . on a piano , this will mean one white note and one black note will be played to make a fifth . in the key of c , the note f will become an a bb when you transpose to the key of f . in the key of c , the note f will become a b natural when you transpose it to the key of f . make sure that you have not made any mistakes by reading or playing both scales that you have written . are there any notes left out or repeated if you are at least somewhat familiar with a piano , try playing your paired fifths . the note ratio should sound the same for every pair you have made . if not , youve made a mistake initially in transposing it will be helpful to you to write out what youre doing . print or draw an empty staff of music for yourself to try drawing in notes . find a simple piece of music keyed in c for you to practice transposing . using music designed for beginners , with few accidentals , will make it easier to get the basics . beginner piano or flute music featuring simple well - known tunes such as twinkle twinkle little star may be a good place to start . avoid using an advanced piano score , which will likely include chords that will make it harder to practice at first . try something simple with only single notes instead . for example , in c the first line of twinkle twinkle little star will be cc gg aa g . when you transpose it , it should be ff cc dd c , because that notation is exactly five whole tones lower . use your cheat sheet to check your work . use your instrument to run through your transposed music . remember to play what you have actually written rather than simply playing by ear . this step will help you to catch errors . you will quickly realize a mistake if you accurately play what you have written and it does not sound like the original tune . once you feel comfortable transposing very basic music , try to transpose something more complex . a duet scored for two flutes will provide you with an opportunity to try transposing both a melody and a harmony line . it may not be immediately apparent if you make a mistake , so invite a friend to play your transposed duet with you to test if it sounds correct . once you feel confident in transposing you may assume you know at a glance what a transposed note should be . however , if the note is an accidental has a or b sign that puts it out of the usual c scale you will need to make sure you transpose it correctly . accidentals are easy to overlook , but make a big difference in whether the piece sounds good or not . once you have transposed your music you may still find the range to be off . for example , a soprano singer would find notes transposed to the f below middle c very low for her range , and more appropriate to a tenor . in that case she would move the entire piece up an octave , so it is still in f but in a higher range . with time you may be able to skip writing down your transposition , quickly calculating in your head what each note should be . when you become familiar with the principles of transposition , try to transpose simple music without making any notations . |
identify the staff and clef . learn the notes . learn which notes correspond with open strings . match numbers to each of your fingers . learn the fingerings for the strings . move your hand up or down the violins neck when roman numerals are noted on the music . play two stacked notes as double stops . | how to read music for the violin 1 | the staff is the set of 5 parallel lines on the page where notes are marked . the clef is the very first marking on the staff , at the left - hand side of the first staff line . this signifies the musical register in which you play . violins only play in treble clef . this is the marking that resembles an . each note is a round circle on a line or in a space on the staff . the notes in the spaces , from bottom to top , are f , a , c and e . the notes on the lines , from bottom to top , are e , g , b , d , and f . notes below or above the staff are marked with a round circle and a horizontal line going through the middle of the note . if there are flats b or sharps , these may be marked next to a note . they may also be marked next to the treble clef . for example , if a sharp is placed on the f line , this means that every f played in a given musical piece will be played as an f . an open string means that it is not pressed with a finger when its played . there are four open string notes on a violin g , d , a and e . these strings are in order from thickest to thinnest string , or left to right when holding the violin in playing position . on sheet music , these notes are often marked with a 0 . in order to play more notes than just g , d , a and e , you will need to press strings with your fingers . the fingers on your left hand are numbered 1 to 4 . your index finger is 1 , your middle finger is 2 , your ring finger is 3 and your pinky finger is 4 . when a note is displayed on beginning violin sheet music , it will be accompanied by a number , 0 to 4 . the 0 is an open note , while the other numbers correspond to a particular finger that will press a string . the notes on each string will ascend in tone as you place another finger down on the string . start by drawing your bow across the d string without pressing it down . this will play a d note . place your index finger on the d string and play . you are now playing the next note up on the d scale , or c . play the next three notes on the d scale by placing your middle , then ring , then pinky fingers on the string . after you have placed your pinky finger on the d string and you have played that note , move to the next string the a string to play the next note in this scale . start by playing the a string open no finger pressing the string . subsequent notes will be played by pressing first your index finger , then your middle finger , and so on . while you practice pressing your fingers on the string in order , memorize the fingers that match the notes in the music . so , for example , when you see a d , you know that will be the open d string . when you see an f , youll know to press your middle finger on the d string . when playing the violin , one of your hands will wrap around the neck in order to press the strings with your fingers . the strings can be played closer to the pegbox , usually called 1st position , or closer to the bridge 3rd , 4th or even 5th position . these positions are noted on violin music with roman numerals underneath a note . move your hand down the fingerboard of the violin to correspond with the numbered position . 1st position , or i , means that your hand will play closer to the pegbox of the violin neck . these positions may also be marked as 1st position or 3rd position , instead of using roman numerals . most beginner violin music is written for 1st position . double stops are when you play two notes together . on the violin , youll play two strings at the same time . double stops are represented on the musical staff with two notes stacked on top of each other at the note position to which they correspond . the notes may not be stacked directly on top of each other . rather , there is likely a space between each , but one is above the other note . advanced violin music might have triple or even quadruple stops , meaning you play three or four notes together at the same time . |
play the bow in an upward direction for a v notation . play the bow with a downward motion for a table - like notation . play an angle bracket symbol by accenting the note . play a bow lift notation . look at initials to see which part of the bow to use . decipher other bow notations . | how to read music for the violin 2 | there are a number of symbols that indicate how to play with the violins bow . a v shaped marking under the note indicates bow movement in an upward direction . a shape that resembles a table rectangle with two legs coming out of the bottom is the notation for playing the bow in a downward motion . there may be an accent , depicted by an angle bracket symbol , above or below the note . this means that you should play the note strongly . a symbol shaped like a thickly drawn comma indicates a bow lift . when you see this symbol above a note , lift your bow and bring it back to the starting point . sometimes , violin music will include initials , which directs the player on which part of the bow to use on a particular note or segment of music . the following are the typical initials used to determine which part of the bow to use wb whole bow lh lower half of the bow uh upper half of the bow mb middle of the bow there are numerous other bow notations , particularly as you read more advanced violin music or music from an earlier era . these notations indicate advanced techniques to achieve certain sounds , such as col legno this means with the wood . use the bows stick , rather than the hair , to play the strings . this can be damaging to the wood of the bow , so many musicians use alternate bows for these musical segments . sul ponticello position the bow at the bridge of the violin at the body of the violin to achieve a whispery tone . au talon this refers to a section of music that should be played with the bow at the nut of the violin the area between the fingerboard and the pegbox . martelé this term means hammered , and indicates that you put pressure on the string with the bow and then draw the bow across the string with force . release the bow pressure almost immediately from the string . |
play vibr as vibrato . play pizz as pizzicato . play a bartok pizzicato . play a tremolo . understand style markings . pay attention to dynamics . | how to read music for the violin 3 | vibrato is an effect that warbles a note while you play . vibrato is achieved by bending and unbending your finger as you play on a string . this dynamic is usually marked as vibr underneath the notes that should be played as vibrato . pizzicato is a technique , usually noted as pizz or sometimes spelled out in its entirety , that indicates you should play a note by plucking the violin string with your finger . if there is no obvious pizz or pizzicato designated , then assume the musical piece should be played as arco , or using the bow to play the notes . pizzicato may also be designated with the bartok pizzicato symbol , also known as a snap pizzicato . this symbol , a circle with a vertical line through the top , will appear above the note to be plucked . this type of pizzicato is given an extra snap by pinching the string with two fingers and snapping it back into the finger board . a tremolo is a style of playing very quick , rapid sounds as the bow draws back and forth across the string . the tremolo is noted with thick , short diagonal lines drawn through the note or the stem of the note . they can be either measured or unmeasured . one diagonal line means 18 note tremolo measured . two diagonal lines mean 116 note tremolo measured . three diagonal lines mean an unmeasured tremolo . style markings give you an indication of the mood with which to play music . these are typically noted in italian . some of the more common words youll see are con with poco a poco little by little meno mosso less movement dolce sweetly allegro quick and lively dynamics in sheet music indicate how loud or quiet you should play . these are typically indicated below the staff and will change as you progress through the music . written in italian , these range from very quiet pianissimo to mezzo medium to fortissimo very loud . dynamics usually show up as lower - case letters , such as p piano , mf mezzo forte , ff fortissimo and so on . crescendos and diminuendos are also used , which indicate that your playing should get louder or quieter gradually . they are typically indicated by a long , thin carrot or accent mark . |
understand what tablature tells you . mark the frets on your violin . match each left - hand finger to the frets . read the notes on the tab . download violin tablatures to practice . | how to read music for the violin 4 | tablature , or tab , is a shorthand way of describing where and when to place a finger on a string to play a note . this format often does not tell you note duration , however . a tab has 4 lines , each representing one of the strings on the violin . the lines are designated , from the bottom to the top , as g , d , a , and e . a tab will tell you which finger to place where on a given note , and if you have the placements marked already , it will be easier to read a tab . these markings can be made with tape or a dab of paint or white - out directly on the fingerboard of the violin . measure these placements from the nut , or the connector between the fingerboard and the pegbox and tuning pegs . 1st fret 1 and 716 inches from the nut 2nd fret 2 and 2132 inches from the nut 3rd fret 3 and ¼ inches from the nut 4th fret 4 and ¼ inches from the nut each of your fingers minus your thumb on your left - hand will have a number that corresponds to a fret . the index finger is 1 , middle finger is 2 , ring finger is 3 , and pinky finger is 4 . a 0 denotes an open string no finger pressing the string . each note will be marked with a number on a particular string line in the tab . for example , if there is a 0 on the top line of the tab , this means you will play the e string as open no finger pressing the string . if there is a 1 on the top line of the tab , you will press the first fret with your index finger on the e string . if there is a 3 on the third line up on the tab , you will press the third fret with your ring finger on the a string . there is a wide variety of songs written in tablature for the violin that are available online . type violin tablature music into a search engine to locate songs of varying difficulty . |
find a handbell choir in your area . know some basic music fundamentals , or be prepared to learn them fairly quickly . understand the basic idea of a handbell choir . familiarize yourself with the anatomy of a handbell . begin by putting on gloves worn by most choirs to avoid smudging or tarnishing the handbells and picking up two bells and holding them in front of your chest , either angling towards you or facing straight up , depending on the way your choir has chosen to stand with the bells up . to ring one bell , move it forward by extending it away from your body in a circular motion , with the handle moving slightly ahead of the bell . damp the bell by touching it lightly to your chest when you complete the circle . repeat until you are comfortable with this motion , and then try with the other bell in your other hand . understand that the length of time you spend ringing and thus , the size of your circle varies according to the length of the note you are playing . understand your role as a member of a handbell choir . mark your music , if you find it helpful at first . keep the beat . have fun . once you have mastered basic handbell playing fundamentals , move on to more advanced techniques . learn to play bells four - and six - in - hand . try plucking the bells . try playing with mallets . venture into the art of solo handbells . | how to play handbells | theyre most common in churches , but some schools have them , or you may even be able to find a large community choir . all programs are different , so if you live in an area with more than one choir nearby , look into your options . some programs are more structured and serious while others are more for fun . especially in churches , the members are often older , but its not unusual to see a handbell choir with people of many ages , or even one for young people only . find one that you think you will feel comfortable being a part of . if there isnt an active choir in your area , you might want to find some other interested people and work to start one . you should know how to read music . handbell music is written on a grand staff , much like piano music , meaning you should be able to read treble clef and at least some bass clef , depending on how many octaves of hand bells are in your choir . you will need to be able to internalize a beat , since you may or may not have a conductor . a basic knowledge of music theory mainly chords may also be helpful . a good way to think of a handbell choir is like a piano , where each person only controls a few keys . most small church or school choirs only have two or three octaves of bells , and you will probably be given two bells to start off . the bells are to be kept in keyboard order lowest to highest , when going left to right , and in chromatic order as much as possible , and you will take your place between the people playing the closest bells to you . when hand bell music is played well , it can be very beautiful and unique - sounding , which is why its so popular in churches . handbells are also as much of a visual art as they are a musical art youll see why if you watch a choir perform . they all ring with the same technique . the bells vary in size based on their pitch obviously , lower bells are larger and thus heavier , and vice versa . the handle should indicate the note pitch as represented by a letter and octave number , and some brands make the handles of flatsharp bells black and leave the others white , much like the coloring of a piano keyboard . inside the bell is the clapper , which is the part that strikes the bell and causes it to produce sound . there is a rotating piece on the clapper that can be used to control volume . a solid edge hitting the bell produces the loudest sound , while rotating the clapper to a setting with a hole in it makes a softer sound . some brands have a marking on them indicating which way you should be holding them for instance , malmark bells have a picture of a bell on the handle on one side , which should be facing you . when you reach the bottom of your circle , snap your wrist . this should produce a sound . continue the circle until the bell comes to rest at your chest , where it started . damping the bell causes it to stop vibrating immediately instead of letting the sound taper off and continue ringing for a while . if you are damping a very large bell , you may need to place your hand on it as well . alternatively , bells of all sizes can be damped on the table or any other soft surface . sometimes , creative ways of damping bells can be used to add to the visual appeal of a handbell choirs performance . you should be able to ring well with both hands , regardless of which is your dominant . when youre playing whole notes , take your time making a large , graceful circle with a dainty wrist snap . when youre playing eighth notes , the bell shouldnt move far from your body at all . you only control two or three of the notes in the whole keyboard right now . you must work to play together with the other members of your choir to sound like one instrument . if youre playing f4 and g4 , marking all of your notes with a highlighter or pencil before you start playing should make it easier to keep track of where youre playing . in time , you may grow out of needing to do this . if you have a conductor to watch , thats great , but not all choirs do . learn to count in your head or subtly tap your foot so that you know when to play . playing handbells is a musical experience different from playing any other instrument that many people do not ever get to have . enjoy what youre doing , or its not worth doing in the first place . handbell music has its own special markings and directions that you will never see on other music . for instance , instead of trilling , handbells shake usually indicated by the letters sk on the music . this is exactly what it sounds like instead of just playing the note , letting it ring , and damping it , you shake the bell for the notated length of time . there are also markings that tell you to damp in certain ways for instance , damping on the table , or purposely bringing the bell to the table with force as to create a certain sound . this technique makes it much easier to play more than two bells at once . to do this , put two bells together through their handles in a way that they are all facing a different direction . you will want two or three bells in each hand . you will discover that you can move your arm one way to play one of the notes in that hand and a different way to play the other one . obviously , this is easier with smaller bells . sometimes this is written into the music , and other times it is a decision made by the director . to pluck , lay the bells down on the table as you normally would , and lift up the clappers and gently drop them , instead of ringing . to do this , lay the bells down on in keyboard order , of course , and gently tap them with mallets instead of playing . be aware that you do need to use special mallets intended for handbells . smaller ones are for smaller bells , and larger ones are for larger bells . often , the range of bells a particular size of mallet is used for will be marked somewhere on the handle . there are many different ways to do this . some soloists set up a table with an octave or two of handbells and play all of them , usually with some kind of accompaniment . others play simple melodies four - or six - in - hand . its all up to you . |
first things first , this article is written assuming that you already know how to play the guitar . buy a guitar . you will also need an amp and a cable except if youre serious , you want a transmitter and bookbag , use the pick like angus . copy angus vibrato . dont crank the distortion on your amp . solo in pentatonic and hexatonic . get the hair . movement . | how to rock like angus young | if you dont , see some other articles about purchasing a guitar and then learn the chords a , d , e , e5 which is meaner than plain old e and g . with these you can cover the main riffs of many of acdcs classics , such as highway to hell , back in black , and tnt . you dont need an expensive guitar to rock . but if you happen to be loaded , a gibson sg 68 is the guitar that angus young plays . you can get these for around 1500 - 2500 . if you cant afford an sg , try to find a guitar with humbucking pickups single - coils wont get you his sound . vintage style paf humbuckers are ideal , so thats what you should look for . an ultra - modern pickup like emg would be inappropriate when trying to copy youngs tone . use your bridge pickup for most rhythm and lead playing . for a bluesier tone , use both pickups and turn down the tone knob to about 6 on the neck pickup . to connect the guitar to the amp . angus uses vintage marshall tube amps like jtm45s and old 50w master volumes . in shows , he uses the 100w marshall heads at 6 for the type of gain , but for solos , he uses the 50w heads on 10 for the gain , but lower power to match the volume . one of the most identifying features about angus youngs style is the way he uses his pick . use an extra heavy gauge pick . hold the pick so that about the width of a pencil is showing on the bottom , and strike the strings fairly violently , but dont let them buzz . he has a really strong left hand , it takes some practice to nail it . put emotion into it , not like clapton but dont play it like metal . his solos are very bluesy . his vibrato is not a back and forth usually b . b . king , more of an up and down . angus leaves almost every knob on his amp set at 5 , except when he occasionally turns the mids up to 6 his sound is surprisingly clean and dynamic . the sound has to be clear , but mean . if you are using a fender amp , make sure you crank up the mids to make it sound more like a marshall . a tube amp will have a more touch - sensitive feel and will cover the fine line between clean and dirty more easily than a solid - state amp ever will . a peavey classic 30 or something similar is a good way to go if you are short on cash . angus doesnt use any distortion or boost pedals even during solos so avoid them if you want a truly authentic tone . use a mild overdrive pedal instead of distortion if you must use one at all hes a blues man before you start your solo at the beginning of thunderstruck or any other solo , raise your pick into the air as high as you can reach . show off your weapon , the key that unlocks the vault of all great rock . during any guitar solo of angus , you will notice him doing one of his signature dances . but his most popular by far is the one where he lifts his heels into the air , keeping his toes on the ground . for all of you marching band people , this is just like marking time . start with either you left or right foot , but once you start , continue in this sequence left , left , right , right , left , left , right , right . and so on . this is going to be hard for marching band people , who have it drilled into their heads to go left , right , left , right . angus makes this dancing look easy but it is incredibly difficult to do so while playing guitar . the fact that he never misses a single note in live concerts while doing spectacular stage stunts is a testament to his immense skill . it is not necessary to grow your hair , but it adds to the whole , rock n roll feel . but if you do , be sure to swing your head around a lot and show off those gorgeous locks . also youre going to obviously learn how to duck walk for those awesome solos and dont forget to head bang , two with head up , two with head down keep repeating this pattern . another thing is to look your audience in the eyes and pull some great rockin out faces . if you complete this through a whole song , if you did it right , you should be dripping with sweat . |
set your microphone up with the null point point of rejection facing your monitors . turn off one monitor the one you didnt aim the mic at . place your singer in front of the microphone and do some sound tests . now that you have found your levels , record the vocals . without changing anything monitor level , mic placement , same monitor turned off , stand in front of the mic yourself and record just the bleed - through of the track through the mic . with this done , you should have two tracks one with your vocal take with bleed - through and another that contains the bleed - through by itself . invert the phase on the bleed - through track . understand that with the phase now inverted , raise the level of the bleed - through track to match the decibel level of the vocal track . play both tracks back simultaneously . do this with each song , making sure to keep records of you mic choice , mic position , and monitor level . | how to record vocals without headphones | on most mics ones with a cardioid or hyper cardioid polar pattern you can find the highest rejection by aiming the end of the mic at one of the monitors and then turning it just slightly left or right . , as you are doing these , it is important that you find a . a monitor level that is not too loud , but is comfortable for the singer . b . the proper gain level so that the signal isnt distorting . c . the mic position with the smallest amount of bleed - through . note there will be some bleed - through involved , just make sure it is as quiet as possible . with the vocal take recorded , open up another track and label it bleed - through or something to that nature . remain totally silent during the recording , as you are just catching the bleed - through . , on pro - tools this can be done by opening the plug - in trim on the insert of the bleed - through track and pressing the invert phase button . on adobe audition you can use an audio suite effect called invert to flip the phase . , the inverted bleed - through track should cancel out a large amount of the bleed - through on the vocal track . |
research licensing companies online . talk with other artists you know . attend music conventions . | how to license music 1 | you want to make sure that the company you are going to sign with is a legitimate , experienced company that is going to make money for you . youll want to look at things liketheir length of experience in the business their credit list - the artists they have worked with the terms of the deal they are offering their professionalism and look of their web site word of mouth is a powerful tool in the music business . if you know other singers or songwriters who have already licensed their music , find out who they have worked with . ask if they have been satisfied with their deals and with the money they have received . the way a company treats one artist is a sign of how theyre going to treat you . get out and meet people in the business . listen to what kind of music is getting played , and where its getting played . try to determine where your music will fit in . licensing may include tv commercials , tv and movie background music , theme songs . even licensing for background elevator music brings in money and leads to exposure . do the research to figure out where you are going to have the best chances to get your sound out there . |
decide if you want to license your music yourself or try to work with an agency . network , network , network . send out a professional sound . send out your best stuff . make it clear that you own your music rights . negotiate the best deal , but be reasonable . | how to license music 2 | licensing by yourself means that you are going to do the legwork and the phone calling to get your music into the hands of music publishers . doing this requires more work on your part , but you can retain a higher level of control . joining an agency gives up a little of that control , but can benefit you with broader exposure . talk with other musicians about their experiences to help make the decision . licensing agencies are selective about who they take on , so the tips for licensing your own music or for getting accepted by an agency are pretty much the same . to license your music , you will need to reach out to music publishers , agents , and music supervisors . these are the people who make the decisions about what music gets purchased and what music gets played , on the radio , television , movies and online . the more contacts you make , the more chance you have that someone will hear what you have and give it a shot . talk with other musicians for references . use the internet to search out people online . subscribe to music journals and publications to keep up with the industry . it is important that your music be up to industry standard if you want to get serious consideration . this means that you cant expect to just sing into your cell phone , upload it to youtube , and be taken seriously . music publishers and supervisors want to hear your best sound . if this means that you invest some money in a professional recording studio - or find a friend who has some professional equipment - it would probably be worth the investment . this doesnt necessarily mean that only professionally - recorded music will qualify - the process of mastering is often the most important step to your music sounding comparable to the industry , so regardless of how the music is produced , you may want to put extra emphasis or money into mastering . most sources agree that if you want to catch a publishers attention , you need to let them hear your best sound right up front . dont send a cd full of everything you have ever recorded . they wont listen to that . send your very best one or two songs . if theyre interested in that , then theyll ask for more . this will make the publishers more interested in working with you . a lot of publishers will be interested in licensing from new artists because they think they can move the deal more quickly , and probably cheaper . and if youre trying to get started , this is probably true . so if youre sending out samples of your music , include a note or letter that makes it clear that you own the full rights to the song . that should catch their attention . once you get a music publishers attention and theyre interested in your music , you will need to negotiate a deal for their use of your music . there is a wide range of possibilities here . someone could pay you a single fee for the right to use your song for a single purpose , such as a background track for a commercial . someone could offer to pay you an ongoing royalty for repeated use . or someone may like your lyrics but want to alter the overall sound of the song for some purpose you havent considered yet . none of these is necessarily the right way to go . you will have to make that decision . but it may be helpful to have an attorney or music agent help you review the terms of contract offers so that you completely understand what you are agreeing to . |
find a performance rights organization pro to join . join the pro you have selected . read the contract carefully . manage your account . | how to license music 3 | a pro is a company that you join and become a member . then that company works with you and your music , and collects the royalty fees from outside entities that want to use your music . if you are creating your own music , then you are a songwriter andor composer if you are performing it or writing it down , then you are a publisher . in either case , a pro works with you to protect your rights to your music and see that you get the royalty payments you deserve when your music is played . some of the leading pros to consider areascap - american society of composers , authors and publishers . bmi - broadcast music , inc . sesac - society of european songwriters artists and composers you are only allowed to be a member of one pro at a time . if you choose to switch in the future , that is possible , but it is best to make an informed decision up - front . a pro is not a licensing agency and will not get deals for you . however , joining a reputable pro is generally considered the first step to be taken seriously . they monitor the airwaves that play your music and ensure that your royalties are paid . the companies make the application and joining process very simple . all you need , in most cases , is some general identifying information , along with your social security number , and , in some cases , a credit card to pay an application fee . you can apply online , or by downloading an application form , completing it , and returning it by mail . when you are joining or affiliating yourself with a pro , part of the process includes signing a contract . while the contracts are generally a fairly standard part of the music industry , and you will likely see names and faces of artists you know and trust , you should always read the contract carefully yourself and understand it . if you do not fully understand what you are signing up for , you should consult with a lawyer before signing . the big pros make it easy for you to manage your account . you will have secure login access , so that you will be able to see where your songs are being played and how your royalties are calculated . |
click the top left settings button and scroll down until you see the option admin setup hit the enter key and scroll down to registration , hit the enter key and click the arrow pointing toward register , your screen will then say power cycle base station then press ok , press the arrow point toward ok , unplug your base stations , plug it back in and press the paging key on the top of the base . if this happens click the settings button on your phone and scroll down to admin setup , scroll down and click on diagnostics - hit restore defaults and click ok this will take you back to the setting menu , from there go back to diagnostics and hit reboot phone . repeat steps 1 - 7 if this does not work you will need to force registration your phone - after powering up both the phone and base - press the keys 1 , 4 , and 9 at the same time it might take a while for the lights to start flashing , so continue to hold down the keys . the phones lights will flash red and then green , release the keys , press the paging key on the base until the phone lights stop flashing if it worked youll hear a bong . | how to register your polycom soundstation2w to a base | , your polycom phone will then start searching for a base to register with . the two options you will see are ready which means your phone successfully registered with the base , or registration fail which means your phone was unable to connect with the base station . , , |
purchase a high quality handsaw . bend your saw . work the blade of the saw in the waving motion while you thumb . work a twisting motion into the blade as you progress in your ability to modify the sounds created by the bending , strumming , and dampening process . develop your own sound as you become skilled . build a bow . play the saw with your bow . use a striker , or hammer to play your saw . | how to play the saw | here , you wont have to worry about tpi teeth per inch , just the length and the temper metallurgical for hardness of the blade , and the size of the handle . old timers used quality saws in their craft , since there were no miter saws , etc . a disston d23 is a good example , but even they dont seem to be the quality they once were . it is not likely the manufacturer would admit it , but the metal in modern handsaws does not seem to work well with this technique . you may be better off shopping flea markets or yard sales for cast off , worn out saws of yesteryear . the condition of the teeth , or even missing teeth on an old saw should not affect its playability . you do this by grasping the handle in the palm of one hand , the end of the blade in the palm of the other , and flexing it in a wave - like or undulating motion down the length of the blade . once you mastered the wrist movement that this step requires , you should hear a tone from the vibration in the metal . practice making the wave in the metal of the saw blade travel from one end usually the tip of the blade , to the other in a controlled , fluid motion . to thumb means to either rub or strum the metal blade near the handle with the thumb of the hand which is holding it . the pressure from your thumb , either simply pushing which dampens the vibration , or strumming by drumming on the blade will change the tone , creating effects in the sound the saw makes . this can raise or lower the pitch of the basic tone of the metal when it is sprung in the waving motion between your hands . there is no exact recipe for producing perfect pitch or creating certain notes , even if there were , there is little you can do to tune this simple instrument , and no two are likely to be exactly the same . when you have learned the technique of creating sound from the metal of your saw , you may choose to build a bow , similar to a violin bow , to use the produce the full range of sounds your instrument is capable of . drill two small holes in a flexible wooden yardstick , or other thin , flexible piece of wood . tie the of a length of dacron or other fishing line or other strong , thin , thread through the hole at one end , then pull it tightly enough through the hole on the other end to bend the yardstick in a bow shape . continue winding this line around the ends of the bow , until you have at least 30 or 40 wraps laid in . your bow string should lay flat , and each line should be tight and lay in as closely to the others as possible . you may use hot melt glue or some other glue to fasten the strings permanently when you are finished wrapping them . wax or use rosin to coat your bow string . lay the handle of the saw in your lap , while sitting up in a straight - backed chair , and grasp the tip with your left hand . bow the saw blade as you did in the early steps to produce your desired pitch or tone . draw the bow across the smooth side , or back , of the saw blade . differences in the amount of tension you create in the metal , and the amount of bow in it , will produce different sounds , so experiment . this technique can be used by building a hammer , similar to a drumstick . you may find a drumstick , or small diameter wooden dowel , and tap the sawblade with it to produce sound . a soft head can be made by either by wrapping the end of your stick with twine or even rubber bands to form small balls on it to use as a striker . tapping the saw on different portions of the blade while changing the bow of the blade will produce different notes . |
choose a piece of bamboo . hollow the bamboo . make a pattern of dots on the bamboo . drill the holes . insert the skewers . allow the glue to dry . smooth the sides . make end caps . fill the rainstick with pebbles and other objects . affix the other endcap to the rainstick . | how to make a rainstick 1 | youll get the best sound if you choose a wide , long piece of dry bamboo . the longer and wider your wood , the richer the sound will be . you can cut and cure your own bamboo or buy a piece at a garden store . get a smooth , straight piece without any bends or holes . if your bamboo piece isnt already hollow , use a metal rod to push out the material at its center . once the path is clear , attach a piece of sandpaper to the end of the rod . use it to sand the inside of the bamboo so that its smooth and free of obstructions . if you dont have a metal rod , any sort of strong , long implement sturdy enough to scrape out the inside of the bamboo will work . use a pencil to create a pattern of dots around the outside of the bamboo . these dots will be the places where you bore holes to insert the wooden skewers , which are an essential part of the rainstick . making a pattern that spirals around the bamboo from the top to the bottom will look very attractive and ensure that the pebbles or rocks you place inside will have plenty of obstacles to plink against . use a drill bit the same size as your wooden skewers , so theyll be able to slide right in . carefully drill each hole you marked , taking care to puncture the bamboo without drilling through to the other side of the stick . if you do not have a drill , you can still make a rainstick using long nails . instead of drilling the holes , use a hammer to pound a long nail through each hole . make sure the nail isnt long enough to penetrate the other side of the bamboo stick . put a bit of glue on the tip of a skewer and thread it through one of the holes . push it through until it runs up against the other side of the bamboo stick . use a sturdy pair of scissors or a small handsaw to cut the skewer flush against the bamboo stick . continue inserting skewers and cutting the ends until each hole has been filled . this step isnt necessary if you used nails instead of skewers . wait about an hour before finishing your rainstick . sand off the nubs left from the skewers with a flat file or some sandpaper . to plug the ends of the rainstick , cut out two circular pieces of wood the same width as the ends of the stick . glue the first end cap to the base of the stick using wood glue or superglue , to make sure it wont budge . save the other cap for now . if you dont have the supplies to cut out pieces of wood , you can make endcaps out of cardboard , particle board , or another sturdy item you have in your home . just make sure you can glue the cap securely to the end of the stick . different materials will make different sounds as they plink against the wooden skewers . use pebbles of different sizes , pennies , dried rice , dried beans , beads , and any other items you like . fill the rainstick about 18 - 14 with objects . dont overfill the rainstick , or you wont be able to hear the individual sounds of the objects . putting too few objects in the rainstick wont give you the impression of rain when you use your instrument . use wood glue or superglue to seal the rainstick on the other side . let it dry completely before using . |
choose a long , thin tube to use . draw dots on the tube . drill the dots with a drill bit that corresponds with the size of your skewers . insert the skewers . leave the rainstick to dry . smooth the sides . insert an endcap . fill the tube with pebbles and other materials . finish the rainstick . decorate the rainstick . admire its beauty and do a rain dance | how to make a rainstick 2 | either pvc or cardboard works well . if youre using pvc , smooth the entire pvc pipe using a fine sanding sponge . these will mark the places where youll create holes to build your rainstick . start about two inches from the end of the tube and draw dots all the way up . these dots should be spaced apart evenly one half inch up and one inch across and arranged helically spiraling . drilling directly through the center of the pipe each time will produce a double - helix arrangement of holes . if you dont have a drill , you can use long nails instead . place a long nail at each dot and use a hammer to hammer them in . make sure the nails arent long enough to pierce the other side . dab the end of a wooden skewer with gorilla glue or another sturdy glue and insert it into a hole . cut the end so that its flush with the outside of the tube . continue inserting the wooden skewers in the holes and cutting them to an appropriate length . this step isnt necessary if you used nails instead of skewers . you can get super glue designed for pvc pipe . in the pictures , gorilla pvc cement is used . wait about an hour before finishing your rainstick . sand off the nubs left from the skewers with a flat file or some sandpaper . cover one end of the tube with a plastic , pvc or cardboard cap , so that the pebbles and other materials dont fall out . pour in pebbles , dried rice , dried beans , beads , and other materials of your choice . place your hand over the open end of the tube and tilt it to test the sound . you can add or remove material to fine - tune the sound . after the desired sound is found , glue the other cap onto the end of the rainstick . allow time for the glue to set . use modpodge or an equivalent decoupage substance to paint the rainstick evenly . working with a small portion at a time , place decorative tissue paper over the glue , pressing it down against the tube . after covering the pipe with decorative paper , go over it with more coats of mod podge until it isnt papery to the touch . let it dry completely . |
get the equipment . take some time to learn the software . start your track with the drums . decide your loop length . begin layering elements over your beat . structure your track . add the transitional elements . master your music . post your track online . | how to write a house track | while hardware mixers and synths are often used by pros , software alternatives are considerably less expensive and an increasing number of professional producers use software . a digital audio workstation daw will be used for much of the process , so finding a good one can be key . some of the more popular daws include ableton live , cubase , and fl studio . in addition , you may want software or hardware synthesizers . some popular soft synths include massive and sylenth1 . finally , sample packs can help since drums are often difficult to synthesize . you might try the packs from vengeance , although there are plenty of free packs online . if you cant afford synths , you may be able to find some free online . many daws will come with soft synths too . listen to music using daws , vsts , or sample packs youre considering buying . if the software is popular , it shouldnt be too hard to find . be sure your computer is reasonably up to date , or it may not run your software . a good soundcard , as well as good headphones help too . make sure you understand the interface , not just of your daw , but your vsts too . there are lots of tutorials are on youtube for more popular software , and the website for your software may have information too . dont be afraid to follow tutorials outside your genre . a little work in funk or dubstep will only help you understand your software all the better . you dont have to start with drums , but many producers may choose to start with them . your bpm should be about 120 - 130 depending on subgenre , although some may by slightly outside these speeds . take your kick drum and place it on every quarter note of a 1 bar loop . then your snare should be on the offbeat skip the 1st quarter , play the 2nd , etc . an open hat should be between each quarter , and closed hats can play 16ths for speed . while this forms a nice basic beat , you may want to add extra elements . toms or random percussion effects would be more common , although it is your song . if you would prefer an unusual instrument , go for it you may want to create separate patterns for each instrument . that way you can build and remove elements throughout the song . in house , loops may often last 8 bars . set your 1 bar drum loops to repeat for 8 bars . if you would rather not use 8 , loops lasting 16 or maybe 32 bars are sometimes used . shorter loops are used too , although they may sound overly repetitive . these lengths are used to make transitioning songs easier on the dj . synth chords , vocals , and synth basses are some of the more common elements , although as long as the loops sound good together , anything goes . dont worry about it sounding too intense too early in the song . this isnt actually how your song will begin , but if the loops played together blend well , the track will sound more cohesive . dont be afraid to blend real with electronic . if done well , it can add more depth to your tracks . take the different patterns and work in units of 8 bars more or less if you choose to create your track . you might start with your synth pad , add the kick after the first 8 , bring in the snare next , etc . you can remove elements too of course , or add more than 1 element at once . many house tracks start with a drum intro . this is where you gradually introduce your drum patterns before playing the melodic or harmonic elements . units of 8 bars often group to form larger sections of 32 . you might have a 32 bar drum intro , a 32 bar breakdown , then a 32 bar drop , etc . filtering in your leads , or using a downlifter that came with one of your sample packs will work , but there are many different transitions . try listening to some of your favorite tracks and see how they transition . wind effects are good for transitions and not nearly as difficult to synthesize as drums . you could try make some yourself instead of sampling . that way you have more control over the sound . it can be a complex process , but it will greatly improve your results . you can always find someone to master it for you , or learn yourself . try to find guides online . youtube or soundcloud are great for posting music . although , if you used any copyrighted material , be sure to give credit where due . even if you dont want to sell your music , download links from mediafire or similar file storing sites can be nice . itll be easier for your friends to get a hold of it . if you do want to sell it , you may not need a label . bandcamp , tunecore , or cd baby make self publishing very easy . |
optimize your rooms acoustics . find the right daw for your situation . label your tracks for recognition . devise a color code to improve your mix efficiency . if you have multiple tracks that you are trying to mix during your session , it can be difficult telling at a glance which track is which . save your ears whenever possible . clear your mind of distractions . the creative process of mixing a song can be complicated by poor organization or outside disturbances . take steps to ensure you wont be interrupted . know the rough mix front to back . get the feel of the mix . identify the features of the track you want to bring out . listen to the rough mix again and write down the unique features and key elements you hear in it . youll need to accentuate these while mixing . determine relationships between your tracks . you should note parts that complement each other , like rhythm guitar tracks that create a hand - off every few beats . listen to similar music . plan to mix from the bottom up . evaluate the quality of your tracks while balancing volume . balance the volume between tracks . gain staging is one of the most important aspects of mixing . if a song is mixed too hot , the volume level is too high and the upper or lower portions of the frequency is lost , causing a phenomenon called clipping . group sounds together with a bus . contemplate panning . experiment with equalizers . eqs can be an incredible tool to focus the sound of your instruments . use compression tools to ensure consistent volume . check the sound of the drums and bass . use noise gates . play with your panning . add effects . use automation to create a more musical song . put everything together . break the rules and explore new techniques . | how to mix songs | by creating an acoustically superior workstation , youll be able to hear the features of the tracks you are listening to with greater detail . this will allow you to draw out the features of your tracks with greater accuracy . one of the most important parts of mixing a song is knowing what to highlight and what to downplay , and being able to hear these features will help . to improve your work spaces acoustics be aware of room modes , or how the shape your room can impact the frequencies of your sound . room modes have been especially known to cause difficulty with low to low - mid frequency sounds playing on your system . limit bouncing sound waves . as soon as sound leaves your speakers , it will reflect off the hard surfaces in your room , which can influence the stereo and frequency of your sound . balance your speaker distance from hard surfaces , which can add low frequencies to your sound when too close . be symmetrical in your set - up . this will allow you to hear the distribution of the sound between speakers most clearly . a daw is a digital audio workstation , and unless you have a studio at your disposal , its likely going to be how you mix your music . there are many different kinds of daw , some free and others costing over 800 . which of these will work best for your situation is a matter of preference . youll have to look into the features of each daw , but some popular options are ableton live cubase fl studio 11 pro tools , the mixer of your audio interface should be as orderly as possible . this will allow you to tweak and adjust your sound without any confusion or error . to save yourself time and improve your efficiency , you should label your tracks according to a system that makes sense to you . for example , you might write out the full name like , snare drum 7 label according to your own abbreviations , like snd7 . by color coding your tracks according to basic categories , youll know your tracks immediately just by looking . an example of this might use purple for bass blue for drums red for vocals orange for instruments when listening to a track over and over again , listening at lower volumes can protect your ears from unnecessary strain . lower volume listening can also help you recognize subtle variations in instrument volume . a general rule of thumb if you cannot talk over the volume of your playback , you should turn your volume down . turn off your phone and set an editing routine for yourself so that you can keep your focus trained on your goal of a well mixed song . the rough mix , which is your reference , will clue you in on how you should proceed with your audio engineering . you should listen to the rough mix to become familiar with the features of the song you will be mixing . while mixing , ask yourself what is the goal of the artist or producer who made the song the rough mix is also where problems with the mix will be most apparent . take note of these features youll need to smooth them later in the mixing process . many producers and artists aim to accomplish a certain feeling or vibe through the expression of a mix . listen to the rough mix repeatedly until you instinctively feel the direction of the music , its thrust , and how its component tracks work together . when listening , start with your faders at center volume and then adjust tracks to see how each interacts with each other and the mix as a whole . this is also a good point to determine the kind of atmosphere you are trying to create . an upbeat and punchy atmosphere will require a different approach from one that is distant and haunting . you may want to use an effect , like reverb , to create fullness in a melodic line . for faster , more rhythmic songs , you may need to bring out the bass line during build sections . vocals should be clear and distinct from instrumental parts , unless used as a background chorus . background and accent vocals are often treated as part of the ensemble , not the main attraction or key feature . your mixing should reflect this . these will need to be highlighted or polished later for greater effect . if you cannot see the purpose a particular track , that may be a sign that you dont need it at all . use your fader to subtract tracks to see the impact these have on the mix as a whole . isolate parts of your mix that sound unclear and find the root tracks causing the distortion . later , you will need to balance the offending track , or maybe remove it completely . by listening to similar songs you can hear how instruments are utilized to build a track . you may also get completely new ideas for effects that you could make use of in your own mix . drawing inspiration from other songs can be a powerful tool for your mixing process . it may help for you to think of your song as a pyramid . the lowest , heaviest parts bass drum , bass guitar , etc . form the foundation of your mix . the middle segments are filled out with guitars , keyboard , and other percussion . lastly , your vocals and lead parts create the top . while learning the ropes , your mixing process should generally follow this order . working from the bottom up can help create a more balanced sound and better defined eq . poor track quality might not seem like a big deal in the beginning , but when you start adding more tracks to your mix , it can have a multiplier effect . this can be devastating to the quality of your mix as a whole . but since youll be listening to each track on its own while balancing volume , youll have an ideal chance do a quality check . replace low quality tracks when you are able to save yourself work later on , when youll have to smooth out negative features . use your audio interface to listen to each track individually , and then adjust the volume . by keeping your sound levels low , you can allow yourself more room to fine - tune the mix to your liking . a conservative sound level to start with is - 10 db on the master fader . generally , you can protect yourself from clipping by keeping your tracks out of the top limit , expressed by the red zone on your master . when you group similar sounds together into a single track its referred to as bussing . this means that you can apply processes to all the tracks contained in your bus at the same time . youll have to experiment with your particular tracks to find which can be grouped together in a bus . panning is the the movement of sound left and right through the stereo field of your mix . you should have a general idea of how youll use panning so that when it comes to placing your instruments you can work quickly . plan on organizing heavy and low frequency sounds , like your bass , toward the center of your stereo field . with eqs you can either strip or boost high or low frequencies , which can be particularly useful with drum kits . when drum kit sounds are recorded , the vibrations caused by its low frequencies can resonate with other parts of the kit . this might cause a rumble in the kits snare , for example . these sounds can be rolled off at the low end with an eq , creating a purer sound . where percussion is concerned , snare drums generally sound more powerful with a boost in the lower frequencies , whereas hi - hats and toms often sound snappier and punchier with lower frequencies thinned out . a compressor limits the amount of frequency expressed in your mix . it will raise the volume of quiet parts , lower the volume of loud parts , and maintain the volume of sounds in your ideal range . due to human error , you can expect that no single instrument will not be perfectly constant throughout an entire recording . compression can smooth these irregularities automatically for you . drums and bass form the rhythmic foundation of your song , so be sure you set aside some time to give these a careful listen . lower frequency sound can be overpowering if youre not careful . every part should sound distinct , but also cohesive with the whole . if one instrument is excessively bright or dark , it will sound out of place . think of the tracks of your mix as members of a choir each part is separately appreciable , but its goal is work together as a collective . noise gates cut out all noise that doesnt reach a minimum volume . this can be highly useful when a recording has been done in an area with background noise . the buzz of this noise can easily be cut out with a gate . for specific instruments that arent as regularly occurring in your mix , it may be easiest to lower your fader . filtering out unwanted lower volume percussion can be unreasonably difficult when trying to time fading with each sounds punch . gates are ideal for this situation . experiment with noise gates to get a cleaner , crisper sound from your mix . how sound moves through the stereo field has a definite effect on the sound you produce in your mix . to find the perfect balance , youll have to experiment with how you distribute your tracks . beginners should start with a centered bass part , but then mightswitch off between sides with rhythm guitar and percussion place a keyboard track so it is slightly off center . add other tracks throughout the field to give your mix a richer , more realistic quality . the chorus effect , for example , will add layers of slightly different timbres and intonations to a track , making it sound like multiple instruments are playing . as a general rule , this effect is useful for electric keyboards and guitar parts . some other effects you might make use of while mixing reverb - creates a vibration in the sound , often added to guitars and voice to mask less desirable frequencies and create fullness . delay - sometimes called echo , creates one or more defined sound segments and repeats that segment . there are many different kinds of automation you can be use to improve the musicality of your mix . for example , you might automate your master bus to create louder choruses than your verses . this would create a more prominent chorus in your mix . you can also automate effects returns , which can be useful if you want a reverb or a delay to be less prominent in certain sections of a song . while youre using your eq , noise gates , and other effects , you should constantly be listening to your entire production . as you do , make small adjustments to each track while always keeping the whole in mind . with each change , listen to you mix anew . even if individual parts sound great , the complete product has to sound great as well . there are many technical parameters and ranges defined by experts that can blind you to new approaches you might take to achieve your sound . good sound is a matter of taste . always trust your ears and never be afraid to break the rules . |
complete an original song . record the most important instrument first . place the camera near the sound source when recording . listen to yourself when recording additional tracks and instruments . import your recordings . open and save a new project file in adobe premiere elements . drag your video and drop it in the timeline editor of adobe premiere elements . delete the video portion of your recording . build up your audio files as desired . mix the audio and adjust the volume . splice and edit your sound files as desired . export your song once it is edited and mixed satisfactorily . burn your song file to disc , if desired . | how to record a song with a camera and edit the sound files in adobe premiere elements | figure out what instrumentation you want guitar , piano , bass , percussion and how , roughly speaking , do you want to mix it write it down . this will be the foundation of your song . piano or guitar are usually good choices . this is usually the best way to get the best audio quality . you will have to do some trial and error . see part 2 for importing your audio files . make sure as you continue to build your song that you are listening to on headphones what youve already recorded so that the finished product is in time or sync with itself . you do not want the percussion playing faster than the guitar , for instance . your camera will come with its own software for importing videos . once the files are on your computer , import them into adobe premiere elements . this file should be named as name . prel similar to word documents , which are name . docx . timeline , not sceneline , is the only viewing option you should use for these instructions . it isnt needed . keep the audio alone . there is a lot of space in adobe premiere elements , so utilize the lines listed as soundtrack , narration , audio 1 , etc . adobe premiere elements allows you to play with volume and equalizer . if you make adjustments on a file while it is not in playback , the adjustment will be uniform throughout the entire file . if you make adjustments on a file while it is in playback , the adjustments will be saved in real time . be careful . did you cough on one of the files screw up a guitar lick no worries just cut out the undesired audio clip or mute it . do this after initial mixing so your volume and eq levels are consistent . otherwise , if you split your file first , you will need to make the adjustments twice , for each half . adobe premiere elements offers several audio file formats for rendering , including mp3 and aac . open the song file in windows media player or itunes or another similar program and burn the song to disc . |
create a soundcloud profile . sign up with reverbnation . create a facebook artists fan page . utilize the tweet for a track system . co - promote with copromote , formerly headlinerfm . create an epk electronic press kit . sign up for a jango artists account . create a youtube channel . sell your music on bandcamp . create a number one music profile . | how to promote your music online for free | after signing up , you can begin uploading your songs to the site or you can record live on the site . with you songs on the site you not only will they be discovered by fellow musicians and listeners all over the world , but you can also share links the rest of your fans . similar to soundcloud , reverbnation allows musicians , labels , and listeners to your music and gives them the option to become a fan . with reverbnation , you have opportunities to submit for radio play , musical internships , major and independent record labels looking for new artists , some services you want to use you may need to purchase , but its possible to build a strong fan base with reverbnation with no cash out of pocket . after you create a facebook artist fan page and add the bandpage app to the page . you then can add your music , videos , merch , etc . for the enjoyment of your fans . twitter music promo tools are endless and any google search will show you that , but one good one is tweet for a track . the sites name speaks for itself––when your fans tweet about you or your music , theyll receive a free download of one of your songs in exchange . copromote allows you to sign up with either email , facebook or twitter accounts . following sign up , youre prompted to select your interests . you then are matched with twitter andor facebook messages that you post to your accounts and in return you expand your fan reach . create a promotion , include your link and your fan reach is automatically applied . you are now set up to receive tweets , retweets and facebook posts about you and your music to tens of thousands of people free of charge every bandartist needs a press kit , and now that were in the age of technology most things are electronic , including artist press kits . presskitto allows you to sign up for a free account to create a press kit to submit to fans and other opportunities in order to further your career . even if you already have a jango radio account , youll need to signup for an artists account . after you sign up at radio airplay , log in and upload your music , photo and a bio , then pick the artists most similar to your sound such as lady gaga , beyonce , paramore and your music will be included in stations with their music and discovered by their fans . any fans you collect will sign up for your mailing list and be added as your artist stats . shoot videos performing your songs and upload them on youtube . monetize , pick a category , allow mobile views and comments for feedback and dont forget to tag , tag , and tag some more on bandcamp , fans can discover your music and if they like it they can buy it directly from you you . you can promote your music and sell it and your merch while retaining 100 percent of the profit . simply upload album art and the tracks on the album , set a price , add your paypal email , publish your release and youre all set . number one music n1m is a trial site , meaning , they give you a certain time period to use the fan builder function , but since you can link soundcloud , your fans will most likely join you there . your music will rank on the charts locally , nationally and globally , in genre specified and unspecified . |
think about your pitch . reconsider your band name . use social media to promote your band . maintain your social media accounts with frequent updates . create a website . consider hiring an intern to manage web content . record a demo . create a promo kit . play gigs . merch up , get your music heard | how to promote your band | before you get started , take some time to think about who you are and what youre about as a band . you should be able to describe your band to others in just a few short , captivating sentences . what is your genre who are your influences youre a ukulele folk - punk band that sounds like don ho jamming with the sex pistols awesome thats the kind of thing people need to hear . a forgettable or overly - bizarre band name can kill you before you begin . ask your friends and fans for some honest feedback . is your band name intriguing and memorable does it reflect your identity as a band if not , nows the time to change it . having a strong social media presence is a must for any up - and - coming band these days . set up profiles for your band on some or all of the following facebook , myspace , twitter , instagram , reverbnation , etc . make sure your message is clear across your profiles , and try to make them interesting . include pictures of your band , and personal bios of band members . you want people to want to get to know you . follow other bands that you are interested in , and that are related to your music . people will lose interest if you arent posting something at least once a week , but dont go crazy aim for a few posts a week about upcoming shows , interesting things going on with band members , pics of recording sessions , etc . keep your posts positive and upbeat , and proofread them all before sending them out . get yourself noticed by making friendly comments on other bands posts . be sure to respond to your fans comments and posts social media is great , but you also need page dedicated solely to your band . there are a number of services online designed to help bands create low cost or free web pages . make sure to keep your page up to date , and post updates frequently . make sure and create an email mailing list along with your website so you can email your fans to announce upcoming shows , etc . if you and your bandmates are struggling to create and maintain your online presence , hiring an intern can really help . someone in your band probably has a younger , internet savvy sibling , who would be happy to spend a few hours a week helping to promote the band . otherwise , place an ad on craigslist . the best think about interns is that they often work for no or little pay . make sure to ask for samples of your applicants work when making a choice . keep a close eye on what your intern is posting to make sure it stays in line with your bands vision . choose 2 - 4 of your best songs , and then record them using the highest - quality equipment you can manage . rent studio space and use professional equipment if you can afford it , but remember that a lot of bands record their first demos using smartphones or a home computer outfitted with a decent microphone . take the time to edit your demo and make it sound fantastic distribute your demo tracks both physically on cd , and online . there are websites that allow you to create an online promo kit , but you will also need a physical promo kit to send out to local venues , radio stations , etc . make sure they both have a similar aesthetic and the same information . your promo kit should look sleek and professional , and include the following an eye - catching over page that includes contact information for your band , and basic details . a band bio . include a one - page sheet about the band and its history . try to tell an interesting story that grabs the readers attention . your demo cd . a band fact sheet that includes your band name , tagline , genre of music , a list of bands you sound like , hometown , when and where you formed , band member names , instrumentation , and other notable facts . any reviews , press clippings , and nifty quotes about your band that youve accumulated . a photo of the band . a list of previous gigs , including dates and venues . label everything with your bands name and contact information the best way to build a local fan base is to play as many shows as you can . send your promo kit out to local venues . go to shows and network with other bands and venue managers to make yourself known and look for opportunities . make sure people know about the shows you book . get the word out on your webpage and social media sites . make sure to show up for any gig you book and put on an awesome show even a young band can put a basic merchandise table without spending a ton of money . create a cool graphic and have some stickers printed with your band name and contact info . get some t - shirts printed at a local screen printer , or use an online service this might be less hassle , but the cost per shirt will be higher . include a guest - book or email list sign - up sheet at your merch table . as your band matures , you can create more elaborate merchandise . one of the quickest ways to build a fan base is to distribute your music for free . give away copies of your demo cd at gigs . make sure band members always have extras to hand out to people they meet . create a youtube channel , and release new songs online as you record them . people are more likely to engage with your music if there is something to watch along with it . create self - made session videos and upload them along with your more finely - produced recordings . create a lot of hype for new recordings by announcing them on social media a few days before releasing them . get people excited to listen to your new tunes find radio stations that play unsigned artists , and send them your best demo tracks . |
record or write down your music . attach the copyright symbol . think about registering your copyright . download circular 56 . register your copyright online . complete a paper application instead . assemble your application . mail the application . create google alerts . review your alerts daily . decide if the use is fair use . before sending a takedown notice , you must make sure that you have a justified claim of copyright infringement . draft a takedown notice . find the agent to send the takedown notice to . mail the notice . bring a lawsuit if your music is not removed . | how to protect the rights to your music | you gain a copyright as soon as you fix the music in a tangible medium of expression . accordingly , you gain a copyright as soon as you write down the music or record it . you do not gain copyright protection by simply playing a song over and over again . it must be affixed in a tangible medium . you can give people notice that your music is copyrighted by affixing a symbol to copies of your music . you are not required to give copyright notice . however , it can help warn others that the music is copyrighted . for sound recordings , you should use the letter p within a circle as your symbol . also include the year the sound recording was first published and the name of the copyright owner . if you write down your music , then use the letter c within a circle and include the year the music was published , along with the name of the copyright owner . you are not required to register it with the copyright office . you have a copyright in your music even if you dont register it . however , registration provides you with many advantages . for exampleyou generally cannot sue in federal court for someone infringing your copyright unless you have registered the copyright . in a lawsuit , the court will consider your registration as proof of your ownership . you can get more compensation in a lawsuit if you are registered . for example , you qualify for attorneys fees and statutory damages of up to 150 , 000 per infringement of your music if you have copyrighted it . this publication from the u . s . copyright office tells you everything you need to know about registering a copyright for music in the united states . the circular will explain whether you are registering a copyright for a musical composition or for a sound recording . it will also tell you how to register multiple songs in one filing . you should download it and read it . a musical composition consists of music and any accompanying words . usually , composers and lyricists register a copyright in musical compositions . a sound recording consists of a series of musical , spoken , or other sounds . performers typically copyright sound recordings . you can register both . if you wrote the music and then performed the song , you can get a copyright for both the musical composition and the sound recording in one filing . you can register using the eco website . you will first need to create a user id and a password . after creating your account you can view a pdf tutorial which will help get you familiar with the online registration process . registering online is cheaper than registering using a paper application . it is also generally faster . you have to deposit a copy of the music with the copyright office . you can generally upload an electronic copy or deposit a hard copy through the mail . you can still register using paper applications if you want . forms are available at the copyright office website for download . the form you fill out will depend on what you are copyrighting you will have to fill out form pa if you want to register solely the underlying musical composition . if you want to register the sound recording , then use form sr . if you want to register both the musical composition and the sound recording in one application , then use form sr . a complete registration will consist of the completed form , examples of the work to deposit with the copyright office , and payment of the applicable fee . read the form for how many copies of the work you must deposit . generally , if the work has been published , then you must deposit two . however , if the work was unpublished , then you must submit only one . you can find the current fee schedule by checking the copyright office . make checks or money orders payable to register of copyrights . you should send the completed application to library of congress , u . s . copyright office , 101 independence avenue , se washington , dc 20559 . if you completed an application online but need to deposit a copy of the music through the mail , then you mail your deposit to the same address . you can find out if anyone is distributing copies of your music by creating a google alert . once you create the alert , google will send you an email whenever it finds new content posted online that matches your search terms . to create an alert , you will need a gmail account . go to the google alerts page and enter the information you want to have an alert created for . you should create alerts for your bands name such as radioactive redwoods names of each of your songs e . g . a cry in the forest if you have a copyright in lyrics , then sample lyrics you should get into the habit of reviewing every alert at a set time of the day . for example , you might want to look at your alerts the first thing every morning . try to get in the habit so you dont skip a day . if you see that someone has posted your music on a website , then you will need to send the website owner a takedown notice . if the owner promptly removes the music , then they cant be sued . nevertheless , you must send a notice informing the owner that your music appears on their website . in other words , the use of your music cant be fair use . you need to decide whether the use of your music is fair use before sending a takedown notice . fair use is a vague concept which essentially means that some people can copy certain portions of your music in some situations . the court will look at multiple factors , such as how much of your music was sampled and whether the person sampling it transformed the sample . the court will also consider why the person sampled your music—for example , for educational purposes or to make money—and whether the sampling had a negative effect on your ability to make money from the song . generally , you will be justified in sending a takedown notice in most situations . for example , if someone uses an entire song or a large portion of the song , then you are justified in sending a takedown notice . however , in some situations , the use might be fair use . for example , someone who samples a few seconds of a song to use in a non - profit , educational video , might actually have a fair use defense . if you are unsure whether the sampling is fair use , contact an attorney for advice . the digital millennium copyright act dmca gives websites and internet service providers protection from a copyright infringement claim when they host material that infringes on your copyright . however , in order to gain that protection , they must promptly remove infringing work when notified . you can contact the website or isp that is hosting copies of your music and tell them to take it down . the takedown notice must be in a writing . you should send both a letter and an email to the websites or isps agent . make sure that you identify in your takedown notice what copyrighted work is being infringed . if multiple musical compositions have been infringed , then provide a representative list . identify where on the website the alleged infringement has occurred . also specifically identify the material that is illegally copying your music . if a link is involved , then provide the link . give your name and contact information so that you can be reached if there are questions . state that the information in your takedown notice is accurate and that you have a good faith belief that the use of this material in the manner complained of is not authorized by the copyright owner , its agent , or the law . state that , under penalty of perjury , you are authorized to send the notice on your own behalf or on behalf of the copyright owner . include a signature . if you send an email , then include an electronic signature . you can send the notice to the agent for the website that is hosting your music or the internet service provider . you can find the agent in the following ways check the website . large websites often will list the name of their agent on a contact us or terms of use page . search the dmca agent directory at the u . s . copyright office . you can search by the name of the company that owns the website or by the website name . if you cant find the website owner , then look for the websites internet service provider isp . you can find this information by searching on the www . whois . net website . enter the websites url . the isp may be listed . make sure to send it certified mail , return receipt requested . the receipt will serve as proof that the agent received the notice . you should also send the takedown notice through email . however , if you send by email , also send a letter through the mail . the website owner or isp should promptly remove the music and disable the account of whoever uploaded it to the website . if the music is not removed , or if it shows back up on the same website , you should contact an intellectual property lawyer . you might have to bring a lawsuit . you can find a qualified attorney by visiting your state or local bar association and asking for a referral . you can find your nearest bar association by visiting the american bar association website and clicking on your state . if you have registered your music , then you can get attorneys fees if you win . this can make a lawyer affordable , especially if you have a strong case that you are likely to win . |
use your computer . use a mobile app . use a professional decibel meter . | how to measure decibels 2 | with the right programs and equipment , its not difficult to measure the decibel level of a sound using your computer . listed below are just a few ways to do this . note that better recording equipment will always give you better results — in other words , while your computers default internal microphone may be sufficient for some tasks , a high - quality external microphone will be much more accurate . if youre on windows 8 , try downloading the free decibel reader app from the microsoft app store . the app uses your computers microphone to read noises up to 96 decibels . similar devices are available from the itunes app store for apple products . you can also try using a third - party program to measure decibels . for instance , audacity , a free sound recording program , includes a simple built - in decibel meter , for measuring sound levels on the go , mobile apps can be extremely convenient . though the microphone on your mobile device isnt as likely to be as high - quality as the sorts of external mics you can connect to a computer , they can be surprisingly accurate . for instance , its not uncommon for readings from mobile apps to be within 5 decibels of the readings from professional equipment . below is a brief list of decibel - reading apps available for common mobile platforms for apple devices decibel 10th , decibel meter pro , db meter , sound level meter for android devices sound meter , decibel meter , noise meter , decibel for windows phones decibel meter free , cyberx decibel meter , decibel meter pro though its not usually cheap , perhaps the most direct , accurate way to find the decibel level of a sound you with to analyze is to use a decibel meter . also called a sound level meter , this specialized tool available from online retailers and specialty stores uses a sensitive microphone to measure the amount of noise in the environment and give you a precise decibel value . since there isnt generally a large market for these tools , they can be somewhat expensive — often at least 200 even for low - cost models . note that decibel meterssound level meters can go by other names . for instance , another type of tool called a noise dosimeter performs basically the same function as a standard sound level meter . |
find your sounds intensity in wattssquare meter . divide by 10 - 12 . take the log10 of your answer and multiply by 10 . understand the logarithmic nature of decibel values . | how to measure decibels 3 | for everyday practical purposes , decibels are usually seen as a simple measure of loudness . however , the truth is a little more complex . in physics , decibels are often thought of as a convenient way of expressing the intensity of a sound wave . the larger the amplitude of a given sound wave , the more energy it transmits , the more it moves the air particles in its path , and the more intense the sound is . because of this direct relationship between a sound wave intensity and and its volume in decibels , its possible to find a decibel value given nothing more than an intensity level for the sound which is typically measured in wattssquare meter note that , for ordinary sounds , the intensity value is usually very small . for instance , a sound with an intensity of 5 ×10 - 5 or 0 . 00005 wattssquare meter translates to about 80 decibels — about the volume of a blender or food processor . to better understand the relationship between intensity measurements and decibels , lets follow along with an example problem . for the purposes of this problem , lets say that were music producers and were trying to find the background noise level in our recording studio to improve the sound of our records . after setting up our equipment , we detect a background noise intensity of 1 × 10 - 11 0 . 00000000001 wattssquare meter . in the next few steps , well use this info to find the decibel level of the background noise in our studio . once youve found the intensity of your sound , you can simply plug it into the formula 10log10i10 - 12 where i is your intensity in wattssquare meter to find its decibel value . to begin , divide by 10 - 12 0 . 000000000001 . 10 - 12 represents the intensity of a 0 decibel sound , so by comparing your intensity value to this , youre essentially finding its relationship to this base value . in our example , wed divide our intensity value , 10 - 11 , by 10 - 12 to get 10 - 1110 - 12 10 . to finish solving , all you need to do is take the base 10 logarithm of your answer , then , finally , multiply by 10 . this accounts for the fact that decibels are logarithmic units with a base of 10 — in other words , an increase of 10 decibels means that the loudness of the sound has doubled . our example is easy to solve . log1010 1 . 1 ×10 10 . therefore , the background noise in our studio has a loudness of 10 decibels . this is quite quiet , but still detectable with our high - quality recording equipment , so well probably need to eliminate the source of the noise for the best recordings as noted above , decibels are logarithmic units with a base of 10 . for any given decibel value , a noise 10 decibels greater is twice as loud , a noise 20 decibels greater is 4 times as loud , and so on . this makes it easy to describe the huge range of sound intensities that can be picked up by the human ear . the loudest sound the ear can hear without experiencing pain is more than one billion times more intense than the quietest noise it can detect . by using decibels , we avoid having to use huge numbers to describe common sounds — instead , we only need to use three digit numbers at most . consider this — which is easier to use 55 decibels or 3 × 10 - 7 wattssquare meter the two are equivalent , so rather than having to use scientific notation or a very small decimal , decibels allow for us to use a sort of simple shorthand for easy everyday use . |
open your multri - tracking program . add eq8 parametric equalizer into your inserts as your first effect in the chain . remove any unnecessary low end . for band 1 , click on the type control and switch to high pass . click and drag from inside the freq box and change the value to 125hz . use a bell filter to tidy up the low end a bit . for band 2 , change the gain from 0 to - 5 . change the frequency of band 2 to about 180 . if necessary , adjust the q a bit to widen the range of frequencies band 2 affects . apply the bell filter to any other frequencies in need of adjustment . add deesser after eq8 in your insert chain . play a 4 second clip of some vocals with some s s being pronounced on repeat . while your 4 second clip of s is playing on repeat , bring the threshold to about - 36 . find the s center frequency . increase or decrease the threshold until the ss sound natural . add a c1 compressor following deesser in your insert chain . consider how much compression you need . set the ratio to 4 . 001 . set your threshold to somewhere between - 15 and - 25 . adjust your makeup . add stereo mod ii delay next in your insert chain . your basic waves delays come in short , medium and long . this delay is being added to vocals to add a small amount of difference between the left and the right . pan the left to the center , and leave the right on the right . in the plug in window , turn the delay on the left channel down to zero . turn the delay on the right channel to 14 . 84ms . turn the gain for the right channel down to - 21db . use your ears to decide if this effect helps you achieve the sound you are looking for . add reverb next in your vocal tracks insert chain . bring size down to an appropriately sized room . turn down the time control if you want the reverb to cut out sooner . turn down wetdry to somewhere between 5 and 10 . identify the points where you want your effect instances . listen to your piece and identify where you want preverb . create two mono audio tracks . copy a single word or short phrase from the vocal track to both new audio tracks . reverse the audio in preverb l and preverb r . every multi - tracking program does this differently . after the audio is reversed , select the phrase on both preverb l and preverb r . include about 5 seconds of empty space after your phrase in your selection as shown below , now process the audio with a stereo reverb . next , reverse the audio again notice that the processed waveforms are no longer lined up with the audio that originally generated them . make sure preverb l is panned hard left , and preverb r is panned hard right . delayprelay . now slide the waveform in the delay track a small amount to the left you can also slide the waveform the other direction to change this instance from prelay to delay . you may have to loop the audio and slide the waveform in the delay track around a bit to find the optimum placement . bullhorn vocals . | how to use waves audio dsp plug ins to create vocal effects | your dsp plug - ins must be installed and working with your multi - tracking program prior to proceeding . parametric eq is the standard waves™ equalizer . equalization is usually the first effect that you put on any track . it comes in 4 flavors eq2 , eq4 , eq6 and eq8 . eq2 has two bands . eq8 has 8 bands . the screenshot in figure 1 . 1 is eq8 . in the studio , equalization is used to raise or lower amplitude of certain frequencies to bring out the life of the instrument or remove unwanted audio artifacts . controls bypass save load onoff type gain frequency q bandwidth most of the time you cant even hear this low end , but when you have 30 tracks playing simultaneously the effect can be cumulative . the solution is to strip every track of any unwanted low frequencies . you will not need to do this for bass guitar or certain drums such as kick or tom - tom . just because you dont want to remove the low end completely on some tracks doesnt mean that they wont require low end adjustment . low end can be stripped from any track using a bell filter or a high pass filter . i prefer a combination of the two , but every circumstance calls for unique settings . a low pass filter works similarly with respect to high frequencies instead of low . a common mistake is to add high frequencies to fix the problem of having too many low ones . you are better off removing frequencies instead . keep in mind whenever you boost a frequency , you introduce noise . always try to remove frequencies first before adding them . a bell filter is what is used for the majority of equalization . notice the type box already shows a bell filter by default . change the q from 7the default to 5 and see what happens in the graphical representation . play around with these settings until you dont hear any unwanted low frequencies . every microphone has a unique frequency response , and every singer is different . you will need to make adjustments until it sounds good to you . take the pacific pro audio ld1 for instance . it doesnt pick up high frequencies that great . what can be done to fix this is bring down the frequencies that dont need boosting and boost the highs a few decibelsdb as shown above in figure 1 . 1 . a deesser falls into the family of compressionlimiting . a compressor levels out the peaks and valleys in a waveform . it lowers the amplitude of any waveform above a certain amplitude . this allows the engineer to make quiet parts audible without making the loud parts louder . without compression , pops and clicks in a funk bassline would be quite painful to listen to literally at nominal levels . a little compression can spare you hours of volume automation work on a vocal track . the letter s always sounds much louder than anyone wants it to when pronounced into a microphone . a deesser is a form of compression specifically designed to remove the unwanted artifacts introduced into the waveform as a result of pronouncing the letter s into a microphone . a deesser cuts the amplitude of the frequencies specific to the letter s when those frequencies rise above a certain amplitude . removing these frequencies with a deesser enables you to leave those frequencies present in the track at every point in time the letter s is not being pronounced . controls bypass save load frequency threshold your s s should appear a bit too loud . this will be especially apparent at higher decibel levels . threshold is the point of loudness at which the s frequencies begin to drop . the lower the threshold , the more s frequencies get removed . notice the attenuation meter . attenuation is what is removed . every time an s goes through the deesser the attenuation meter will show how much of the s is removed . with your ss still on looped playback , move the frequency somewhere between 7 , 000 and 12 , 000 hz . move the frequency around and watch the attenuation meter . find the frequency value that shows the most attenuation . this is your s center frequency . there are over a dozen compressors in the waves mercury bundle© . many of them , such as renaissance vox , have had controls removed for easier functionality . the c1 compressor has no such functionality removed . controls bypass save load makeup threshold ratio attack release if theres just one instrument such as a piano or guitar involved and the singer is consistent enough , you may not need compression . it isnt until many voices play simultaneously before quiet parts of the vocals get drowned out . ratio relates two values about the threshold input level above the threshold , and output level above the threshold . a ratio of 41 means that if an input signal is 4db above the threshold , the output signal will be 1 db above the threshold , effectively reducing the peaks in a waveform . the lower your threshold , the flatter your waveform will get . if this were drums or bass you would want the value for attack to be considerably lower . for vocals the default value of 2 . 00 works . implementing the compression settings so far has decreased the volume of your vocal track considerably . makeup adds gain to compensate for the volume drop . slide the makeup fader up until your vocals sound natural in the mix and your output signal is healthy without clipping . delays come in a few varieties tap delays allow you to click a button to set the delay time . this is handy if you dont know how many milliseconds of a delay that you need numerically but you do know how long of a delay you want . time adjustment or straight delays are useful to correct for latency . latency is an unavoidable delay that happens as a result of processors taking time to process data before it can send it to your speakers . the more processor demanding an insert is the more latency it will introduce . it is often necessary to add a time adjustment delay on other tracks to keep them in perfect time with ones containing processor demanding effects . your multitracking program will display latency for each track . ping pong delays are stereo delays that alternate the signal between the left and the right . phaseflange delays are very short delays which are used to purposefully create loss of audio attributed to two superimposing audio signals being slightly out of phase . phase delays are the shortest and remove certain frequencies creating an odd effect . flange delays are a little longer and also produce a phase like effect . for most purposes , the medium delay is appropriate the stereo mod delay ii allows you to take a mono signal , split it into stereo , and assign a different amount of delay time to the left and to the right . controls bypass save load gain mix delay this has the effect of bringing out the vocals slightly without turning them up . this mostly works best when there are many instruments being played at once . note that adding this mono to stereo effect your track has switched from mono to stereo . you can now pan the left and the right separately . this will add a slight delay to just the right side . it may be difficult to notice the difference between delay and no delay in this circumstance , because there is such a small amount being added . the key to appropriate use of effects is subtlety . you may not be able to tell there is any delay at all if this technique is done right , however , upon listening you can often hear a quality disappear when the effect gets bypassed . this vocal embellishment delay does not necessarily belong in all vocal tracks . there are two waves™ reverbs that can be useful . these are the ir1 , and renaissance verbrverb . this is rverb rverb is a stereo plug in . if you insert it into a mono track it will change it into a stereo track . make sure to pan appropriately . reverb is the most overused and abused audio effect . originally intended to simulate a sound being played inside a hall or room , reverb is now used in a variety of applications . be very careful to avoid turning the reverb up very high . the key to good reverb usage is subtlety . a little goes a long way . controls bypass save load pre - delay time size diffusion decay early ref . reverb wetdry gain you should keep it down to 1 . 00 most of the time . if done right , you wont be able to tell there is any reverb on the vocals at all unless you solo the vocal track . certain effects you do not want active all the time . there are some effects that can add incredible feeling to a project when strategically placed . effect instances are used in 90 of popular music to accentuate or create a feeling during a key point in a musical recording . preverb is backwards reverb . instead of the reverberation happening after the parent waveform it happens before . name one preverb l , the other preverb r . make sure to line up the audio in preverb l to preverb r exactly . if theres no reverse in your plug - ins , you will most likely find it in the edit menu . using rverb , drop wetdry down to 50 then process the audio . you will have to slide the processed waveforms over until they line up with the original . adjust the volume level to just barely audible for preverb l and preverb r . use eq8 to pull out the lows on preverb l and preverb r . make any adjustments in equalization to the preverb tracks . this instance is much easier to create than preverb . first , decide on a single word you wish to accentuate or bring out . create a track named delay and copy that word into it . lower the volume until it is barely audible so the effect is subtle . apply equalization . many artists make use of distorted vocals . most of the time it ends up sounding like someone singing into a bullhorn . the effect can be quite pleasing when done correctly . create a new track called bullhorn vox . add an eq8 to the inserts on bullhorn vox . add a sans amp plug - in after the eq8 . there are many pleasing combinations of equalization and the sans amp plug - in when creating bullhorn vocals . |
make sure you want to do it . choose your daw . master your software . choose your vsts . get some good speakers monitors for listening . what is hardcore , practice make perfect . try to make a track . create the kick for your track it need to be loud and distorted . complete the track with other things a lead , more instruments , maybe pads . listen to your track . learn about mixing . listen to other people tracks and listen to professional ones too and understand how a basic track is made pre - intro , break , intro , break . google is your friend . please note all of these steps assume that you are a beginner in music production . | how to make hardcore techno | you wanted to make just one track well , hardcore is certainly one of the hardest music genre , and thus , finding people who truly enjoy it , finding tutorials or label interested this will come much later after you start producing will be hard . are you sure you want to become a hardcore producer what is a daw its a music producing software if you didnt know it then you will probably need a lot of time before actually producing tracks . personally , i use fl studio , but you can also try one of the various others , like cubase , ableton , pro tool , reason , logic . keep in mind that some of them only work on pc , while some other only work on mac . some also work on both . tip the name on a search engine , then go to the website and download a demo to get an idea of how it works . but keep in mind that if you illegally download the software , the music youll make wont belong to you . it may contain extremely useful tools that will make producing music easier and funnier , as well as giving more qualities to your tracks . look for tutorials on youtube and wikihow . these will help you create your sound , may it be the drums , the melody . dont buy expensive one at first if you are a beginner , why would you need hundreds of virtual instruments if you cant even understand one youll want them to sound as neutral as possible what does it mean well , if you used your mobile phone speaker to make your music , you would try to make it sound as good as possible . on your mobile phone . your track could be heard anywhere in a club , in a car , in your room . and what sound awesome on your mobile phone speaker will sound like on your computer speakers . this is a simple question , with a long list of answers . well go for the technical ones , which are the one that will interest us hardcore is a kind of powerful techno , with heavy kick and bass that usually resort to distortion . the tempo is usually between 150 and 200 bpm , although faster genre exist speedcore can be at 300 bpm and higher flashcore use ultra fast bpm and kicks barrage . use the definition to make your tracks . what is the structure of a track try to make the perfect kick , the perfect melody . at first , dont try to make a track . im sure you wont follow this advice but mastering the instruments before trying to play is a good idea . it doesnt have to be original , awesome or anything at first youre just practicing , and this track might never get known by somebody other than you or the neighbors . , make it better . proceed to next step . mixing isnt just what a dj does at nightclub , this is was a sound designer does . if the guitarist of a band play too loud , you wont hear the voices , the other instruments , and the overall will sound like garbage . you will need to add effect , adjust volume to almost everything so the end result will sound good . , while this tutorial cover some of the basis , you will need to do your own research on the web . go on dedicated forums , ask your questions , see how the other do this and that . thus , some important things essential in studios arent mentioned , like the need for reference speakers . if you seriously get in the music production , these will definitely helps . having panels to avoid sound echoing and altering the sound you hear will help . if you already know how to make music . |
record the guide tracks to a click track . do the set - ups . record drums . record bass . record rhythm guitars . sit and have a listen to the days recordings to make sure they are all sounding good . record vocals . record the embellishments . clean all the tracks up . alter the volumes of each track , equalise them , put effects on them , and so on , until each song is sounding as good as you can get it . email your final wav files off to a mastering studio . | how to record , mix , and master your own band in a week | play live as a whole band with the structure all worked out . set the drums up and clip mics onto the snare , pg 57s , rack tom and floor tom . place a mic into the bass drum and put two overheads above the kit one directional a shure sm57 , one condenser a rode mt1 . set up your laptop with logic and a swamp industries 12 - channel mixer with six inputs . pad the bass drum . put a sheet or towel inside it . put a pillow between the bass drum and the mic to reduce extra reverberation , such as if you have new skins . each person who records will listen to the guide tracks on the headphones . when listening back after recording , listen through studio monitors . record as few as three takes , however , give yourself as many takes as you need to get it right . after running part - way through the song a few times , stopping , getting annoyed , restarting and eventually finding your groove , you will eventually record the best take . some takes will be accurate , but the end result will have more feeling and gusto . it will feel right . sit and listen to all the drum tracks as a band . move on once you agree the tracks are complete and to standard . record the bass with one microphone input into the mixer from the bass cabinet and one output going from the amp head into the mixer . play the bass along with the drum track . you may or may not need to hear the click and the guide track . after a few takes you will get it right . soon you will have the drums and bass locked in , creating a tight rhythm section . put one microphone in front of the guitar amp . record as many takes as you need . play along with the guide track , or just the drums and bass tracks . you might want to play through a clean amp , or try some effects , such as fizz , overdrive , etc . , carry out several vocal warm - ups before doing this . you could record the vocals in as few as three takes . record lead guitar , backing vocals , tambourine , glockenspiel , extra guitar tracks , keyboards… anything else you want to add . take this time to re - record parts if anyone feels that they could have played them better . for example , the guitarist might think a track needs less big muff fuzz than he or she had used in the previous take . play around with it until you get the right sound . zoom in on all the tracks and look for all the quiet spaces , such as big section of no playing or singing . there may be some noise on these parts , such as breathing and background noise . you mute all these segments . , they may email you samples back to listen to , or just email you the finished product . |
test the demo first . download fl studio demo . open fl studio . map out your song . develop your song using different layers . determine which instruments to use . plan one instrument at a time for longer songs . know your beat and break options . follow your plan to build your song in fl studio . compose . sequence . arrange . mix . utilize pre - made patterns . pan the different parts when youre finished . record . change your songs metadata . export your song once you are satisfied with it . | how to make electronic music using fl studio demo | you can test the demo on image - line . com before downloading . it will help you see how the program works on your machine . the faster your cpu , the more youll be able to do simultaneously in fl studio demo . download the latest version from image - line . com . youll need 1gb of free disk space , and about 1gb of ram is recommended to run the program . versions are available for pc and mac in 32 - or 64 - bits . on pcs , youll need windows xp , vista , 10 , or later . for macs , youll need boot campwindows or os x 10 . 8 or 10 . 9 for a beta version . yosemite is not supported . start the program and look at the setup and options . theres a toolbar at the top and five main windows , listed here with their respective keyboard shortcut keys . channel rack f6 this includes your instruments as plugins . plugins are the main way you add new instruments , and you can use instruments individually or in combination . note that the height of the rack will change as you add or remove plugins . piano roll f7 the piano roll loads the note data from plugin instruments on its channel . pitch is displayed on the vertical axis , and time is on the horizontal axis . this display will help you track visually what youre playing musically . mixer f9 all audio passes through the mixer . your channels on the channel rack are bound to the mixer tracks . playlist f5 this is the player that plays sequences all the sounds that comprise your final song . browser alt f8 the browser is a table of contents with three important sections all , current project , and plugin database . through these , you can access projects , samples , plugins , and libraries . plan the basics of your song on some paper , your computers word processing program , or a spreadsheet before you start making it . determine what instruments and plugins you might want to use or at least start with . simulate the program by using either a piece of grid paper or your computer . if its a short 3 - 4 minute song , you may wish to start off with a simple melody , pads , vocals , and so on . particularly if you are doing an extended piece , consider building the track in layers . the first layer can be a drum pattern to establish the beat . a 44 time beat is common in pop and dance songs . another way of thinking about this is to emphasize the first and third beats of a measure . bring in a simple bass line . the most common bass line would probably be a bass guitar sound or a standing bass , but you could also try a bass sax , tuba , or related sounds . you can then add in the melody on top of this . with rhythm and bass established , you can get a better feel for the track and begin to introduce melody . begin simply with a few of fl studios pre - recorded chords . this will give a richness and depth to your sound that individual notes often lack . fl studio demo includes a full group of software instruments , with each channel containing one instrument plugin . you add a plugininstrument by clicking the sign on a channel . usually , an instrument is a synthesizer or a sample player , used to make your melodies and percussions . fl studio also offers vintage instruments and analog - sounding ones . there are also special effects and sample voice sounds . you can add new instruments by adding new plugins through a virtual studio technology vst interface . you may want to add an instrument if , for example , you dont see the instrument you want , you want to use a rareuncommon instrument , or you want to try a different version of an instrument you do have . for melody especially , youll usually want to plan one instrument at a time as you would do using the piano roll . that said , you dont have to map out your entire song . you may get inspired on the spot to fill in remaining gaps in the track . you might also intentionally leave space in the song for improvisation . a step - based drum machine lets you create your own beats . the step system rounds note length to an established duration , making note length uniform . you can also use something called the fruity slicer to chop up breaks . the fruity slicer plugin can be added through the channels menu in the main menu bar . its best to plan your song in advance , and start working on it the next time you have a whole day to work on it in one sitting . if you can leave your computer in sleep mode , you may leave your project overnight and come back to it at a later time . you can enter notes directly through the piano roll . alternatively , you can play music live using a controller keyboard . the step sequencer plays percussion samples , and you can record with step recording on the recording panel . a sequencer is an interface that records , edits , and plays back audio samples . the recording and playback features of a sequencer is one of the biggest advantages of composing digitally , rather than with individual analog instruments . left - click on step - sequencer squares to turn them on , and right click to turn them off . to change patterns , go to the pattern selector in the toolbar , and slide left - click and hold squares up and down . you have a lot of freedom here in fl studio . you can arrange clips in any order you like and overlay clips as well . you can even think of clips like notes in the piano roll . use the playlist window to make your clip arrangements . there , you can add , delete , slice fruity slicer , rearrange , or mute clips . left click an instrument channel button in the channel rack to select a mixer track , which will then be highlighted with a green fader . this is where all the sound from your instruments is routed . so , think of the mixer as a filter you can use to modify sound as it travels through the mixer . use the mixer for levels and effects , such as reverb and delay . these effects are also automatable . recorded sound will be displayed in the playlist as an audio clip . use the playlist window to play back audio and rearrange clips . in any channel , you can go to the piano roll window and the tools menu to select the riff machine . this includes a wide variety of riffs , chords , and arpeggios that you can adjust . as opposed to building music note by note , riffs offer depth through multiple notes , and chords add multiple notes played simultaneously . click throw dice to begin a new melodybeat , and then click accept to add it to piano roll . try pre - recorded chords . also in the piano roll tools menu , find the chords submenu . here , you can add chords to the piano roll without having to create and play them manually . this means adjusting the distribution of your sound through different channels , such as left and right speakers . most songs dont sound as good when theyre played in just one channel mono . listen to your song through completely and do a bit of mixing . you might need to adjust the panning and volume . maybe youve tried recording riffs or segments of your track already , but remember to record your complete track as well . fl studio has a helpful function if you forget it remembers midi notes from about the previous five minutes , even when not recording . to regain a riff , go to an empty pattern , and then click dump score log to selected channel . before you export your song , you can go into options and modify the project info or metadata that a media player will display . here , you can change such things as the name your song , the artists name , comments , and the songs genre . you can save to file forms wav , mp3 , midi and ogg . exporting is done through the file menu in a process called rendering . pull down the menu and select the file type and quality youd like to save your project as . you wont be able to play back saved projects in the fl studio demo version . to open saved projects fully , youll have to register fl studio and plugins . the only other limitation of the demo version is that you might also hear some static , white noise , or silence using some of the plugins . that said , the demo version is still very functional and a great way to learn fl studio . |
purchase a computer . choose a piece of recording software . purchase and install an audio interface . buy an audio mixer . choose studio monitors and headphones for your studio . decide on a microphones to use in your studio . | how to make a cheap recording studio | if you dont already have a computer to use in your recording setup , you will need to purchase one . important considerations are processing speed and amount of memory , as recording software tends to use your computers resources heavily . both windows and mac platforms will work well however , windows machines typically allow for easier upgrading of the sound card . factory - installed sound cards are not usually robust enough to produce high - quality recordings , so upgrading is a good idea . the recording software provides the interface through which you will manage your recordings on your computer . there are several options for small budgets . generally , the more expensive applications offer greater functionality and flexibility . for recording on a very small budget , you can use recording software licensed as freeware or shareware . audacity and garageband are 2 popular choices for low - budget recording . with a slightly higher budget , you can purchase near - professional quality recording software such as ableton live or cakewalk sonar . both of these applications are also available in entry - level versions that are less expensive but less powerful . an audio interface is a piece of hardware that replaces your computers sound card and allows you to connect your instruments and microphones to your computer through a mixer . on a pc , you will usually install your audio interface in an empty pci slot . on a mac , you may need to purchase an interface that can be connected through a usb or firewire cable . at the least , make sure your audio interface has 2 input and 2 output jacks . this will allow you to record in stereo . for more flexibility , choose an interface with 4 input jacks . one of the top manufacturers of audio interfaces for home use is m - audio . they produce both entry - level and high - end models . a mixer is an essential piece of equipment for any home recording studio . the mixer handles all your inputs such as microphones , guitars , and keyboards , allows you to adjust each inputs settings , and routes the output to your audio interface and into your computer . the basic functions on an inexpensive mixer will usually be adequate for home recording needs . at the least , make sure each channel on your mixer includes adjustments for panning , volume , and 3 - band equalization . four channels will be more than adequate for home recording . popular brands for entry - level mixers are behringer , alesis , and yamaha . the speakers you use to listen to your mix during editing are called studio monitors sometimes referred to as reference speakers . studio monitors differ from other speakers in that they are meant to deliver a perfectly flat frequency response . this means that you are hearing your recording exactly as it exists digitally , without any frequency adjustment . when choosing studio monitors , make sure to look for near - field models . these are designed to be listened to from about a yard 1 m away , and so eliminate any effects due to the acoustics of your room . studio monitors can be purchased used from online classifieds sites or audio retailers . the robust , simple construction of loudspeakers makes them an ideal component to buy used and save money . in addition to or in place of monitors , you can buy a set of headphones . headphones provide the advantage of being cheaper , smaller , and less likely to disturb a neighbor or housemate . headphones can be used in conjunction with studio monitors to assess very low - volume components of your recordings . an inexpensive home recording studio can be managed with only a single microphone if necessary . if you only buy 1 mic , make sure to choose a dynamic mic . this type of construction is more robust and versatile , and is self - powered . an industry standard dynamic mic is the shure sm - 57 , which can be used for vocals and instruments . if you need to record very quiet or expressive instruments , such as an acoustic guitar or piano , a condenser mic will provide better results . condenser mics arent as rugged or versatile as dynamic mics , but provide more sensitive response . a cheap recording studio can readily make do with 1 dynamic and 1 condenser microphone . |
unplug your speakers . connect the amplifier output to the crossover . connect the crossover output to the speakers . test it out . | how to hook up a crossover 1 | if there are speakers currently wired up to your stereo system , fully disconnect them . using speaker wire or rca cables depending on your stereo system and crossover unit , connect the crossover to your amplifier just as you would a speaker . the crossover should be the last piece of equipment in the chain before the speakers . depending on your setup , this means your crossover could be wired directly between your amplifier and your speakers , or the crossover could be placed in line after a compressor or equalizer . depending on your crossover and stereo setup , you will probably need separate crossover units for the left and right channels of your stereo system . connect the output of the amplifier to the crossover inputs by attaching speaker wires to the positive and negative terminals of your amplifier and the corresponding inputs of the crossover . use the red wire for the positive terminal , black for the negative . slide the exposed wire ends into place and tighten the terminals . depending on your amplifier and crossover unit , this can be done either by flipping small switches above the terminals , or by tightening screws with either a screwdriver or allen wrench . if there is not enough exposed wire at ends of your speaker wires , you may need to strip off up to half an inch of insulation with wire strippers . attach your speakers to the crossover using speaker wire , similarly to the previous step . your crossover should have separate outputs for your woofers bass speakers and tweeters treble speakers . make sure to wire the correct speaker into the correct output . on many models of crossover , they will be labeled w and w - for the woofer positive and negative outputs and t and t - for the tweeter . once youve wired the left and right channels , play some music through your system . you should a clean sound from both channels . if your crossover is adjustable and you arent happy with the sound youre getting , try adjusting the frequency knobs , or consult the instructions for recommended settings . |
unplug your speakers . mount the crossover . connect the crossover to your receiver . connect the crossover to your amplifiers . hook up your subwoofer , if you have one . connect the crossovers power and turn the unit on . tune your system . | how to hook up a crossover 2 | if you have speakers already connected to your stereo , fully disconnect them . active crossover units are larger than passive ones and need to be mounted in a stable location , ideally near your amplifiers . do not mount your crossover directly to a metal rack , as this can cause buzzing and other sound problems . using the appropriate cables , wire your crossover into the receiver or preamp , with the wires coming out of the receiver going into the in terminals on the crossover . depending on your receiver and your stereo system , you will probably be making this connection with rca cables , but some crossovers will are set up to use speaker wire instead as detailed in method 1 if your receiver doesnt have rca outputs . crossovers designed for pa systems sometimes use quarter inch cables , like those used to plug in an electric guitar , or xlr cables , like those used to plug in a microphone . using the appropriate cables again , usually rca or speaker wire for a home stereo system , connect the appropriate outputs to the appropriate amplifiers . if you dont have a subwoofer , youll send your high frequency signal to your tweeter amp and low - frequency signal to your woofer amp . in this case , make sure your crossover is set to two - way mode . there should be a switch that controls this . if you cant locate it , check your instruction manual . connect the left output of each frequency range to the left input of the coinciding amplifier and the right output of each frequency range to the right input of the coinciding amplifier . there are several ways to hook up a subwoofer to your system . whichever you choose , youll need to set up your crossover so that the mid - frequency signal is being sent to the woofers , but the low - frequency signal is not . one approach is to use additional cables from your crossover to your subwoofer or subwoofer amplifier , if your subwoofer doesnt have its own power . in this scenario , youll set the crossover to three - way mode if youre connecting to separate woofers and tweeters , or the two - way mode if you are running the main speakers with a full - range signal and just sending the bass to the subwoofer . another approach is to run cables directly from the subwoofer - out sub out terminals of your receiver . if you have a newer receiver , it may have its own crossover settings for a subwoofer , so you wont need to use an external crossover for this . if your receiver does not have subwoofer settings , your subwoofer itself most likely has a built - in crossover . these typically will not provide the optimum sound , but are easy and convenient , and also allow you to skip the external crossover unit . if you are hooking up your subwoofer to an external crossover , turn the subwoofers built - in crossover to its maximum rotation to remove it from the circuit . having multiple crossovers functioning at once can make the bass input uneven or erratic . avoid connecting subwoofers with speaker wire . it doesnt handle bass signals as well as sturdier cables . active crossovers require power to function . home stereo and pa system crossovers usually just plug into an outlet , while car stereo units like the one shown in the video below need to be connected to the cars power supply through the fuse box or in some cases the amplifier will have a terminal for sending power to a crossover . at this stage , youll want to fine - tune your system to get a sound you like . the manual for your crossover should have some tips for doing this , but you can also follow the guidelines below . at the beginning of the this process , make sure the input gain on your crossover is turned all the way down if it has an input gain knob , set your amplifier gains low , and if you have an equalizer , turn it off or set the levels all flat . turn on the system and play some music that you are familiar with . this way , youll have a good sense of what you think the music is meant to sound like . slowly turn up the input gain on the crossover until sound comes out of all your speakers . adjust the level for each output on the crossover until the frequencies are playing at an equal volume . as every crossover model is different , you should consult your manual for details on how to do this , as well as the manufacturers recommended settings . one by one , turn up your amplifiers gains until the music begins to distort a little , then roll them back to just below the distortion threshold . readjust the crossover frequencies as necessary to restore balance between the frequencies . turn on your equalizer and begin making adjustments to the sound to suit your personal preferences . make any adjustments you want on your receiver as well , e . g . the tone , etc . again , readjust the crossover frequencies until the sound is balanced . keep fine tuning your adjustments on the receiver , equalizer , and crossover until you get a sound mix you like . |
download audacity . buy a headsetmicrophone . open audacity . hit the record button and start talking at a normal rate . make gun shots . click stop . click audio track when done and scroll to set rate go to other and type 70000 . hit play and listen . | how to make a chipmunk war audio track | , tap the mic if you prefer a machine gun tap repeatedly . , |
connect the equalizer to your receiver for the easiest connection . purchase 2 pairs of rca cables . connect one pair of rca cables between the receiver and equalizer . connect the other pair of rca cables between the receiver and amplifier . connect the amp to the receiver . turn on the receiver , equalizer and amplifier to use your equalizer . | how to hook up an equalizer 1 | most receivers have either preamp - in and preamp - out connections or tape monitor connections . in most cases , these are the best way to connect an equalizer to your stereo . connecting to the tape monitor channels will require connection to only your receiver . learn how to hook up an equalizer to the receiver instead . to run a signal from your stereo receiver to the equalizer and then to your amplifier , you will need 2 sets of rca cable the same kind that is usually used to connect source components like turntables and cd players . the length of the rca cables should match the length of the distance between the receiver and the equalizer . connect one pair of cables to the pre - amp output channels on the receiver and the other end of the cable to the left and right channel inputs on the equalizer . you will usually find these channels on the rear of the equalizer . right channel jacks will usually take the red colored rca plug while left channel should take white or black rca plugs . connect the other pair of cables from the output channels on the back of the equalizer to the left and right input channels on the amplifier . right channel jacks will usually take the red colored rca plug while left channel should take white or black rca plugs . the amplifier should remain connected to the receiver with an rca cable between the amplifier outputs and the amp inputs on the receiver . this effectively creates a loop from the receiver through the equalizer and amplifier and back to the receiver . turn on all three components and adjust the equalizer knobs according to your preferences . you should now be able to manipulate the controls on the equalizer to change the frequency response or tone of your music . |
hook up your equalizer to your receiver if it does not have preamp - out channels . purchase 2 pairs of rca cables . connect one pair of rca cables between the receiver and equalizer . connect the other pair of rca cables between the receiver and equalizer . use your equalizer . | how to hook up an equalizer 2 | the equalizer should always be between the receiver and the amplifier . your amplifier will need integrated preamp - out and preamp - in connections to work with this method . to run a signal from your stereo receiver to the equalizer and back again , youll need 2 sets of rca cable the same kind that is usually used to connect source components like turntables and cd players . the length of the rca cables should match the length of the distance between the receiver and the equalizer . connect one pair of cables to the tape monitor output channels on the receiver and the other end of the cable to the left and right channel inputs on the equalizer . you will usually find these channels on the rear of the equalizer . connect the other pair of cables from the output channels on the back of the equalizer to the tape monitor input channels on the back of the receiver . right channel jacks will usually take the red colored rca plug while left channel should take white or black rca plugs . turn on the receiver and switch the front panel output control to the tape monitor setting . this opens the tape monitor channels and means that the sound will travel through your equalizer before being sent to the amplifier . adjust the equalizer knobs according to your preferences . you should now be able to manipulate the controls on the equalizer to change the frequency response or tone of your music . to switch on the tape monitor setting you should depress the button on the front panel of the equalizer . if you have a tape deck connected to the tape monitor channels then you will have to remove this before connecting your equalizer . |
connect the equalizer directly to your amplifier if your receiver does not have preamp - output channels or tape monitor channels but your amplifier has preamp - in and out channels . purchase 2 pairs of rca cables . connect one pair of rca cables between the equalizer and amplifier . connect the other pair of rca cables between the amplifier and receiver . switch on the pre - amp connection on the amplifier . turn on the receiver , equalizer and amplifier to use your equalizer . | how to hook up an equalizer 3 | most receivers have either preamp - in and preamp - out connections or tape monitor connections . in most cases , these are the best way to connect an equalizer to your stereo . however , if your receiver does not have these channels then some amplifiers allow you to connect the equalizer directly . connecting to the amplifier directly will require preamp - in and preamp - out channels on your amplifier . to run a signal from your equalizer to the amplifier and back again , youll need 2 sets of rca cable the same kind that is usually used to connect source components like turntables and cd players . the length of the rca cables should match the length of the distance between the receiver and the equalizer . connect one pair of cables to the pre - amp output channels on the amplifier and the other end of the cable to the pre - amp input channels on the equalizer . you will usually find these channels on the rear of the equalizer . right channel jacks will usually take the red colored rca plug while left channel should take white or black rca plugs . sometimes the amplifier channels will say tape monitor output rather than pre - amp output so you can also use these . connect the other pair of cables from the output channels on the back of the equalizer to the pre - amp input channels on the amplifier . right channel jacks will usually take the red colored rca plug while left channel should take white or black rca plugs . some amplifiers might have tape monitor input rather than pre - amp input channels so you can also use these . some amplifiers will have a switch to turn on the pre - amp connections . if you are using tape monitor channels then you will also need to switch on the tape monitor switch . depress the button to turn on this connection . turn on all three components and adjust the equalizer knobs according to your preferences . you should now be able to manipulate the controls on the equalizer to change the frequency response or tone of your music . |
use this method to connect an equalizer to your car stereo in a remote location for additional space . decide where you would like to mount the equalizer . purchase 2 pairs of rca cables . remove your receiver from the dash . connect the rca cables to your in - dash receiver . bring the cables to the equalizer and plug in . mount your equalizer to the vehicle . turn off your ignition . connect your ground wire . connect the power cable . connect the remote turn - on wire . test the equalizer by turning on the car . replace the receiver . | how to hook up an equalizer 4 | some equalizers are designed for installation in your dash while others are designed for a remote location such as the trunk . the installation location will depend on your particular choice of equalizer and preferences . many prefer to install their equalizers in their trunk near the amp so that they have the option to easily add additional amps later . some vehicles will not have space in the dash for an equalizer and will need to remote - mount their equalizer . equalizers can be installed anywhere between your amp and receiver . most remote - mount equalizers will come with a remote so that you can change the controls from the drivers seat . most people prefer to mount their remote - mount equalizer in their trunk near the amp . this way they can easily add additional amps later on by connecting a close wire . other possible locations include under a seat in the vehicle . remember that wherever you mount your equalizer , you will have to run wires to your head unit , or receiver , and amplifier . to run a signal from your stereo receiver to the equalizer and back again , youll need 2 sets of rca cable the same kind that is usually used to connect source components like turntables and cd players . the length of the rca cables should match the length of the distance between the receiver and the equalizer . remove your receiver from the dash so that you can access the wires behind . usually you can pull off the plastic piece covering the dash and then pull the receiver slightly out . plug the two rca cables into the receivers preamp outputs . tape them together so they will not come apart . route the cables through the dash to the equalizer . you should use tape or wire ties along the way to connect the two cables together . plug the cables into the preamp inputs on your equalizer . do not mount your equalizer directly to the metal chassis . this will interfere with the sound . it is better to mount the equalizer on a platform or some kind of rubber material to prevent interference . if you must bolt the equalizer directly to the metal chassis , then you should use rubber pieces between the equalizer and the vehicle . turn off your ignition completely and remove your keys before you begin installation . this is for your safety while you connect the wires to avoid getting shocked . on your equalizer you will see three wires . the black one is the ground wire . remove a bolt near the equalizer mounting location and scrape away any paint covering the location around the bolt . crimp a ring on the end of the wire and bolt this to the vehicle . if there is no location available then you will have to drill a hole in the chassis . be very careful not to damage the gas tank or brake line while doing this . the yellow wire could be red or another color - check your manual on your equalizer is the 12v power cable . connect this cable either to the power cable attached to the receiver or to a 12v variable power source in the fuse box such as the wiper fuse . if your receiver does not have a wiring diagram to show which wires are switched power cables , then you should use a digital multimeter to identify the correct cable . connect the multimeter to the cable when the key is in the off position and make sure the voltage reads at zero . then turn the key into the on position and see if there is now 12v . if the wire follows this pattern then you have found the correct switched 12v power wire . splice the wires together and wrap the exposed metal with electrical tape completely . this prevents the exposed areas from touching other wires and potentially shorting the system . you can also crimp the wires together but this is not as strong as splicing . this wire will need to be routed from the receiver to wherever the equalizer is mounted . this wire will usually be a blue wire with a white stripe , and should be labeled on your equalizer . on the receiver should be a blue usually blue but can be other colors wire that goes to the amplifier . connect this wire to the blue wire on the receiver after routing it through the vehicle from where the equalizer is located . splice or crimp the wires together to make a connection and then wrap the connection in electrical tape . put the key in the ignition and turn it to the on position . then turn on the radio to check that everything is working well and that the equalizer turns on with the radio . put the receiver back into its bracket and place the frame covering back into place . be sure all the wiring is pushed inside the dash beforehand . |
Subsets and Splits