Image is everything
If you’re in the music business, whether as a songwriter that doesn’t step foot on stage or if you’re a nightly act, it’s important that you recognize that IMAGE IS EVERYTHING. Perception is what counts. Entertainers care about what people think and how they’re perceived – if they say differently, they’re full of shit.
Think about it this way: if you were a guitar player that played rock, blues, and modern rock music (NOT Coldplay or something like Slipknot – extremes of the spectrum, if you will) – there are expectations of your image and look that people expect to see from you. Yes, it’s true. For example – since I play sessions at a studio as a guitar player in a certain genre, I’m hired to play a certain kind of music. I’m also sort of hired to display a certain attitude and image. Although it’s probably illegal to put that in a job listing or evaluation, if I cannot display that attitude or impression on the bosses from the start, I never would have been hired. Period.
Social expectations on all of us are very powerful motivators and regulators.
I was on the train to the studio the other day dressed like a rockstar and was continually inspected – partially because the Schwaben (in Germany) are typically superficial, and partially because Germans are NOSY as hell.
Yep – folks who probably don’t listen to my type of music judging my value as a musician (and a person) based on my looks – did I pass the test? I think so – designer jeans with a HUSTLER t-shirt on and cool shoes, I looked like someone who should be carrying an instrument and didn’t bear any uncomfortable looks. However, I could tell there folks in this city were comparing me to their image of what they think a cool guitar-player-type should look like. If I had been carrying a billboard, everyone would have visited my website if it were painted there because I looked the part and would have sold it well without actually saying a word. But if I hadn’t, there’s many people that would have passed it over.
Small things like types of shoes, shirts, and how you speak can impress on others your position in the music industry – or any industry, for that matter. My day job is NOT music, but I make a decent chunk of change from it and still have to “play the game”.
You should be acting the part. If you don’t – what part are you playing? How can you come any further in music (or life!) without playing by their rules? You won’t get any further – and you won’t make any impressions. Go with the grain totally or go against the grain totally – but make sure it MAKES SENSE. People need to know how to categorize you. If you think you’re 100% unique, that’s cool; but there are 6 billion people in the world who will categorize you based on only your skin color, language, or ability to impress by the way you’re dressed.
If you’re a musician – dress the part. Talk the part. Drive the car that shows the part. Play the instrument and do what’s expected of you – plus more. Do it for your own good – if you’re bullshitting, everybody knows it.

Recently, I’ve begun some session guitar playing with a studio called Score Concept here in the city. In the 2 sessions that I’ve had, there have been some very enjoyable and rewarding musical experiences and I thought it was important to outline what I think is a great way to prepare yourself for situations like this.
Often I’m asked what kind of software and other gear I use for my music productions and I felt compelled to compile this list for reference. Please ask questions if you have any.
- Logic Pro 9
Symphobia
WIVI Brass I
Evolve
EZDrummer
Steven Slate Drums
FM8
Kontakt 3
CineSamples Drums of War
CineToms
Tonehammer (various)
Evolve Mutations
Alti-Verb (industry standard reverb; despite what Space Designer does, this is better)
As you can see, I’m a percussion maniac. It’s my firm belief that one cannot ever have too many percussion samples or midi loops.
So it’s been a while since I’ve posted anything and since I’m working terribly hard at building my catalog, it’s been a bit tough keeping up. But this next one is something that will benefit anyone who uses orchestral strings in any DAW. This particular video was made for Logic, but the theory is the same.
Part 2
How to get a great mix.
This is one of the most elusive aspects of recording music. Even some professionally made albums, songs, and music scores can have a bad mix or be poorly recorded. I’m going to go over some of those pitfalls to avoid and how to avoid them using the least amount of money and effort as possible. After all, we’re trying to MAKE money with our music; not just spend it on gear, right?!
Part 2
How to get a great mix.
This is one of the most elusive aspects of recording music. Even some professionally made albums, songs, and music scores can have a bad mix or be poorly recorded. I’m going to go over some of those pitfalls to avoid and how to avoid them using the least amount of money and effort as possible. After all, we’re trying to MAKE money with our music; not just spend it on gear, right?!
This article is actually a prequel to a series I’m starting on how to make the most of what you’ve got in composing music. This series will consist of concrete and proven ways of improving your songwriting, composing, and your DAW chops as well as shed some light on some professional tips I’ve learned along my way in making music and composing for film.
Part 1
How to acoustically treat your mixing space.
This is singlehandedly the most important part of getting a great sound in your home studio (or any studio) and is the key to what pros call transerability of a mix.
This article is actually a prequel to a series I’m starting on how to make the most of what you’ve got in composing music. This series will consist of concrete and proven ways of improving your songwriting, composing, and your DAW chops as well as shed some light on some professional tips I’ve learned along my way in making music and composing for film.
Part 1
How to acoustically treat your mixing space.
This is singlehandedly the most important part of getting a great sound in your home studio (or any studio) and is the key to what pros call transerability of a mix.
Continue Reading
First, check out this link to ModernBeats.com: Making Hip Hop Beats
Placement of the kickdrum in production beats is one of the most important aspects to spicing up any song or backline. If we have a straight 4/4 rhythm with the kick on the 1 and 3 and the snare on the 2 and 4, it’s a straight-up 4/4 feel.
I found this site for setting up your electric guitar on icepoint.com. It’s an outstanding graphical guide for setting your axe up perfectly. Even if you’re a beginner, DON’T be afraid to make these adjustments. There are those who pay $20-$50 PER SETUP of these exact procedures, so don’t be intimidated. I know a professional guitarist who pays his guy $35 once per month to do this – how many others do you think he sets up in that month? Ok, you get the point of the value of this piece. Good luck! If you have any questions, please post them here or email them so we can all benefit!
I’m going to let the cat out of the bag right now:
